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Logic Pro 7.2 .1 Dedicated Control Surface Support  Apple Computer, Inc. © 2004–2006 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software licence agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. 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. Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, Aqua, Final Cut, Final Cut Pro, FireWire, iBook, iMac, iPod, iTunes, Logic, Mac, Macintosh, Mac OS, PowerBook, Power Mac, Power Macintosh, and QuickTime are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Finder and GarageBand are trademarks of Apple Computer, Inc. AppleCare is a service mark of Apple Computer, Inc. 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. 3 1 Contents Preface 7 Introduction 7 What Are Control Surfaces? 8 How Control Surface Integration Works Chapter 1 13 Control Surface Setup 13 Control Surface Plug-ins 13 About Software and Firmware 14 Getting Started 15 Connecting the Unit(s) 16 Installing and Setting Up Control Surfaces 17 Control Surface Groups 19 Setup Window Parameters 25 Control Surface Preferences 29 Customizing Control Surfaces 34 The Controller Assignments Editor 45 About Modal Dialogs 46 Tips Chapter 2 47 Logic Control 47 Set Up 48 The Displays 50 The Channel Strip(s) 54 The Assignment Zone 69 Fader Bank Zone 71 Master Fader 71 Display Zone 73 The Function Key Zone 74 The Global View Zone 75 Function Button Zone 79 The Transport Zone 87 The Cursor/Zoom Key Zone 88 The Jog/Scrub Wheel Zone 89 Assignment Overview 4 Contents Chapter 3 101 M-Audio iControl 101 Setting Up the iControl 102 Compatibility 102 Channel Views 102 The Assignment Buttons 105 Arrow Up and Arrow Down Buttons 105 The Channel Strip(s) 106 The Jog Wheel 106 The Transport Zone 107 Master Fader 108 Assignment Overview Chapter 4 111 EuCon Support of Euphonix MC and System 5-MC 111 Setting Up the MC or System 5-MC With Logic 112 Setting Up Soft Key Assignments 113 Main-Tracks Touchscreen 113 Main-Layouts 113 Faders 114 Choosing Automation Modes 115 Knobsets 120 Monitors and Control Room 120 Clear Keys 120 Track Control Bar 120 System 5-MC Specific Features Chapter 5 123 CM Labs Motormix 123 Set Up 123 Assignment Overview Chapter 6 131 Frontier Design TranzPort 131 Set Up 131 LCD 132 Assignment Overview Chapter 7 135 JLCooper CS-32 MiniDesk 135 Set Up 135 Assignment Overview Chapter 8 141 JLCooper FaderMaster 4/100 141 Requirements 141 Set Up 142 Assignment Overview Contents 5 Chapter 9 143 Korg microKONTROL and KONTROL49 143 Set Up 143 Assignment Overview Chapter 10 147 Mackie Baby HUI 147 Set Up 147 Assignment Overview Chapter 11 151 Mackie C4 151 Set Up 151 V-Pots, V-Selects 157 Buttons at Bottom 160 Marker Overlay 160 Track Overlay 160 Channel Strip Overlay 161 Function Overlay Chapter 12 163 Mackie HUI 163 Set Up 163 Assignment Overview Chapter 13 173 Radikal Technologies SAC-2K 173 Set Up 173 Assignment Overview 178 Troubleshooting Chapter 14 179 Roland SI-24 179 Set Up 179 Assignment Overview Chapter 15 185 Tascam FW-1884 185 Introduction 185 Set Up 185 Assignment Overview Chapter 16 193 Tascam US-2400 193 Set Up 194 Assignment Overview Chapter 17 199 Tascam US-428 and US-224 199 Set Up 199 Assignment Overview Chapter 18 203 Yamaha 01V96 203 Set Up 6 Contents 204 Assignment Overview 206 Selected Channel Section 207 Data Entry Section 207 Channel Strips 207 Stereo Channel Strip 208 User Defined Keys Section Chapter 19 211 Yamaha 02R96 211 Set Up 212 Assignment Overview Chapter 20 217 Yamaha DM1000 217 Set Up 218 Assignment Overview Chapter 21 225 Yamaha DM2000 225 Set Up 226 Assignment Overview Appendix A 235 Logic Control—Specifications 235 Logic Control (Base Unit) 237 Logic Control XT (Extension Unit) Appendix B 239 Logic Control—MIDI Implementation 239 SysEx Message Header 240 Global Control Messages 242 Common Control Messages Appendix C 251 Logic Control—Control Surface Layout and IDs Appendix D 255 Logic Control—MIDI Implementation Chart 7 Introduction This manual covers the control surface support of Logic Pro. Please read it thoroughly to make the most of your new controller(s). All of the functions in Logic Pro that are normally associated with the use of an analog style mixer can be performed using just a mouse and a computer keyboard. The addition of many commercially available control surfaces can greatly enhance your creative experience by providing you with hands-on control of most realtime parameters in Logic. Move a fader and the on-screen fader in Logic will move with it. Similarly, when you make a fader move on-screen, the control surface fader moves (this only applies to control surfaces equipped with motorized faders). Adjust EQ parameters by turning one of your control surface’s knobs and Logic will update instantly. What Are Control Surfaces? Control surfaces are hardware units that enable the operation of Logic Pro using faders, rotary knobs, switches, and displays. There are a number of simple control surfaces that feature conventional faders and no displays. More progressive units are equipped with motorized faders, rotary encoders, LED rings, and programmable displays. The more feedback a control surface provides, the easier it is to use, as you don’t need to watch the computer screen in order to determine what mode the unit is currently in. Control surfaces—dependent on the options (buttons, knobs, switches, displays, and so on) available—have the potential to:  control all Logic transport functions  adjust instrument, input, bus, aux, master, and audio channel volume and pan levels  control Channel EQ and Linear Phase EQ parameters  select and control all effect and Instrument parameters  select, solo, mute, and arm tracks  set and adjust send parameters 8 Chapter Introduction  remotely switch between Screensets  scrub MIDI and audio  zoom in on individual tracks  create, delete, and move between markers, and much more For live use, control surfaces are ideal. The performing musician only needs to take a laptop, equipped with suitable audio and/or MIDI interfaces, a keyboard, and a control surface to a live event. Some units available nowadays incorporate a keyboard, audio interface, control surface, and MIDI interface into a single package. Given that Logic Pro’s track automation facilities can be active, even when not in record mode, you can capture your “live” real time changes for later recall. This ensures that you’ll never again lose that “once-in-a-lifetime” performance—on stage or in the studio. How Control Surface Integration Works Logic Pro features dedicated support for a number of control surface models. This is achieved through several plug-ins that are directly integrated into Logic. Some plug-ins support multiple, similarly-featured control surface models. Note: Although many other control surfaces are supported, the Logic/Mackie Control, C4, and XT control surface units are recommended for use with Logic. Logic also allows you to reprogram existing assignments for supported control surfaces and to program new assignments for unsupported control surfaces. This facility allows you to extend the use of faders, knobs, and switches, either directly or through the use of modifier commands. You can use any combination of control surfaces with Logic Pro. You will get most out of them, however, when used in a Control Surface Group (provided all devices are supported by the same plug-in). Universal information, that applies to all control surfaces, is covered in the following chapter. Please read this before taking a look at the dedicated section on your control surface(s). A detailed overview of group, installation, and other control surface setup parameters is found in Chapter 1, “Control Surface Setup,” on page 13. Please read this, as it contains a lot of useful information that will help you to customize and/or make the most of your control surface(s). Important: Specific information on device setup is found at the beginning of the relevant chapter for your control surface (see the table below). Chapter Introduction 9 It is assumed that you are familiar with the basic use and terminology of Logic Pro. As such, the functionality and uses of individual Logic parameters are not covered in this documentation. Please consult your Logic Pro 7 Reference manual or the Online Help, if you require further information. You are strongly encouraged to press buttons, move sliders and turn the knobs of your control surface while reading through the following chapters. This will help you to get a “feel” for how your control surface works, and how the various parts of the control surface interact with one another, and Logic. A listing of control surfaces that are directly supported by Logic (via a control surface plug-in included in the Logic package), how they differ from similar devices, and cross references to the relevant sections are shown below. Note: It is possible that your device may be directly supported in Logic via a suitable control surface plug-in, supplied by the manufacturer. Please check the website of your control surface manufacturer. Follow any written instructions supplied with the plug-in, if available. Supported Devices Manufacturer Notes 01V96 Yamaha The Yamaha 01V96 emulates two HUI units, using two virtual MIDI in and out connections over its USB cable. See “Yamaha 01V96” on page 203. 01X Yamaha The Yamaha 01X emulates a Logic Control. It does not feature all controls available to the Logic (and Mackie) units, however. Please refer to the 01X documentation for details. Logic recognizes the 01X as such and displays a custom icon, but communication is as with a Logic Control. See “Logic Control” on page 47. 02R96 Yamaha The Yamaha 02R96 emulates three HUI units, using three virtual MIDI in and out connections over its USB cable. See “Yamaha 02R96” on page 211. Baby HUI Mackie The Baby HUI is a stripped-down version of the HUI. See “Mackie Baby HUI” on page 147. C4 Mackie The Logic Control plug-in has been extended to support the Mackie C4. See “Mackie C4” on page 151. CM408T Euphonix See “EuCon Support of Euphonix MC and System 5-MC” on page 111. CS-32 MiniDesk JLCooper See “JLCooper CS-32 MiniDesk” on page 135. 10 Chapter Introduction DM1000 Yamaha The Yamaha DM1000 emulates two HUI units, using two virtual MIDI in and out connections over its USB cable. See “Yamaha DM1000” on page 217. DM2000 Yamaha The Yamaha DM2000 emulates three HUI units, using three virtual MIDI in and out connections over its USB cable. See “Yamaha DM2000” on page 225. FaderMaster 4/100 JLCooper See “JLCooper FaderMaster 4/100” on page 141. FE-8 Tascam Extension unit for FW-1884. See “Tascam FW- 1884” on page 185. FW-1082 Tascam A stripped-down version of the FW-1884, with dedicated support in the FW-1884 plug-in. See “Tascam FW-1884” on page 185. FW-1884 Tascam See “Tascam FW-1884” on page 185. HUI Mackie Important: The HUI plug-in has been tested with the original Mackie HUI. There are a number of control surfaces not mentioned here which can emulate the HUI. We have not tested all devices capable of HUI emulation, and don’t provide any support for them, nor do we guarantee that they will work with Logic in HUI emulation mode. See “Mackie HUI” on page 163. iControl M-Audio See “M-Audio iControl” on page 101. KONTROL 49 Korg A larger version of the microKONTROL, with dedicated support in the microKONTROL plug-in. See “Korg microKONTROL and KONTROL49” on page 143. Logic Control XT Mackie/Emagic This is the extension unit for the Logic Control. It only offers the channel strip section, making it less useful without a Logic Control. See “Logic Control” on page 47. Also see the Appendix for more details. Logic/Mackie Control Mackie/Emagic See “Logic Control” on page 47. Also see the Appendix for more details. Mackie Control Mackie The original Mackie Control hardware is similar to the Logic Control. The front panel legend is different, however. You should request a Logic Control Lexan Overlay from Mackie. As Logic also recognizes the Mackie Control protocol, you may use any firmware version. If you have firmware version 1.02 or higher, you can freely use either the Logic Control or Mackie Control mode. See “Logic Control” on page 47. Supported Devices Manufacturer Notes Chapter Introduction 11 Mackie Control Extender Mackie Mackie Control version of the Logic Control XT. As Logic also recognizes the Mackie Control protocol, you may use any firmware version. If you have firmware version 1.02 or higher, you can freely use either the Logic Control or Mackie Control mode. See “Logic Control” on page 47. Mackie Control Universal Mackie A Mackie Control with Logic Control silk screening (legend) and firmware version 2.0 or higher (including HUI emulation). As Logic also recognizes the Mackie Control protocol, you may use any firmware version. If you have firmware version 1.02 or higher, you can freely use either the Logic Control or Mackie Control mode. See “Logic Control” on page 47. MC Euphonix See “EuCon Support of Euphonix MC and System 5-MC” on page 111. microKONTROL Korg See “Korg microKONTROL and KONTROL49” on page 143. Motormix CM Labs See “CM Labs Motormix” on page 123. Radikal Technologies SAC-2.2 There is a dedicated plug-in for the SAC-2.2/2k’s native mode. The Logic Control plug-in detects an SAC-2.2 (in Logic Control emulation mode) and ignores it, avoid two installations of the SAC-2.2. See “Radikal Technologies SAC-2K” on page 173. Radikal Technologies SAC-2k See “Radikal Technologies SAC-2K” on page 173. SI-24 Roland See “Roland SI-24” on page 179. TranzPort Frontier Design Group See “Frontier Design TranzPort” on page 131. US-224 Tascam A stripped-down version of the US-428, with dedicated support in the US-428 plug-in. See “Tascam US-428 and US-224” on page 199. US-2400 Tascam Logic has support for the US-2400’s native mode. In contrast to its Logic Control mode, all controls, including the joystick, are supported. See section “Tascam US-2400” on page 193. US-428 Tascam See “Tascam US-428 and US-224” on page 199. Supported Devices Manufacturer Notes 1 13 1 Control Surface Setup Logic offers dedicated support for a number of control surfaces, plus the option to program unsupported devices. The following chapter describes functions applicable to all control surface models. Specific documentation for various models is available in the following chapters. Control Surface Plug-ins Dedicated control surface support is achieved through the use of special plug-in files. These files are automatically added when Logic is installed. They are located in the /Contents/MIDI Device Plug-ins sub-folder of the Logic application bundle (to view the bundle contents, Control or right-click on the Logic application icon, and choose Show Package Contents from the menu). Logic also checks for control surface plug-ins in the (optional) “/Library/Application Support/ Logic/MIDI Device Plug-ins” and “~/Library/Application Support/Logic/MIDI Device Plug-ins” (the “~” denotes your user home directory) folders. When new control surface plug-ins are released independently from a Logic update, please place them in the folders described above (or as advised in the documentation supplied with the plug-in). About Software and Firmware Most control surfaces have no “intelligence” of their own. Their functionality is host software-based, making them reliant on Logic to tell them what to do/how to behave. What this means is that control surfaces cannot perform any function that Logic itself isn’t capable of. It also means that if Logic is not booted, most control surface units will do nothing at all. This reliance on the host application makes your control surface the ultimate upgradable hardware. As new functions are added to Logic, or you create new assignments (see “Control Surface Setup” on page 13), your control surface will be able to access and control them. 14 Chapter 1 Control Surface Setup Most control surface units do, however, have a form of software called “firmware.” This firmware is much like the BIOS found in your computer. New behaviors—at a hardware level—such as improved control of fader servo motors and changes to the display can be made via firmware updates. The firmware is usually stored on an EEPROM (Electronically Erasable Programmable Read Only Memory) chip. It can often be updated via a simple MIDI dump procedure, in the form of a MIDI file. Should new firmware become available, you can simply download the appropriate MIDI file and play it to your control surface(s), which will be updated accordingly. The steps required to perform a firmware update will be outlined in the documentation that accompanies the MIDI file. Please read this before attempting any update. Note: Some control surfaces may require a physical chip replacement for firmware updates. Please contact the manufacturer of your device for details. Getting Started To make use of your control surface, you will require:  An installed, authorized copy of Logic Pro.  If a USB or FireWire equipped device (such as a Yamaha 01X)—a free USB or FireWire port. This should preferably be a direct USB/FireWire connection with the computer, rather than via a USB/FireWire hub. Please refer to the documentation provided by the manufacturer of your control surface.  If a MIDI-only device (such as a Logic Control)—a free MIDI in and out port for each unit, on any suitable MIDI interface. As an example; if using a Unitor 8 or AMT 8, which feature 8 MIDI in and 8 MIDI out ports, with one Logic Control and one Logic Control XT, you will need to use two of the Unitor8/AMT8’s MIDI ins and two of its MIDI outs.  An installed driver (if required by your control surface) that is supported by the operating system version being used. Important: Your MIDI interface must feature driver software that supports SysEx communication. Please consult the documentation that shipped with your MIDI interface. The number of units that can be run simultaneously is dependent on the availability of free MIDI in and out, FireWire or USB ports on your system. In a standard setup, a single control surface will be used alone, or accompanied by one or more units. It is also possible to make use of several units to create Control Surface Groups, as discussed in “Control Surface Groups” on page 17. Chapter 1 Control Surface Setup 15 The use of multiple control surfaces expands on the number of tracks, parameters, and so on that can be controlled with individual faders, knobs, and switches. As an example, the Logic/Mackie Control XT units are basically identical to the channel strip section (fader, V-Pot, and LCD) of the main Logic/Mackie Control unit. The Mackie C4 features a number of V-Pots, but no faders. You may add as many XT, C4, or other control surface units as you wish to your Logic system, provided enough MIDI in and out ports are available. Connecting the Unit(s) Connect your (MIDI) control surfaces as shown in the diagram below. As mentioned earlier, each MIDI control surface must have a discrete MIDI in and MIDI out connection. Do not “daisy-chain” other MIDI devices via MIDI thru to the MIDI in or out ports used by control surfaces, as this may result in data errors. FireWire and USB units are connected via a single cable to the computer. It is generally recommended that this is a direct connection with the Macintosh, rather than via a FireWire/USB hub. Daisy-chaining or the use of hubs can result in data errors. Optional Footswitches and Pedals If your control surface features suitable connectors, you may use optional foot switches to remotely control start/stop and other functions. This may be useful when using guitars or other instruments that require two-handed playing. Computer MIDI Interface Optional Footswitches 16 Chapter 1 Control Surface Setup Power Up Once everything is connected, press the power switch on your control surface. Once powered, the displays and/or LEDs will illuminate and the LCD (if applicable) will generally display a welcome message (often including the firmware version number). Each fader will slide to the top, and back to the bottom of its travel on most motorized control surfaces. This self-diagnostic power-on procedure indicates that your units are functioning correctly. Your computer and MIDI interface can be powered up before or after initialization of your control surface units. Logic can be started either before or after the units have completed initialization. Installing and Setting Up Control Surfaces Some control surface units (Logic/Mackie Control, for example) will automatically be detected when Logic is launched. Units which are not detected automatically can be added via the Setup window. This is accessed via the Setup option in the Preferences > Control Surfaces menu. Installation is very easy (and is covered in the Set Up section of the chapter on your specific device). Some devices may require different or additional steps, but generally, all you need to do is select the device(s) that you wish to use in Logic, as follows: To install control surfaces using the Scan function of Logic: 1 Choose New > Install, and in the ensuing Install window, select the desired device from the list. Note: You may select one or more models. To select more than one model, select them with Command held down. If you select more than one model, Logic performs the desired operation for each model in turn. 2 Press the Scan button. You can also press Enter or double-click the device name. Logic will then analyze your MIDI system, and will automatically install the devices it finds, including the correct connection settings. Note: The Scan function is preferable to manual installation, as Logic is able to gather the maximum amount of information about the devices. If you don’t want to select the models to be scanned manually, you can also click “Scan all.” This will search for all supported control surface units on all MIDI ports. Please be aware that this may take a while. Some control surfaces don’t support automatic scanning. Such devices must be added manually to your setup. In this scenario, you will need to manually set the MIDI In and Out port parameters. Chapter 1 Control Surface Setup 17 To manually add the selected devices to your system: 1 Select the desired devices from the list in the Install window. 2 Click the Add button. Note: Alternatively you can Option-double-click the desired device. If a control surface of the selected type already exists in your setup, you will be asked whether or not you really want to add the new device. You will need to manually alter the MIDI In and Out port values in the device parameters to match those of the connected unit. Once you have completed the scanning or installation of the devices, click Done. The Install window will close. Rebuilding Defaults The Preferences > Control Surfaces > Rebuild Defaults option re-initializes the support of all connected control surfaces. Control Surface Groups If you have multiple control surface units, you can define how they relate to each other, and build Control Surface Groups. A Control Surface Group consists of a number of control surface units (using the same plug-in) which are combined to create a single, unified (and larger) control surface. You can build up to 20 Control Surface Groups. Each “group” can consist of any number of physical units. The only limiting factor is the number of available MIDI In/Out (or USB/FireWire—defined as MIDI) ports. When multiple control surface units are combined, you can independently determine the default behavior for each physical device. This is discussed in the Device Parameters (p. 19) section. To build a Control Surface Group out of several units: m Simply arrange their icons (in the Setup window) in a single horizontal row—by dragging each icon to the desired onscreen location. The order of the icons from left to right also defines how the tracks and parameters are arranged on the units. To use two control surfaces independently: m Simply arrange them in separate rows—that is, one above the other. 18 Chapter 1 Control Surface Setup Here is an example with two Logic Control, three Logic Control XT units and a HUI: Computer icon connected to three rows, as below: The top row, consisting of Logic Control XT #1, Logic Control XT #2 and Logic Control #1 form a single Control Surface Group with 24 channels. XT #1 controls channels 1 to 8, XT #2 controls channels 9 to 16, and Logic Control #1 handles channels 17 to 24. Logic Control #2 and Logic Control XT #3 form a second Control Surface Group, displaying, say instruments (on channels 1 to 8) and busses (on channels 9 to 16). The HUI forms a single unit control surface group. Each Control Surface Group has individual settings, such as Flip Mode, Fader Bank Offset, Plug-in Parameter Bank Offset and others. This allows you to access, edit, and automate different sections of the Logic mixer. In our example, the three units in the top row could be used for control over audio tracks and MIDI channels. In the middle row, Logic Control #2 could be used for Audio Instrument channels 1 to 8, and XT #3 could be used for busses. The HUI might edit group definitions. The physical placement of units, and the way you use them, is entirely up to you. Note: The placement of your control surface units in relation to each other should be the same onscreen as in the real-world. Simply drag ’n drop the desired icon horizontally in your Control Surface Group to do so. Chapter 1 Control Surface Setup 19 Setup Window Parameters The three Parameter boxes along the left edge of the Setup window allow you to configure your control surface setup to meet your needs. Device Parameters Each control surface unit must be connected to an independent MIDI in and out port (or corresponding USB/FireWire port, designated as a MIDI port by the device driver). The automatic setup or Scan procedure should have found, and set, the correct MIDI in/ out port settings for each unit. In the event that the MIDI in or out port identification is incorrect, you can manually select the appropriate one for the unit. To do so, click-hold on the MIDI Input and Output pull-down menus, and select the appropriate port(s) of your MIDI interface/ device. Some devices allow you to define a device ID (or global/basic channel). This can be set in this area. Module name, model name and firmware version are also displayed in the device parameters. The Color parameter defines the color of the Track Control Bar—a bar displayed in the Arrange window, indicating the tracks that are currently being accessed by your control surface. The Track Control Bar of each control surface can be assigned a different color. Special Parameters Some control surfaces may allow the definition of “special” parameters. An example of this is fader touch sensitivity. Such parameters can be found in the Special Parameters area. A detailed description can be found in the documentation of the particular control surface plug-in. Control Surface Group Parameters The following parameters are shown in the Setup window. They apply to the Control Surface Group associated with the selected device, and allow you to set each group up to meet your needs. This facility is of great benefit when multiple Control Surface Groups have been created. Many (if not all) Control Surface Group parameters can also be changed directly from the control surface. The parameter display in the Setup window is for information purposes only. Any changes to settings (made here, or on the control surface) are saved in a preferences file, which is independent of the Logic program preferences: it’s named “com.apple.logic.pro.cs”, and is located in ~/Library/Preferences/Logic. 20 Chapter 1 Control Surface Setup Display Parameters The following section describes the display parameters of a Control Surface Group. Flip Mode Many control surfaces offer both a fader and a rotary encoder for each channel strip. Flip Mode allows you to swap the encoder assignment with that of the fader for each channel. Alternately, you can assign both controls to the same parameter. There are four “flip” or “swap” modes.  Off—disables Flip Mode, making the fader act as a volume control.  Duplicate—makes both the fader and encoder active for the currently selected encoder parameter.  Swap—swaps the fader and encoder, making the fader a pan control and the encoder a channel volume control, for example.  Mute—disables the faders. This is useful for situations where recording is taking place in the same room as the control surface, and you wish to avoid the mechanical noise of the faders. Any existing automation data will still function as per normal. Display Mode If there is insufficient space available for the display of both the parameter name and value (on the control surface LCD), you can specify what is displayed here:  Value—displays the parameter value.  Name—displays the parameter name. Clock Display If your control surface features a song position display, the Clock Display parameter allows you to set the display mode:  Beats—the song position display shows Bars/Beats/(optional) Sub Division/Ticks.  SMPTE—as above, but in Hours/Minutes/Seconds/Frames. Note: The exact elements displayed, and thus their positions, depend on the selected SMPTE or bar/beat display option defined in the Logic Preferences. Track View Mode This parameter determines which tracks or channels are displayed:  Mixer—displays channels in their order of appearance in the Track Mixer window (while Global mode is disabled). Channel Strip 1 in the Track Mixer is equivalent to channel 1 on the control surface, Channel Strip 2 in the Track Mixer is equivalent to channel 2 and so on. Instruments/channels used by multiple tracks are merged into one channel. Mixer View is the default mode of most devices, including the Logic/ Mackie Control. Chapter 1 Control Surface Setup 21  Global—displays all Objects of certain type(s)—MIDI or Bus channels, for example— independent of their usage by tracks. They merely need to be defined as Environment Objects to be visible. The Object types to be displayed are defined by another parameter which is not shown in the parameter list. If a control surface supports switching to Global View, it will also allow you to define which Objects to display. The Track Mixer window contents automatically follow the state of the Global View buttons. It also sets Object filters in accordance with the Object classes activated in Global View.  Arrange— Arrange View is similar to Mixer View, with one exception: Namely, if multiple tracks play back via the same Environment Object, all of these tracks will be displayed on separate channel strips. This is helpful when used in conjunction with the nudge commands, for example. The Hide button status is taken into account, with tracks hidden in the Arrange window also being hidden on the control surface. These modes are mutually exclusive, so if you’re in one View mode, you cannot be in the other. It is important to note that the Mixer vs. Global View modes is a property of the Control Surface Group, not a global setting. So one group can display busses, while the other shows tracks, for example. Mixer View Fader Bank This parameter affects the Track View mode by shifting channels by the defined amount. Imagine that your control surface has eight channel strips, and you were looking at audio tracks 1 to 8 in the Arrange window. These would appear as channels 1 to 8 on the control surface. Using the Mixer View Fader Bank parameter, you could offset this view by a defined number of channels, to see audio tracks 3 to 11, for example. Global View Fader Bank The Global View Fader Bank parameter performs much like the Mixer View Fader Bank, but only applies if multiple Object types are enabled. When single Object types are enabled, there are separate fader bank parameters (these aren’t displayed in the parameter list). Track/Channel Parameters The track or channel parameters define the behavior of a control surface’s channel/ track controls. Track Parameter Defines the current track assignment behavior for the encoders. Options are:  Volume—encoders adjust channel volume.  Pan—encoders adjust channel panorama position.  Mode—encoders adjust/select channel mode (mono/stereo). 22 Chapter 1 Control Surface Setup  Input—encoders adjust/select channel input source.  Output—encoders adjust/select channel output (main outs/busses/surround).  Automation—encoders adjust/select channel automation mode.  Group—encoders adjust group membership of the track. Editing the parameter allows you to set either no group or a single group. Enabling membership of multiple groups is not possible here.  Displayed parameter—encoders adjust the automation parameter displayed in the Arrange window. This is especially useful if you set the control surface to Arrange View mode, and your Arrange window shows multiple sub-tracks with various parameters. Surround Parameter Defines the default pan/surround assignment behavior for the encoders. Options are:  Angle— encoders adjust surround angle.  Diversity—encoders adjust surround diversity (direction).  LFE—encoders alter LFE level.  Mode—encoders switch between the various surround formats.  X—encoders adjust surround x position.  Y—encoders adjust surround y position.  Center—encoders adjust the Center Level values of a surround output channel. Note: The X and Y parameters are a different representation of the Angle and Diversity parameters, and thus are independent from them. The X and Y parameters support the use of surround joysticks. EQ Band The EQ Band parameter allows you to select the current EQ band, if you wish to edit a particular Channel EQ or Linear Phase EQ parameter for all tracks in the EQ Multi Channel View. EQ Parameter This parameter determines which parameter of the selected EQ Band is edited by the encoders in EQ Multi Channel View:  Frequency—encoders determine the frequency of the selected band.  Gain—encoders change the gain of the selected EQ band. For the Low Cut (band 1) and High Cut (band 8) bands of the Channel and Linear Phase EQ, this parameter controls the slope.  Q—encoders change the Q factor of the selected band.  On/Off—encoders bypass the selected EQ band. Chapter 1 Control Surface Setup 23 EQ Parameter Page The EQ Parameter Page parameter defines the EQ parameter displayed in the EQ Channel Strip View. To explain: The Channel and Linear Phase EQs feature 8 bands per audio channel, with each band offering four parameters. All of these parameters can be accessed with your control surface. If you use a control surface that does not display all EQ parameters at once, you need to step through the parameter “pages.” As an example: Imagine you are using an eight channel control surface. You can directly affect parameters 1 to 8 with knobs/sliders 1 to 8—once you’ve switched to EQ Channel Strip Edit View. You then need to switch by a “page” to access parameters 9 to 16. Send/Plug-in Parameters These parameters define how your control surface controls send and plug-in parameters. Send Slot The Send Slot parameter determines the currently selected Send slot. Normally, a value of 1 would be used, as this accesses the first (top) Send on each channel. A value of 2 accesses the second Send, and so on, to Send 8. The Send slots are accessed by pressing the Up/Down buttons on your control surface—if applicable. Send Parameter Defines the Send parameter (to be edited with the encoders) when in the Send Multi Channel view:  Destination:—encoder is used to determine the bus channel number for the Send slot.  Level—encoder is used to adjust the Send level.  Position—encoders set Pre or Post fader modes.  Mute—encoders mute/unmute the selected Send slot. Send Parameter Page Much like the EQ parameters, up to 32 parameters are available in Send Channel Strip View for a given channel (Eight Send slots multiplied by the four parameters listed above). Send Parameter Page determines the current page for these parameters. Split: no. of upper parameters Control surfaces that support split mode allow the display of two separate parameter sections within one plug-in (or even different plug-ins). They are called Split Upper and Split Lower. 24 Chapter 1 Control Surface Setup This parameter defines how many encoders belong to Split Upper, leaving the remaining encoders to Split Lower. A value of 0 means that Split Mode is off—with all encoders assigned to the Split Upper area. Instrument Parameter Page The Instrument Parameter Page option determines the parameter (counted from 1) which is assigned to the left-most encoder when editing an Audio Instrument. The next Instrument parameter is assigned to encoder 2, and so on. This applies to Split Upper when Split Mode is enabled. Inst Parameter Page (Split Lower) As above, but for Split Lower. Insert Slot Determines the current Insert slot number for both selecting a plug-in (in Plug-in Channel Strip View) and editing its parameters. A value of 1 accesses the first (top) plugin slot on each channel. A value of 2 accesses the second plug-in slot, and so on. With Split Mode enabled, this applies to Split Upper. Insert Slot (Split Lower) As with Insert Slot, but for Split Lower. Plug-In Parameter Page As with Instrument Parameter Page, but for editing plug-ins. Having these parameters separate allows you to quickly switch between editing an instrument and an effect on a track, without the need to adjust the parameter page every time. With Split Mode enabled, this applies to Split Upper. Plug-In Parameter Page (Split Lower) As with Plug-In Parameter Page, but for Split Lower. Track Specifies the currently displayed track for Channel Strip Views. With Split Mode enabled, this applies to Split Upper. Track (Split Lower) As with Track, but for Split Lower. Track Lock When this parameter is set to “on,” selecting a track in Logic does not change the Track and Track (Split Lower) parameters. In other words, the control surface group continues to display the same track, independent from the currently selected track. When Track Lock is disabled, the control surface group automatically switches to the selected track, whenever a track is selected. Chapter 1 Control Surface Setup 25 Other Parameters The following section describes the Track Name Format, Parameter Page Shift Mode, Relative Change Mode, Mix Group and Group Parameter Page parameters. Track Name Format Changes the track name display to show the track name alone, or the track name, and its track number. As an example, a track named “Audio1” may actually be placed on track 12 in the Arrange window. When a value of #:Name is toggled, “Audio1” would be displayed as “12:Au1”. Parameter Page Shift Mode Defines whether the parameter is shifted by an entire “page” or by one parameter. Relative Change Mode This determines the behavior of controller assignments that features a relative value change mode (for example rotary encoders).  Coarse: the parameter can be adjusted in coarse steps.  Full: In this mode, a turn to the right sets the encoder to its maximum value. A turn to the left sets the encoder to its minimum value. The encoder also stops at its default value. As an example: When the Pan knob is somewhere left of center, turning the encoder to the right will initially set the Pan parameter to its center (default value) position, with a further right-turn setting the full right (maximum value) position.  Fine: the value is incremented/decremented in fine steps—by one tick or “unit,” for example. In this mode, the standard adjustable resolution is ignored, and the highest possible resolution is used. As an example, using the Sample Delay parameter: every encoder rotation tick in/decreases the value by 1 ms, regardless of the resolution value. Note: Coarse is the default mode. Mix Group When in Group Edit mode, this parameter defines the edited group. Group Parameter Page As with the Instrument Parameter Page, but for the parameters of the edited group. 26 Chapter 1 Control Surface Setup Control Surface Preferences The Control Surface preferences window is accessible via the Logic > Preferences > Control Surfaces > Preferences menu. Note: You can also use the global Control Surfaces Preferences key command. General The following section outlines the General control surface preferences. Resolution of Relative Controls This defines the default resolution of controls that change values in a relative manner. The default is 128 steps. As an example: adjusting the Sample Delay (value range 0 to 4000 ms) in/decreases the value by 40 ms with every encoder rotation “tick,” if resolution is set to 100. Maximum MIDI Band Width This slider determines the maximum amount of MIDI bandwidth that can be used by your control surface. By default, this is set to 50%, which should be suitable for most situations. You can adjust the value if you find that your MIDI or automation playback is being affected. Touching fader selects track Activation of this parameter will automatically select the track that corresponds to the selected fader. You require a device that features touch-sensitive faders for this functionality to work. Jog resolution depends on horizontal zoom If your control surface features a jog/shuttle wheel (or similar), the precision of any scrubbing is affected by the horizontal zoom level of Logic. To retain a consistent resolution, regardless of Logic window zoom levels, disable this checkbox. Pickup Mode If your control surface does not feature motorized faders and knobs, parameter changes—caused by playing back existing automation—are not reflected on its surface. Such control surfaces usually offer a Pickup mode. In Pickup mode, the current value must be reached (“picked up”) by the control surface before a value change can occur. This prevents sudden “jumps” of parameter values after parameter changes caused by playing back automation. A display (usually a pair of LED’s) will indicate the direction/ distance you need to move the controller to match (also known as “NULL”) the settings shown in Logic. Once you have matched the onscreen values, deactivate Pickup mode, and start automating. Chapter 1 Control Surface Setup 27 When the Pickup mode option is disabled, adjusting a fader modifies the parameter immediately. Multiple Controls per Parameter These parameters determine whether one, or multiple, encoders are used per parameter when editing plug-ins or audio instruments. When multiple encoders are used per parameter, the encoders are subdivided into groups (for example 1/2, 3/4, 5/6, 7/8). The first encoder of each sub-division controls the parameter shown in the display. The remaining encoder(s) are inactive. Using more than one encoder per parameter shows fewer parameters at any given time, but you gain space on the LCD to cater for longer parameter names and values. The more control surfaces you have within a Control Surface Group, the more you benefit from this feature. The Multiple controls per parameter pull-down menu defines the maximum number of encoders which will be used for a single parameter.  1: Parameters are always displayed using one encoder per parameter, with the least space available for parameter name and value in the LCD.  2: On each unit, encoders 1 and 2 are used for the first parameter, encoders 3 and 4 for the second, and so on.  4: On each unit, encoders 1 to 4 are used for the first parameter, encoders 5 to 8 for the second, and so on. Only when all Parameters fit in one Page When this option is checked, the defined number of encoders are only used when there are sufficient encoders available to show all parameters without changing pages. As an example:  You have a Logic Control and two Logic Control XTs, providing you with 24 encoders.  A plug-in with 13 parameters will be shown with one encoder per parameter. Eleven encoders will remain unused.  A plug-in with 11 parameters will be shown with two encoders per parameter. Two encoders will remain unused (as will the inactive encoders of the abovementioned sub-divisions). When the option is unchecked, multiple encoders are used for each parameter, which may require scrolling. This would not be the case if only one encoder was used for each parameter. 28 Chapter 1 Control Surface Setup Show Value Units For: Allows you to adjust whether parameter values will be appended by the measurement “unit,” where applicable—“Hz” or “%”, for example. You can set this option separately for Instrument / Plug-in parameters and Volume and other parameters. If you can do without the value units, the display is less cluttered. Controller Assignments The Controller Assignments button launches the Controller Assignments Editor. Setup The Setup button launches the Control Surfaces Setup window. Help Tags Control Surfaces that offer freely programmable displays with more than six characters per line/segment of the display, can use Control Surfaces Help Tags. These Help Tags are similar to Logic Help Tags, showing additional information during use. You can determine the type of information displayed in the Help Tags pane of the Control Surfaces preferences. While Editing Show Long Names For:  Parameter Name—While editing a parameter, the upper LCD line displays the full parameter name, rather than an abbreviated form of it.  Parameter Value—While editing a parameter, the lower LCD line displays the full parameter value. If the Show value unit for parameter box (see below) is checked, it will be appended by the measurement unit, where applicable—“dB”, “Hz” or “%”. Note: The following options only have an effect if at least one of the two parameters above is active. Display duration (s) Use the mouse to adjust the time that parameter names and values remain on the LCD display, following selection/adjustments. Allow multiple info This determines the behavior when you edit multiple parameters simultaneously. When enabled: the long name info remains in the display, until the most recently edited parameter’s display times out. This may cause overlapping text. When disabled: the long name display is only shown for the most recently edited parameter. This can cause flicker. Show info when selecting tracks When this option is checked, and you select a track, you will see “Selected” in the upper row, and the selected track’s name in the lower row of the LCD. You can disable this feature, if you find it disconcerting. Chapter 1 Control Surface Setup 29 Show info when editing volume When this option is checked, and you edit a track’s volume, you will see “Volume” in the upper row and the new volume value in the lower row. You can disable this feature, if you find it disconcerting. Show Value Units For: Allows you to adjust whether parameter values will be appended by the measurement “unit,” where applicable—“Hz” or “%”, for example. You can set this option separately for Instrument / Plug-in parameters and Volume and other parameters. If you can do without the value units, the display is less cluttered. Note: This parameter only applies while editing. Customizing Control Surfaces Logic allows you to reprogram existing assignments for supported control surfaces and to program new assignments for unsupported control surfaces. This facility allows you to extend the use of faders, knobs, and switches, either directly or through the use of modifier commands. As an example, The buttons F1 to F8 of the Logic Control are assigned to screensets 1 to 8 by default. When reassigned directly, or combined with the Shift, Option, Control, and Command modifiers (used in any combination), you can freely assign any command to these function keys (F1 to F8). To assign a MIDI control to a parameter: 1 Click the destination parameter that you want to “teach” Logic. 2 Activate Learn by pressing Command-L (default), or via the Logic > Preferences > Control Surfaces > Learn Assignment for “xxx” menu option (the parameter name is appended to the menu item text). 3 The (small) assignment editor window is launched, with the Learn Mode button enabled.  If you continue to hold down the computer’s Command key (or whatever modifier key is assigned to the key command), a Help Tag will indicate what needs to be done next (move control, for example).  If MIDI messages are received while the Command key is held down, releasing the key closes the Help Tag window, and the learn procedure is completed. Note: If no MIDI messages are received, releasing the Command (modifier) key(s) leaves the Learn Mode button enabled, allowing you to immediately retry the generation of the intended control message. You will need to disable the Learn Mode button manually, once the procedure is completed. To abort the learn procedure: m Either press Command-L a second time, or click the Learn Mode button. 30 Chapter 1 Control Surface Setup This will, however, result in a new, unfinished assignment. You can re-enable the Learn Mode button to assign a message. To delete a MIDI control assignment: 1 Click the destination parameter that you would like to delete. 2 Select the Logic > Preferences > Control Surfaces > Delete Assignment for “xxx” menu option (the parameter name is appended to the menu item text), press the backspace key—or you may use the Edit > Clear menu option. To assign a control surface button to a key command: 1 Select the desired key command in the Key Commands window. 2 Click the Learn New Assignment button. 3 Press a control surface button that sends a MIDI message. Note: After about 5 ms, the Learn New Assignment button is automatically deactivated. This is designed to prevent recording of a button release message. It is also possible to assign a key command to a button/key release message: 1 Simply press and hold the desired button/key before you enable the Learn New Assignment button. 2 When you release the button/key, the selected key command is assigned to the button release message. To delete a key command assignment: 1 Select the desired key command in the Key Commands window. 2 Press the Backspace key. Changing an Existing Assignment The Learn procedure opens the Assignment Editor in Easy View, which offers an overview of the most important parameters, allowing you to tweak the newly-created assignment in the following ways:  Control Name (Learned for unsupported devices; name of control for supported devices).  Class (Track, for example).  Object (Fader Bank, for example).  Parameter (Volume or Plug-in parameter 5—relative to the parameter bank, for example).  Value Change message (Display only).  Mode (Direct, Toggle, Scaled, Relative, Rotate, X-OR).  For On/Off parameters, the mode is set to Toggle by default. Otherwise it is set to Scaled if an absolute control (fader, pot) has been recognized, or to Relative if an encoder has been recognized. Chapter 1 Control Surface Setup 31  Multiply, with shortcuts for +1 and –1 (–1 for decrementing). Note: For details on the abovementioned Assignment parameters read “Assignment Parameters” on page 35. For a full view of all parameters, enable the Expert View option. Shortcuts for Defining Multiple Assignments If you want to define multiple assignments in the Controller Assignment Editor, you can use the following shortcuts: Scenario 1: assign faders 1 to 16 to volume of tracks 1 to 16 1 Learn volume track 1 for fader 1. 2 Learn volume track 16 for fader 16. 3 As the track “distance” (15) is the same as the controller number distance for the two most recently learned assignments, a “Do you want to fill up in between?” message appears. Select OK to automatically fill the faders with corresponding Volume assignments for each track. Note: This feature also works for any other track parameter (Pan, Solo, Mute, and so on). Scenario 2: assign knobs 1 to 16 to plug-in parameters 1 to 16 1 Learn parameter 1 for knob 1. 2 Learn parameter 16 for knob 16. Note: The parameter enumeration is shown in the Plug-in window’s Control View. 3 As the gap between parameter numbers (15) is the same as the gap between controller numbers for the two most recently learned assignments, a “Do you want to fill up in between?” message appears. Select OK to automatically fill the knobs with corresponding Parameter assignments for each. Note: This feature also works for instrument parameters. Currently, this only works for knobs that send a single channel message, where the first data byte is the controller number and the second data byte is the value. Alternatively, the controller number can be encoded in the MIDI channel, with a fixed first data byte. Zones, Modes, and Assignments You can define “groups” of controls on a control surface that can be switched between different operating modes. As an example, the Logic Control rotary encoders can be used to control Pan, Send Level or plug-in parameters. Such “groups” are called Zones. The different operations that can be performed within a Zone are called Modes. A Zone contains one or more Modes, one of which is the active Mode. A Zone may also contain modeless assignments—assignments which are always active. 32 Chapter 1 Control Surface Setup The reason for this structure is that you can place modeless assignments nearer to the modal assignments they are associated with. As an example, where pressing and releasing the Option button switches between two modes for the Function keys of an assignment. A Mode contains any number of assignments. Only the active Mode’s assignments are processed for incoming MIDI and feedback. Assignments of inactive Modes are ignored. A Zone’s active Mode can be switched by special Assignments (see below). There can be multiple Zones. As examples, one for the encoders and a second one that switches the F1 to F8 keys to different functions. Zones and Modes can be defined across multiple control surfaces, to create Control Surface Groups. You can visualize the Control Surface System as a hierarchical list. As an example: Zone 1  Modeless Assignment  Modeless Assignment  Mode 1  Modal Assignment  Modal Assignment  Mode 2 (active)  Modal Assignment  Modal Assignment  Modal Assignment  Modal Assignment  Mode 3  Modal Assignment Zone 2  Mode 4 (active)  Modal Assignment  Mode 5  Modal Assignment  Modal Assignment Chapter 1 Control Surface Setup 33 Reassigning a Control If you want to reassign a control, the procedure depends on the current state of the control. Case 1: Control is currently active (an assignment for this control is part of an active Mode). If you attempt to learn an assignment for an “active” controller, the following message is displayed: “This control is currently assigned to xxx. Do you want to reassign the control?”  Cancel—Deletes the learned assignment.  Parallel assignment—Retains the new assignment. Typical usage: one knob controls multiple parameters as a macro.  Reassign—Deletes all existing active assignments for this parameter. Typical usage: reassigning an F1 to F8 key to a new key command.  Create new mode—Creates a new mode and places the assignment into the new mode. In this scenario, you will need to learn an assignment to switch between the old and new modes. Should you choose the latter option, the Controller Assignment Editor opens in Expert view, with the new mode selected, and a warning icon. If you move the mouse cursor over the icon, a Help Tag indicates that: “There is no mode change assignment yet to switch to this mode. Please click “Learn Mode Change” to create one.” Case 2: Control is currently inactive (an assignment for this control is part of an inactive mode). The learned assignment is moved to the active mode of the zone where the inactive assignment was found. Typical usage of this facility: Supported control surfaces have empty user pages available, allowing for new encoder assignments. You would select user mode, and then learn an assignment for the encoder. You can define multiple pages for a control surface. Cases 1 and 2 can occur simultaneously. Reassigning a Parameter Logic allows you to reassign a parameter that is already assigned to a MIDI control. The procedure depends on the current state of the assignment. Case 1: Assignment to a parameter that is currently active (as it is part of an active mode) If you attempt to change an existing “active” parameter assignment, the following message is displayed: “This destination parameter is currently assigned for control xxx. Do you want to reassign the parameter?” 34 Chapter 1 Control Surface Setup  Cancel—Deletes the learned assignment.  Parallel assignment—Retains the new assignment. Typical usage: One knob controls multiple parameters as a macro.  Reassign—Deletes all existing active assignments for this parameter. Typical usage: Reassigning an F1 to F8 key to a new key command. Case 2: Assignment to a parameter is currently inactive If an assignment to a parameter is currently inactive (as it is part of an inactive mode), no special action is required. The Controller Assignments Editor The Controller Assignments Editor is opened via the Logic > Preferences > Control Surfaces > Controller Assignments menu item. It allows you to edit all assignments of the Controller Assignments table. This table is a part of the Control Surfaces Preferences and is stored (along with all other control surface support settings) in the ~/Library/Preferences/com.apple.Logic.pro.cs file. The Controller Assignments Editor offers two view modes: Easy and Expert. The view modes can be switched via the Expert View option at the top of the window. Easy mode is designed to make learning Track parameter assignments as fast and efficient as possible. Therefore, this window only shows Track parameters—when first opened. After switching to Expert view and manually choosing another parameter class, the corresponding parameters are also shown in Easy view. It is generally recommended that Easy view is only used for Track parameter assignments. Easy mode offers an overview of the following parameters:  Parameter: Displays clear text of the addressed parameter.  Track (default): This field can be used to specify the track parameter you would like to assign. You can choose between the Selected option (which is the default, if creating assignments on the selected track) or a fixed track number (if you want to set up your controls as a mixer surface).  Input message: Displays the incoming message data. Note: For details on the abovementioned Assignment parameters read “Assignment Parameters” on page 35. For a full view of all parameters, enable the Expert View option. Only one set of assignment parameters are visible at a time. You can choose the desired assignment with the left/right arrows at the bottom of the window. If you activate the Follow option at the top of the Controller Assignments window, the window always selects the assignment that matches the most recently received incoming MIDI message. Chapter 1 Control Surface Setup 35 In Expert mode, there are four re-sizable columns:  Zone—Selects the Zone that contains the Modes and assignments being edited. The first entry “(No Zone)” is for zoneless assignments. Double-click a Zone name to edit it.  Mode—Selects the Mode that contains the assignments being edited. The first entry “(No Mode)” is for mode-less assignments. Double-click a Mode name to edit it. Selecting a Mode in the list also makes it the Zone’s active Mode. The active Mode is marked with an arrow.  Control/Parameter—Selects the assignment displayed in the editor to the right. Multiple selection is possible for operations in the Edit menu. In this scenario, however, only the first selected assignment is displayed. The left column displays the control name, the right column the controlled parameter (in an abbreviated form).  Assignment Parameters—Displays all parameters of an assignment. See the next section. If you activate the Follow option at the top of the Controller Assignment Editor, the window always selects the assignment that matches the most recently received incoming MIDI message. Assignment Parameters The following section covers all parameters that can be edited in the Controller Assignment Editor. Control Name Name of the control (Fader 1, for example). This is Learned by default for assignments created with the Learn function (see above) from supported control surfaces. This name is for information purposes only and has no influence on functionality. Label Text displayed on control surfaces that feature a display (and are supported by a plugin). A @ character starts an escape sequence which acts as a placeholder for dynamically generated text. The escape sequence consists of three characters: @ and two additional characters: 36 Chapter 1 Control Surface Setup First Character: Second Character: Example: “Send@s#” shows “Send1”, “Send2”, and so on. Flip Group When set (to any value other than “none”), this number defines a counterpart for Flip Mode. By setting a fader and an encoder to the same Flip Group, for example, they are coupled. To set “none,” enter 0. Exclusive Only for supported control surfaces: when the Exclusive checkbox is enabled, the assignment deactivates all other assignments that have Exclusive disabled (for the same control). This limits the overwriting of a modeless assignment to particular modes. Example: Faders normally control volume. If you want to create a mode where faders control send level, enable Exclusive. Class This pop-up menu can be used to define the assignment class or, put another way, what type of destination parameter is controlled. The following section explains all available Class options. Character Meaning t Track r Surround s Send slot S All Sends e EQ band E all EQs p Plug-in Insert slot i Instrument Character Meaning # Number of above (track number, Send slot, EQ band, Plug-in slot) n Name of above p Name of parameter addressed by the assignment P Name of first parameter o Parameter offset, counted from 1 O Maximum parameter offset, counted from 1 b Parameter bank (= parameter offset/bank size), counted from 1 B total number of banks (= parameter offset/bank size), counted from 1 Chapter 1 Control Surface Setup 37 Mode Change The Mode Change option allows you to use an assignment to activate a mode in a Zone. An additional Mode pop-up menu appears below the Class menu, offering different Modes you can switch to. As an example: The Assignment buttons on a Logic Control choose several Modes for the encoders. Note: The Mode that is recalled also depends on the option set in the Value section’s Mode menu (See “Mode” on page 43.). The following table explains how the different Value Modes take effect. Global The Global option allows you to use an assignment to control global parameters. An additional Global pop-up menu appears below the Class menu, offering the parameters listed in the following table. Value Mode option Explanation Direct The stated Mode is activated in the Zone it belongs to. It is not necessary for the Mode Change assignment to be located in the same Zone. Example: While Shift is held down, button X switches the encoders to EQ view. The Shift and X buttons are in Zone A, but the encoders are in Zone B. All other value modes: Only the Modes of the Zone the Mode Change assignment is located in can be recalled. The destination parameter minimum is this Zone’s first Mode, and the maximum is the Zone’s last Mode. Toggle A button might toggle between the Zone’s first Mode and the stated Mode Relative Useful for stepping up and down through Modes of a Zone using two buttons, or for choosing a mode using an encoder. Rotate Useful for stepping through all modes using a single button. A jog wheel, for example: Off → Scrub → Shuttle → Off Global Options Explanation SPL Song Position Line; Text feedback in format of foreground window (beats or time code) SPL (Beats) Song Position Line; Text feedback in beats format SPL (Time Code) Song Position Line; Text feedback in time code format SPL (Beats, Scrubbing) Song Position Line; Text feedback in beats format. Value change does not set SPL directly, but initiates scrubbing. The value defines the scrubbing speed Move Locators Moves left and right locators Left Locator Sets left locator Right Locator Sets right locator Move Drop Moves Drop In and Drop Out locators Drop In Locator Sets Drop In locator Drop Out Locators Sets Drop Out locator 38 Chapter 1 Control Surface Setup Note: All options listed in the table above work only in relative mode. See the “Clock Part” sub-parameter. Dependent of the option chosen in the Global menu, you have access to the following two additional parameters:  Clock Part—Chooses the resolution of the parameter change: Bar, Beat, Format, Ticks, Cycle Length  Marker No—Determines the destination marker number Marker Position Edits position of current marker Marker Length Edits length of current marker Global Options Explanation Global Options Explanation Nudge selected Regions/Events Nudges the selected Regions or events by the chosen Nudge Value (see below) Any Solo Feedback only, used for “Rude Solo Light”. On if any Solo (track or Region) switch is enabled Nudge Value Nudge Value used for Nudge selected Regions/Events. Possible values are: Tick, Format, Beat, Bar, Frame, 1/2 Frame Scrub Status Sets the scrubbing status for parameter SPL (beats, scrubbing). Possible values are: set clock, audio scrubbing, Shuttle Automation of all tracks Sets the automation mode of all tracks. Possible values are: Off, Read, Touch, Latch, Write, MIDI Alert Text, Alert Button, Alert Icon Used by plug-ins to define special alert mode. Dummy No function; Used to temporarily disable a modeless assignment, using “Exclusive” Cycle Sets Cycle mode Drop Sets Drop mode Go to Marker Sets the SPL to marker number Group Clutch Sets the Automation Group Clutch; Automation Groups are disabled when the Clutch is enabled. For buttons, set the Group Clutch to 1 when the button is pressed, and set it to 0 when the button is released Active Sense Used by the HUI to process incoming “Active Sensing” messages Shuttle Speed Sets Shuttle Speed directly; Use for shuttle rings that send an absolute value Waveform Zoom Sets Waveform zoom in active Arrange window, if open and in foreground Quantize value Sets the Quantize value in the current window (if this parameter is available) Format Sets the Format value in the current window (if this parameter is available) Horizontal Zoom Sets horizontal zoom in the current window (if this parameter is available) Vertical Zoom Sets vertical zoom in the current window (if this parameter is available) Chapter 1 Control Surface Setup 39 Track The Track option allows you to use an assignment to set a track parameter. An additional Track pop-up menu appears below the Class menu, offering the parameters listed in the following table. If you choose the Fader Bank, Index, Bus, Output, or Master option in the Track pop-up menu, the following two parameters are also available:  No.—A 0-based offset which is added to the track number. Typical usage: Fader 1 uses offset 0, Fader 2 uses offset 1 and so on.  Parameter—Clear text of the addressed parameter. Can only be set by the Learn Assignment for xxx menu item. Note that for plug-in and instrument parameters, Parameter Page offsets apply, allowing you to shift the parameter addressing up and down. Key If you choose the Key option in the Class menu, a key press is emulated. A field appears below the Class menu, allowing you to input the desired key. Key Command If you choose the Key Command option in the Class menu, a key command is executed. A field appears below the Class menu, where the key command that should be executed is displayed. Some key commands provide on/off or enabled/disabled feedback. This can only be set by using the Learn New Assignment button in the Key Commands window. Track Options Explanation Fader Bank This addresses a track in the Control Surface Group’s current View mode (Mixer, Global, Arrange), depending on the Control Surface Group’s current Fader Bank value for this Mode (see below). Example: The View mode is Mixer, the Mixer view Fader Bank is five, and the number next to this parameter is two. Thus, the eighth track in the Mixer view is addressed (Fader Bank and No. are 0-based, so add 1) Selected This normally corresponds to the selected Arrange track. Exception: if the Control Surface Group’s Track Lock parameter is enabled, then “Selected” corresponds to the track that was selected when Track Lock was enabled Index Same as Fader Bank option, but doesn’t depend on the current Fader Bank value Bus An Audio Bus. No. defines which Bus is addressed (again: 0-based; to address Bus 2, use a value of 1) Output Same as Bus option, but for Output Objects Master The Master Output Object; If it does not exist in the song, the first Output Object is addressed 40 Chapter 1 Control Surface Setup If you want your key command assignment to be repeatedly executed, enable the Key Repeat checkbox at the bottom of the Key Command Assignments Editor. For further information, see “Key Repeat Checkbox” on page 44. Control Surface Group If you choose the Control Surface Group option in the Class menu, you can set a property for the Control Surface Group that the assignment belongs to. A Parameter menu appears below the Class menu, where you can choose between the options described in “Control Surface Group Parameters” on page 19, with the additions listed in the following table. Note: Assignments for unsupported control surfaces always belong to the first Control Surface Group. If you choose a Fader Bank or Parameter Page option in the Parameter menu, the following Bank Type options are also available.  By One—The fader bank or parameter page is shifted by one track or parameter.  By Bank—The fader bank or parameter page is shifted by the number of displayed tracks or parameters.  CS Group Setting—The fader bank or parameter page is shifted by the value defined by the “Parameter Shift Mode” Control Surface Group Parameter. Parameter Option Additional Info Current Mode Fader Bank Maps to the Fader Bank for the currently used View mode (Mixer, Global, Arrange). This way, you need only one assignment per left/right button for all View Modes. Global View Filter When this parameter is selected, eight additional switches for the eight object classes are displayed when the View mode is Global. Depending on the Value Mode, these switches define which objects are displayed (by using “Direct” mode) or which are toggled (by using “X-OR” mode). MIDI Tracks Fader Bank; Inputs Fader Bank; Audio Tracks Fader Bank; Instruments Fader Bank; Aux Fader Bank; Busses Fader Bank; Output Fader Bank; User Fader Bank; These Fader Bank parameters are used in Global View when only one object class is displayed. This way, you can switch between several object classes while retaining the current Fader Bank for each class. Chapter 1 Control Surface Setup 41 Automation Group If you choose the Automation Group option in the Class menu, you can use the assignment to set an automation group parameter. A Parameter Group field that allows you to determine the edited group appears below the Class menu. Current (entered with “0”) means the group selected in the Automation Group Control Surface Group parameter. The additional Parameter menu allows you to set the automation group parameter. For further information, see the Group Settings section in the Logic Pro 7 Reference Manual. MIDI Input Incoming MIDI messages are only processed on MIDI Input. When this parameter is changed, all other assignments using the same input will also have their input changed accordingly. If the assignment belongs to a supported control surface, the device’s MIDI Input will also change in the Setup window. This feature allows you to create default assignments for a new control surface, which other users can use immediately. To do so, they simply need to place your com.apple.Logic.cs preferences file into their Preferences folder, open the Controller Assignments Editor and change one assignment’s MIDI Input parameter in accordance with their MIDI setup. Value Change The incoming MIDI message(s) that cause a value change in the destination parameter are displayed here. To edit these MIDI messages, switch to the Expert View by activating the corresponding checkbox in the upper right corner of the Controller Assignments Editor. In the Expert View you’ll find two fields: the lower one is only a display that shows the Value Change message in plain text. The upper field display allows the messages to be viewed and edited as a sequence of bytes, displayed in hexadecimal. There are placeholders for the variable part:  Lo7: Low 7 bits of the value  Hi7: High 7 bits of the value If there is only a Lo7 placeholder in the message, the value is treated as 7 bit. If there is also a Hi7 placeholder, the value is treated as 14 bit. The order of Lo7 and Hi7 is honored, and there may be constant bytes in between. This allows you to define Control Change LSB and MSB portions. As an example: B0 08 Hi7 B0 28 Lo7 Note: When entering multiple MIDI messages, do not use Running Status. Always write down the entire MIDI message(s), ensuring that you repeat the status byte, even if it’s the same. 42 Chapter 1 Control Surface Setup If the message does not contain Lo7 or Hi7 placeholders, an incoming value of 1 is assumed. This is typical for pressed or released buttons. Also see the “Multiply” section below. Touch/Release The incoming MIDI message(s) causes a change in the touched/released status of the destination parameter. A non zero value means touched; a value of 0 means released. The messages are displayed and entered in the same way as the Value Change field (see the “Value Change” section above). Note: This only applies to the Track assignment class and parameters that can be automated. Min/Max Defines the minimum and maximum range for incoming values represented by Lo7 and Hi7. Typically, the full range of 0–127 is used, but some control surfaces may use the same message with different value ranges for different controls (CM Labs Motor Mix, for example). Format Defines the way negative values are encoded in the 7-bit portions sent over MIDI. You can choose between the following options:  Unsigned—No negative values are possible. The full 7 or 14 bit range is treated as a positive number. This results in a value range of 0 to 127 or 0 to 16383.  2's complement—If the most significant bit is set, the value is negative. To obtain the absolute value, invert all bits and add 1. This results in a value range of –128 to 127 or –8192 to 8191.  1's complement—If the most significant bit is set, the value is negative. To set the absolute value, invert all bits. Note that this allows two possible encoding values for zero. This results in a value range of –127 to 127 or –8191 to 8191.  Sign Magnitude—If the most significant bit is set, the value is negative. To set the absolute value, clear the most significant bit. Note that this allows two possible encoding values for zero. This results in a value range of –127 to 127 or –8191 to 8191. The appropriate format that should be used is usually documented in your control surface user manual. If unavailable, check the control surface manufacturer’s website, or contact them via phone. Multiply Allows the incoming value to be scaled. Especially useful for button presses that have a value of 1. Examples: to set the automation mode to Write, set Multiply to 4.00 and Mode to Direct. To decrement a parameter by 1 with a button press, set Multiply to −1.00 and Mode to Relative. The 1 and –1 menu items in the combo box’s menu conveniently enter the most commonly used values of 1 and –1 Chapter 1 Control Surface Setup 43 Mode Defines the way the incoming value modifies the current parameter value. You can choose between the following parameters:  Direct—The incoming value is the new parameter value.  Toggle—If the parameter’s current value is 0, it is set to the incoming value. Otherwise it is set to 0. This option is useful for buttons which toggle a value: Mute, Solo, and so on.  Scale—The incoming value is scaled from its value range to the destination parameter’s value range. Most useful for faders and rotary pots.  Relative—The incoming value is added to the parameter’s current value. Used by encoders, but also for buttons that increment/decrement by a certain amount (set by the Multiply parameter).  Rotate—The incoming value is added to the parameter’s current value, cycling between maximum and minimum values. This is useful for button presses that cycle between modes: automation mode, for example.  X-OR—The value defines a bit mask which is applied to the parameter’s current value with the “exclusive or” Boolean operation. Useful for enabling/disabling single Object types in Global View. Feedback Defines the way the parameter’s current value is displayed on the control surface. You can choose between the following options:  None—No feedback is sent.  Single Dot/Line—LED rings: only one LED; LCDs: a single vertical line.  Left to Right Bar—A bar from the minimum to the current value.  Right to Left Bar—A bar from the current value to the maximum.  Q/Spread—A bar from the center to the current value.  Ascending Bar LCDs—A bar from the bottom to the current value.  Descending Bar LCDs—A bar from the top to the current value.  Text Only—LED rings: no feedback; LCDs: no feedback as a graphic element.  Automatic—Dependent on the currently assigned parameter, the most suitable feedback mode is used: Plug-in and Instrument parameters carry this information, Pan uses Single Dot/Line, all other parameters use Left to Right Bar. Note: Feedback only works for supported control surfaces, and not all settings are available for all controls. Text Feedback Checkbox If enabled, a textual representation of the current value is sent to the control surface’s display. The plug-in determines the display position and number of characters that are used. 44 Chapter 1 Control Surface Setup Local Feedback (Fader/Knob) Checkbox If enabled, no feedback is sent while the parameter is in Touched mode. This prevents motorized faders from “fighting” against the user. Key Repeat Checkbox When you enable the Key Repeat checkbox, the assignment is repeatedly executed. The Key Repeat Rate slider—set in the Mac OS X Keyboard & Mouse preferences— determines how quickly Logic repeats the assignment. The duration that the button/ controller must be held for, before the assignment is repeated, is set with the Delay Until Repeat slider in the Keyboard & Mouse preferences. Example: This facility is particularly useful for the zoom function: If you assign a key repeat command to the Zoom buttons on the Logic Control, for example, you can simply hold down the Zoom In button. Logic will zoom in until the Zoom In button is released. This mirrors the behavior of the Zoom key commands. In earlier versions, you had to repeatedly press the (Logic Control) Zoom buttons to zoom in/out more than one level. Note: The Key Repeat checkbox is only available for key commands, key presses and relative value changes. If any other assignment class is selected, the checkbox is dimmed. Logic Pro factory key command assignments already support the Key Repeat function (if useful and/or applicable to the control surface/device)—making changes unnecessary for use of this new functionality. If you want to enable the Key Repeat function for your own assignments, you may need to use the re-learn option for the assigned message. Key Repeat messages must include the Lo7 byte, which provides information on the up (released) or down (pressed) state of the assigned button. Logic guides you through the re-learning process: The current MIDI message is automatically cleared, Learn mode is activated, and a Help tag prompts you to send the desired MIDI message. Releasing the assigned button—after learning the MIDI message—automatically creates the Lo7 byte, and assigns the Lo7 value for the button release message to the Min parameter. The Lo7 value for the „button pressed“ message is automatically assigned to the Max parameter. Typically, the value range of 1–127 is used for the button pressed message. The zero (0) value is generally used for button released. Chapter 1 Control Surface Setup 45 Note: Some control surfaces may use different value ranges (CM Labs MotorMix, for example). Assigning the used value range to the desired Min and Max values ensures that key repeat also works with such devices. This, however, also means that you need to take care when manually changing the Min or Max value for a key command (in cases where the Min and Max values do not match the button on and button release (off ) states, the complete assignment will not work). Please consult your control surface manual for further information about the values used. About Modal Dialogs All modal dialogs (except file selector boxes) are shown on control surfaces that feature text displays. Modal dialogs do not allow you to perform actions in any other window when visible. As examples, authorization warnings, edit confirmations, or error messages. When these windows “pop up” on-screen, the upper LCD row (if applicable) shows the first part, or all, of the alert text. If the dialog text does not fit into the LCD’s upper row, it will start scrolling after three seconds. You can scroll the dialog text manually with the appropriate control (see assignment tables in the appropriate chapter). Once you start doing so, automatic scrolling is disabled.  If there is an Enter or OK button on the control surface, it triggers the dialog’s default button, where applicable.  If there is a Cancel or Exit button on the control surface, it triggers the button labeled Cancel or Abort, where applicable.  All buttons (push buttons, including Enter/default and Cancel, as well as checkboxes and radio buttons, but not pop-up buttons) are shown in the display’s lower row. Pressing a control surface button below the display triggers the appropriate button/ function in the dialog, if applicable. Following use of the Enter/Cancel button on the control surface or with the mouse, the dialog will disappear, and all controls and displays will return to their previous state. When a file select box is onscreen, a There is a file select dialog on the screen message appears on the LCD or other display (if applicable to your control surface). 46 Chapter 1 Control Surface Setup Tips Control surfaces change the way you use Logic, and are most effective if you make a few small modifications to your working methods. The following collection of hints will help you to work more smoothly and efficiently with your control surface/Logic system. Customize your Template/Autoload Songs  Set up Screensets 1–7 to your liking. These can be accessed directly with some control surfaces (on a Logic/Mackie Control—via Function Keys—F1 to F7. Function Key 8 (F8) will close the top-most window).  It is recommended that a full-screen Arrange window, with Track Automation View set to on, is among your Screensets.  A full-screen Track Mixer window is also recommended. Make Use of Markers Not much more can be said. Markers allow you to quickly navigate from location to location in a project. Most control surfaces feature a number of shortcuts that allow you to rapidly switch between Markers. Markers are very useful for the creation/selection of Cycle areas and a number of other tasks, such as Drop In and Replace. If you tend to follow a particular song structure, or like to work with a particular number of bars (4, 8, 16 bars, and so on) for verse and chorus sections, then set up a number of Markers at suitable locations in your Template/Autoload songs. Always use Projects As soon as Logic is launched, and the desired Template or Autoload song is loaded, you should routinely create a new project folder, and name it. This will provide a default folder structure/file path that contains the song file and all audio files associated with the project. You can also choose to include plug-in Settings files, video files, Space Designer IR files and EXS Instruments into your Project folder, if desired. The button assigned to Save operations on your control surface will open the File Save dialog. Once the project/song has been saved once, pressing the “Save” button will incrementally save the project without launching the File Save dialog window. 2 47 2 Logic Control This chapter will introduce you to using Logic with a Logic/ Mackie Control unit. The Logic Control and Mackie Control Universal units are functionally identical. All information in this chapter (as appropriate for the device) applies to the Mackie Control Universal, the Mackie Extender, and the C4. To use Logic with a Logic/Mackie Control unit, you need:  a Logic/Mackie Control unit.  Logic Pro 7.1, or newer. Set Up A powered Logic/Mackie Control unit will be automatically detected when Logic Pro is launched. You can use the Logic/Mackie Control in an independent control surface group (with other control surface icons placed above/below the Logic/Mackie Control icon), or combined into one control surface group with one or more control surfaces (such as Logic/Mackie Control XT or C4 units—place the icon(s) to the right of the existing icon(s). Foot Switches The foot switch sockets can use momentary foot pedals with either a positive or negative polarity. By default:  USER SWITCH A is assigned to Start/Stop.  USER SWITCH B is assigned to Record (note that a track must be selected and armed for recording to take place),  EXTERNAL CONTROL is assigned to the MASTERfader level. Only use an expression pedal with this socket. 48 Chapter 2 Logic Control The polarity of the foot switches is determined by the Logic Control when powered up. As such, you should first connect the foot switches, then turn the power on. Topics in this chapter are broken down into “Zones” of the Logic Control surface. The Displays The Logic Control features four displays, in addition to LEDs associated with individual switches:  Main LCD  Assignment LED  Song Position/SMPTE Time display  Solo LED The following section discusses these displays. LCD Assignment display Time display V-Pots Rec Rdy, Solo, Mute, and Select buttons Faders Jog Cursor buttons Wheel Transport Control buttons Assignment buttons Display buttons Channel buttons Function keys Chapter 2 Logic Control 49 Liquid Crystal Display (LCD) Each channel/parameter can be indicated by a name or value. In general, the upper row of each channel/parameter will display an abbreviated form of the track name, and the lower row will display the (abbreviated) parameter name and/or value. In some modes, a long (full, in other words) parameter or other name will be displayed briefly on-screen, when adjusted. The display of long names, and the duration of this display, is set in the Control Surfaces preferences. These settings are discussed in the Logic Reference manual. Note: 8-bit ASCII characters such as curly quotes and umlaut characters are replaced by the best-possible 7-bit ASCII equivalent. As examples: ä = ae, ö=oe, ü=ue, á = a, ø = oe, oe = oe, ß = ss, å = a. Assignment LED (Mode Display) The Logic/Mackie Control features a two digit, seven-segment LED display which indicates the current assignment status (also referred to as the mode display). A period is shown at the bottom-right of the display whenever a Channel Strip view is active. Song Position/SMPTE Time Display The Logic/Mackie Control includes a multi-digit, seven-segment LED. It is accompanied by two small LEDs which provide a quick visual indication of the currently active display format: SMPTE or BEATS. When BEATS mode is selected, the Position/Time Display is divided into four segments, separated as follows: Bars/Beats/Sub Divisions/Ticks When SMPTE mode is selected, the Position/Time Display is divided into four segments, separated as follows: Hours/Minutes/Seconds/Frames The display format can be viewed in a number of ways. This can be altered in the Display preferences. Solo LED This LED indicates that either: an audio track is set to solo, or the track solo mode is enabled. It is a helpful visual aid in situations where a track has been soloed and the fader bank has been shifted—making the soloed track’s Solo LED invisible on the control surface. 50 Chapter 2 Logic Control The Channel Strip(s) As each channel strip is identical, the information discussed in this section applies equally to all eight channel strips on the Logic Control and Logic Control XT units. V-Pot/V-Select This “soft” potentiometer can be used to adjust the send level and pan, plus any other parameter for EQ, instruments, effects, and so on. The V-Pot can also be used to scroll through and choose items—such as plug-ins, Audio Instruments and more—from menus, and to determine destinations for sends. The V-Pot also contains an integrated V-Select push button. This button generally sets a “default” parameter value (where a parameter has more than two possible values), or switches between two parameter values (on/off ). The V-Select can also be used to activate a function, selected through use of the V-Pot. As an example, the V-Pot can be rotated in order to select an effect plug-in for a particular channel Insert slot. Once the desired effect is displayed in the LCD, a simple press downwards on the top of the VPot will activate the V-Select button. In the example given, this would select, and insert, the effect and launch the Plug-in window. On occasion, the V-Select is used to switch to a special Assignment mode. The current value of any parameter being adjusted by the V-Pot is displayed on the LCD (dependent on the Name/Value setting), and is also indicated by the ring of LEDs which surround it. The various LED “ring” displays are shown here: This will vary as follows, dependent on the selected parameter:  Connected series of LED segments from left to right (send level, for example)  Single segment (panorama or frequency, for example)  Connected series of LED segments, starting in the center position and fanning to the left or right (EQ gain, for example)  Series of connected LED segments, starting in the center position and fanning to the left and right (Q-Factor, for example)  An LED dot below the V-Pot indicates the centered/default position of the parameter Chapter 2 Logic Control 51 Holding down the x/ALT button sets the V-Pots to high resolution parameter adjustment (fine) mode, where applicable. Holding down the OPTION button, and turning the V-Pot, switches between the minimum, default, and maximum parameter value. Rec/Rdy (Record/Ready) Button This button arms or disables the channel for recording. Each channel features an independent Rec/Rdy LED which is lit when a track is armed for recording. Holding down the OPTION button, while pressing any channel’s REC/RDY button will disarm all tracks. In Global view, if you arm an audio channel which is currently not used by any track in the song, and then start recording, you will be asked if you want to create a new track with this audio channel in the current recording folder. Signal LED Indicates the presence of any outgoing MIDI or audio signal. When recording, the presence of an incoming signal will be indicated. SOLO Button For isolating a channel’s signal. Each channel features an independent Solo LED which illuminates when a track is soloed. The Rude Solo LED—just to the right of the Position/ Time Display LED—also illuminates whenever any track is soloed. Holding down the OPTION button, while pressing any channel’s SOLO button will disable solo for all tracks. 52 Chapter 2 Logic Control In the Send Destination/Level views (see “Send Assignment Modes” on page 61), the SOLO button controls the Pre/Post mode selection—in both Multi Channel and Channel Strip views. MUTE Button Used to defeat the track’s signal. Each channel features an independent Mute LED which illuminates when a track is muted. Holding down the OPTION button, while pressing any MUTE button will unmute all tracks. In the EQ Frequency/Gain and Send Destination/Level views, the MUTE button controls the EQ bypass or Send mute function. This affects both Multi Channel and Channel Strip views. SELECT Button This button is used to select a channel for channel-based editing or assignment commands. Each channel features an independent SELECT LED which illuminates when a track is selected. When holding down the SHIFT button, pressing any channel SELECT button will set the track’s volume to unity level (0 dB). While holding down SHIFT, a SELECT button’s LED indicates if the track’s volume is set to 0 dB. When holding down the OPTION button, pressing any channel SELECT button will create a new track (assigned to the same instrument of the selected track), and switch to Arrange view. When holding down the SHIFT and OPTION buttons, pressing any channel SELECT button will create a new track (with the next instrument, following the selected track), and switch to Arrange view. Chapter 2 Logic Control 53 Touch-Sensitive Motor Fader These 100 millimeter faders control channel levels. When Flip mode is activated, the parameter currently assigned to the V-Pot can be controlled with the fader. This allows you to more easily control pans, aux returns, MIDI track parameters, EQs, plug-in, Audio Instrument, or other channel parameter levels/values. Movement of the eight faders is relative to the activity of the currently chosen bank of on-screen faders. The fader bank is shifted when one of the FADER BANK buttons is pressed. Fader behavior in other modes  In Flip mode: duplicates or swaps with V-Pot of same channel.  In Surround Angle/Diversity view: adjusts surround diversity.  In EQ Frequency/Gain view: adjusts gain of selected EQ band.  In Send Destination/Level Multi Channel view: adjusts send level of selected send.  In Send Destination/Level Channel Strip view: adjusts send level of send on selected track. Changing Parameters and Values Individual parameters can be adjusted via the associated V-Pot (or fader, if the FLIP button is active), located directly below the parameter entry in the LCD. To do so, simply grab and turn the desired V-Pot. Once the required parameter value is visible in the LCD, simply release the knob. Press the V-Select button to set the default value (for parameters that have more than two values), or switch between two values (for parameters with only two possibilities, such as on/off ). 54 Chapter 2 Logic Control Some parameters require confirmation, such as the selection of plug-ins, Audio Instruments, sends, inputs, outputs, and so on. For these types of parameters, press the V-Select button (press down on the top of the V-Pot) to activate/select the desired value. In the case of a plug-in or Audio Instrument, this will automatically launch the Plug-in window in Logic. For a send, the confirmed channel send destination will be activated in the Logic mixer(s). When a value has been pre-selected, but not confirmed/instantiated (such as send destination, plug-in insertion and so on) the value will flash until the V-Select button is pressed. An exponential increase in value changes will occur as a V-Pot is rotated more quickly. The Assignment Zone The small light gray area just below the mode display contains six buttons. These ASSIGNMENT buttons work in both Track and Global view modes. View modes are discussed in “Track View Mode” on page 20. When these buttons are pressed, the mode display, plus the LED associated with each button, will update to reflect the currently selected assignment mode. The LCD will also update to display the parameters relevant to the selected assignment. These parameters are, of course, assigned to the corresponding V-Pots. All ASSIGNMENT buttons work as switches, which means that if you click them repeatedly, they will switch between the Multi Channel and Channel Strip view modes.  Multi Channel view—you see the same parameter for multiple channels. In Multi Channel view, the mode display does not show a period—Example: P1  Channel Strip view—you see multiple parameters for a single channel. In Channel Strip view, the mode display shows a period to the right—Example: P1. Switching between Multi Channel and Channel Strip views is achieved by pressing the selected ASSIGNMENT button multiple times. If you press an ASSIGNMENT button which is not currently selected, the Assignment mode changes, and the view switches to Multi Channel view. Exception: Switching between Instrument Edit view and Plug-in Edit view retains the Channel Strip view. Chapter 2 Logic Control 55 The NAME/VALUE button also has an effect on what is shown on the LCD when in the Multi Channel and Channel Strip views. More information can be found in “Display Zone” on page 71. Track Assignment Modes The TRACK button selects Assignment modes which allow the editing of a number of global track parameters. It switches between all displayed channels and the individual parameters of the selected channel (Track Multi Channel view or Track Channel Strip view). The parameters in Track Multi Channel view include: Volume, Pan, Track mode, Track Input, Track Output, and Automation. In Track Channel Strip view you will see an overview of the most important track parameters: Volume, Pan, Instrument, Insert 1, Insert 2, Send 1 Level, Send 2 Level, and Send 3 Level. Track Multi Channel View Track Multi Channel view allows you to edit a single “global” track parameter for all tracks: Volume, Pan, Track mode, Input, Output, or Automation. The parameter being edited will be displayed briefly when switching to this mode.  The mode display will show tr (for “Track”).  The upper LCD row shows track names. Pressing NAME/VALUE switches the display mode to show parameter values in the lower row: As these display variants can be switched in all Multi Channel Strip views, the following will only show displays in Value mode.  Turning the V-Pots changes the associated track parameter.  Pressing a V-Select sets the parameter to its default value.  Cursor Left/Right buttons switch to the next or previous track parameter. The selected parameter will be displayed briefly in the upper LCD row. Audio1 Audio2 Audio3 Audio4 Audio5 Audio6 Audio7 Audio8 Volume Volume Volume Volume Volume Volume Volume Volume Audio1 Audio2 Audio3 Audio4 Audio5 Audio6 Audio7 Audio8 +0.1dB -1.8dB +01.dB -30.0 +0.0dB -50.2 -24.7 -1.2dB 56 Chapter 2 Logic Control Channel Strip View Track Channel Strip view allows you to edit all parameters listed above, for the selected track.  The mode display will show tr. (track channel strip).  The upper LCD row shows the name of the track and “Track parameters.” Pressing NAME/VALUE switches the display mode to show parameter names in the upper row and parameter values in the lower row: As these display variants can be switched in all Channel Strip views, the following will only show displays in Value mode.  V-Pot/V-Select 1—edits Volume. The lower LCD row shows the current track volumes, either in dB or numeric format, depending on the settings of the underlying Environment Objects.  V-Pot/V-Select 2—edits Pan position. The lower LCD row shows the current track pan value, ranging from minus 64 to plus 63. A value of 0 is the centered position. If Surround is selected as the Output value, this controls the Surround Angle.  V-Pot 3—selects the instrument of Audio Instrument tracks. Confirm with V-Select 3.  V-Pot/V-Select 4 and 5—selects the plug-in used in Insert slots 1 and 2 (on audio and Audio Instrument tracks). Confirm with V-Select.  V-Pot/V-Select 6 to 8—edits the Send Level of Sends 1 to 3. Holding SHIFT while pressing one of the MUTE or V-Select buttons switches between mute or bypass:  1 and 2—activates/deactivates the track’s Mute button.  3—activates/deactivates Mute of the Audio Instrument used on the track.  4 and 5—activates/deactivates Bypass of plug-ins used in Insert slots 1 and 2 (of Audio and Audio Instrument tracks).  6 to 8—activates/deactivates Mute of Sends 1 to 3. Shortcuts Menu Holding down the TRACK button accesses a further sub-menu in the LCD.  The mode display will show t_ (Track)  V-Select 1 or F1—switches to Track Multi Channel view and selects Volume. Track 1 "Audio 1" Track parameters Volume Pan Inst Ins.1 Ins.2 Send 1 Send 2 Send 3 Volume Pan Inst Ins.1 Ins.2 Send 1 Send 2 Send 3 +0.5dB 0 ES2 Dstrtn AutFlt -54.0 -27.0 -oo dB Volume Pan TrkMod Input Output Auto Setup Chapter 2 Logic Control 57  The LCD’s lower line shows the current volume of the tracks, in dB or numerically, depending on the setting of the underlying Environment Object.  Turning a V-Pot changes the volume.  pressing a V-Select sets the volume to the default value.  V-Select 2 or F2—switches to Track Multi Channel view and selects Pan.  V-Select 3 or F3—switches to Track Multi Channel view and selects Track mode.  V-Select 4 or F4—switches to Track Multi Channel view and selects Input.  V-Select 5 or F5—switches to Track Multi Channel view and selects Output.  V-Select 6 or F6 —switches to Track Multi Channel view and selects Automation mode.  V-Select 7 or F7—switches to Track Multi Channel view and displays the automation parameter selected in the Arrange window. Also switches to Arrange view.  V-Select 8 or F8—switches to Track Setup Channel Strip view (see below). Track Setup Channel Strip View In this mode, rarely used parameters can be edited for the selected track.  V-Pot/V-Select 1—edits Track mode (mono, stereo, left, right).  V-Pot/V-Select 2—selects the Surround mode. Confirm with V-Select 2.  V-Pot/V-Select 3—selects the Track Input. Confirm with V-Select 6.  V-Pot/V-Select 4—selects the Track Output. Confirm with V-Select 7.  V-Pot/V-Select 5—edits Automation mode.  V-Pot/V-Select 6—edits track group membership. You can only choose one group or “Off.” To make a track a member of multiple groups, use Group Edit mode (see below). Pan/Surround Assignment Modes Briefly pressing the PAN/SURROUND button switches between Pan/Surround Multi Channel and Pan/Surround Channel Strip view. Multi Channel View Pan/Surround Multi Channel view allows you to edit one pan/surround parameter on all tracks: Angle or Pan (on non-surround tracks), Radius (diversity), LFE, Surround mode (on surround tracks). The parameter being edited will be displayed briefly when switching to this mode. Regardless of which surround parameter is selected and active, non-surround tracks always display the standard Pan control. In a song that contains both surround and non-surround tracks, you can edit a specified surround parameter for surround tracks, while the V-Pot of non-surround tracks will edit panning, as usual.  The mode display will show Pn (Pan).  The upper LCD row shows track names. 58 Chapter 2 Logic Control  Turning the V-Pots changes the pan/surround parameter.  The Surround Angle parameter rotates between 0 and 359 degrees, avoiding any angle limit.  Pressing a V-Select sets the parameter to its default value.  Cursor Left/Right switches to the next or previous surround parameter. The selected parameter will be displayed briefly in the upper LCD row. Channel Strip View Pan/Surround Channel Strip view allows you to edit all surround parameters for the selected track.  The mode display will show Pn. (Pan/Surround channel strip).  The upper LCD row shows the name of the track and “Pan/Surround.”  V-Pot/V-Select 1—edits angle (or pan on non-surround tracks).  V-Pot/V-Select 2—edits diversity.  V-Pot/V-Select 3—edits LFE level.  V-Pot 4—selects the surround mode. Confirm with V-Select 4.  V-Pot/V-Select 5—edits Surround X.  V-Pot/V-Select 6—edits Surround Y. The Angle/Diversity and X/Y pairs influence each other. Only the Angle/Diversity parameters are automated and recorded. Alternate Mode Options Holding down the PAN/SURROUND button accesses a further sub-menu in the LCD:  V-Select 1 or F1—switches to Pan/Surround Multi Channel view and selects angle.  V-Select 2 or F2—switches to Pan/Surround Multi Channel view and selects diversity.  V-Select 3 or F3—switches to Pan/Surround Multi Channel view and selects LFE level.  V-Select 4 or F4—switches to Pan/Surround Multi Channel view and selects surround mode.  V-Select 6 or F5—switches to Pan/Surround Channel Strip view.  V-Select 7 or F6—switches to Surround Angle/Diversity Multi Channel view:  the mode display will show Ad (Angle/Diversity). Track 1 "Audio 1" Pan/Surround SrrAng SrrDvr SrrLFE mode Angle Radius LFE mode CStrip Ang/Dv Chapter 2 Logic Control 59  the upper LCD row shows track names.  the lower LCD row shows the surround angle currently assigned to each track.  turning a V-Pot changes the surround angle (or adjusts pan position on nonsurround tracks).  pressing a V-Select sets the surround angle to its default value.  the faders edit surround diversity.  V-Select 8 or F7—switches to Surround X/Y Multi Channel view:  the mode display will show XY (X/Y—the X character is not available on a 7 segment display).  the upper LCD row shows track names.  the lower LCD row shows the surround X value currently assigned to each track.  turning a V-Pot changes the surround X value (or adjusts pan position on nonsurround tracks).  pressing a V-Select sets surround X to its default value.  the faders edit surround Y. Notes on Surround X/Y Editing X and Y have a value range of –1000 to + 1000, but the resolution is not that high, as surround positions are currently recorded as 7 bit data. Note: The X and Y parameters are limited to a rectangular coordinate system. As such, value pairs outside the surround circle are not possible. When trying to set a value which would lead to an invalid position, the other coordinate is automatically adjusted to a valid position. Example: moving Y to + 1000 will result in an X coordinate value of 0. When editing only one coordinate, the other coordinate of the most recently track is remembered. This aids in the creation of linear (straight) lines of movement. EQ Assignment Modes Briefly pressing the EQ button switches between EQ Multi Channel view or EQ Channel Strip view. Note: If no Channel or Linear Phase EQ is present on the selected track, a Channel EQ will be inserted automatically when the EQ Channel Strip view is entered. Multi Channel View EQ Multi Channel view allows you to edit one equalizer parameter for all tracks: Frequency, Gain, Q, or EQ bypass. The EQ band number, and parameter being edited will be displayed for one second when switching to this mode.  The mode display will show E1 to E8, dependent on the selected EQ band number.  The upper LCD row shows track names.  Turning the V-Pots changes the EQ parameter. 60 Chapter 2 Logic Control  Pressing a V-Select sets the parameter to its default value.  Cursor Up/Down switches to the next or previous EQ band.  Cursor Left/Right switches to the next or previous EQ parameter. The selected parameter will be displayed briefly in the upper LCD row.  Pressing a MUTE button while the SHIFT button is held down switches the current EQ band’s Bypass status.  When Flip mode is enabled, the MUTE buttons display and edit the current EQ band’s Bypass status. Channel Strip View EQ Channel Strip view allows you to edit all EQ parameters—in all bands—for the selected track.  The mode display will show EQ. (EQ channel strip).  The upper LCD row shows the name of the track, “EQs,” the page number and total number of pages—Example: “Page 1/2”.  V-Pot/V-Select 1—edits the Frequency of odd-numbered EQ bands.  V-Pot/V-Select 2—edits Gain of odd-numbered EQ bands.  V-Pot/V-Select 3—edits Q-Factor of odd-numbered EQ bands.  V-Pot/V-Select 4—edits Bypass of odd-numbered EQ bands.  V-Pot/V-Select 5—edits the Frequency of even-numbered EQ bands.  V-Pot/V-Select 6—edits Gain of even-numbered EQ bands.  V-Pot/V-Select 7—edits Q-Factor of even-numbered EQ bands.  V-Pot/V-Select 8—edits Bypass of even-numbered EQ bands.  Cursor Left/Right switches to the next or previous EQ band. The number of EQ bands displayed on the LCD depends on the number of Logic Control (XT) units (two EQ bands are shown per unit) available. Alternate Mode Options Holding down the EQ button accesses a further sub-menu in the LCD:  The mode display shows E_ or E_., dependent on whether you were in EQ Multi Channel or EQ Channel Strip view.  V-Select 1 or F1—switches to EQ Multi Channel view and selects Frequency.  V-Select 2 or F2—switches to EQ Multi Channel view and selects Gain  V-Select 3 or F3—switches to EQ Multi Channel view and selects Q.  V-Select 4 or F4—switches to EQ Multi Channel view and selects Bypass.  V-Select 6 or F6—switches to EQ Channel Strip view. Chapter 2 Logic Control 61  V-Select 7 or F7—switches to Frequency/Gain Multi Channel view. In this mode you can edit the Frequency and Gain parameters of a specific EQ band (1 to 8) for all tracks.  the mode display will show F1 to F8, depending on the selected EQ band.  the upper LCD row shows track names.  the lower LCD row shows the Frequency of the selected EQ.  turning a V-Pot changes EQ Frequency.  pressing a V-Select sets the EQ Frequency to its default value.  use the Mute buttons to Bypass the EQ.  use the faders adjust the EQ Gain.  V-Select 8 or F8—switches to Frequency/Gain Channel Strip view. In this mode you can edit the Frequency and Gain parameters for all EQ bands of the selected track. Each pair of channel strips corresponds to one of the EQ bands.  the mode display will show FG.  V-Pots 1 to 8 control the Frequency of EQ bands 1 to 8.  Mute buttons 1 to 8 control the Bypass of EQ bands 1 to 8.  Faders 1 to 8 control the Gain of EQ bands 1 to 8. Note that the faders form a frequency response curve in this mode, if the EQ bands have ascending frequency values. You can edit another track’s EQ, without leaving this view mode, by simply selecting the track. Send Assignment Modes Briefly pressing the SEND button switches between Send Multi Channel or Send Channel Strip view. Multi Channel View Send Multi Channel view allows you to edit one Send parameter for all tracks: Destination, Level, Position, and Mute. The Send slot number, and parameter being edited will be displayed for one second when switching to this mode.  The mode display will show S1 to S8, depending on the selected Send slot.  The upper LCD row shows track names.  Turning the V-Pots changes the Send parameter.  Pressing a V-Select confirms the pre-selected Send Destination and sets the other send parameters to their defaults.  Cursor Up/Down switches to the next or previous Send slot. 62 Chapter 2 Logic Control  Cursor Left/Right switches to the next or previous Send parameter. The selected parameter will be displayed briefly in the upper LCD row.  Pressing a MUTE button while the SHIFT button is held switches the current Send’s Mute status.  When Flip mode is enabled, the MUTE buttons display and edit the current Send’s Mute status. Note: Ensure that the ZOOM button isn’t active when using the cursor buttons. Channel Strip View Send Channel Strip view allows you to edit all Send parameters for the selected track.  The mode display will show SE. (Send channel strip).  The upper LCD row shows the name of the track, “Sends”, the page number and total number of pages—Example: “Page 1/4”  V-Pot/V-Select 1—edits Destination of odd-numbered Sends.  V-Pot/V-Select 2—edits Level of odd-numbered Sends.  V-Pot/V-Select 3—edits Position (pre/post) of odd-numbered Sends.  V-Pot/V-Select 4—edits Mute of odd-numbered Sends.  V-Pot/V-Select 5—edits Destination of even-numbered Sends.  V-Pot/V-Select 6—edits Level of even-numbered Sends.  V-Pot/V-Select 7—edits Position (pre/post) of even-numbered Sends.  V-Pot/V-Select 8—edits Mute of even-numbered Sends.  The horizontal cursor buttons shift between pages. The number of Sends displayed simultaneously is dependent on the number of Logic Control XTs you have. Alternate Edit Mode Options Holding down the SEND button accesses a further sub-menu in the LCD:  The mode display shows S_ or S_., depending on whether you were in Send Multi Channel or Send Channel Strip view. Track 1 "Audio 1" Sends Page 1/2 Snd3Ds Send 3 Snd3Ps Snd3Mt Snd4Ds Send 4 Snd4Ps Snd4Mt Dest Pos Level Mute CStrip CSt2 Ds/LvM Ds/LvC Chapter 2 Logic Control 63  V-Select 1 or F1—switches to Send Multi Channel view and selects Destination.  V-Select 2 or F2—switches to Send Multi Channel view and selects Send Level.  V-Select 3 or F3—switches to Send Multi Channel view and selects Position.  V-Select 4 or F4—switches to Send Multi Channel view and selects Mute.  V-Select 5 or F5—switches to Send Channel Strip view.  V-Select 6 or F6—switches to Send Channel Strip 2 view: This mode is similar to Send Channel Strip view, but parameters are arranged in a slightly different way. You can control one parameter of all Send slots for the selected track.  The mode display will show SE. (Send channel strip).  The upper LCD row shows the name of the track, “Sends”, the page number and total number of pages.  V-Pot/V-Select 1 to 8—edits the displayed parameter.  The horizontal cursor buttons shift between pages. The number of parameters displayed simultaneously is dependent on the number of Logic Control XTs you have.  V-Select 7 or F7—switches to Destination/Level Multi Channel view: In this mode, you can control one Send slot for all tracks. Each channel strip corresponds to the track shown in the upper LCD row.  the mode display will show d1 to d8, depending on the selected Send.  the upper LCD row shows track names.  the lower LCD row shows the destination of the selected Send.  turning a V-Pot pre-selects the Send Destination.  pressing a V-Select confirms the pre-selected Send Destination.  the SOLO buttons edit Send Position— a lit SOLO LED indicates Pre Fader mode.  the MUTE buttons edit Send Mute.  the faders edit Send Level.  V-Select 8 or F8—switches to Destination/Level Channel Strip view: You can control all Send slots for the selected track in this mode. Each channel strip corresponds to the (embossed) Send number shown below the LCD.  the mode display will show dL.  turning a V-Pot pre-selects the corresponding Send Destination. Track 1 "Audio 1" Sends Page 1/2 Snd1Ds Snd2Ds Snd3Ds Snd4Ds Snd5Ds Snd6Ds Snd7Ds Snd7Ds 64 Chapter 2 Logic Control  pressing a V-Select confirms a preselected Send Destination.  the Solo buttons edit Send Position—a lit Solo LED indicates Pre Fader mode.  the MUTE buttons edit Send Mute.  the faders edit Send Gain. If one or more Sends are activated on multiple channels, you can switch between them in the Channel Strip views by simply pressing the SELECT button for the desired channel. Plug-in Assignment Modes Pressing PLUG-IN switches between Plug-in Multi Channel or Plug-in Channel Strip view. Note: There is one exception to this behavior: if you are in Instrument Edit view, pressing this button switches to Plug-in Edit view. Multi Channel View This mode shows the plug-ins associated with a particular Insert slot for all channels.  The mode display will show P1 to P9, or simply 10 to 16, dependent on the selected Plug-in Insert slot number. Note that if an Audio Instrument channel is selected, the display will show P1 to P9 and 10 to 15.  The upper LCD row shows track names.  The lower LCD row shows the currently selected plug-in for this Insert slot. Muted plug-ins are shown with an asterisk * that precedes the plug-in name.  Turning the V-Pots pre-selects a new plug-in. The plug-in name flashes until confirmed with the V-Select.  Turning another channel’s V-Pot will cancel any earlier pre-selection, and will start pre-selection on the newly selected track.  Pressing a V-Select:  confirms/activates the pre-selected plug-in (assuming that you’ve made your preselection by turning the V-Pot).  opens a Plug-in window, if none are opened. If a Plug-in window is open, and Link mode is enabled, the selection of another plug-in will replace the existing Plug-in window.  switches to Plug-in Edit view.  The Cursor Up/Down buttons change the currently displayed plug-in Insert slot (1 to 15).  Pressing a V-Select or the MUTE button while the SHIFT button is held down will mute/unmute the plug-in. Chapter 2 Logic Control 65 To remove a plug-in: 1 Pre-select the “--” value (by turning the V-Pot fully counter-clockwise) 2 Press the V-Select of the appropriate Insert slot. Logic Control will not switch to Plug-in Edit view, and no Plug-in window will be launched. If one was previously opened, it will be closed (if Link mode is inactive). Channel Strip View This mode shows the plug-ins associated with all Insert slots for the selected channel.  The mode display will show PL.  The upper LCD row shows Ins1Pl through Ins8Pl  The lower LCD row shows the plug-in which is currently selected for this insert slot. Muted plug-ins are indicated by an asterisk *, which precedes the plug-in name.  Turning the V-Pots pre-selects a new plug-in. The plug-in name flashes until activated.  Turning another channel’s V-Pot will cancel any previous pre-selection and will start pre-selection on the newly selected track.  Pressing a V-Select:  activates the pre-selected plug-in (assuming that you’ve made your pre-selection by turning the V-Pot).  opens a Plug-in window if none are opened (if a Plug-in window is open and Link mode is enabled, the selection of another plug-in will replace the existing plug-in).  switches to Plug-in Edit view.  Pressing a V-Select while the SHIFT button is held will mute/unmute the plug-in. To remove a plug-in: 1 Pre-select the “--” value (by turning the V-Pot fully counter-clockwise). 2 Press the V-Select linked to the appropriate Insert slot. Logic Control will not switch to Plug-in Edit view, and no Plug-in window will be launched. If one was previously opened, it will be closed (if Link mode is inactive). Plug-in Edit View  The mode display will show P1. to P8., depending on the number of the selected plug-in Insert slot.  Dependent on the Name/Value button, the LCD display will change in the following ways between the two modes:  Name: The upper LCD row shows the track’s name, insert number, plug-in name, current parameter page and total number of parameter pages. The lower LCD row shows the name of the parameter which can be edited via the V-Pot located below. 66 Chapter 2 Logic Control  Value: The upper LCD row shows the name of the parameter which can be edited via the V-Pot positioned below. The lower LCD row shows the current value of the parameter edited with the V-Pot. If there is sufficient onscreen space, the unit type will be added—Example: Hz.  Turning the V-Pots changes parameters.  Pressing a V-Select sets the parameter to its default value, except where the parameter only has two values (on/off, for example). In this case, pressing the VSelect switches between these values.  The Cursor Left/Right buttons switch to the next or previous parameter page. Note: When shifting by a “page” of parameters, the display is “quantized” to integer pages. As an example:  the plug-in has 19 parameters.  Logic Control shows parameters 1 to 8.  Cursor Right shifts to display parameters 9 to 16.  Cursor Right shifts to display parameters 12 to 19.  Cursor Left shifts back to display parameters 9 to 16, not parameters 4 to 11. This way, you always revert to the page positions you expect to find, and are comfortable with.  To switch by a single parameter, rather than by “page,” hold down the x/ALT key while pressing the Cursor Left/Right button.  The Cursor Up/Down buttons change the currently displayed plug-in Insert slot (1 to 15). Note: If you have a control surface group consisting of several physical Logic Control and XT units, the parameters are distributed across their displays. The number of parameters shown is dependent on the Multiple Controls Per Parameter settings in the Preferences > Control Surfaces > Preferences, as discussed in the Control Surface Setup chapter. When exiting Plug-in Edit view, the Plug-in window will be closed. Chapter 2 Logic Control 67 Compatibility Logic Control can edit all plug-ins that can be automated. The plug-in type (Logic native, TDM, Audio Units) is irrelevant. Some third-party manufacturer plug-ins unfortunately don’t provide parameter names and/or values as text. In such cases, parameters are enumerated as “Control #1,” “Control #2” and so on, with values displayed as numbers ranging between 0 and 1000. Please contact the plug-in manufacturer to obtain a version which supports this feature. Instrument Assignment Modes Pressing the INSTRUMENT button switches to Instrument Multi Channel view. Please note that when in Plug-in Edit view, pressing the INSTRUMENT button will switch to Instrument Edit view. If you can’t see the Audio Instrument Objects, use the BANK or CHANNEL buttons in the FADER BANKS zone, or switch to Global view by pressing the AUDIO INSTRUMENT button. (This assumes that you have created at least one or more Audio Instrument Objects in the Environment.) Multi Channel View This mode shows the Instrument slot for all channels.  The mode display will show In (Instrument)  The upper LCD row shows track names.  The lower LCD row shows the currently selected instrument. Muted instrument names are preceded by an asterisk *.  Turning the V-Pots pre-selects a new instrument. The pre-selected instrument name flashes until activated.  Turning another channel’s V-Pot will cancel any previous pre-selection and will start pre-selection on the newly selected track.  Pressing a V-Select:  activates the pre-selected instrument plug-in (assuming that you’ve made your pre-selection by turning the V-Pot).  opens a Plug-in window, if none are opened. If a Plug-in window is open, and Link mode is enabled, the selection of another Instrument plug-in will replace the existing one.  switches to Instrument Edit view.  Pressing a V-Select or MUTE button while the SHIFT button is held down mute/ unmutes the Instrument. 68 Chapter 2 Logic Control To remove an instrument: 1 Pre-select the “--” value (by turning the V-Pot fully counter-clockwise) 2 Press the V-Select button. Logic Control will not switch to Instrument Edit view, and no Plug-in window will be launched. If one was previously opened, it will be closed. Instrument Edit View  The mode display will show In.  Dependent on the NAME/VALUE button, the LCD changes in the following ways:  Name—The upper LCD row shows the track’s name, instrument name, current parameter page and total number of parameter pages. The lower LCD row shows the name of the parameter that can be edited with the V-Pot directly below it.  Value—The upper LCD row shows the name of the parameter that can be edited with the V-Pot below it. The lower LCD row shows the current value of the parameter being edited. If there is sufficient space on the LCD row, the unit type is shown after the value. Example: Hz.  Turning a V-Pot changes the corresponding parameter.  Pressing a V-Select sets the parameter to its default value, except where the parameter only has two values (on/off, for example). In this case, pressing the VSelect switches between these values. Compatibility Logic Control can edit all instruments that can be automated. The plug-in type (Logic native, TDM, Audio Units) is irrelevant. Some third-party manufacturer instruments unfortunately don’t provide parameter names and/or values as text. In such cases, parameters are enumerated as “Control #1,” “Control #2,” and so on, with values displayed as numbers ranging between 0 and 1000. Please contact the plug-in manufacturer to obtain a version which supports this feature. Chapter 2 Logic Control 69 Fader Bank Zone This area of the Logic Control surface contains six buttons. Bank Left/Right Moves up or down by “banks” of channels/tracks. To quickly explain, a single Logic Control is only capable of viewing eight tracks at a time, in either the Global or Mixer view. To see, and edit or mix more tracks, simply press the Right/Left BANK buttons to switch between tracks 1–8, 9–16, 17–24, and so on. The BANK button pair shifts the view section by the number of channels in the control surface group. As an example; if you have a Logic Control and two Logic Control XT units, the view shifts by 24 channels. When shifting by bank, the display is “quantized” to integer banks. As an example:  your song has 19 tracks.  Logic Control shows tracks 1 to 8.  BANK Right shifts to tracks 9 through 16.  BANK Right shifts to tracks 12 through 19.  BANK Left shifts back to tracks 9 through 16, not tracks 4 to 11. This way, you always revert to the bank positions you expect, and are used to. Channel Left/Right As per the BANK buttons, but moves up or down in increments of a single channel. Notes on Fader Bank Editing When holding down the OPTION button, pressing the BANK Left or CHANNEL Left button jumps to the first, and pressing the BANK Right or CHANNEL Right button jumps to the last, tracks in the song. As an example in a 64 track song, tracks 1 through 8 or tracks 57 through 64. 70 Chapter 2 Logic Control The fader bank offset is independently memorized for Global views where one track class is displayed (MIDI, Inputs, Audio Tracks, Instruments, Auxes, Busses, Outputs, and Master). There is also a separate fader bank offset memory location for combinations of multiple track types. This feature allows you to scroll to audio tracks 2 through 9 in Global Audio Track view, and then scroll to instruments 5 through 12 in Global Instruments view. You can switch between these views without losing the fader bank offset. Flip The FLIP button enables/disables the following Flip, Swap, or Zero modes:  If the LED beside the FLIP button is off, Flip mode is off. The faders control volume.  Pressing the FLIP button enables Flip mode (the LED is lit): in this mode, the current assignments of the eight V-Pots are mirrored by the eight channel faders. Pressing the FLIP button a second time disables Flip mode. Turning a V-Pot in this mode will also move the corresponding fader.  Pressing the FLIP button while the SHIFT button is held enables Swap mode (the LED will flash): in this mode, the encoder assignments are swapped with the fader assignments. Pressing SHIFT and FLIP again disables Swap mode. As the LCD’s lower row shows the current value of the encoders, it will display volumes when in this mode.  Pressing FLIP without SHIFT held reverts to Flip mode.  Pressing CONTROL and FLIP switches to Zero mode. Pressing CONTROL and FLIP a second time disables Zero mode. In this mode, the faders are set to zero and don’t move. This is useful for acoustic/microphone recordings if Logic Control is located in the recording booth, and you don’t want to hear/capture any motor noise. Both Flip and Swap modes work in all view modes. Flip mode has the following advantages:  You can edit any type of parameter with a fader, rather than a V-Pot, which allows more accurate edits.  You can edit with touch-sensitive faders. The V-Pots are not touch-sensitive, and thus don’t allow existing (controller automation) movements to be overwritten with a constant value. Global View This button is discussed in “The Global View Zone” on page 74. Chapter 2 Logic Control 71 Master Fader Controls the level of the Master fader in the Logic mixers. This reduces the level of all tracks, but does not affect their relative positions. When there is no Master Volume Object in the song, Logic Control’s Master fader is mapped to Output 1-2. You need to select this Object (Master) in order to set the automation mode of the Master output. To do so, press the OUTPUTS button and select the master output with the corresponding SELECT button. If you use multiple audio systems simultaneously, the MASTER fader only controls the first device’s Master Volume (in the order shown in the Audio Preferences window). Display Zone These buttons affect what you see in the LCD and Position/Time Display. Name/Value To switch between the two Display formats—Name or Value—repeatedly press the NAME/VALUE button in the Logic Control Display section—just below the SMPTE/ BEATS LEDs. For more information, see “Liquid Crystal Display (LCD)” on page 49. Pressing the NAME/VALUE button while holding the SHIFT button cycles through three level meter modes:  Vertical—In this mode, the sixth (last) character of each channel in both LCD rows is overlaid by a vertical level meter bar. The text character reappears when the level meter is not visible. The last, rather than the first, character was chosen for the level meter, as this character is often unused, so no valuable information is “blocked out” by the level meter. Note: If you find the flickering D of the dB unit disturbing when levels are displayed, you should switch off the display of units. See “Control Surface Preferences” on page 25.  Horizontal—with Peak Hold. In this mode, the second row is replaced by horizontal level meter bars. Peak Hold is shown as a hollow box which disappears after three seconds. Overload (clipping) is displayed as an asterisk. It remains on the LCD until cleared (see below).  Off—In this mode, no level meters are displayed in the LCD. 72 Chapter 2 Logic Control In all three modes, the SIGNAL LEDs function as per usual, indicating the presence of a signal. Note: The MIDI bandwidth required for the display of level meters is the same in all three modes—and is very low. The Position/Time Display updates require much more MIDI bandwidth than the level meters. Pressing the NAME/VALUE button, while holding the CONTROL button, clears overload (clipping) in both the Logic mixers, and the horizontal level meters on the Logic Control. Pressing the NAME/VALUE button, while holding the x/ALT button, enters Control Surface Group Settings mode. This mode enables you to edit several control surface group settings, some of which are not accessible with a single button:  V-Pot/V-Select 5 (label “TrkNam”)—sets track name display format “Name”—track name only “#:Name”—track number and name This parameter can also be switched with OPTION and NAME/VALUE.  V-Pot/V-Select 6 (label “Lock”)—switches Channel Strip view track lock “Off”—as you are used to: selecting a track also switches the currently edited Channel Strip track. “On”—the currently edited Channel Strip Track is not affected by selecting a track. When you switch from On to Off, this also updates the Channel Strip track. To edit another track in Locked mode, first disable Lock, then select the desired track, then re-enable Lock.  V-Pot/V-Select 7 (label “Disply”)—switches the LCD display format. “Name”—upper line displays global info, lower line displays parameter names. “Value”—upper line displays parameter names, lower line displays parameter values. This parameter can also be switched with NAME/VALUE.  V-Pot/V-Select 8 (label “Clock”)—switches the Clock display format. “Beats”—clock is displayed in format bars/measures/beats/ticks. “SMPTE”—clock is displayed in SMPTE format. This parameter can also be switched with SMPTE/BEATS. Control Surface Group Settings mode can be exited by pressing NAME/VALUE, or by entering one of the Marker or Nudge modes. SMPTE/Beats To switch between the two Time formats, repeatedly press the SMPTE/BEATS button in the Display section at the top of the Logic Control—just below the SMPTE/BEATS LEDs. For more information, see “Song Position/SMPTE Time Display” on page 49. Chapter 2 Logic Control 73 The Function Key Zone The eight Function keys—F1 to F8—are assigned as follows:  F1 to F7 recalls Screensets 1 to 7.  F8 closes the top-most window, with “floating” windows closed first. With the SHIFT key held down, the Function keys open/close particular windows:  F1—Arrange window  F2—Track Mixer  F3—Event Editor  F4—Score Editor  F5—Hyper Editor  F6—Matrix Editor  F7—Transport window  F8—Audio window With the x/ALT key held down, the Function keys trigger common key commands:  F1—Cut  F2—Copy  F3—Paste  F4—Clear  F5—Select All  F6—Select All Following  F7—Select Similar Objects  F8—Select Inside Locators In modal dialogs, the Function keys are equivalent to the computer’s number keys:  F1—1  F2—2  F3—3  F4—4  F5—5  F6—6  F7—7  F8—8 74 Chapter 2 Logic Control The following buttons directly below the Function keys supplement the numeric input functions:  MIDI Tracks button—9  Inputs button—0 In some other “modes,” the Function keys perform other duties, such as shortcuts to markers. Please see “Marker” on page 79. Also see the tables in “Assignment Overview” on page 89. The Global View Zone The Global view mode is activated by pressing any of the GLOBAL VIEW buttons. When any is activated, the green LED to the right of the GLOBAL VIEW button will illuminate. Pressing multiple GLOBAL VIEW buttons simultaneously will display the channels of the selected classes. To do so: m Hold down any GLOBAL VIEW button, and add or remove other Object classes by pressing the other desired GLOBAL VIEW buttons. The display order matches the order of these buttons on the front panel of the Logic Control. You can select multiple classes by clicking on multiple buttons simultaneously. The OUTPUTS button activates both Output and Master Objects. As an example: To see the busses and the outputs, hold down BUSSES, and then press OUTPUTS. Chapter 2 Logic Control 75 Function Button Zone There are three areas in this zone—Modifiers, Automation, and Utilities. Modifier Buttons The four buttons in this area are similar to those found on your computer keyboard (but are independent from the keyboard modifiers). Many Logic functions behave differently when one or more “modifier” key(s) is pressed, in conjunction with another key or mouse click. This also applies to the Logic Control. All “modified” Logic Control commands are covered in each function’s description. A generic description of each button follows:  SHIFT—an alternate function/meaning for a button.  OPTION—the function applies to all objects. For relative value changes: the value is set to the minimum, default, or maximum value, depending on whether you increase/decrease it.  CONTROL—while held down, the Group Clutch is engaged—Track Groups are temporarily disabled.  x/ALT—fine tuning/variation of the function. Automation Buttons The five buttons in this area activate/deactivate the various automation modes of Logic. These work in conjunction with the channel SELECT buttons. Simply choose the channel you wish to automate, select the Automation mode via one of these six buttons, and move the corresponding fader. The modes are outlined below:  READ/OFF—Pressing this button repeatedly switches between the Read and Off automation modes. 76 Chapter 2 Logic Control  Off—Automation is off. The fader will neither send nor receive automation data. Existing automation data remains untouched. It will still behave as a fader, however, and will adjust the volume or pan position and so on as usual.  Read—The fader will read (follow) any existing automation data, but will not write data, regardless of any movements you make with the mouse or external control device.  TOUCH—Writes new parameter changes when the fader is “touched” or V-Pot turned during playback. Any existing track automation data (of the current fader type) will be replaced by new movements as long as the control is active—while the fader is being touched or V-Pot is being turned.  LATCH—Similar to Touch mode, but the control remains activated, even when the fader is no longer being “touched” or V-Pot being turned. In other words, following the release of the fader, the current fader value will replace the existing automation data for as long as the sequencer is in playback mode. Press STOP to finish.  WRITE—Overwrites all existing automation data, or creates new automation data. Only use it if you wish to destroy all existing automation data.  TRIM—Not currently enabled. Pressing one of the AUTOMATION buttons while holding the OPTION key assigns the selected automation mode for all tracks. When an automation mode has been selected for all tracks, the button’s LED will illuminate whenever the OPTION key is held. Important: This behavior is slightly different for the “Off” automation mode, when holding down the OPTION button. While doing so, all automation “writing” buttons will be turned off, but this does not necessarily mean that all tracks are actually in Off mode—they could also be in different modes. To ensure that you have set all tracks to Off mode, press READ/OFF twice (its LED goes on, then off ), while holding down the OPTION key. Group Pressing the GROUP button enters Group Edit mode:  GROUP button’s LED is on.  The Assignment display shows the currently displayed group—“G1”, for example. Chapter 2 Logic Control 77  The Time display shows the group name (ten last characters if name is longer than ten characters).  The upper LCD line displays track names.  The lower LCD line displays group parameters.  Group parameters can be switched with V-Selects.  Cursor Up/Down selects previous/next group.  Cursor Left/Right shifts group parameter display.  SELECT buttons display if a track is a member of the group. Pressing a SELECT button enables/disables track membership of the group. With Group Edit mode off, holding down GROUP and pressing one or more SELECT buttons allows you to create a new group. Pressing the GROUP button, while the SHIFT button is held down, creates a new group, opens the Group window and enters Group Edit mode. Pressing the GROUP button, while the TRACK button is held, switches to Track Multi Channel view, with the Track Group parameter shown. It displays the group that the instrument belongs to. Multiple group membership is displayed as in the Track Mixer window. Turning a V-Pot changes group membership. Note that you can only select one group (or “Off”) with this function. Utilities Buttons The four buttons in this area trigger functions that are often used when working with Logic. Save Saves the current song file. When pressed, a file save dialog will open on your computer screen, awaiting input of a filename. The Logic Control LCD will display There is a file select dialog on the screen and the Position/Time Display will show ALERT. All LEDs are unlit. Once the file save has been confirmed—in Logic—the Logic Control will return all controls to their status prior to use of the Save command. Once the song has been saved and given a name, you may freely use the SAVE button to save any subsequent changes. This will occur without the alert messages and file save dialog appearing onscreen. As a general working tip, you should always save your Autoload/Template song under a different name as the first step in any project. If this practice is adhered to, you will be able to simply press the SAVE button on the Logic Control to incrementally save your work. 78 Chapter 2 Logic Control The SAVE LED illuminates as soon as any save-able change has been made in Logic. Holding down the OPTION button while pressing SAVE opens the “Save As” file selector box. Undo Pressing the UNDO button undoes the last undo-able editing step. As Logic supports near-unlimited multiple undo/redo, the green UNDO LED does not illuminate to indicate an undo-able step, but rather to indicate that Redo is available. This serves as a warning that performing a reversible editing step would render all Redo steps unavailable. Holding down the SHIFT button while pressing UNDO performs a “Redo.” Holding down the OPTION button while pressing UNDO opens the Undo History window. Cancel If an alert is open on-screen, it triggers the Cancel (or Abort) button. More information on alerts is found in “About Modal Dialogs” on page 45. Pressing the CANCEL button when no alert is opened will launch the Toolbox at the current on-screen position of the mouse cursor. Alternately, it will perform any function currently assigned to the computer keyboard’s Esc key. If no alert is open, and Logic Control is currently showing the contents of a folder track, use of the CANCEL button exits the folder. CANCEL also enables you to invalidate a (blinking) parameter value pre-selection. Enter If an alert is open, the ENTER button triggers the default button. See “About Modal Dialogs” on page 45 for more information. If no alert is open, and the selected track is a folder track, the ENTER button opens the folder. Chapter 2 Logic Control 79 The Transport Zone This section of the Logic Control features twelve buttons. All are equipped with a dedicated LED to indicate their current status. It should be noted that these buttons can be used independently, or in conjunction with one another, to navigate and edit your songs. The functionality of these buttons is as follows: Marker The MARKER button enables you to jump to, create, and delete markers. Marker and Nudge mode are mutually exclusive; activating one deactivates the other. Small Marker Mode When active, the MARKER button reassigns the behavior of the FAST FWD and REWIND buttons. These allow you to jump to the next or previous marker. Deactivation of the MARKER button reverts to the default behavior of the FAST FWD and REWIND buttons (see “Rewind” on page 85 and “Fast Fwd” on page 85). Small Marker mode is useful if you want to jump to markers, but wish to continue using the V-Pots for other purposes. Large Marker Mode Pressing the MARKER button while holding down SHIFT shows three “create” options on the LCD, assigned to the last three V-Selects. Once markers have been created: 80 Chapter 2 Logic Control  V-Select 1 to 5—displays the first five markers by name. Pressing a V-Select moves the SPL to this Marker. When the current song position (indicated by the SPL) is inside a marker, the lower line displays INSIDE, and the V-Pot LED ring is lit.  V-Select 6—Cr w/o—Creates a marker without rounding to the nearest bar.  V-Select 7—Create—Creates a marker rounded to the nearest bar.  V-Select 8—Delete—Deletes the marker above the current SPL location. To create or delete a marker at the current song position, simply press the appropriate V-Select switch. The creation or deletion of markers is best used in conjunction with the Jog/Scrub Wheel. Simply move to the desired song position by dialing with the wheel, and then press the appropriate V-Pot.  For coarse placement, simply use the wheel to move the SPL.  For fine placement, press the SCRUB button, then use the wheel to precisely position the SPL. (Only appropriate if creating or deleting an un-rounded marker). For more information on the Jog/Scrub Wheel, please refer to “The Jog/Scrub Wheel Zone” on page 88. Large Marker mode is terminated by pressing MARKER. Temporary Marker Mode If you want to enter Marker mode temporarily (to quickly perform a few marker functions), hold down the Marker button and press one (or more) of the V-Selects: this will execute the marker function and leave marker mode as soon as you release the MARKER button.  When in this mode—with the MARKER button held—pressing the Function keys F1—F8 “jumps” to the first eight markers (if created). As an example, to navigate to marker 3, press-hold MARKER and press F3.  To jump between markers, with (or without) the MARKER button held, simply press the FAST FWD or REWIND buttons. Chapter 2 Logic Control 81 Nudge The NUDGE button enables you to move (nudge) selected Audio or MIDI Regions, or events. Marker and Nudge mode are mutually exclusive; activating one deactivates the other. Small Nudge Mode Use of the NUDGE button reassigns the behavior of the FAST FWD and REWIND buttons. They nudge the selected Regions or events by the value defined in Large Nudge mode (see below). Pressing the NUDGE button again reverts to the default behavior of the FAST FWD and REWIND buttons (see “Rewind” on page 85 and “Fast Fwd” on page 85). Small Nudge mode is useful if you want to nudge Regions or events, but still use the VPots for other purposes. Large Nudge Mode Pressing the Nudge button while holding down Shift updates the LCD to display eight options, assigned to the V-Pots and V-Selects. All functions allow you to move the selected Region or events. As an indicator, the position of the first selected Region or event is displayed above VPots 3 and 4. If nothing is displayed, either; a window that does not allow selection of Regions or events is open, or no Regions or events are selected. The functions are as follows:  V-Pot 1—Nudge—selects the nudge value used by the REWIND and F.FWD buttons. These buttons move the selected object(s) backwards/forwards by the defined value.  V-Select 2—Pickup—moves to the current SPL location.  V-Pot 3—Bar— moves by one bar.  V-Pot 4—Beat—moves by the current song denominator value (beats).  V-Pot 5—Format—moves by the current song format value (sub-divisions—1/16th and so on).  V-Pot 6—Ticks—moves by single ticks.  V-Pot 7—Frames—moves by one SMPTE frame.  V-Pot 8—Fram/2—moves by half a SMPTE frame. 82 Chapter 2 Logic Control  The cursor buttons emulate the computer keyboard’s cursor keys, allowing easy selection of a Region or event. Large Nudge mode is terminated by pressing NUDGE. Temporary Nudge Mode If you want to use Nudge temporarily (for one or two small moves), hold down the NUDGE key, and use one or more of the V-Pots: this will execute the selected function and exit Temporary Nudge mode as soon as you release the NUDGE button. In Temporary Nudge mode, the cursor buttons emulate the computer keyboard’s cursor keys, allowing easy selection of a Region or event. The Nudge value for the REWIND and F.FWD buttons can also be defined with the function buttons:  F1—sets Ticks.  F2—sets Format.  F3—sets Beat.  F4—sets Bar.  F5—sets Frames.  F6—sets Frames/2. Cycle Activates/deactivates Cycle mode. By default, the cycle area will fall between the first two markers. Subsequent markers can act as left/right boundaries for further cycle areas. To “jump” between Cycle areas—defined by the markers: 1 Press the MARKER button. 2 Press the CYCLE button, and when active, press the REWIND or FAST FWD buttons. To set the left or right locator to the current song position: m Hold down CYCLE and press REWIND or FAST FWD. This also enables Cycle. The fastest way to define a new cycle area is to: 1 Navigate to the left locator with the Jog/Scrub Wheel. 2 Press CYCLE and REWIND. 3 Navigate to the right locator with the Jog/Scrub Wheel. 4 Press CYCLE and FAST FWD. Chapter 2 Logic Control 83 Cycle View Pressing the SHIFT and CYCLE buttons activates Cycle view mode:  The mode display displays Cy  V-Pot/V-Select 1—shows and edits the current Cycle status (off or on); you can also use the CYCLE button.  V-Select 2—BySel— sets the current Cycle area by the selection made in the Arrange window (selected Audio or MIDI Region).  V-Pot 3—Move— moves the current Cycle by a bar with each “click” when turning the V-Pot  The display shows the left and right locators above V-Pots 5 and 7.  Pressing V-Select 5 picks up the current song position for the left locator.  Turning V-Pot 5 changes the left locator in bars.  Turning V-Pot 6 changes the left locator in beats (denominator steps).  Pressing V-Select 7 picks up the current song position for the right locator.  Turning V-Pot 7 changes the right locator in bars.  Turning V-Pot 8 changes the right locator in beats (denominator steps). To return to a regular Assignment mode, press one of the Assignment buttons. Drop Activates/deactivates Drop-In mode. To navigate between drop-in areas: 1 Press the MARKER button. 2 Press the DROP button, and when active, press the FAST FWD or REWIND buttons. To set the Drop In or Drop Out locator to the current song position: m Hold down DROP and press FAST FWD or REWIND. This also enables Drop. The fastest way to define a new Drop In area is to: 1 Navigate to the Drop In locator with the Jog/Scrub Wheel. 2 Press DROP and REWIND. 3 Navigate to the Drop Out locator with the Jog/Scrub Wheel. 4 Press DROP and FAST FWD. Drop View Pressing the SHIFT and DROP buttons activates Drop view: 84 Chapter 2 Logic Control  The mode display shows dr  V-Pot/V-Select 1 shows and edits the current Drop status (off or on); you can also use the DROP button.  V-Pot 3—Move— moves the current Drop region by a bar with each “click” when turning the V-Pot.  The display shows the Drop In and Drop Out locators above V-Pots 5 and 7.  Pressing V-Select 5 picks up the current song position for the Drop In locator.  Turning V-Pot 5 changes the Drop In locator in bars.  Turning V-Pot 6 changes the left locator in beats (denominator steps).  Pressing V-Select 7 picks up the current song position for the Drop Out locator.  Turning V-Pot 7 changes the Drop Out locator in bars.  Turning V-Pot 8 changes the right locator in beats (denominator steps). Changing a drop locator with the Logic Control enables Drop mode. To return to a regular Assignment mode, press one of the Assignment buttons. Replace Activates/deactivates Replace mode. Click Enables/Disables MIDI (or Klopfgeist) metronome click. There are independent click settings for play and record. The click settings are enabled or disabled, dependent on the current Record state (see the “MIDI/Monitor Metronome Click” key command). Pressing SHIFT and CLICK buttons activates/deactivates both External Sync mode and Transmit MMC. Solo The SOLO button behaves as per the Solo key command. Individual channels can be soloed via the channel SOLO buttons on each channel strip. MIDI or Audio Regions can be selected and soloed along with the selected channels. Each channel features an independent SOLO LED which is lit when a track is soloed. The RUDE SOLO LED—just to the right of the Position/Time Display—is lit whenever any track is soloed. Pressing the SHIFT and SOLO buttons enables Solo Lock mode. Chapter 2 Logic Control 85 Rewind Rewinds/shuttles through the song. If pressed repeatedly while rewinding, the rewind speed is accelerated. If the FAST FWD button is pressed while REWIND is engaged, the fast rewind will be slowed. Repeated presses of the FAST FWD button will slow down, stop, and eventually reverse the shuttle direction. Pressing the STOP button will halt the rewind. Using the Jog/Scrub Wheel will also exit shuttle mode. When one of the Marker modes is activated, repeated presses of the REWIND button will move the Song Position Line (SPL) to the previous marker. When one of the Nudge modes is activated, the REWIND button will move the selected Region(s) or event(s) backward by the value defined in Large Nudge mode. Fast Fwd Fast forwards/shuttles through the song. If pressed repeatedly while fast forwarding, the shuttle speed is accelerated. If the REWIND button is pressed while FAST FWD is engaged, the fast forward will be slowed. Repeated presses of the REWIND button will slow down, stop, and eventually reverse the shuttle direction. Pressing the STOP button will halt the fast forward. Using the Jog/Scrub Wheel will also exit shuttle mode. When one of the Marker modes is activated, repeated presses of the FAST FWD button will move the Song Position Line to the next marker. When one of the Nudge modes is activated, the FAST FWD button will move the selected Region(s) or event(s) forward by the value defined in Large Nudge mode. As a tip, you can combine markers with Cycle areas by pressing the respective buttons on the Logic Control. This, in conjunction with navigation between markers (using the REWIND and FAST FWD buttons), will move the SPL and automatically set a cycle area between adjacent markers. Try this, and other options, with various button combinations. 86 Chapter 2 Logic Control Stop Stops all other Transport functions. Pressing the STOP button a second time will return to the song start point, or the beginning of the nearest cycle area, if Cycle is active. Repeated presses will switch between the two. Play Plays from the current song position. If pressed repeatedly, it will jump to the beginning of the nearest cycle area, if Cycle is active. SHIFT and PLAY works as a Pause command. Record Activates recording on the selected MIDI, audio, or Audio Instrument track. A special note for audio tracks if you have not “Saved as Project”: When the first audio track is armed by pressing the REC/RDY button on the desired channel, a file save dialog will open on your computer screen, awaiting entry of a filename. The Logic Control LCD display shows There is a file select dialog on the screen and the Position/Time Display will show ALERT. All LEDs will go off. Once the file name has been entered—in Logic—the Logic Control will return all controls to their prior status. Once the “default” audio file name has been entered, you may freely select and arm any Audio track, and then press the RECORD button. This will happen without the alert messages and file save dialog appearing onscreen. As a general working tip, you should save your Autoload/Template song as a project immediately. This will avoid the need to define filenames, and makes handling faster and easier—particularly when “driving” Logic with the Logic Control. Chapter 2 Logic Control 87 The Cursor/Zoom Key Zone This collection of five buttons serves a number of purposes. Normal Operation When the ZOOM button’s LED is off, these buttons select the current parameter, shift the current parameter page or Send/EQ/Insert slot, depending on the current V-Pot assignment. When holding down the OPTION button, the Cursor Left/Right buttons scroll to the first/last page, and the Cursor Up/Down buttons scroll to the first/last slot. When holding down the x/Alt button, the Cursor Left/Right buttons shift the parameter display by one parameter, rather than one page. In view modes which don’t require page or slot shifts, they emulate the computer keyboard’s cursor keys. Example: Track Multi Channel view. In Large and Temporary Nudge mode, the Cursor Left/Right buttons emulate the computer keyboard’s cursor keys, allowing easy Region or event selection. Zoom Mode Pressing the ZOOM button enables Zoom mode. The cursor buttons are then used to change the vertical or horizontal zoom factor of the active window. In the Arrange window:  OPTION and Cursor Up/Down changes the zoom factor of the selected track.  OPTION and Cursor Left resets the zoom factor of the selected track.  OPTION and Cursor Right resets the zoom factor of all tracks of the same class (audio, MIDI, and so on) as the selected track. 88 Chapter 2 Logic Control Computer Cursor Key Emulation To use the cursor buttons as a replacement for the computer keyboard cursor keys, hold down the SHIFT key. By pressing SHIFT and ZOOM, the cursor buttons go to Permanent Cursor Key mode— they mimic the computer cursor keys without the need to hold down SHIFT. The ZOOM button LED flashes when in this mode. You can deactivate this mode by pressing the ZOOM button. The Jog/Scrub Wheel Zone The Jog/Scrub Wheel and SCRUB button can be used to navigate through the song, which is useful for a number of Transport tasks. Simply turn the dial to use it. The following Scrub modes change the behavior of the Jog/Scrub Wheel.  Scrub mode off: the Jog/Scrub Wheel moves the SPL.  Scrub mode on: the Jog/Scrub Wheel performs “scrubbing,” which allows you to hear the data of the selected track while scrolling/moving through the song. Audio tracks are normally played back at their original speed. If you would prefer to hear them at double speed, choose Preferences > Audio > Drivers, and set Maximum Scrub Speed to Double in the pull-down menu. Note: You can also use the SCRUB button for Pause functionality.  SHUTTLE mode (Scrub button LED flashing): the Jog/Scrub Wheel shuttles the SPL— turning it increases or decreases the speed of SPL movement. Chapter 2 Logic Control 89 Assignment Overview The following assignment tables are broken down into “zones” of the Logic Control. Channel Strip (x8) Logic Control Modifier Function/Comments V-Pot — Modify parameter displayed in LCD. OPTION Set parameter to minimum, default, or maximum value. x/ALT Modify parameter at high resolution. V-Select — Set parameter displayed on LCD to default value, or: Switch between two possible values. Flashing pre-selection: — Enter the pre-selected value. Menu options: — Enter whatever option is visible in display. If track is folder: — Enter folder. REC/RDY — Activate/Deactivate Record Enable button of track. OPTION Disable Record Enable button for all tracks. SOLO — Activate/Deactivate Solo button of track’s Audio Object. OPTION Disable Solo button for all Audio Objects. In Send Destination/Level Multi Channel view: — Switch pre/post status of selected send. In Send Destination/Level Channel Strip view: — Switch between pre/post of send on selected track. 90 Chapter 2 Logic Control MUTE — Activate/Deactivate Mute button of track’s Audio Object. OPTION Disable Mute button for all Audio Objects. In Track Multi Channel view: SHIFT Activate/Deactivate mute/bypass of the shown parameter. In EQ Multi Channel view: SHIFT Activate/Deactivate bypass of the current EQ band. In EQ Frequency/Gain view: — Activate/Deactivate bypass of selected EQ band. In Send Multi Channel view: SHIFT Activate/Deactivate bypass of selected send. In Send Destination/Level Multi Channel view: — Activate/Deactivate bypass of selected send. In Send Destination/Level Channel Strip view: — Activate/Deactivate mute of send on selected track. In Plug-in Multi Channel view: SHIFT Activate/Deactivate bypass of plug-in. In Instrument Multi Channel view: SHIFT Activate/Deactivate bypass of instrument. SELECT — Select track. SHIFT Set track volume to unity level (0 dB). OPTION Creates a new track with the same instrument as the selected track and switches to Arrange view. SHIFT+ OPTION Create a new track with the next instrument (following the selected track) and switches to Arrange view. Logic Control Modifier Function/Comments Chapter 2 Logic Control 91 ASSIGNMENT Section Hold down to show soft-button menu; release to switch V-Pots to Multi Channel or Channel Strip views for: FADER — Adjust volume. In Flip mode “Duplicate”: — Same function as V-Pot of same channel. In Flip mode “Swap”: — Swap function with V-Pot of same channel. In Surround Angle/Diversity view: — Adjust surround diversity. In EQ Frequency/Gain view: — Adjust gain of selected EQ band. In Send Destination/Level Multi Channel view: — Adjust send level of selected send. In Send Destination/Level Channel Strip view: — Adjust send level of send on selected track. Logic Control Modifier Function/Comments Logic Control Modifier Function/Comments TRACK — Track parameters PAN/SURROUND — Pan/Surround parameters EQ — EQ parameters SEND — Send parameters PLUG-IN — Plug-in selection or Plug-in Edit mode INSTRUMENT — Instrument selection or Instrument Edit mode BANK <> — Shift fader bank left/right by number of channel strips. OPTION Shift fader bank to beginning or end. CHANNEL<> — Shift fader bank left/right by one channel. OPTION Shift fader bank to beginning or end. FLIP — Switch Flip mode between Off and Duplicate. SHIFT Switch Flip mode between Off and Swap. CONTROL Switch Flip mode between Off and Zero (turns fader motors off ). GLOBAL VIEW — Switch between Mixer view and Global view. SHIFT Switch between Mixer view and Arrange view. 92 Chapter 2 Logic Control DISPLAY Parameters Function Buttons Logic Control Modifier Function/Comments NAME/VALUE — Switch between parameter name and parameter value display. SHIFT Cycle through level meter displays: vertical, horizontal, and off. OPTION Switch between track name and track number:name display. CONTROL Clear clip/overload flags. x/ALT Enter control surface group settings mode. SMPTE/BEATS — Switch between SMPTE and beat format in clock display. Logic Control Modifier Function/Comments F1 — Recall Screenset 1. SHIFT Open/Close Arrange window. x/ALT Cut TRACK Switch to Multi Channel view—Volume. PAN/ SURROUND Switch to Multi Channel view—Pan/surround angle. EQ Switch to Multi Channel view—Bypass. SEND Switch to Multi Channel view—Destination. MARKER Create marker without rounding. NUDGE Nudge value: Tick In modal dialog: F1 key is equivalent to computer keyboard 1 key. F2 — Recall Screenset 2. SHIFT Open/Close Track Mixer window. x/ALT Copy TRACK Switch to Multi Channel view—Pan. PAN/ SURROUND Switch to Multi Channel view—Pan/surround radius. EQ Switch to Multi Channel view—EQ Type. SEND Switch to Multi Channel view—Level. MARKER Create marker with rounding. NUDGE Nudge value: Format In modal dialog: F2 key is equivalent to computer keyboard 2 key. Chapter 2 Logic Control 93 F3 — Recall Screenset 3. SHIFT Open/Close Event Editor. x/ALT Paste TRACK Switch to Multi Channel view—Track mode. PAN/ SURROUND Switch to Multi Channel view—Pan/surround LFE. EQ Switch to Multi Channel view—Frequency. SEND Switch to Multi Channel view—Position. MARKER Delete marker. NUDGE Nudge value: Beat In modal dialog: F3 key is equivalent to computer keyboard 3 key. F4 — Recall Screenset 4. SHIFT Open/Close Score Editor. x/ALT Clear TRACK Switch to Multi Channel view—Input. PAN/ SURROUND Switch to Multi Channel view—Pan/surround mode. EQ Switch to Multi Channel view—Gain. SEND Switch to Multi Channel view—Mute. NUDGE Nudge value: Bar In modal dialog: F4 key is equivalent to computer keyboard 4 key. F5 — Recall Screenset 5. SHIFT Open/Close Hyper Editor. x/ALT Select All. TRACK Switch to Multi Channel view—Output. PAN/ SURROUND Switch to Channel Strip view. EQ Switch to Multi Channel view—Q Factor. SEND Switch to Channel Strip view. NUDGE Nudge value: Frame In modal dialog: F5 key is equivalent to computer keyboard 5 key. Logic Control Modifier Function/Comments 94 Chapter 2 Logic Control F6 — Recall Screenset 6. SHIFT Open/Close Matrix Editor. x/ALT Select All Following TRACK Switch to Multi Channel view—Automation. PAN/ SURROUND Switch to Angle/Diversity view. EQ Switch to Channel Strip view. SEND Switch to Channel Strip 2 view. NUDGE Nudge value: 1/2 Frame In modal dialog: F6 key is equivalent to computer keyboard 6 key. F7 — Recall Screenset 7. SHIFT Open/Close Transport window. x/ALT Select Similar Regions/events. TRACK Switch to Multi Channel view—Displayed Parameter PAN/ SURROUND Switch to Surround X/Y view. EQ Switch to Frequency/Gain Multi Channel view. SEND Switch to Destination/Level Multi Channel view. In modal dialog: F7 key is equivalent to computer keyboard 7 key. F8 — Close top-most floating window. SHIFT Open/Close Audio window. x/ALT Select Inside Locators. TRACK Switch to Track Setup view. EQ Switch to Frequency/Gain Channel Strip view. SEND Switch to Destination/Level Channel Strip view. In modal dialog: F8 key is equivalent to computer keyboard 8 key. Logic Control Modifier Function/Comments Chapter 2 Logic Control 95 GLOBAL VIEW Buttons MODIFIERS—While Held Down: Logic Control Modifier Function/Comments MIDI TRACKS — Switch to Global view and show MIDI tracks. SHIFT Set to fader bank no. 1 (tracks 1 to 8, for example). In modal dialog: MIDI TRACKS button is equivalent to computer keyboard 9 key. INPUTS — Switch to Global view and show Audio Input Objects. SHIFT Set to fader bank no. 2 (tracks 9 to 16, for example). In modal dialog: INPUTS button is equivalent to computer keyboard 0 key. AUDIO TRACKS — Switch to Global view and show Audio Track Objects. SHIFT Set to fader bank no. 3 (tracks 17 to 24, for example). In modal dialog: AUDIO TRACKS button is equivalent to computer keyboard’s period key. AUDIO INSTRUMENTS — Switch to Global view and show Audio Instrument Objects. SHIFT Set to fader bank no. 4 (tracks 25 to 32, for example). In modal dialog: AUDIO INSTRUMENTS button is equivalent to computer keyboard / key. AUX — Switch to Global view and show Aux Objects. SHIFT Set to fader bank no. 5 (tracks 33 to 40, for example). In modal dialog: AUX button is equivalent to computer keyboard * key. BUSSES — Switch to Global view and show Bus Objects. SHIFT Set to fader bank no. 6 (tracks 41 to 48, for example). In modal dialog: BUSSES button is equivalent to computer keyboard – key. OUTPUTS — Switch to Global view and show Outputs and Master Objects. SHIFT Set to fader bank no. 7 (tracks 49 to 56, for example). In modal dialog: OUTPUTS button is equivalent to computer keyboard + key. USER — Currently unassigned. SHIFT Set to fader bank no. 8 (tracks 57 to 64, for example). Logic Control Function/Comments SHIFT Switch to second function. OPTION Apply function to all tracks or set parameter to minimum, default, or maximum value. CONTROL Disable Group functions while held down. x/ALT Enable fine mode; shift parameter page by one parameter instead of page. 96 Chapter 2 Logic Control AUTOMATION Buttons UTILITIES Buttons Logic Control Modifier Function/Comments READ/OFF — Set selected track’s automation to Read or Off. OPTION Set all tracks’ automation to Read or Off. TOUCH — Set selected track’s automation to Touch. OPTION Set all tracks’ automation to Touch. LATCH — Set selected track’s automation to Latch. OPTION Set all tracks’ automation to Latch. WRITE — Set selected track’s automation to Write. OPTION Set all tracks’ automation to Write. TRIM Currently unassigned. GROUP — Enter Group Edit mode. SHIFT Create a new group, open the Group window and enter Group Edit mode. TRACK Switch to Track Multi Channel view, displaying Track Group parameter. Logic Control Modifier Function/Comments SAVE — Save Song. OPTION Save Song as. UNDO — Undo SHIFT Redo OPTION Open Undo History. CANCEL — Leave folder. Flashing pre-selection: — Cancel pre-selection. In alerts: — Execute Cancel button. ENTER — Enter folder of selected track. In alerts: — Execute default button. Chapter 2 Logic Control 97 TRANSPORT Buttons Logic Control Modifier Function/Comments MARKER — Switch Small Marker mode on/off. SHIFT Switch Large Marker mode on/off. NUDGE — Switch Small Nudge mode on/off. SHIFT Switch Large Nudge mode on/off. MARKER Create a marker. This allows you to create a marker with one hand without entering Large Marker mode. CYCLE — Activate/Deactivate Cycle. SHIFT Switch to Cycle view. DROP — Activate/Deactivate Drop. SHIFT Switch to Drop view. REPLACE — Activate/Deactivate Replace. CLICK — Activate/Deactivate metronome click (separately for playback and record). SHIFT Activate/Deactivate internal/external sync and MMC. SOLO — Activate/Deactivate Solo Lock function. SHIFT Enable Solo Lock function. REWIND << — Shuttle rewind. MARKER Go to previous marker. NUDGE Nudge left by chosen value. CYCLE Engage Cycle function and set left locator to SPL. DROP Engage Drop and set Drop In to SPL. In Marker mode: — Go to previous marker. In Nudge mode: — Nudge left by chosen value. F.FWD >> — Shuttle forward. MARKER Go to next marker. NUDGE Nudge right by chosen value. CYCLE Engage Cycle function and set right locator to SPL. DROP Engage Drop and set Drop Out to SPL. In Marker mode: — Go to previous marker. In Nudge mode: — Nudge right by chosen value. STOP — Stop. 98 Chapter 2 Logic Control Cursor Keys and Scrub Wheel PLAY — Play SHIFT Pause RECORD — Record Logic Control Modifier Function/Comments Logic Control Modifier Function/Comments Cursor Left/Right If in Multi Channel view: — Select previous/next parameter of current view. ZOOM Scroll window horizontally by page. If in Channel Strip EQ, Send view or Plug-in/Instrument Edit view: — Shift current editor page by one page. x/ALT Shift current editor page by one parameter. ZOOM Scroll window horizontally by page. Otherwise (always in Nudge mode): — Mimic computer keyboard Left/Right Arrow keys. ZOOM Scroll window horizontally by page. In Zoom mode: — Change horizontal zoom level. SHIFT Reset individual track zoom of current track (Cursor Left) or all tracks of same class (Cursor Right). Cursor Up/Down In Channel Strip EQ, Send view or Plug-In/Instrument Editor view: — Select previous/next EQ band, Send, or Insert slot. ZOOM Scroll window vertically by page. Otherwise (always in Nudge mode): — Mimic computer keyboard Up/Down Arrow keys. ZOOM Scroll window vertically by page. In Zoom mode: — Change vertical zoom level. SHIFT Change individual track zoom of current track. ZOOM — Switch between default cursor button behavior (see above) and Zoom mode. SHIFT Switch between default cursor button behavior and permanently mimicking computer keyboard arrow keys. SCRUB — Activate/Deactivate Scrub mode. SHIFT Enable Shuttle mode on the Jog Wheel (SCRUB button LED flashes) Chapter 2 Logic Control 99 External Inputs Jog Wheel — Move song position line. CYCLE Set the Left locator to the current SPL, advance the SPL as normally, then set the Right locator to the SPL. Further Jog Wheel turns while still holding down CYCLE advances the SPL and sets the Right locator again. Tip: Rotating the Jog Wheel counterclockwise while holding down CYCLE defines a skip-cycle range. DROP Set the Drop In locator to the current SPL, advance the SPL as normally, then set the Drop Out locator to the SPL. Further Jog Wheel turns while still holding down DROP advances the SPL and sets the Drop out locator again. In Scrub mode (SCRUB button LED on): — Scrub In Shuttle mode (SCRUB button LED flashing): — Shuttle Logic Control Modifier Function/Comments Logic Control Modifier Function USER SWITCH A — Play/Stop USER SWITCH B — Drop In/Out EXTERNAL CONTROL — Master Volume 3 101 3 M-Audio iControl This chapter will introduce you to using Logic Pro with the MAudio iControl. The iControl support in Logic Pro has been designed to ensure full GarageBand compatibility. When a GarageBand song is imported into Logic, the iControl can be used to edit the song in exactly the same fashion as it would in GarageBand. Logic, however, offers many more functions than GarageBand, leading to some iControl buttons not being assigned as you might expect in Logic. But don’t worry: you can easily reassign these buttons using the sophisticated Control Surfaces Assignments Editor of Logic (see the Control Surface chapter for more information). To use Logic with an iControl unit, you need:  an iControl unit  Logic Pro 7. 2, or later  a free USB port Setting Up the iControl Setting up your iControl for use with Logic is a simple process: Connect the iControl to any of your computer’s USB ports. Logic automatically detects a connected iControl. You can use the iControl in an independent control surface group (with other control surface icons placed above/ below the iControl icon), or combined into one control surface group with one or more control surfaces. If Cycle mode is enabled in your song or any tracks are muted, the corresponding LEDs will be illuminated, reflecting each track’s current status. The following sections will provide you with information on accessing parameters and functions that may not be apparent at first glance. You are strongly encouraged to experiment with these parameters and functions—this will help to familiarize you with iControl support in Logic. 102 Chapter 3 M-Audio iControl Compatibility The iControl can edit all plug-ins that offer parameters which can be automated. Many Logic plug-ins—effects and Audio Instruments—plus those of third-party manufacturers, feature dozens of parameters. Every one of these parameters can be accessed by the iControl. To give you an example of how this works, imagine a plug-in that contains, say, 16 parameters. Once you’ve switched to the appropriate Channel Strip View of the plug-in you wish to adjust, you can directly affect parameters 1 to 8 with encoders 1 to 8. You can then switch by a “page” to access parameters 9 to 16. Simply press the Arrow Up or Arrow Down button to step up/down to the next “page” of parameters. Should you find that your third-party plug-in does not support remote editing or other features mentioned in this document, please contact the plug-in manufacturer to obtain an updated version that supports these facilities. Channel Views The channels section (the eight channel strips on the right side of your iControl; each channel strip comprises of a Select, Record Enable, Mute, and Solo button plus a rotary encoder) operates in two view “modes”—Multi Channel and Channel Strip View. Switching between these modes only affects the rotary encoders, with the other channel controls always remaining in Multi Channel View.  Multi Channel View—accesses one parameter for eight tracks, such as pan or volume (normally a section of the Track Mixer window).  Channel Strip View—accesses eight parameters of the selected track. Switching to a Multi Channel or Channel Strip view is achieved by pressing one of the Assignment buttons (see the following section). The Assignment Buttons The two button areas labelled “All Tracks” and “Selected Track” are used to define the behavior of the channel strip buttons. Volume Pressing the Volume button enters Volume Multi Channel View; you can use the rotary encoders to control the Volume fader of the eight active tracks in this mode. Chapter 3 M-Audio iControl 103 The other channel strip buttons maintain the default Multi Channel View function:  Sel buttons: Selects the track for editing.  Record Enable buttons: Enables/disables the track for recording.  Mute button: Activates/deactivates the Mute button of the Audio Object that corresponds with the track.  Solo button: Activate/deactivates the Solo button of the Audio Object that corresponds with the track. Pan Pressing the Pan button enters Pan Multi Channel View; you can use the rotary encoders to control the Pan knob of the eight active tracks in this mode. The other channel strip buttons maintain the default Multi Channel view function:  Sel buttons: Selects the track for editing.  Record Enable buttons: Enables/disables the track for recording.  Mute button: Activates/deactivates the Mute button of the Audio Object that corresponds with the track.  Solo button: Activate/deactivates the Solo button of the Audio Object that corresponds with the track. Track Info Pressing the Track Info button enters Track Channel Strip View. In this mode, you can use the Sel buttons and rotary encoders of the eight channel strips to edit global parameters of the selected track. The Record Enable, Mute, and Solo buttons maintain their default Multi Channel view functions.  Sel button 1 to 5: Switches the bypass status of the first five Insert slots.  Sel button 6 and 7: Switches the bypass status of the first and second Send slots. Note: A Select button is illuminated if the Insert or Send slot is enabled, and unlit if the effect is bypassed.  Sel button 8: Not assigned.  Encoder 1: In GarageBand, every Real Instrument track (Real Instrument tracks are audio tracks in Logic) contains a Noise Gate plug-in. Given this default plug-in assignment, encoder 1 is assigned to controlling the Threshold parameter of the Noise Gate in Track Channel Strip mode (if inserted in the selected channel strip).  Encoder 2: In GarageBand songs, every Real Instrument track contains a Compressor plug-in. Again, in Track Channel Strip mode, encoder 2 is assigned to controlling the Compressor’s Ratio (if inserted in the selected channel strip).  Encoders 3 and 4 are not assigned.  Encoder 5 controls the Pan knob of the channel.  Encoder 6 controls the Send level of the first Send. 104 Chapter 3 M-Audio iControl  Encoder 7 controls the Send level of the second Send.  Encoder 8 controls the Volume fader of the channel. Generator Pressing the Generator button allows you to edit all sound generation parameters of the software instrument for the selected track. The Arrow Up and Arrow Down buttons switch to the previous or next eight parameters. Note: This mode can only be accessed if the selected channel strip contains an audio instrument. Effect 1 and Effect 2 Pressing Effect 1 or Effect 2 allows you to edit the parameters of the third or fourth Insert slot of the selected track (where applicable).  Turning the encoders changes the parameter value.  The Arrow Up and Arrow Down buttons switch to the previous or next parameter page. Note: When shifting by a “page,” this always “quantizes” to integer pages. As an example: The plug-in has 19 parameters and the iControl displays parameters 1 to 8.  Pressing the Arrow Down button shifts to parameters 9 to 16.  Pressing the Arrow Down button again shifts to parameters 12 to 19  Pressing the Arrow Up button shifts back to parameters 9 to 16, not 4 to 11. This way, you always revert to the page positions you expect to find, and are comfortable with. Pressing the Effect 1 or Effect 2 button while pressing the Option button switches the bypass status of Insert slots 3 and 4, respectively. EQ Pressing the EQ button allows you to edit all EQ parameters—in all bands—for the selected track. Pressing the EQ button opens or closes the Channel EQ plug-in window of the track. If no Channel or Linear Phase EQ is present on the selected track, a Channel EQ will be inserted automatically when the EQ Channel Strip View is entered. Note: You can use the Arrow Down and Up buttons to switch to the next or previous parameter page. Chapter 3 M-Audio iControl 105 Arrow Up and Arrow Down Buttons The Arrow Up and Arrow Down buttons move up or down by “banks” of tracks (or between “pages” of parameters, as discussed earlier). To quickly explain, a single iControl device is only capable of viewing eight tracks at a time. To see, and edit or mix more tracks, simply press the Arrow Up or Arrow Down button to switch between tracks 1 to 8, 9 to 16, 17 to 24 and so on. Note that when shifting by bank, this always “quantizes” to integer banks. As an example: Your song has 19 tracks, and the iControl is displaying tracks 1 to 8.  Pressing the Arrow Down button shifts to tracks 9 to 16  Pressing the Arrow Down button again shifts to tracks 12 to 19  Pressing the Arrow Up button shifts back to tracks 9 to 16, not 4 to 11 This way, you always revert to the bank positions you expect, and are used to. Note: Pressing the Arrow Up button while holding down the Option button jumps to the first tracks, and pressing the Arrow Down button jumps to the last tracks in the song—as an example (in a 64 track song), tracks 1 to 8 or tracks 57 to 64. If the Generator, EQ, Effect 1, or Effect 2 button is illuminated, the Arrow Up and Arrow Down buttons have different functionality. See the sections above for details. The Channel Strip(s) As each channel strip is identical, the information discussed in this section applies equally to all eight of the iControl channel strips. Select Button This button is used to select a channel for channel-based editing or assignment commands. Each channel features an independent Select LED which is lit when a track is selected. Note: If the Track Info button is illuminated, the Select buttons behave differently. See “Track Info” on page 103 for details. Record Enable Button This button arms or disables the channel for recording. Each channel features an independent Record Button LED which illuminates when a track is “armed” for recording. Note: Holding down the Option button, while pressing any Record Enable button will disarm all tracks. 106 Chapter 3 M-Audio iControl Mute Button Used to mute the track’s signal. Each channel features an independent Mute LED which illuminates when a track is muted. Note: Holding down the Option button, while pressing any Mute button will unmute all tracks. Solo Button Used to solo channel signals. Each channel features an independent Solo LED which illuminates when a track is soloed. Note: Holding down the Option button, while pressing any Solo button will disable solo for all tracks. Encoder The eight encoders are used for a number of operations, depending on the current status of the Assignment buttons to the left. See “The Assignment Buttons” on page 102. Note: Pressing the Option button while turning an encoder sets the Relative Controller mode to Full: The encoder switches between the parameter’s minimum, default, or maximum value. The Jog Wheel The Jog Wheel can be used to navigate through the song, which is useful for a number of transport tasks. Simply turn the dial to move to a song position. The Transport Zone This section of the iControl features six buttons. It should be noted that these buttons can be used independently, or in conjunction with one another, to navigate and edit your songs. Record Button Activates recording on the selected track. Return to Zero Button (RTZ) Moves the SPL to the beginning of the song. Chapter 3 M-Audio iControl 107 Rewind Button Holding the Rewind button moves the song position line backwards. Quickly pressing the Rewind button once, moves the SPL one bar backwards. Pressing the Rewind and Cycle buttons simultaneously enables Cycle mode, and sets the left border of the Cycle area (left locator) to the current song position. Play Plays from the current song position. If pressed during playback, it will stop playback. Fast Forward Button Holding the Fast Forward button moves the song position line forwards. Quickly pressing the Fast Forward button once, moves the SPL one bar forward. Pressing the Fast Forward and Cycle buttons simultaneously enables Cycle mode, and sets the right border of the Cycle area (right locator) to the current song position. Cycle Activates/deactivates Cycle mode. By default, the Cycle area will fall between the first two markers. You can use the iControl to set the left or right locator to the current song position and enable Cycle mode. To define a new Cycle area, using the Cycle button: 1 Navigate to the desired left locator position with the Jog Wheel. 2 Do one of the following:  Press the Cycle and Rewind buttons simultaneously, navigate to the desired right locator position with the Jog Wheel, then press the Cycle and Fast Forward buttons simultaneously.  Hold down the Cycle button, navigate to the desired right locator position with the Jog Wheel, then release the Cycle button. Master Fader Controls the level of the Master fader in the Mixer windows of Logic. This reduces the level of all tracks, but does not affect their relative positions. 108 Chapter 3 M-Audio iControl Assignment Overview The following assignment tables are broken down into “zones” of the iControl. Assignment Section The Assignments button in the All Tracks and Selected Tracks area defines the behavior of the channel strip buttons. Channel Strip (x8) iControl button Modifier Function/Comments Volume — Encoders control track’s Volume parameter. Pan — Encoders control track’s Pan parameter. Generator — Encoders control software instrument parameters. Track Info — Encoders control track parameters. EQ — Encoders control EQ parameters. Effect 1 — Encoders control Insert 3 parameters. Effect 2 — Encoders control Insert 4 parameter. Option — Modifier for other controls; while held down, the modified control either applies the function to all tracks or sets the parameter to its minimum, default, or maximum value. Arrow Up/Down — Shift fader bank left/right by number of channel strips. Option Shift fader bank to beginning or end. iControl Modifier Function/Comments Encoder — Modify currently selected parameter. Option Set parameter to minimum, default, or maximum value. Record Enable — Activates/Deactivates Record Enable button of track. Option Disable Record Enable button for all tracks. Solo — Activates/Deactivates Solo button of track. Option Disable Solo button for all tracks. Mute — Activates/Deactivates Mute button of track. Option Disable Mute button for all tracks. Sel — Select track, except in Channel Strip mode. Chapter 3 M-Audio iControl 109 Jog Wheel Transport Buttons iControl Modifier Function/Comments Jog Wheel — Move Song Position Line. Cycle Set the Left locator to the current SPL, advance the SPL as per usual, then set the Right locator to the new SPL position. Further Jog Wheel turns (to the right) while holding down the Cycle button advances the SPL and resets the Right locator position. Tip: rotating the Jog Wheel counter-clockwise (to the left) while holding down Cycle defines a skip-cycle range. iControl Modifier Function/Comments Record — Record Return To Zero — Go to beginning of song Rewind — Move the SPL one bar backward. If held, continue to scroll backwards. Cycle Engage Cycle function and set left locator to SPL. Play — Play or Stop Fast Forward — Move the SPL one bar forward. If held, continue to scroll forwards. Cycle Engage Cycle function and set right locator to SPL. Cycle — Switch Cycle mode on or off. 4 111 4 EuCon Support of Euphonix MC and System 5-MC Logic Pro 7.2.1 supports the EuCon protocol developed by Euphonix, enabling enhanced communication between the MC or System 5-MC and Logic. The following chapter describes how the MC and System 5-MC control Logic in EuCon mode. Please note that this is an addendum to the MC operation manual and is limited to descriptions of Logic specific features. Please refer to the device operating manuals for more information about your control surface(s). Setting Up the MC or System 5-MC With Logic Please follow the steps outlined in the section below to use your MC or System 5-MC with Logic. To set up the MC or System 5-MC with Logic: 1 Set up your MC and/or CM408T units as described in the MC operation manual. 2 Install the EuConWS software (version 1.1.2 or later) on your Macintosh. 3 Ensure that your Macintosh computer is set up as a workstation on the MC (see MC operation manual). 4 Assuming that the MC software is running on the MC: Select the Euphonix Menu icon on the MC Touchscreen and choose the Prefs menu item, then go to the About tab. Ensure that EuCon version is 1.1.2 or later. If it isn‘t, you‘ll need to update the EuCon software. Go to the Euphonix website for more information. Note: If you have been using an earlier EuCon version, you should delete or rename the Logic Pro.xml file before installing newer EuCon versions. This file is used when controlling Logic with the Euphonix device(s) HUI emulation, which causes conflicts when controlling Logic in EuCon mode. Exit the MC and return to the operating system by choosing Euphonix > Shutdown > Exit to Operating System, then open the C:\Program Files\Euphonix\EuCon\UserSets\MCUser\MC_USER_SET__Root folder and rename or delete the Logic Pro.xml file. 112 Chapter 4 EuCon Support of Euphonix MC and System 5-MC 5 If you have a CM408T and the correct MC software is running: Choose Euphonix > Prefs > Modules, select the CM408T in the “All Online” list, then touch “Add.” 6 Launch Logic Pro 7.2.1. The startup screen advises that Logic is starting EuCon. 7 On the MC, press the workstation button associated with your Macintosh computer. The MC display will show an “Attaching to Logic Pro” progress bar. Note: The EuCon support of Logic is not achieved through special control surface plugins. As a consequence, you can not use the Control Surface Assignments Editor to change assignments. You can only use the facilities provided by the MC or System 5- MC. More information about this can be found in the operation manuals provided with your EuCon device(s). EuCon devices do not appear in the Control Surfaces Setup window. Setting Up Soft Key Assignments The “Logic Pro.xml” Application Set file—installed with EuCon version 1.1.2—features a number of useful Soft Key assignments. The MC Touchscreen can be used to edit them. To change a Soft Key assignment: 1 Select the respective Soft Key. 2 Touch the Euphonix Menu icon, then choose Setup in the ensuing pop-up menu. 3 Choose the desired EuCon command in the menu. Logic supports the following EuCon commands:  Key Commands: All Logic key commands (except the transport commands) are found here. The Touchscreen uses the same hierarchy as the Key Commands window. Many of these key commands switch between states (on/off, for example) or set a value. Most also provide feedback on the Soft Key (as an example: a Soft Key assigned to the Open/Close Score Editor command is illuminated when a Score Editor window is open).  Left Wheel/Right Wheel: The commands found here allow you to configure the left or right wheel to perform a certain action when turned. This includes horizontal or vertical zoom, waveform zoom, individual track zoom, move locators, adjust left locator, adjust right locator, move drop locators, adjust drop in (punch in), adjust drop out (punch out), move marker, adjust marker length, nudge selected Regions or events, left/right pan (surround X), and front/back pan (surround Y). Chapter 4 EuCon Support of Euphonix MC and System 5-MC 113  Project > Markers: All markers defined in the open song are shown as a list. Assigning a Soft Key to a marker command will display the marker title on the Soft Key LCD display. Pressing the Soft Key will move the SPL to the marker start point. The Soft Key is illuminated while the SPL falls within the marker boundaries. Renaming a marker in Logic also changes the associated Soft Key title. Moving a marker, however, disconnects the Soft Key from the marker.  Transport: All transport related key commands are found here. Note: Marker Soft Keys are a part of the Application Set, not the song data. Don’t forget to save the User Set after defining a Marker Soft Key. Main-Tracks Touchscreen The MC Main-Tracks Touchscreen always displays a song‘s tracks (channels) in the Track Mixer‘s (adaptive) Track view:  The channels are laid out in the same order as in the Arrange window.  Redundant tracks are suppressed (not accessible), where multiple tracks represent the same output. Note: Filtered selections (different view modes) are not reflected on the MC Main- Tracks Touchscreen track list. The transport information is displayed as follows:  SMPTE clock  Bars/beats time  Left locator  Right locator Main-Layouts Layouts are automatically saved with the Logic song. When re-loading a song, all defined layouts are available. Faders The following section outlines the functionality of the MC fader elements in Logic. Solo Keys This key activates the Solo button for each Audio Object. 114 Chapter 4 EuCon Support of Euphonix MC and System 5-MC On Keys The MC On keys provide the same functionality as the Mute buttons in Logic, but work in reverse: An MC On key must be lit to hear the channel. If a channel strip has been muted in Logic, the corresponding MC channel On key is not illuminated. A track that is not muted features a lit On key. L LED When the Logic track controlled by the fader belongs to an automation group, the L LED on the channel strip is lit. Touching Fader Selects Track Preference Please note that the “Touching fader selects track” preference of Logic (Logic > Preferences > Control Surfaces > Preferences) does not apply to the MC and System 5- MC when they are used with the EuCon protocol. This function is offered by the MC itself, with the “Select channel by touching fader/joystick“ preference. Choosing Automation Modes The MC and System 5-MC only support Read and Write automation modes. Logic, however, also features Touch and Latch automation modes. When you use these devices with Logic, activating the “Read and Write“ mode in the Touchscreen activates Touch mode in Logic. Latch mode can not be activated with the MC or System 5-MC. When you choose Latch mode with the mouse in Logic, the green R and red W LEDs are lit (as per Read and Write mode). To choose an automation mode: 1 Press the Wave and Select keys simultaneously. 2 Select the desired automation mode in the pop-up menu displayed on the Touchscreen. You can choose between:  Isolate: Automation mode is off.  Read: Activates Read mode in Logic.  Write: Activates Write mode in Logic.  Read/Write: Activates Touch mode in Logic. Note: If a write automation mode (Touch, Latch, Write) is active (and an automation parameter enabled in the Logic > Preferences > Automation > Touch/Latch/Write Erase settings is chosen), the red W LED is lit. The green LED is lit when a read automation mode is active. Chapter 4 EuCon Support of Euphonix MC and System 5-MC 115 Knobsets When using the Euphonix MC with Logic, a knobset contains pages, each comprised of eight parameters. The top level knobset leads to the following knobsets:  Inserts: Pressing the Inserts Soft Key switches to a list of currently instantiated plugins (see the following section for details). The On key is lit if a plug-in is enabled (not bypassed) and does not belong to the dynamic, EQ, or filter plug-in groups. (Please note that this also applies to Audio Unit plug-ins.) Pressing the On key switches the bypass state of all plug-ins that do not fall into the dynamic, EQ, or filter groups.  Input: Pressing the Input Soft Key switches to input parameters (see “Input Knobset” on page 116).  Dyn: The Dyn Soft Key is not currently used to display a list, or allow editing, of dynamic plug-ins. The On key is lit when any Dynamic plug-ins are enabled (not bypassed). Please note that this only applies to Logic plug-ins, not Audio Unit plugins. Pressing the On key switches the bypass state of all Dynamic plug-ins.  EQ: Pressing the EQ Soft Key switches to EQ editing (see “EQ Knobset” on page 118). The On key is lit when EQ plug-ins are enabled (not bypassed). Please note that this only applies to Logic plug-ins, not Audio Unit plug-ins. Pressing the On key switches the bypass state of all EQ plug-ins.  Sends: Pressing the Sends Soft Key switches to Send editing mode (see “Sends Knobset” on page 118).  Pan: Pressing the Pan Soft Key switches to Pan/Surround editing mode (see “Pan/ Surround Editing Knobset” on page 119).  Groups: Pressing the Groups Soft Key switches to Group editing mode (see “Groups Knobset” on page 119).  Output: Pressing the Output Soft Key switches to Output parameter editing mode (see “Output Knobset” on page 119). Inserts (Configuration) Knobset In this mode, the Soft Keys display the effect plug-ins inserted on the selected track. If more than eight effect plug-ins are instantiated, you can use the right Page key of the left Page key set to display ensuing plug-ins. To edit an effect plug-in: 1 Press the Soft Key (or respective knob top) that features the name of the effect plug-in that you wish to edit. This switches to Effect Plug-in Editing mode. The parameters of the plug-in are displayed in the order shown in the Controls view of the effect. 2 Turn the respective knob(s) to change the desired value(s). 116 Chapter 4 EuCon Support of Euphonix MC and System 5-MC Pressing a knob top sets the controlled parameter to its default value. For parameters with only two values, the On key is lit when the value is 1 (or on) and unlit when the value is 0 (or off ). Pressing the On key switches between the two value. If the plug-in features more than eight parameters, use the left Page key set to navigate between pages of parameters. Pressing the Back key returns to the Inserts (Configuration) knobset. To insert effect plug-ins: 1 In the Inserts (Configuration) Knobset mode, press both Page keys simultaneously. This switches to Effect Insert mode. The Soft Keys display the first eight Insert slots of a channel. 2 Select the desired Insert slot by pressing the respective knob top. You can use the left Page key to display Insert slots 9 to 15. When you press the respective knob top, the Soft Keys display the Logic plug-in menu that appears when you click-hold on an Insert slot with the mouse. Π Tip: If the selected Insert slot already contains an effect plug-in, the MC reflects the bold menu entries (indicating the selected plug-in name/type) with a lit On key. 3 Choose the desired effect plug-in:  Pressing the Soft Key or knob top enters a submenu or inserts a selected effect plugin.  Pressing the Back key navigates up one level in the menu hierarchy. Input Knobset If the Input knobset is active, the Soft Keys display all possible input values for audio tracks:  The first value is “--”, meaning no input.  The currently active input value is indicated by a lit On key.  Pressing the respective On key, Soft Key or knob top chooses the respective input value.  If there are more than eight values (inputs), the left Page key set switches to the previous/next values.  Pressing the two Page keys simultaneously switches to Input Configuration mode: the Soft Keys display mode values (Mono, Stereo, Left, Right) for the track. Again, the active value is indicated by a lit On key. Pressing the respective On key, Soft Key or knob top chooses the respective value.  Pressing the Back key returns to the top-level knobset. On Audio Instrument tracks, the Input knobset displays the inserted instrument. Chapter 4 EuCon Support of Euphonix MC and System 5-MC 117 To edit an instrument: m Press the respective knob top or Soft Key. Instrument parameters are displayed in the order shown in the Controls view of the plug-in. Turning a knob changes the parameter value. Pressing a knob top sets the controlled parameter to its default value. For parameters with only two values, the On key is lit when the value is 1 (or on) and unlit when the value is 0 (or off ). To change or insert an instrument: 1 Press both Page keys simultaneously. This switches to Insert Instrument mode. The Soft Key display indicates the Instrument slot of the channel. When you press the knob top or Soft Key, the Soft Keys display the Instrument plug-in menu that appears when you click-hold on an Instrument slot with the mouse. 2 Choose the desired Instrument plug-in:  Pressing the Soft Key or knob top enters a submenu or inserts a selected instrument plug-in.  Pressing the Back key navigates up one level in the menu hierarchy (or switches back to the Input Knobset if you are in the top level of the menu). Opening and Closing Plug-in windows Logic supports the MC “Open plugins on workstation when editing” and “Close plugins on workstation when exiting” preferences. This behavior is dependent on the Link button being enabled in plug-in windows. If a Link-enabled plug-in window is open:  “Open plugins on workstation when editing” does not open a new window when a new plug-in is selected, but will replace the open window’s contents.  “Close plugins on workstation when exiting” does nothing. Otherwise, “Open plug-ins on workstation when editing” opens a new plug-in window, with the Link button disabled. “Close plugins on workstation when exiting“ closes the Plug-in window. Dyn(amic) Knobset This knobset is not currently implemented. 118 Chapter 4 EuCon Support of Euphonix MC and System 5-MC EQ Knobset This knobset allows you to edit the first EQ plug-in (Channel EQ or Linear Phase EQ). There are two pages, with each band featuring two knobs. Page 1 shows the parameters of the first, second, 7th, and 8th EQ bands. Page 2 shows the parameters of EQ bands 3 to 6. When no Linear Phase or Channel EQ is present on the selected track, pressing the last Soft Key in the second row (labeled AddChEQ) inserts a Channel EQ. For each band:  The upper knob controls either Frequency or Q. You can switch between Frequency or Q with the Select key for the Knobset. Pressing the knob top sets the controlled parameter to its default value.  The lower knob controls Gain (or Slope). Again, pressing the knob top sets the controlled parameter to its default value.  The lower knob‘s On key switches the bypass state of the band. When the band is bypassed, the On key is unlit. When the band is active, the On key is illuminated. To return to the top-level knobset: m Press the Back key. Sends Knobset The Sends knobset displays the current track send options.  The Soft Key shows the send destination.  The knob controls send level.  The Select key switches between pre fader (off—unlit) and post fader (on—lit) modes.  The On key switches the bypass state of the send.  Pressing both Page keys simultaneously enters Send Configuration mode (see the following section).  Pressing the Back key returns to the top-level knobset Send Configuration Knobset In Send Configuration mode, a list of the first eight Send slots is displayed. When you touch the knob, the Soft Key shows the send level (provided the send slot is already assigned to a bus). To change a send destination: 1 Select the desired Send slot by pressing the respective Soft Key or knob top. The first eight Send destinations are displayed. You can use the right Page key of the left Page key set to display ensuing Send destinations. 2 Choose the desired destination by pressing the respective Soft Key or knob top. Chapter 4 EuCon Support of Euphonix MC and System 5-MC 119 To return to send editing mode: m Press the Back key. Pan/Surround Editing Knobset This knobset displays the Pan parameter unless Surround mode is active on the track(s). On tracks where Surround Mode is active, this knobset displays:  Surround Angle  Surround Diversity  LFE  Surround X (left/right)  Surround Y (front/back)  Center Level Press the Back key to return to the top-level knobset. Pressing a knob top sets the controlled parameter to its default value. Groups Knobset This knobset displays all currently used automation groups.  The Soft Keys show group names. Press to choose the respective group(s).  The On key displays and switches between active/inactive group membership for the track.  Pressing the Back key returns to the top-level knobset. Output Knobset If the Output knobset is active, the Soft Keys display all possible output values for the track:  The first value is “Surround,” the second is “--”, meaning no output.  The currently active output is indicated by a lit On key.  Pressing the On key, Soft Key, or knob top chooses the respective output value.  If there are more than eight outputs, you can use the right Page key of the left Page keys to display ensuing outputs.  If the selected track is a surround track, pressing the two Page keys simultaneously will switch to Surround Output Configuration mode: the Soft Keys display the surround format parameters (Stereo, LCR, Center Only, Quadro, and so on) of a track. Again, the active value is indicated by a lit On key and pressing the On key, Soft Key or knob top chooses the respective value.  Pressing the Back key returns to the top-level knobset. 120 Chapter 4 EuCon Support of Euphonix MC and System 5-MC Assignable Knob The Assignable Knob can be used for control of any parameter that can be automated. You must click on the target parameter with the mouse. Pointing with the mouse is not sufficient to assign a parameter. Pressing the knob top locks/unlocks the Assignable Knob. When locked, clicking a parameter with the mouse will not reassign the Assignable Knob. Both the On and the Smart key switch the currently assigned parameter between values of 0 and 1 (useful for on/off parameters). Monitors and Control Room Logic Pro does not support EuCon monitoring control. Please use the Studio Monitor Pro application. Clear Keys The “Clear Mute” and “Clear Solo” keys turn off Mute or Solo on all tracks. The Clear Mute/Clear Solo key is lit when any track is muted/soloed. The button without a label above the Clear Mute key provides a special feature on the CM408T: when it is active (lit), pressing a CM408T key/knob activates the respective view (knobsets, sub-menus, and so on) for all channels. Track Control Bar The Track Control Bar of the Logic Arrange window offers a special feature on the Euphonix MC and System 5-MC devices: it shows “attentioned” tracks in light blue. All currently “accessed” tracks are shown in dark blue. Note: The color of the track control bar can not be changed in the Control Surface Setup window. System 5-MC Specific Features This section describes how the System 5-MC‘s CM408T fader module controls Logic in EuCon mode. TFT Display  Level meters: Display the level of the respective track. Two discrete stereo level meters are shown for stereo tracks.  Track Info section: Displays the track name, number, stereo/surround mode, input and output assignments. Chapter 4 EuCon Support of Euphonix MC and System 5-MC 121  Graphs: In all knobsets (except EQ), the graph section displays the current pan or surround position. If the EQ knobset is selected, the graph section displays the current frequency response. If the EQ plug-in is bypassed, the curve is displayed in gray, rather than green.  Knobset assignment: The eight lines normally display the assignment of a knob. The current value of a knob is displayed when it is touched. In the Output and Group knobset, a green frame is shown around the text of knob cells with a lit On key.  Color bar: The color corresponds to the color assigned to the audio channel (or Logic instrument) of the track. Two Keys Above Knobsets Pressing the two keys above a knobset is equivalent to pressing the MC Back key: You move up one level in the hierarchy, if applicable. Knob Cells The CM408T knob cells are almost identical to the MC knob cells. There is just one difference: They feature a four-character LED, but no Soft Key. Top Level Knobset Keys These keys allow you to access knobsets directly:  “*” (asterisk) key: Same as Inserts Soft Key (see “Inserts (Configuration) Knobset” on page 115).  Input: Accesses Input knobset (see “Input Knobset” on page 116)  Dyn: Selects the Dynamic knobset (see “Dyn(amic) Knobset” on page 117).  EQ: Selects the EQ/Filter knobset (see “EQ Knobset” on page 118).  Aux: Selects the Sends knobset (see “Sends Knobset” on page 118).  Pan: Selects the Pan knobset (see “Pan/Surround Editing Knobset” on page 119).  Grp: Selects the Group knobset (see “Groups Knobset” on page 119).  Mix: Selects the Output knobset (see “Output Knobset” on page 119). In Keys These keys allow you to switch the bypass status of particular plug-in types.  Ins In key: Switches the bypass status of all plug-ins that do not belong to the dynamic, EQ, or filter categories (please note that this also applies to Audio Unit plug-ins).  Dyn In: Switches the bypass status of all dynamic plug-ins (please note that this only applies to Logic, not Audio Unit plug-ins).  EQ In: Switches the bypass status of all EQ plug-ins (please note that this only applies to Logic, not Audio Unit plug-ins).  Filt In: Switches the bypass status of all filter plug-ins (please note that this only applies to Logic, not Audio Unit plug-ins). 122 Chapter 4 EuCon Support of Euphonix MC and System 5-MC Identical Keys The following CM408T keys work in the same fashion as their MC counterparts:  Page/Configure key  Channel Select key  Rec key  Solo key  On key 5 123 5 CM Labs Motormix Set Up Please follow these steps before using your control surface with Logic Pro 7.  Ensure that your Motormix unit(s) are connected bi-directionally with the MIDI interface.  Choose Logic Pro > Preferences > Control Surfaces > Setup.  Choose the New > Install menu item from the Setup window’s local menu.  Select “Motormix” in the Install window, choose “Add,” then set the appropriate MIDI In and Out ports in the Setup window—for each Motormix unit. Assignment Overview A right-aligned modifier button (SHIFT, for example) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Select Buttons The Select buttons (buttons just below the LCD) have multiple uses, depending on the current mode. Mode Assignment normal Selects track displayed in upper LCD line. Tracks can be shifted to the left and right with the View left and right buttons. bank button LED flashing Track View Select mode: selects type of tracks to be displayed:  1: Track View  2: Arrange View  3: Global View, MIDI tracks  4: Global View, Input channels  5: Global View, Audio tracks  6: Global View, Audio Instruments  7: Global View, Bus, and Aux channels  8: Global View, Outputs, and Master 124 Chapter 5 CM Labs Motormix WINDOW/ tool button LED on Opens, activates, or closes a window of a certain class. LED off: If the window is not open, the button opens it. LED on: If the window is open, but not active, the button activates it. LED flashes: If the window is active, the button closes it.  1: Arrange Window  2: Track Mixer  3: Event List  4: Score Editor.  5: Hyper Editor  6: Matrix Editor.  7: Transport window  8: Audio window. WINDOW/ tool button flashes Chooses a tool.  1: Pointer  2: Pencil  3: Eraser  4: Text tool  5: Scissors  6: Glue  7: Solo tool  8: Mute tool PLAY/ transport button flashes Transport section  1: Record  2: Pause  3: Stop  4: Play  5: Rewind  6: Fast Forward  Upper LCD row displays current clock position. STOP/locate button flashes Locating functions  1: Goes to left locator.  2: Goes to right locator.  3: Enables/Disables Cycle.  4: Enables/Disables Drop.  5: Enters Marker mode (see below).  6: Opens floating Marker List.  Upper LCD row displays current clock position. Marker mode  1 to 6: Selects markers 1 to 6. Marker names are displayed in the upper LCD row.  7: Creates a new marker.  8: Deletes current marker. Group Edit mode Switches between group parameters. Parameter view can be shifted by the View left and right buttons when the SHIFT button is held down. Plug-in Assign Enters Plug-in Edit mode for selected track. Plug-in Edit Enables/Disables parameter or resets it to default value. Mode Assignment Chapter 5 CM Labs Motormix 125 Note: In modal dialogs, the Select buttons generate the computer keyboard character shown on the button face. Rotary Pots Instrument Assign Enters Instrument Edit mode for selected track. Instrument Edit Enables/Disables parameter or resets it to default value. Mode Assignment Control Assignment Rotary pots 1 to 8 Control parameter chosen with the Rotary Selector, as displayed in the 7 segment display (see below). 7 segment display Shows current selection for Rotary pots: Send editing (S-MUTE or PRE/PST LED is on):  S1 to S8 = Send 1 to 8 level  F1 to F8 = EQ band 1 to 8 frequency  G1 to G8 = EQ band 1 to 8 gain  q1 to q8 = EQ band 1 to 8 Q factor Pan/Surround editing (select LED is on):  Pn = Pan  An = Surround Angle  dv = Surround Diversity  FE = Surround LFO  Md = Assign Surround Mode  X = Surround X  Y = Surround Y Track parameter editing (eff-4 LED is on):  VL = Volume  Pn or An = Pan/Surround Angle  Md = Channel Mode  In = Channel input  Ou = Channel output  Au = Automation mode  Gr = Group membership Assignment:  d1 to d8 = Assign Send 1 to 8 destination Plug-in editing (DSP/compare LED is on):  P1 to 15 = Assign Insert slot 1 to 15 to plug-in  P1. to 15. = Plug-in parameter editing Instrument editing (DSP/compare LED is on):  IA = Assign instrument  IE. = Instrument parameter editing. Group property editing (group LED is on):  G1 to 32 = group number 126 Chapter 5 CM Labs Motormix Multi Buttons These buttons (labelled A to H) have multiple uses, depending on the current mode, as indicated by the green and yellow LEDs to the right. Note: In modal dialogs, the Multi buttons generate the computer keyboard character shown on the button face. Rotary Selector Selects a slot or parameter for rotary encoders, depending on the parameter type(s) being edited with the rotary encoders:  Send slot when editing send level or assigning send destination.  EQ band when editing an EQ parameter.  Effect/Instrument slot when assigning an effect/instrument.  Pan/Surround parameter when editing a Pan/Surround parameter.  Track parameter when editing a Track parameter.  Effect/instrument parameter page when editing a plug-in or instrument. Rotary Selector push button Switches Flip mode between Off and Duplicate (faders duplicate rotary encoder assignments). SHIFT Switches Display mode for channel strip displays: switches between:  Page info in upper line, parameter name in lower line.  Parameter name in upper line, parameter value in lower line. Control Assignment Mode Assignment fx bypass Enables/Disables bypass of currently selected insert effect. SHIFT (eff-1) Enables/Disables bypass of currently selected EQ band and switches rotary encoders to EQ frequency editing. s-mute Enables/Disables bypass of currently edited Send and switches rotary encoders to send level editing. SHIFT (eff-2) Enables/Disables bypass of currently selected EQ band and switches rotary encoders to EQ Gain editing. pre/post Switches between pre and post of currently edited send and switches rotary encoders to send level editing. Post mode is indicated by a lit LED. SHIFT (eff-3) Enables/Disables bypass of currently selected EQ band and switches rotary encoders to (EQ) Q factor editing. select Switches rotary encoders to Pan/Surround editing. The edited parameter is selected with the Rotary Selector. SHIFT (eff-4) Switches rotary encoders to track parameter editing. Chapter 5 CM Labs Motormix 127 Burn Buttons These buttons (labelled I to P) have multiple uses, depending on the current mode, as indicated by the red LEDs to the left. Note: In modal dialogs, the Burn buttons generate the computer keyboard character shown on the button face. SOLO Buttons These buttons switch the Solo status of the displayed track. Note: In modal dialogs the Solo buttons generate the computer keyboard character shown on the button face. MUTE Buttons These buttons switch the Mute status of the displayed track. Note: In modal dialogs, the Solo buttons generate the computer keyboard character shown on the button face. Mode Assignment record Enables/Disables Record Enable status of track. SHIFT (fnctA) Switches automation mode to Latch. ALL + SHIFT (fnctA) Switches automation mode of all tracks to Latch. write Switches automation mode to Write. ALL Switches automation mode of all tracks to Write. SHIFT (fnctB) Switches automation mode to Read. ALL + SHIFT (fnctA) Switches automation mode of all tracks to Read. burn Switches automation mode to Touch. ALL Switches automation mode of all tracks to Touch. SHIFT (fnctC) Switches automation mode to Off. ALL + SHIFT (fnctA) Switches automation mode of all tracks to Off. 128 Chapter 5 CM Labs Motormix VIEW Section Left Function Buttons Control Assignment Left/right buttons In Plug-in and Instrument Edit mode: shifts the parameter bank by one bank. In other modes:  If BANK LED is off: shifts the fader bank by one channel.  If BANK LED is on: shifts the fader bank by one bank. SHIFT In Plug-in and Instrument Edit mode: shifts the parameter bank by one parameter. In Group Edit mode, the group parameter bank is shifted. bank Switches mode of left/right buttons (see above). SHIFT Sets Select buttons to Track View Select mode (see below). group Sets Select buttons, rotary encoders and Multi buttons to Group Edit mode. SHIFT Displays tracks’ group assignments in the LCD. The rotary encoders allow you to change assignments. Control Assignment AUTO ENBL/mode Currently unassigned. SHIFT Switches rotary encoders to automation enable mode. SUSPEND/create While held down, the groups are temporarily disabled. SHIFT Creates a new group and enters Group Edit mode. PLUG-IN/compare Switches rotary encoders and Multi buttons to Plug-in Assign mode. The Rotary Select knob is used to select the Insert slot you want to use/edit. In Plug-in Assign or Instrument Assign mode, it switches to Pan mode. In Plug-in Edit mode, it switches to Plug-in Assign mode. In Instrument Edit mode, it switches to Instrument Assign mode. SHIFT Switches rotary encoders and Multi buttons to Instrument Assign mode. WINDOW/tools Switches Select buttons to Window Select mode. SHIFT Switches Select buttons to Select Tool mode. ALL/alt/fine While ALL/alt/fine is held down, rotary encoders are in full mode: rotating counter-clockwise sets minimum, rotating clockwise sets maximum value. SHIFT while SHIFT and ALL/alt/fine are held down, rotary encoders are in fine mode. DEFAULT/bypass Currently unassigned. SHIFT In Instrument Edit mode: switches bypass state of the instrument. In Plug-in Edit mode: switches bypass state of the currently edited plug-in. UNDO/save Performs an Undo step. The LED is lit if there is a Redo step available. SHIFT Saves the song. The LED is lit if the song contains unsaved changes. SHIFT Switches to Shift mode—where the functions indicated by the lower case (inverted) labels below the buttons apply. Chapter 5 CM Labs Motormix 129 Faders The faders normally control volume, except when in Flip mode, where they duplicate the rotary encoder assignments. Right Function Buttons Control Assignment PLAY/ transport Play key command. SHIFT Switches Select buttons to Transport Section mode. STOP/locate Stop key command. SHIFT Switches Select buttons to Locate mode. FFWD/monitor Shuttle Forward key command. SHIFT Opens System Performance window. REWIND/status Shuttle Rewind key command. SHIFT Opens Synchronization window. NEXT/configure Navigates to next marker. LAST/assign When rotary encoders are displaying send destinations, use of LAST/assign switches them back to displaying send levels. Otherwise: goes to previous marker. SHIFT When rotary encoders are displaying send levels, use of LAST/assign switches them to displaying send destinations. When rotary encoders are in Plug-in Edit mode, use of LAST/assign switches them to Plug-in Assign mode. When rotary encoders are in Instrument Edit mode, use of LAST/assign switches them to Instrument Assign Mode. ENTER/utility Identical to Enter key on computer keyboard. SHIFT Opens Automation Settings window. ESCAPE When LED is lit, escapes from “special” mode (denoted by flashing LED). At all other times: identical to Esc key on computer keyboard. 6 131 6 Frontier Design TranzPort Set Up Please follow these steps before using your control surface with Logic Pro 7.  Ensure that the software shipped with the TranzPort is installed.  Make sure that the “Tranz Bridge” (the wireless transmitter) is connected to the computer via USB.  When Logic Pro 7 is launched, it installs the TranzPort automatically, and sets it to “native mode.” LCD The LCD displays the following information:  Top line left: name of currently displayed track.  Top line middle: volume of currently displayed track.  Top line right: panning of currently displayed track.  Bottom line left: level meter of currently displayed track (stereo).  Bottom line right: current clock position. 132 Chapter 6 Frontier Design TranzPort Assignment Overview A right-aligned SHIFT (or other) button below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Channel Strip Master Section Control Assignment Shift the currently displayed track right by one track. SHIFT Shift the currently displayed track right by eight tracks. REC Activate/Deactivate Record Enable button for the currently displayed track. SHIFT Disable Record Enable button for all tracks. SOLO Enables/Disables Solo for the currently displayed track. SHIFT Disable Solo for all tracks. MUTE Enables/Disables Mute for the currently displayed track. SHIFT Disable Mute for all tracks. ANY SOLO Lit if any tracks or Regions are soloed. UNDO Undo SHIFT Redo Control Assignment SHIFT Modifier for function of other controls. IN Go to left Cycle locator. PUNCH Engage Drop and set Drop In locator to SPL. LOOP Engage Cycle and sets left Cycle locator to SPL. OUT Go to right Cycle locator. PUNCH Engage Drop and set Drop Out locator to SPL. LOOP Engage Cycle and set right Cycle locator to SPL. PUNCH Enables/Disables Drop mode. LOOP Enables/Disables Cycle mode. PREV Go to previous marker. SHIFT Set locators by previous marker. ADD Create marker at SPL. SHIFT Delete marker at SPL. NEXT Go to next marker. SHIFT Set locators by next marker. Chapter 6 Frontier Design TranzPort 133 External Input Jog Wheel Depending on current Jog Wheel mode: • Move SPL by bars. • Audio scrubbing or • Shuttle. SHIFT Adjust volume of the currently displayed track. LOOP Set the Left locator to the current SPL, advance the SPL as per usual, then set the Right locator to the SPL. Further Jog Wheel use while holding down LOOP advances the SPL and sets the Right locator. Tip: Rotating the Jog Wheel counter-clockwise while holding down LOOP defines a skip-cycle range. DROP Set the Drop In locator to the current SPL, advance the SPL as per usual, then set the Drop Out locator to the SPL. Further jog wheel use while holding down DROP advances the SPL and sets the Drop Out locator. REW Shuttle backward. SHIFT Go to last play position. PUNCH Engage Drop mode and set Drop In locator to SPL. LOOP Engage Cycle mode and set left locator to SPL. F FWD Shuttle forward. PUNCH Engage Drop mode and set Drop Out locator to SPL. LOOP Engage Cycle moce and set right locator to SPL. STOP Stop SHIFT Switch Jog Wheel modes between Move SPL by Bars, Audio Scrubbing and Shuttle. PLAY Play SHIFT Pause RECORD Record SHIFT Save Control Assignment Control Assignment Foot Switch Drop In/Out 7 135 7 JLCooper CS-32 MiniDesk Set Up Please follow these steps before using your control surface with Logic Pro 7.  Install the software that ships with the CS-32.  Ensure that the CS-32 is in Host mode:  Make sure that your CS-32 unit(s) are connected to the computer via USB or MIDI. USB units are installed automatically. You must manually scan for MIDI units:  Choose Logic > Preferences > Control Surfaces > Setup.  Choose New > Install in the Setup window’s local menu.  Select the CS-32 from the list in the Install window.  Click the Scan button. Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Display The 2-digit 7-segment display shows information on the current mode and currently edited parameter: Display text Meaning -- A “switching” parameter (Solo, Mute, Rec/Rdy) has been disabled. AE Mute buttons 1–6 display/set Automation Enable. AS Pots are in Pan/Send Assignment mode. b1–b9 Pots are in Plug-in or Instrument bank select mode. In Pots are in Instrument Edit mode. Lt Mute buttons display/set “Latch” automation mode. MI Mute buttons display/set “MIDI” automation mode. Mu Mute has been enabled. P1–P9 Pots are in Plug-in Edit mode. 136 Chapter 7 JLCooper CS-32 MiniDesk Pots As the pots are not motorized, Pickup mode is used, if enabled in the Control Surfaces preferences. This means that the pots will not “take over” until NULLed. NULL status is displayed by the NULL arrow LEDs. The Upper arrow is lit if the pot’s value is above the NULL point, the Lower arrow is lit if the pot’s value is below the NULL point, and both arrow LEDs are lit if NULLed. The pots can operate in one of three modes, with one sub-mode each. Pan/Send Mode In Pan/Send mode (enabled with F7; display shows “PA”), the pots control global track parameters: While SHIFT is held down (display shows “AS”), the pots perform the following assignments: PA Pots are in Pan/Send mode. rd Mute buttons display/set “Read” automation mode. Re Rec/Rdy has been enabled. So Solo has been enabled. Tc Mute buttons display/set “Touch” automation mode. Wr Mute buttons display/set “Write” automation mode. Other text When a track is selected, the first two characters of its name are shown briefly. Numbers While editing a numerical value with a fader or pot, the current value is displayed. If there are more than two digits, only the last digits of the mantissa are displayed. Signs (+/–) are only shown if only one digit is displayed. Display text Meaning Control Assignment SEND A/P1 Controls Send 1 Level of selected track. SEND B/P2 Controls Send 2 Level of selected track. PAN/P3 Controls Pan of selected track. SEND C/P4 Controls Send 3 Level of selected track. SEND D/P5 Controls Send 4 Level of selected track. SEND E/P6 Controls Send 5 Level of selected track. Control Assignment SEND A/P1 Assigns Send 1 Destination of selected track. SEND B/P2 Assigns Send 2 Destination of selected track. PAN/P3 Assigns Track mode of selected track. SEND C/P4 Assigns Send 3 Destination of selected track. Chapter 7 JLCooper CS-32 MiniDesk 137 Instrument Edit Mode In Instrument Edit mode (enabled with F8; display shows “In”), the pots control instrument parameters. With SHIFT held down (display shows “b1”–“b9”), you can choose the parameter bank (see “Cursor Section” on page 139). Plug-in Edit Mode In Plug-in Edit mode (enabled with F9, display shows “P1”–”P9”), the pots control plugin parameters of the currently selected insert. With SHIFT held down (display shows “b1”–”b9”), you can choose the current insert and parameter bank (see “Cursor Section” on page 139). Channel Strips SEND D/P5 Assigns Send 4 Destination of selected track. SEND E/P6 Assigns Send 5 Destination of selected track. Control Assignment Control Assignment PAN SELECT/TRACK SELECT Selects track. SOLO Enables/Disables Solo. LOCATE Navigates to markers 1–32. SHIFT LOCATE 17: Creates new marker. LOCATE 18: Creates new marker without rounding. LOCATE 19: Deletes marker at SPL. LOCATE 25: Opens Marker List. LOCATE 26: Opens Marker Text window. LOCATE 28: Sets locators by previous marker. LOCATE 29: Sets locators by current marker. LOCATE 30: Sets locators by next marker. LOCATE 31: Navigates to previous marker. LOCATE 32: Navigates to next marker. MUTE Enables/Disables Mute. F1 Automation Enable setup (display shows “AE”). MUTE 1: Enables/Disables volume automation. MUTE 2: Enables/Disables pan automation. MUTE 3: Enables/Disables mute automation. MUTE 4: Enables/Disables automation of solo. MUTE 5: Enables/Disables send automation. MUTE 6: Enables/Disables automation of plug-in parameters. F2 Displays/sets automation mode to “Read” (display shows “Td”). F3 Displays/sets automation mode to “Touch” (display shows “Tc”). F4 Displays/sets automation mode to “Latch” (display shows “Lt”). 138 Chapter 7 JLCooper CS-32 MiniDesk Bank Button F Key Section F5 Displays/sets automation mode to “Write” (display shows “Wr”). F6 Displays/sets automation mode to “MIDI” (display shows “MI”). ARM Activates/Deactivates Record Enable button. Faders Control volume. As the faders don’t offer feedback, Pickup mode is used, if enabled in the Control Surfaces preferences. This means that they will not “take over” until NULLed. NULL status is displayed by the NULL arrow LEDs. Upper arrow is lit if the pot’s value is above the NULL point, the lower arrow is lit if the pot’s value is below the NULL point, and both are lit if NULLed. Control Assignment Control Assignment (Small red button with green LED) LED off: black labels of channel strip buttons apply (TRK/LOC/ARM). LED on: white labels of channel strip buttons apply (PAN/SOLO/MUTE). Control Assignment SHIFT Modifier for function of other controls. See right-aligned “SHIFT” in left column. F1 While held down, MUTE buttons 1–6 enables/disables automation of certain parameters (see MUTE). SHIFT Enables/Disables Cycle mode. F2 While held down, MUTE buttons set automation mode to Read. SHIFT Enables/Disables Drop mode. F3 While held down, MUTE buttons set automation mode to Touch. SHIFT Sets left locator by current SPL. F4 While held down, MUTE buttons set automation mode to Latch. SHIFT Sets right locator by current SPL. F5 While held down, MUTE buttons set automation mode to Write. SHIFT Sets Drop In locator by current SPL. F6 While held down, MUTE buttons set automation mode to MIDI. SHIFT Sets Drop Out locator by current SPL. F7 Sets pots to Pan/Send mode (display shows “PA”). SHIFT Enables/Disables metronome click. F8 Sets pots to Instrument Edit mode (display shows “In”). F9 Sets pots to Plug-in Edit mode (display shows “P1”–”P9”). Chapter 7 JLCooper CS-32 MiniDesk 139 Cursor Section Transport Section Jog Wheel Section Control Assignment Up Zooms out vertically. SHIFT In Plug-in edit mode: decrements current Insert slot. Down Zooms in vertically. SHIFT In Plug-in Edit mode: increments current Insert slot. Left Zooms out horizontally. SHIFT In Instrument and Plug-in Edit modes: decrements current parameter bank. Right Zooms in horizontally. SHIFT In Instrument and Plug-in Edit modes: increments current parameter bank. Control Assignment RECORD Record STOP Stop REW Moves SPL backward by one bar. PLAY Play F FWD Moves SPL forward by one bar. Control Assignment Jog Wheel SCRUB off: moves SPL in bars. SCRUB on: Audio Scrubbing. SHUTTLE on: Shuttle mode. SCRUB Switches Jog Wheel between Move SPL by Bars and Audio Scrubbing mode. SHUTTLE Switches Jog Wheel between Move SPL by Bars and Shuttle mode. 8 141 8 JLCooper FaderMaster 4/100 Requirements You need one or more FaderMaster 4/100 (MIDI or USB version) units with firmware version 1.03 or higher. Important: If you have older firmware (see the sticker on the back of the unit), please contact JLCooper. Set Up Please follow these steps before using your control surface with Logic Pro 7.  USB model only: install the software that ships with the FaderMaster 4/100.  Ensure that your FaderMaster 4/100 unit(s) are connected to the computer via USB or MIDI. USB units are installed automatically. You must manually scan for MIDI units: 1 Choose Logic > Preferences > Control Surfaces > Setup. 2 Choose New > Install in the Setup window’s local menu. 3 Select the FaderMaster 4/100 from the list in the Install window. 4 Click the Scan button. Note: You can combine several FaderMaster 4/100 units to form one large virtual control surface. The meaning/functionality of the Track buttons, however, are individually switched for each unit. 142 Chapter 8 JLCooper FaderMaster 4/100 Assignment Overview The following assigment tables are broken down into “zones” of the FaderMaster 4/100. Global buttons Channel Strip Control Assignment Select Switches Track buttons to track selection. Aux Switches Track buttons to Record Ready. Solo Switches Track buttons to Solo. Mute Switches Track Buttons to Mute. Inc Increases fader bank display to show next four tracks. Dec Decreases fader bank display to show previous four tracks. Control Assignment Track button Performs currently selected function (Select, Record Ready, Solo, Mute). Fader Controls volume (touch sensitive and motorized). 9 143 9 Korg microKONTROL and KONTROL49 Set Up Please follow these steps before using your control surface with Logic Pro.  Ensure that your unit(s) is/are connected to the computer via USB.  Boot Logic, and the unit(s) will be scanned for, and installed automatically.  When Logic launches, the microKONTROL/KONTROL49 is automatically set to “Native mode”—internal Scene settings are ignored. Note: If installation and identification fails, it may be possible that the microKONTROL/ KONTROL49 reaction time is too slow, due to USB bus-power issues. In this situation, connect the supplied power adapter, and set the power switch to the “DC” position. When Logic quits (or the icon is removed from the Control Surface Setup window), the microKONTROL/KONTROL49 is reset to normal operation. Assignment Overview A right-aligned modifier button (shown below a button description) indicates that the button has an alternate meaning/use while holding down this modifier. Pads The Pads can operate in one of eight modes and three overlays. While pressing SCENE, the Pads allow you to select modes for the Pads and channel strips. Releasing SCENE without pressing a Pad does not affect the currently selected Pad or Channel Strip modes. Pad Assignment 1 Switches Pads to Transport mode. 2 Switches Pads to Solo/Mute mode. 3 Switches Pads to Rec/Select mode. 4–8 Switches Pads to User 4–8 mode. These modes have unassigned Pads. You can add assignments to key commands with the Learn function. 9 Switches channel strips to Pan mode. 144 Chapter 9 Korg microKONTROL and KONTROL49 Transport Mode This mode is enabled by pressing SCENE and Pad 1. Solo/Mute Mode This mode is enabled by pressing SCENE and Pad 2. Rec/Select Mode This mode is enabled by pressing SCENE and Pad 3. 10 Switches channel strips to Send mode. 11 Switches channel strips to Automation mode. 12 Switches channel strips to Instrument Edit mode. 13 Switches channel strips to Plug-in Edit mode. 14–16 Switches channel strips to User 6–8 mode. These modes have unassigned encoders. You can add assignments with the Logic Learn function. Pad Assignment Pad Assignment 1 Sets main encoder to Transport mode. 2 Sets main encoder to Scrub mode. 3 Sets main encoder to Shuttle mode. 7 Switches sync between internal and external. 8 Enables/Disables metronome click (separately for Playback and Record). 9 Enables/Disables Cycle function. 10 Enables/Disables Drop function. 11 Enables/Disables Replace function. 12 Enables/Disables Solo function. 13 Record 14 Pause 15 Play 16 Stop Pad Assignment 1–8 Enables/Disables Solo for the eight tracks being controlled with the eight channel strips. 9–16 Enables/Disables Mute for the eight tracks being controlled with the eight channel strips. Pad Assignment 1–8 Activates/Deactivates Record Enable button for the eight tracks being controlled with the eight channel strips. 9–16 Selects one of the eight tracks being controlled with the eight channel strips. Chapter 9 Korg microKONTROL and KONTROL49 145 User 4–8 Modes These modes are enabled by pressing SCENE and Pad 4 to 8. In these modes, the Pads are unassigned. Use the Learn function (Logic > Preferences > Control Surfaces > Learn Assignment for xxx) to assign them to key commands, for example. Send Mode This mode is enabled by pressing SCENE and Pad 10. Send overlay Pressing SETTING while the encoders are in Send mode, changes the operation of the Pads in Send mode. Plug-in Edit Mode This mode is enabled by pressing SCENE and Pad 13. Plug-in Edit overlay Pressing SETTING while the encoders are in Plug-in Edit mode changes the operation of the Pads in Plug-in Edit mode. Main Section The main LCD shows information on the current mode of the encoders. Pad Assignment 1–8 Switches send bypass state of the currently selected send for the eight channel strips. 9–16 Switches send position (Pre/Post) of the currently selected send for the eight channel strips. Pad Assignment 1–8 Switches plug-in bypass state of the currently selected Insert slot for the eight channel strips. Display text Meaning Encoders edit Instrument parameters. Encoders edit Plug-in parameters (xx is for the currently selected insert). Automatn Encoders control Automation mode. Ins. x (SETTING held down) Main encoder chooses Plug-in insert. ModePad? Displayed while SCENE button is held down. Pan Encoders control pan. Send x Encoders control send level of send x. User 6 Channel Strip User Mode 6. Encoders are initially unassigned. User 7 Channel Strip User Mode 7. Encoders are initially unassigned. User 8 Channel Strip User Mode 8. Encoders are initially unassigned. 146 Chapter 9 Korg microKONTROL and KONTROL49 The LCD backlight is red while recording, and green at other times. The controls in the main section have the following meaning: Channel Strips There are several modes for the encoders, enabled with SCENE and Pad 9–16. External Input Control Assignment Main encoder Controls SPL in one of three modes (see Pads 1–3 in “Transport Mode” on page 144). SETTING Held down in Send mode:  Main encoder chooses current send.  Pads have special meaning—see “Send Mode” on page 145.  LCDs display send destinations.  Encoders choose send destinations. Holding down in Plug-in Edit mode:  Main encoder chooses current plug-in insert.  Pads have special meaning—see “Plug-in Edit overlay” on page 145.  LCDs display plug-in name of the eight tracks. MESSAGE Enables/Disables Flip mode. When enabled, the encoders control volume and the faders control the parameter displayed in the LCDs. SCENE While held down, pads switch Pad and Channel Strip modes. See “Pads” on page 143. EXIT — HEX LOCK Shifts fader bank to the previous eight tracks (LED is on if previous tracks exist). ENTER Shifts fader bank to the next eight tracks (LED is on if subsequent tracks exist). < Octave Shift Down > Octave Shift Up Control Assignment LCD Shows the parameter controlled by the encoder. The currently chosen value is displayed for a few seconds while operating an encoder or fader. When the encoders are in a multi-channel view (Pan, Send, Send Setup), the background color indicates the track’s automation mode:  green—off or Read  yellow—Touch or Latch  red—Write or MIDI Encoder Controls the parameter shown directly above the encoder in the LCD. Fader Controls volume. As the faders don’t offer feedback, “Pickup mode” is used if enabled in the Logic Preferences. This means that they will not “take over” until NULLed. Control Assignment Foot Switch Starts and stops playback. Pedal Controls master volume. 10 147 10 Mackie Baby HUI Set Up Please make sure that your Baby HUI unit(s) is/are connected bi-directionally with the computer. You must manually scan for Mackie Baby HUI units: 1 Choose Logic > Preferences > Control Surfaces > Setup. 2 Choose New > Install in the Setup window’s local menu. 3 Select Baby HUI in the Install window. 4 Click the Scan button. Assignment Overview A right-aligned SHIFT below a button description indicates that the control has an alternate meaning/use while holding down this modifier. Channel Strips Control Assignment Rotary encoder Adjusts parameter selected in the Encoder Assignment section. Rotary encoder push button Selects track. SHIFT Enables/Disables Record Ready. Signal indicator Illuminates when a signal is present in the channel. It also indicates channel selection. SOLO Enables/Disables Solo. MUTE Enables/Disables Mute. Fader Adjusts volume. 148 Chapter 10 Mackie Baby HUI Encoder Assignment Section Automation Section Display Section Utility Section Control Assignment PAN Assigns Pan to rotary encoders. SEND 1 Assigns Send 1 Level to rotary encoders. SEND 2 Assigns Send 2 Level to rotary encoders. SEND 3 Assigns Send 3 Level to rotary encoders. SEND 4 Assigns Send 4 Level to rotary encoders. Control Assignment BYPASS/OFF Sets selected track to automation mode Off. SHIFT Enables/Disables automation playback and recording of volume. READ Sets selected track to automation mode Read. SHIFT Enables/Disables automation playback and recording of mute. WRITE Sets selected track to automation mode Write. SHIFT Enables/Disables automation playback and recording of pan. TOUCH Sets selected track to automation mode Touch. SHIFT Enables/Disables automation playback and recording of Send Level. Control Assignment TRANSPORT Opens/Closes the Transport window. MEM–LOC Opens/Closes the Marker List. MIXER Opens/Closes the Track Mixer. EDIT Opens/Closes the Arrange window. Control Assignment UNDO Performs Undo. SHIFT Shifts to alternate use of some buttons (see below). Chapter 10 Mackie Baby HUI 149 Navigation Section Transport Section Control Assignment RTZ Navigates to the left locator. SHIFT Sets Drop In locator. END Navigates to the right locator. SHIFT Sets Drop Out locator. BANK SELECT Left Shifts channel strips by one bank to the left. SHIFT Shifts channel strips by one channel to the left. BANK SELECT Right Shifts channel strips by one bank to the right. SHIFT Shifts channel strips by one channel to the right. Control Assignment REWIND Shuttles backward. FAST FWD Shuttles forward. STOP Stop PLAY Play RECORD Record 11 151 11 Mackie C4 Set Up A powered Mackie C4 unit will automatically be detected when Logic Pro is launched. You can use the C4 in an independent control surface group (with other control surface icons placed above/below the C4 icon), or combined into one control surface group with one or more control surfaces (such as the Logic Control—place the icon to the right or left of the existing icon(s). Although the C4 can be used independently, it is most useful when combined with other control surfaces, particularly the Logic/Mackie Control. In the latter case, the C4 adds eight channels in Multi Channel view. Using the C4 in its own control surface group allows you to edit instruments and plug-ins independently, while performing mixing and other tasks on the Logic/Mackie Control or other control surface. V-Pots, V-Selects Functionality depends on current view mode, and optional overlay (see below).  The top row (row 1) consists of V-Pot/V-Select 1 to 8.  Row 2 consists of V-Pot/V-Select 9 to 16.  Row 3 consists of V-Pot/V-Select 17 to 24.  The bottom row (row 4) consists of V-Pot/V-Select 25 to 32. V-Pot/V-Select 1 to 8 While no overlay is active, V-Pot/V-Selects 1 to 8 (the top row) normally perform in the same way as their counterparts on a Logic Control or Logic Control XT. See “The Assignment Zone” on page 54. V-Pot/V-Select 9 to 32 These V-Pots have additional functionality in many views. In Multi Channel views, the V-Pot/V-Selects of rows 2, 3 and 4 usually edit the parameter that “follows” the parameter edited on row 1. 152 Chapter 11 Mackie C4 Example: In Pan Multi Channel view (see “Multi Channel View” on page 57); where row 1 edits the Pan/Surround Angle, row 2 edits Surround Diversity, row 3 edits LFE and row 4 edits Surround mode. In Channel Strip view, all four rows build a group of 32 editable parameters. In Plug-in and Instrument Edit views, it can be split into two groups (8/24, 16/16 or 24/8 parameters), see “SPLIT” on page 157. Pan/Surround Multi Channel View In Pan/Surround Multi Channel view:  Row 1 edits Pan/Surround parameter 1.  Row 2 edits Pan/Surround parameter 2.  Row 3 edits Pan/Surround parameter 3.  Row 4 edits Pan/Surround parameter 4 (in this order; Pan/Angle, Diversity, LFE, Surround Mode, X, Y). SINGLE Left/Right changes the parameter edited in row 1, thus affecting the parameters shown and edited in rows 2 to 4. To access Pan/Surround Multi Channel view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels appear on the C4 displays. 2 Press V-Select 18 (labeled Surrnd MultiC). Pan/Surround Channel Strip View In Pan/Surround Channel Strip view, row 1 edits all eight surround parameters of a surround channel. If a stereo or mono channel is selected, V-Pot 1 edits the Pan (or Balance) parameter. To access Pan/Surround Channel Strip view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels appear on the C4 displays. 2 Press V-Select 26 (labeled Surrnd). Track Multi Channel View In Track Multi Channel View, the lowest V-Pot row (row 4) edits the currently chosen track parameter. Row 3 edits track parameter 2, Row 2 track parameter 3, and row 1 track parameter 4. The row order is reversed, so that the lowest row (editing parameter 1) is closest to the buttons. Chapter 11 Mackie C4 153 The V-Pots edit the following track parameters in this order: Volume, Pan/Angle, Track Mode, Input, Output, Automation Mode, Group, Displayed Automation Parameter). BANK Left/Right and SINGLE Left/Right change the parameter edited in row 4, thus affecting the parameters shown/edited in rows 1 to 3. To access Track Multi Channel view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels appear on the C4 displays. 2 Press V-Select 17 (labeled Track MultiC). EQ Multi Channel View In EQ Multi Channel view:  Row 1 edits EQ band bypass.  Row 2 edits EQ band frequency.  Row 3 edits EQ band gain/slope.  Row 4 edits EQ band Q factor.  The SLOT UP/DOWN buttons select the EQ band. This only works if a Channel or Linear Phase EQ is inserted in the selected channel strip. To access EQ Multi Channel view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels appear on the C4 displays. 2 Press V-Select 19 (labeled EQ MultiC). EQ Channel Strip View In EQ Channel Strip view:  Row 1 edits EQ Frequency of all eight bands.  Row 2 edits EQ Gain/Slope of all eight bands.  Row 3 edits EQ band Q factor of all eight bands.  Row 4 edits EQ bypass of all eight bands. If no Channel or Linear Phase EQ is present on the selected track, a Channel EQ will be inserted automatically when the EQ Channel Strip view is entered. The TRACK L and TRACK R buttons switch to the previous or next track. If you switch to a track with no Channel or Linear Phase EQ inserted, the C4 displays show “–” and the V-Pots do nothing. To access EQ Channel Strip view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels appear on the C4 displays. 154 Chapter 11 Mackie C4 2 Press V-Select 27 (labeled EQs). Send Multi Channel View In Send Multi Channel view:  Row 1 edits send destination.  Row 2 edits send level.  Row 3 edits send position.  Row 4 edits send mute.  The SLOT UP/DOWN button selects the edited Send slot.  The TRACK L and TRACK R buttons shift the fader bank left or right by the number of channel strips in the control surface group. To access Send Multi Channel view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels appear on the C4 displays. 2 Press V-Select 20 (labeled Sends MultiC). Send Channel Strip View In Send Channel Strip view:  Row 1 edits the eight send destinations of the channel strip.  Row 2 edits the send level of sends 1 to 8  Row 3 edits send positions 1 to 8.  Row 4 edits send mutes 1 to 8.  TRACK L and TRACK R switch to the previous or next track. To access Send Channel Strip view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels are shown on the C4 displays. 2 Press V-Select 28 (labeled Sends). Plug-in Select Multi Channel View In Plug-in Select Multi Channel view, the C4 displays the first four Insert slots of the eight selected channels.  Turn a V-Pot to switch between plug-ins.  Press the respective V-Select to insert the selected effect. This enters Plug-in Edit view, where you can directly edit plug-in parameters. See the section below for more information.  The SLOT UP/DOWN buttons switch between Insert slots.  TRACK L and TRACK R shift the fader bank left or right by the number of channel strips in the control surface group. Chapter 11 Mackie C4 155  Holding SHIFT and pressing a V-Select switches the bypass state of the respective Insert slot. Bypassed plug-ins are denoted by an asterisk which precedes the plug-in name(s). To access Plug-in Select Multi Channel view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels are shown on the C4 displays. 2 Press V-Select 21 (labeled PlugIn MultiC). Plug-in Edit View In Plug-in Edit view:  V-Pot/V-Select 1 to 32 builds a group of 32 parameters. Splitting is possible.  SLOT UP/DOWN button selects the desired plug-in insert slot.  BANK Left/Right shifts the edited parameters by one page. In Split mode, this applies to Split Upper. When holding down SHIFT, this applies to Split Lower.  SINGLE Left/Right shifts the edited parameters by 1. In Split mode, this applies to Split Upper. When holding down SHIFT, this applies to Split Lower. To access Plug-in Edit view: m Access Plug-in Select Multi Channel view, then insert or select a plug-in (see section above for details). This automatically switches to Plug-in Edit view. Instrument Select Multi Channel View In Instrument Select Multi Channel view, the C4 displays the Instrument slots of the selected instrument channels.  Turn a V-Pot to select an instrument.  Press the respective V-Select to insert the selected instrument. This enters Instrument Edit view, where you can edit instrument parameters. See the section below for more information.  TRACK L and TRACK R shift the fader bank left or right by the number of channel strips in the control surface group.  Holding SHIFT and pressing a V-Select switches the bypass state of the respective Instrument slot. An asterisk symbol precedes the name of bypassed instruments. To access Instrument Select Multi Channel view: 1 Hold the CHAN STRIP button. The Channel Strip overlay labels are shown on the C4 displays. 2 Press V-Select 22 (labeled Instru MultiC). 156 Chapter 11 Mackie C4 Instrument Edit View In Instrument Edit View:  V-Pot/V-Select 1 to 32 builds a group of 32 parameters. Splitting is possible.  BANK Left/Right shifts the edited parameters by one page. In Split mode, this applies to Split Upper. When holding down SHIFT, this applies to Split Lower.  SINGLE Left/Right shifts the edited parameters by 1. In Split mode, this applies to Split Upper. when holding down SHIFT, this applies to Split Lower. To access Instrument Edit view: m Access Instrument Select Multi Channel view, then insert or select an instrument (see section above for details). This automatically switches to Instrument Edit view. Cycle View Holding the CHAN STRIP button and pressing V-Select 31 activates Cycle view. In this mode, the V-Pots/V-Selects behave as follows:  V-Pot/V-Select 1 (labeled Cycle): shows and edits the current Cycle status (off or on).  V-Select 2 (labeled BySet): matches the Cycle area to selections made in the Arrange window (selected Audio or MIDI Region).  V-Pot 3 (labeled Move): moves the current Cycle area by a bar with each “click” of the V-Pot, when turned.  V-Pot 4: moves the current Cycle area by a beat with each “click” of the V-Pot, when turned.  The display shows the left and right locators above V-Pots 5 and 7.  Pressing V-Select 5 picks up (uses) the current song position for the left locator.  Turning V-Pot 5 changes the left locator position by bars.  Turning V-Pot 6 changes the left locator position by beats (denominator steps).  Pressing V-Select 7 picks up (uses) the current song position for the right locator.  Turning V-Pot 7 changes the right locator position by bars.  Turning V-Pot 8 changes the right locator position by beats (denominator steps). Drop View Holding the CHAN STRIP button and pressing V-Select 32 activates Drop (also called “punch”) view. In this mode, the V-Pots/V-Selects behave as follows:  V-Pot/V-Select 1 shows and edits the current Drop status (off or on).  V-Pot 3 (labeled Move): moves the current Drop-in area by a bar with each “click” of the V-Pot, when turned.  V-Pot 4: moves the current Drop-in area by a beat with each “click” of the V-Pot, when turned.  The display shows the Drop In and Drop Out locators above V-Pots 5 and 7. Chapter 11 Mackie C4 157  Pressing V-Select 5 picks up (uses) the current song position for the Drop In locator.  Turning V-Pot 5 changes the Drop In locator position by bars.  Turning V-Pot 6 changes the left locator position by beats (denominator steps).  Pressing V-Select 7 picks up (uses) the current song position for the Drop Out locator.  Turning V-Pot 7 changes the Drop Out locator position by bars.  Turning V-Pot 8 changes the right locator position by beats (denominator steps). Note: Changing a drop locator position with the C4 automatically enables Drop mode. Buttons at Bottom The following section outlines the functionality of the buttons found at the bottom of the C4 control surface. SPLIT Switches edit split between 4/0, 1/3, 2/2 and 3/1 rows. Split Edit allows you to simultaneously edit two separate sections of a plug-in/instrument, or even two different plug-ins. Split Edit is also possible across multiple C4 units. As an example with two units, pressing the SPLIT button offers the following split modes:  1/7 (Split Upper is top line of first unit, Split Lower is bottom 3 lines of first unit and all lines of second unit. LED 1/3 is lit.)  2/6 (Split Upper is top two lines of first unit, Split Lower is bottom two lines of first unit and all lines of second unit. LED 2/1 is on.)  3/5 (LED 3/1 is on.)  4/4 (all three LEDs are on.)  5/3 (all three LEDs are on.)  6/2 (all three LEDs are on.)  7/1 (all three LEDs are on.) LOCK Activates/deactivates Track Lock. When enabled, selecting a track does not switch the current track selection. SPOT ERASE Currently unassigned. MARKER Switches between Marker overlay (see “Marker Overlay” on page 160) and normal view. 158 Chapter 11 Mackie C4 TRACK Switches between Track overlay (see “Track Overlay” on page 160) and normal view. Alternate mode options Holding down the TRACK button accesses a further submenu in the lower LCD, enabling you to enter Global view with a certain Object type:  V-Select 25 switches to MIDI tracks.  V-Select 26 switches to Input Objects.  V-Select 27 switches to Audio tracks.  V-Select 28 switches to Audio Instrument tracks.  V-Select 29 switches to Auxiliary Objects.  V-Select 30 switches to Bus Objects.  V-Select 31 switches to Outputs.  V-Select 32 switches to Master Output. Releasing the TRACK button without pressing a V-Select returns to Mixer view. CHAN STRIP Switches between Channel Strip overlay (see “Channel Strip Overlay” on page 160) and normal view. Alternate mode options Holding down the CHAN STRIP button accesses a further submenu in the lower LCD:  V-Select 9 to 16 switches to one of eight user modes, where you can freely assign parameters to V-Pots or V-Selects.  V-Select 17 switches to Track Multi Channel view (see “Track Multi Channel View” on page 152).  V-Select 18 switches to Pan/Surround Multi Channel view (see “Pan/Surround Multi Channel View” on page 152).  V-Select 19 switches to EQ Multi Channel view (see “EQ Multi Channel View” on page 153).  V-Select 20 switches to Sends Multi Channel view (see “Send Multi Channel View” on page 154).  V-Select 21 switches to Plug-in Select Multi Channel view (see “Plug-in Select Multi Channel View” on page 154).  V-Select 22 switches to Instrument Select Multi Channel view (see “Instrument Select Multi Channel View” on page 155).  V-Select 26 switches to Pan/Surround Channel Strip view (see “Pan/Surround Channel Strip View” on page 152).  V-Select 27 switches to EQ Channel Strip view (see “EQ Channel Strip View” on page 153). Chapter 11 Mackie C4 159  V-Select 28 switches to Send Channel Strip view (see “Send Channel Strip View” on page 154).  V-Select 31 activates the Cycle view (see “Cycle View” on page 156).  V-Select 32 activates the Drop view (see “Drop View” on page 156). FUNCTION Switches between Function overlay (see “Function Overlay” on page 161) and normal view. Modifier Buttons The four buttons in this area are similar to those found on your computer keyboard (but are independent of the keyboard modifiers). Many Logic functions behave differently when one or more “modifier” key(s) is pressed, in conjunction with another key or mouse click. This also applies to the C4 control surface. All “modified” C4 commands are covered in each function description. Here is a generic description of the modifier button functions:  SHIFT: Switches other buttons to alternate function.  OPTION: While held down, parameters are set to the minimum, default or maximum value when edited with a V-Pot.  CTRL: Disables the Group function.  x/ALT: While held down, parameters are edited in fine (high resolution) mode with a V-Pot. BANK Left/Right Shifts parameter display by one page in particular view modes. SINGLE Left/Right Shifts parameter display by one parameter in particular view modes. TRACK L/R In Multi Channel view, TRACK L/R shifts the fader bank left or right by the number of channel strips in the control surface group. As an example: If you have two C4 units in a control surface group, the view shifts by 16 channels. Simultaneously pressing TRACK L or TRACK R and OPTION switches the fader bank to the beginning or end. As an example, if you are viewing the first eight channels (of 64 Audio Objects) in the fader bank, pressing OPTION and TRACK L or TRACK R will switch to view the last eight channels in the fader bank (Audio Objects 57 to 64). In Channel Strip view, TRACK L/R selects the previous or next track. With SHIFT held down: as above, but for Split Lower. 160 Chapter 11 Mackie C4 SLOT UP/DOWN Selects the desired EQ, Send or plug-in insert slot. Marker Overlay The Marker overlay is active when the MARKER button light is on.  V-Select 1 to 30 is assigned to markers 1 to 30. The upper LCD line shows the marker name; the lower line displays “INSIDE” when the SPL falls between marker boundaries.  V-Select 31 creates a new marker.  V-Select 32 deletes the current marker. Track Overlay The Track overlay is active when the TRACK button light is on.  V-Select 1 to 32 changes the currently edited track. When a track is selected for Split Upper, the lower LCD line displays the word “UPPER.” If a track is selected for Split Lower, the word “LOWER” is shown. To select a track for Split Upper, press the appropriate V-Select. To select a track for Split Lower, press the V-Select while holding down SHIFT.  BANK Left/Right shifts the fader bank by the number of channels in the control surface group.  SINGLE Left/Right shifts the fader bank by one track. Channel Strip Overlay The Channel Strip overlay is active when the CHAN STRIP button light is on.  V-Pot/V-Select row 1 edits the frequency and gain of EQ bands 3 to 6 (the parametric bands), provided an EQ plug-in is inserted in the current channel strip.  V-Pot/V-Select row 2 switches to edit mode for plug-in inserts 1 to 8, provided a plug-in is inserted in the respective Insert slot. If no plug-in is inserted, turn the respective V-Pot to select a plug-in, then press V-Select, to instantiate it.  V-Pot/V-Select row 3 edits Send 1 to 8 Level, provided the current track has active sends.  V-Pot/V-Select 25 switches to Instrument Edit mode, provided the selected track is an Audio Instrument track and an Audio Instrument is inserted.  V-Pot/V-Select 26 edits track output.  V-Pot/V-Select 27 sets the automation mode.  V-Pot/V-Select 28 edits group membership.  V-Pot/V-Select 29 edits volume. Chapter 11 Mackie C4 161  V-Pot/V-Select 30 edits pan/surround angle (for surround channels).  V-Pot/V-Select 31 edits Surround Diversity.  V-Pot/V-Select 32 edits track mode (mono/stereo). Function Overlay The Function overlay is active when the FUNCTION button light is on. Control Assignment 1 (display: Params) Enables/Disables the parameter display of the active window. 2 (Channl Strip) Enables/Disables Channel Strip Only option in Arrange. 3 (Delay in ms) Activates/Deactivates display of delays in milliseconds. 4 (Ruler: SMPTE) Activates/Deactivates SMPTE display of time ruler. 5 (Global Track) Activates/Deactivates display of Global tracks. 6 (Arrang Grid) Activates/Deactivates display of the grid in Arrange. 7 (Event Float) Activates/Deactivates display of the floating Event List. 8 (Name/Value) Switches the display mode between Name and Value (identical to the NAME/VALUE button on the Logic Control). 9 (Track Autom.) Enables/Disables display of track automation in Arrange windows. 10 (Trk>Rg Autom.) Performs Move Current Track Automation Data To Region key command. With the SHIFT button held down (display: Trk>Ob Au All), Move All Track Automation Data To Region key command is performed. 11 (Rg>Trk Autom.) Performs Move Current Region Control Data To Track Automation function. With the SHIFT button held down (display: Ob>Trk Au All), Move All Region Control Data To Track Automation key command is performed. 12 (Clear Autom.) Performs Delete Currently Visible Automation Data of Current Track key command. With the SHIFT button held down (display: Clear Au All), Delete All Automation Data of Current Track function is performed. 13 (ClrAll Overld) Resets the Level Meter Overload displays. 14 (ClrAll RecRdy) Switches off Record Ready for all tracks. 15 (ClrAll Solo) Switches off Solo for all tracks. 16 (ClrAll Mute) Switches off Mute for all tracks. 17 (Tool: Pointr) Chooses the Pointer tool. 18 (Tool: Pencil) Chooses the Pencil tool. 19 (Tool: Scissr) Chooses the Scissors tool. 20 (Tool: Glue) Chooses the Glue tool. 21 (Tool: Text) Chooses the Text tool. 22 (Tool: Xfade) Chooses the Crossfade tool. 23 (Tool: Marque) Chooses the Marquee tool. 24 (Tool: Autom.) Chooses the Automation tool. 162 Chapter 11 Mackie C4 The SHIFT modifier button is currently assigned to V-Selects 10 to 12 (see above). Use of the OPTION, CTRL or x/ALT modifiers don’t alter V-Select/V-Pot functionality, as they are unassigned. You can freely assign new key commands to these encoders, or may choose to reassign the existing assignments in Logic Pro. V-Pot 25 (WfZoom) Edits the active Arrange waveform zoom factor. V-Pot 26 (V.Zoom) Edits the vertical zoom factor of the active window. V-Pot 27 (H.Zoom) Edits the horizontal zoom factor of the active window. V-Pot 28 (Move Cycle) Moves the Cycle locators. V-Pot 29 (Quantz) Chooses the Quantize Again value. V-Select 29 performs Quantize Again for the selected Regions or events. V-Pot 30 (Format) Chooses the Format value for clock display. V-Select 31 (Prev SetEXS) Performs “Next Plug-in Setting or EXS Instrument” key command. V-Select 32 (Next SetEXS) Performs “Previous Plug-in Setting or EXS Instrument” key command. Control Assignment 12 163 12 Mackie HUI Set Up Please make sure that your HUI unit(s) are connected bi-directionally with the computer, using a MIDI interface. To set up Mackie HUI units: 1 Choose Logic Pro > Control Surfaces > Setup. 2 Choose New > Install in the Setup window’s local menu. 3 Select HUI in the Install window. 4 Click the Scan button. Logic Pro will scan for, and automatically install, your control surface(s). Other HUI Compatible Devices If the unit emulates one HUI unit, proceed as if using a HUI. If you experience problems in the DSP Edit display, install the unit as a DM2000. If the unit emulates more than one HUI, add the required number of additional devices in the Setup window (see the Yamaha digital mixer sections in this document). If the unit is limited to support of only one HUI DSP edit section, choose HUI Channel Strips only as the model name for these additional units. This ensures that scrolling in the DSP edit section is limited to four parameters. If you wish to know more about button assignments, refer to the Assignment Overview section below, and the device’s user manual. Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. 164 Chapter 12 Mackie HUI ASSIGN Section Fader Bank Buttons Control Assignment SEND A Assigns Send 1 Level to V-Pots, and Send 1 to 4 Levels to DSP V-Pots. While held down, the scribble strips show the current Send 1 destination assignment. SHIFT/ADD As above, for Send 6 SEND B Assigns Send 2 Level to V-Pots, and Send 1 to 4 Levels to DSP V-Pots. While held down, the scribble strips show the current Send 2 destination assignment. SHIFT/ADD As above, for Send 7 SEND C Assigns Send 3 Level to V-Pots, and Send 1 to 4 Levels to DSP V-Pots. While held down, the scribble strips show the current Send 3 destination assignment. SHIFT/ADD As above, for Send 8 SEND D Assigns Send 4 Level to V-Pots, and Send 1 to 4 Levels to DSP V-Pots. While held down, the scribble strips show the current Send 4 destination assignment. SEND E Assigns Send 5 Level to V-Pots, and Send 5 to 8 Levels to DSP V-Pots. While held down, the scribble strips show the current Send 5 destination assignment. PAN Assigns Pan to V-Pots; assigns selected track’s Pan/Surround parameters to DSP VPots. INPUT Assigns Track Input to V-Pots. While held down, the scribble strips show the current Track Input assignment. OUTPUT Assigns Track Output to V-Pots. While held down, the scribble strips show the current Track Output assignment. REC/RDY ALL Disable Record Ready on all tracks. BYPASS Switches the INSERT buttons between Insert Select and Insert Bypass mode. Also see Insert entry in Channel Strips table on page 166. MUTE Switches the V-Select buttons between Send Position and Send Mute mode. SHIFT Enables/Disables Flip mode. SELECT-ASSIGN Displays the V-Pot assignment as follows: Pan, Snd1 to Snd8, S1As to S8As, In, Out. SUSPEND — DEFAULT Switches V-Select buttons between normal behavior and setting default value. ASSIGN When V-Pots display a Send level, the ASSIGN button switches them to Send Destination Assignment mode. Press V-Select or ASSIGN button again to confirm the assignment. Control Assignment Bank Left Shifts channel strips by one bank to the left. Bank Right Shifts channel strips by one bank to the right. Channel Left Shifts channel strips by one channel to the left. Channel Right Shifts channel strips by one channel to the right. Chapter 12 Mackie HUI 165 WINDOW Section KEYBOARD SHORTCUTS Section Control Assignment TRANSPORT Opens/Closes the Transport window. EDIT Opens/Closes the Arrange window. MIX Opens/Closes the Track Mixer. ALT Opens/Closes the Sample Editor. STATUS Opens/Closes the Audio window. MEM-LOC Opens/Closes the Marker List. Control Assignment UNDO Performs Undo. SHIFT/ADD Performs Redo. OPTION/ALL Opens Undo History window. SAVE Saves the song. OPTION/ALL Performs Save As function, allowing you to save the song under a different name. EDIT MODE — EDIT TOOL Selects the next tool. While held down, numerical buttons select a specific tool. SHIFT/ADD Shifts to second meaning of some buttons. See descriptions of other buttons. OPTION/ALL While held down, value change mode is set to “relative”: relative value changes result in a minimum, default, or maximum value for the edited parameter. Also see description of other buttons. CTRL/CLUTCH While held down, the Group Clutch is engaged (all groups are disabled). x/ALT/FINE While held down, value change mode is set to “fine”: relative value changes work at maximum resolution. Also see descriptions of other buttons. 166 Chapter 12 Mackie HUI Channel Strips Control Assignment Level meters Displays momentary and peak levels. REC/RDY Activates/Deactivates Record Enable button. OPTION/ALL Disables Record Enable button for all tracks. INSERT BYPASS button off (see Insert Select mode on page 164): selects track for plug-in selection. BYPASS button on (see Insert Bypass mode page 164): enables/disables bypass of currently selected Insert slot. V-SEL PAN button on: sets Pan parameter to center if DEFAULT button is on. Send 1 to 8 selected: edits Send Pre/Post, activates/deactivates Send Mute or sets Send Level to default value. In Send Destination Assignment mode, Track Input (see Input button on page 164) or Track Output Assignment mode (see Output button on page 164), the V-SEL buttons confirm the selection. V-Pot Adjusts parameter selected in the ASSIGN section. AUTO Cycles through automation modes. With an automation mode button held down, the button sets this automation mode. SOLO Enables/Disables Solo. OPTION/ALL Disables Solo for all tracks. MUTE Enables/Disables Mute. OPTION/ALL Unmutes all tracks. Scribble strip Displays track name, or Send, In, or Out assignment. SELECT Selects track. SHIFT/ADD Sets volume to unity level. DEFAULT Sets volume to unity level. Fader Adjusts volume, or duplicates V-Pot in Flip mode. Chapter 12 Mackie HUI 167 DSP EDIT/ASSIGN Section Control Assignment ASSIGN — COMPARE Switches DSP display between “track name/parameter name” and “parameter name/ parameter value” modes. BYPASS Enables/Disables bypass of currently edited plug-in insert. DSP Select 1 to 4 Assignment Pan:  DSP Select 1 centers Pan or Surround Angle.  DSP Select 2 centers Surround Diversity.  DSP Select 3 centers Surround LFE.  DSP Select 4 selects Surround mode. Assignment Send:  Activate/Deactivate Sends 1 to 4 or Mutes 5 to 8. Plug-in Assign mode:  Confirms insert 1 to 4 or 5 to 8 plug-in selection, selects this insert and enters Plug-in Edit mode. Plug-in Edit mode:  Sets value to default, or turns parameter “switch” on/off. DSP V-Pots Assignment Pan:  DSP V-Pot 1 controls Pan or Surround Angle.  DSP V-Pot 2 controls Surround Diversity.  DSP V-Pot 3 controls Surround LFE.  DSP V-Pot 4 controls Surround Mode. Assignment Send:  Control Send 1 to 4 or 5 to 8 Level. Plug-in Assign mode:  Assigns plug-in inserts 1 to 4 or 5 to 8. Plug-in Edit mode:  Controls the selected plug-in parameter. INSERT/PARAM Switches between Plug-in Assign and Plug-in Edit modes. SCROLL Plug-In Edit mode: shifts parameter display by the number of DSP V-Pots in the control surface group (usually four). x/ALT/FINE Plug-in Edit: mode shifts parameter display by one. 168 Chapter 12 Mackie HUI Function Keys AUTO ENABLE Section Control Assignment F1 Clears Overload LEDs. SHIFT/ADD Switches to Global View and enables MIDI tracks. x/ALT/FINE Opens/Closes Arrange window. F2 Recalls Screenset 2. SHIFT/ADD Switches to Global View and enables Input Objects. x/ALT/FINE Opens/Closes Track Mixer. F3 Recalls Screenset 3. SHIFT/ADD Switches to Global View and enables audio tracks. x/ALT/FINE Opens/Closes Event Editor. F4 Recalls Screenset 4. SHIFT/ADD Switches to Global View and enables Audio Instrument trackss. x/ALT/FINE Opens/Closes Score Editor. F5 Recalls Screenset 5. SHIFT/ADD Switches to Global View and enables Aux Objects. x/ALT/FINE Opens/Closes Hyper Editor. F6 Recalls Screenset 6. SHIFT/ADD Switches to Global View and enables Bus Objects. x/ALT/FINE Opens/Closes Matrix Editor. F7 Switches counter display between SMPTE and bars/beats/format/ticks. SHIFT/ADD Switches to Global View and enables Outputs and Master Object. x/ALT/FINE Opens/Closes Transport window. F8/ESC Default: exits folder. Goto Marke mode: cancels dialog. x/ALT/FINE Opens/Closes Audio window. Control Assignment FADER Activates/Deactivates volume automation playback and recording. PAN Activates/Deactivates pan automation playback and recording. PLUG IN Activates/Deactivates plug-in parameter automation playback and recording. MUTE Activates/Deactivates mute automation playback and recording. SEND Activates/Deactivates send level automation playback and recording. SEND MUTE — Chapter 12 Mackie HUI 169 AUTO MODE Section STATUS/GROUP Section Control Assignment READ Sets selected track to Read automation mode. While held down, the channel strip AUTO buttons set automation mode to Read. OPTION/ALL Sets all tracks to Read automation mode. LATCH Sets selected track to Latch automation mode. While held down, the channel strip AUTO buttons set automation mode to Latch. OPTION/ALL Sets all tracks to automation mode Latch. TRIM — TOUCH Sets selected track to Touch automation mode. While held down, the channel strip AUTO buttons set automation mode to Touch. OPTION/ALL Sets all tracks to Touch automation mode. WRITE Sets selected track to Write automation mode. While held down, the channel strip AUTO buttons set automation mode to Write. OPTION/ALL Sets all tracks to Write automation mode. OFF Sets selected track to Off automation mode. While held down, the channel strip AUTO buttons set automation mode to Off. OPTION/ALL Sets all tracks to Off automation mode. Control Assignment AUTO While held down, the scribble strips display the tracks’ automation mode. MONITOR — PHASE — GROUP Enters Group Edit mode:  The upper line in the DSP edit section displays the currently edited group number and name.  DSP Select buttons 1 to 4 switch between the properties of the currently edited group. The group name is shown in the lower line.  When the INSERT/PARAM button is off, the DSP Edit V-Pots scroll through the group properties. If the INSERT/PARAM button is on, the DSP EDIT V-Pots select the group currently being edited.  The SELECT buttons enable/disable group membership of the track. SHIFT/ADD Switches to Track View. CREATE Creates a new group and enters Group Edit mode (see above). SHIFT/ADD Switches to Global View. SUSPEND Activates/Deactivates the Group Clutch. SHIFT/ADD Switches to Arrange View. 170 Chapter 12 Mackie HUI EDIT Section Time Display LOCATE/NUMERICS Section Control Assignment CAPTURE — SEPARATE — CUT Cuts the selection. COPY Copies the selection. PASTE Pastes the Clipboard contents. DELETE Deletes the selection. Control Assignment TIME CODE Lit if counter displays time code. FEET Not assigned. BEATS Lit if counter displays bars/beats/format/ticks. Time display Displays time code or bars/beats/format/ticks. RUDE SOLO LIGHT Flashes if any track is soloed. Control Assignment CLR Deletes current marker. = Creates a marker at the current song position. / Equivalent to computer keyboard / key. * Equivalent to computer keyboard * key. – Equivalent to computer keyboard – key. + Equivalent to computer keyboard + key. 0 to 9 Normal: 1 to 9 recalls markers 1 to 9. If in Goto Marker dialog: Equivalent to computer keyboard keys 0 to 9. SHIFT/ADD Switches to Global View and enables: 1: MIDI tracks 2: Input Objects 3: Audio tracks 4: Audio Instrument Objects 5: Aux Objects 6: Bus Objects 7: Outputs and Master Object Chapter 12 Mackie HUI 171 Transport Section EDIT TOOL Selects tool: 1: Pointer 2: Pencil 3: Eraser 4: Text tool 5: Scissors 6: Glue 7: Solo tool 8: Mute tool 9: Magnifying Glass 0 If in Goto Marker dialog: Equivalent to computer keyboard 0 key. . If not in Goto Marker dialog: Enters Goto Marker dialog. In in Goto Marker dialog: Confirms entered marker number. ENTER If not in Goto Marker dialog: Enters folder of selected track. If in Goto Marker dialog: Confirms entered marker number. Control Assignment Control Assignment AUDITION — PRE Sets left locator. IN Sets Drop In locator. OUT Sets Drop Out locator. POST Sets right locator. RTZ Goes to the left locator. END Goes to the right locator. ON LINE Switches between internal/external sync. LOOP Enables/Disables Cycle mode. QUICK PUNCH Enables/Disables Drop mode. REWIND Shuttles backward. FAST FWD Shuttles forward. STOP Stop playback. PLAY Starts playback. SHIFT/ADD Pause RECORD Record 172 Chapter 12 Mackie HUI Cursor Buttons Jog Wheel Foot Switches Control Assignment Cursor Up Cursor mode: Equivalent to computer keyboard Up Arrow key. Zoom mode: Zooms out vertically. SHIFT/ADD Zoom mode: Individual track zoom in. x/ALT/FINE Page up OPTION/ALL + x/ALT/FINE Scroll to top. Cursor Down Cursor mode: Equivalent to computer keyboard Down Arrow key. Zoom mode: Zooms out vertically. SHIFT/ADD Zoom mode: Individual track zoom out. x/ALT/FINE Page down OPTION/ALL + x/ALT/FINE Scroll to bottom. Cursor Left Cursor mode: Equivalent to computer keyboard Left Arrow key. Zoom mode: Zooms out horizontally. SHIFT/ADD Zoom mode: Individual track zoom reset of tracks from the same class. x/ALT/FINE Page left OPTION/ALL + x/ALT/FINE Scroll to left border. Cursor Right Cursor mode: Equivalent to computer keyboard Right Arrow key. Zoom mode: Zooms in horizontally. SHIFT/ADD Zoom mode: Individual track zoom reset of all tracks. x/ALT/FINE Page right OPTION/ALL + x/ALT/FINE Scroll to right border. MODE Switches between Cursor and Zoom modes. Control Assignment Jog Wheel Default: Move SPL by one bar. Scrub button lit: Scrub mode. Shuttle button lit: Shuttle mode. SCRUB Activates/Deactivates Scrub mode. SHUTTLE Activates/Deactivates Shuttle mode. Control Assignment Foot Switch 1 Play or Stop Foot Switch 2 Record On/Off 13 173 13 Radikal Technologies SAC-2K Set Up Please make sure that your control surface is connected bi-directionally with the computer, either using a MIDI interface or the built-in USB connector. If the unit(s) are connected via USB, ensure that the MIDI driver shipped with the unit is installed. To set up SAC-2K units: 1 Choose Logic > Preferences > Control Surfaces > Setup. 2 Choose New > Install in the Setup window’s local menu. 3 Select the SAC-2K in the Install window. 4 Click the Scan button. Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. LCDs and Encoders Control Assignment Left and middle LCDs Upper row displays track number (if in a Multi Channel View) or parameter name (if in a Channel Strip View). Lower row shows the parameter value of the encoder below the display. Level meters are displayed to the right. Right LCD Upper row displays the name of the parameter edited with the encoder below. Lower row displays the parameter value assigned to the encoder below the display. The Master Output level meter is displayed at the far right. Encoders Edit the corresponding parameter displayed in the LCD. Encoder push buttons Parameters with two values (On/Off ): Switches between the two values. Parameters that access items (plug-in selection): Confirms preselection. At other times: Sets parameter to default value. 174 Chapter 13 Radikal Technologies SAC-2K Channel Strips Mixe Mode Section Control Assignment Mute/Solo Switches Mute/Solo 1 to 8 buttons between Mute and Solo modes. LED off: Mute/Solo buttons switch Mute state on/off. LED on: Mute/Solo buttons switch Solo state on/off. LED flashes: Mute/Solo buttons switch Rec/Rdy state on/off. SHIFT Sets Mute/Solo buttons to Rec/Rdy mode. Mute/Solo 1 to 8 Mute/Solo LED off: Enables/Disables Mute; LED displays Mute status. Mute/Solo LED on: Enables/Disables Solo; LED displays Solo status. Mute/Solo LED flashing: Enables/Disables Rec/Rdy; LED displays Rec/Rdy status. SELECT 1 to 8 buttons Selects track. Exception: In Group mode, these buttons define group membership of the track. Master Select button Switches Flip mode between Off and Duplicate. Fader 1 to 8 Controls volume, or duplicates encoder above if Flip mode is enabled. The silk screened legend lines are scaled as follows: +6 dB, +3 dB, 0 dB, −5 dB, −10 dB, −15 dB, −20 dB, −25 dB, −30 dB, −35 dB, −40 dB, −45 dB, −50 dB, −60 dB, −inf. Master Fader Controls master volume. Control Assignment Pan Switches to multi-channel pan editing. Encoders 9 to 12 edit Pan/Angle, Diversity, LFE, and Surround Mode of selected track (in Surround mode). High, HiMid, LowMid, Low Switches to multi-channel gain editing of a certain EQ band. Encoders 9 to 12 edit Frequency, Gain, Q factor, and On/Off for the selected track. Pressing and releasing the button chooses a specific EQ band.  Low: Band 3 (first parametric EQ band)  LowMid: Band 4 (second parametric EQ band)  HiMid: Band 5 (third parametric EQ band)  High: Band 6 (fourth parametric EQ band) While held down, Encoder 9 lets you choose the EQ band to edit (bands 1 to 8). The button’s LED is lit when in multi-channel gain editing mode of the button’s EQ band. Snd/Ins Switches the four Snd/Ins (1 to 4) buttons between Send and Insert modes.  LED off: Send mode  LED on: Insert mode Chapter 13 Radikal Technologies SAC-2K 175 Snd/Ins 1 to 4  If in Send mode, switches to multi-channel send level editing of Sends 1 to 4. Encoders 9 to 12 edit Destination, Level, Pre/Post and Mute of the selected track. Destination must be confirmed by encoder 9’s push-button. While held down, Encoder 9 selects the desired Send number (1 to 8). The button’s LED is lit when in multi-channel send level editing mode of the button’s send number.  If in Insert mode, switches to multi-channel plug-in selection for Inserts 1 to 4. Plug-in selection is confirmed by the encoder’s push-button. While held down, Encoder 9 enables you to choose the desired Insert number (1 to 15). The button’s LED is lit when in plug-in selection mode (of the corresponding button’s insert number). Audio Switches to Global View and displays audio tracks. SHIFT Switches to Mixer View. MIDI Switches to Global View and displays MIDI tracks. SHIFT Switches to Arrange View. Input Switches to Global View and displays Input Objects. SHIFT Switches to Global View and displays Outputs and Master Object. Inst Switches to Global View and displays Audio Instrument Objects. SHIFT Switches to Global View and displays Aux Objects. Bus Switches to Global View and displays Bus Objects. SHIFT Switches to Global View and displays folders and all tracks shown when the View > Other Tracks option is activated in the Track Mixer. Group Switches to Group editing:  Encoder 1 to 10 push buttons edit a group property (Property shown in the LCD’s lower line).  Encoder 11 scrolls through group properties.  Encoder 12 selects a group to edit. Its name is displayed in the lower line, above Encoder 12.  Select buttons 1 to 8 activate/deactivate track membership within the group. 1 to 8 Shifts the fader bank offset to the left by one bank. 9 to 16 Shifts the fader bank offset to the right by one bank. 17 to 24 Shifts the fader bank offset to the left by one track. 25 to 32 Shifts the fader bank offset to the right by one track. Control Assignment 176 Chapter 13 Radikal Technologies SAC-2K Software Navigation Section Locator Section The locator displays the current song position in bars/beats format, as defined in the song settings. The spaces between the sections are replaced with a period, as the bars/ beats format uses up to 14 characters in Logic, and the SAC display is limited to eight digits. Control Assignment 1 Num LED off: — Num LED on: Equivalent to ‘1’ on computer keyboard. 2 Num LED off: Equivalent to Left Arrow key on computer keyboard. Num LED on: Equivalent to ‘2’ on computer keyboard. 3 Num LED off: Equivalent to Up Arrow key on computer keyboard. Num LED on: Equivalent to ‘3’ on computer keyboard. 4 Num LED off: Eequivalent to Right Arrow key on computer keyboard. Num LED on: Equivalent to ‘4’ on computer keyboard. 5 Num LED off: Performs Undo. Num LED on: Equivalent to ‘5’ on computer keyboard. 6 Num LED off: — Num LED on: Equivalent to ‘6’ on computer keyboard. 7 Num LED off: Copies the selection. Num LED on: Equivalent to ‘7’ on computer keyboard. 8 Num LED off: Equivalent to Down Arrow key on computer keyboard. Num LED on: Equivalent to ‘8’ on computer keyboard. 9 Num LED off: Pastes the Clipboard contents. Num LED on: Equivalent to ‘9’ on computer keyboard. 0 Num LED off: Saves the song. Num LED on: Equivalent to ‘0’ on computer keyboard. Num Switches the numeric buttons between primary and secondary function (see above). Enter Equivalent to Enter key on the computer keyboard. Chapter 13 Radikal Technologies SAC-2K 177 Marker Section Transport Section Control Assignment SHIFT Shifts to secondary function of other buttons. Scrub Rotates thru the three modes for the Jog Wheel:  LED off: Move SPL by one bar.  LED on: Activates Scrub mode.  LED flashes: Activates Shuttle mode. From Sets left locator to current SPL. SHIFT Sets SPL to left locator. Store Marker Creates a marker at the current SPL. SHIFT Deletes marker at the current SPL. To Sets right locator to current SPL. SHIFT Sets SPL to right locator. Recall Marker Opens the Goto Marker dialog. SHIFT Opens the Marker List. Jog Wheel Moves the SPL in one of three modes, depending on the state of the Scrub button (see above). Control Assignment << Shuttles backward. SHIFT Goes to previous marker. >> Shuttles forward. SHIFT Goes to next marker. STOP Stops playback. PLAY Starts playback. SHIFT Enables/Disables Cycle mode. RECORD Record SHIFT Enables/Disables Replace mode. 178 Chapter 13 Radikal Technologies SAC-2K Channel Strips Section Troubleshooting The track names are shorter than necessary, and the assignments don’t work correctly. The SAC-2K is in an emulation mode (Logic Control or HUI, for example). To resolve this issue, simply switch the SAC-2K power off, and then back on. The faders don’t work, and the locator display shows 00000000. You have manually switched the SAC-2K to SLAVE mode. This, unfortunately, does not initialize some settings required for proper communication. To resolve this issue, simply switch the SAC-2K power off, and then back on. Control Assignment EQs Enters Channel Strip EQ editing mode. Pressing the button again cycles through the available pages. Inserts/Sends Enters Channel Strip plug-in editing mode—edits the currently selected insert of the selected track. Pressing the button again cycles through the available pages. Dynamics — MIDI — Instrument Enters Channel Strip instrument editing mode—edits the instrument of the selected track (if it’s an Audio Instrument track). Pressing the button again cycles through the available pages. 14 179 14 Roland SI-24 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Ensure that your SI-24 unit(s) are connected to the RPC card with the (included) blue cable. This connector provides both digital audio and MIDI connections.  Make sure that the MIDI driver shipped with the unit is installed. To scan for your Roland SI-24 unit: 1 Choose Logic > Preferences > Control Surfaces > Setup 2 Choose New > Install in the Setup window’s local menu. 3 Select Roland SI-24 in the Install window. 4 Click the Scan button. Logic Pro will scan for, and automatically install, your control surfaces. Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Channel Strips Control Assignment EQ ON/OFF 1 to 4 In Pan mode:  Switches bypass state of EQ bands 1–4.  Enters EQ/Send mode. If no Channel or Linear Phase EQ is present on the selected track, a Channel EQ will automatically be inserted. In EQ/Send mode:  Switches bypass state of EQ bands 1–4. The button LED is lit when the EQ is enabled. In Plug-in mode:  Switches to insert 1–4. The lit button LED indicates the selected insert.  If a Plug-in window is open, it will also switch to the selected insert. SHIFT In EQ/Send mode: Enables/Disables Send 1–4 Mute. 180 Chapter 14 Roland SI-24 EQ/SEND Switches track edit section between:  EQ/Send mode (LED on).  Pan mode (LED off ). PLUG-IN Switches track edit section between:  Plug-in mode (LED on) (Plug-in window opens.)  Pan mode (LED off ) Plug-in window closes when Plug-in mode is exited. SHIFT Switches track edit section between:  Instrument mode (LED on) (Instrument window opens.)  Pan mode (LED off ) Instrument editor window closes when Instrument mode is exited. PAN 1 to 12 In Pan mode:  Controls channel strip’s Pan (surround angle for tracks in surround mode). In EQ/Send mode:  1/3/5/7: EQ 1–4 Gain.  2/4/6/8: EQ 1–4 Frequency.  9–12: Send 1–4 Level. In Plug-in mode:  1–10: Edits plug-in parameter.  11: Bypasses plug-in.  12: Shifts plug-in parameter page. In Instrument mode:  1–10: Edits Instrument parameter.  11: Bypasses Instrument.  12: Shifts Instrument parameter page. SHIFT In EQ/Send mode:  1/3/5/7: EQ 1–4 Type  2/4/6/8: EQ 1–4 Q factor.  9–12: Send 1–4 destination. CH SELECT 1 to 12 Selects track/channel. STATUS 1 to 12 In Automation mode: Switches Automation mode between:  Off (LED off )  Read (green)  Latch (orange)  Write (red) In Record Ready mode: Enables/Disables Record Ready. In Solo mode: Enables/Disables Solo. In Mute mode: Enables/Disables Mute. Fader 1 to 12 Controls volume. Control Assignment Chapter 14 Roland SI-24 181 STATUS MODE Section CH ASSIGN Controls MASTER Section SURROUND PAN Section Control Assignment AUTOMIX Sets STATUS 1 to 12 buttons to Automation mode. SHIFT Sets all tracks to Off, Read, Latch, or Write (cycles through) automation mode. REC/PLAY Sets STATUS 1 to 12 buttons to Record Ready mode. SOLO Sets STATUS 1 to 12 buttons to Solo mode. MUTE Sets STATUS 1 to 12 buttons to Mute mode. Control Assignment INPUT Shows the first 12 audio inputs (Global View) on channel strips. SHIFT Shows the first 12 MIDI channels (Global View) on channel strips. OUTPUT Shows the first 12 audio outputs (Global View) on channel strips:  1: Output 1–2 (front).  2: Output 3–4 (rear).  3: Output 5 (center).  4: Output 6 (LFE).  5: Output 7–8 (digital out). SHIFT Shows the first 12 audio channels (Global View) on channel strips. BUS Shows the first 12 audio buses (Global View) on channel strips. SHIFT Shows the first 12 Audio Instruments (Global View) on channel strips. Tr 1 to 12 Shows tracks 1 to 12 (Track View) on channel strips. Tr 13 to 24 Shows tracks 13 to 24 (Track View) on channel strips. Control Assignment Master Fader Controls output 1-2 volume. Control Assignment ON/OFF Switches selected track’s output between:  Surround (LED on) and  Out 1-2 (LED off ). Also shows/hides the Surround Pan window. Joystick Surround X/Y of selected track. 182 Chapter 14 Roland SI-24 Numeric Key Section Control Assignment SYSTEM Switches SI-24 to System mode. See SI-24 user manual for details. LOCATE Switches numeric keys to Locate mode. SHORT CUT Switches numeric keys to Shortcut mode. SCREEN SET Switches numeric keys to Screenset mode. 0 to 9 System mode: See SI-24 user manual. Locate mode:  1 to 9: Goes to markers 1 to 9.  0: Creates marker at SPL. Shortcut mode:  1: Saves song. LED is lit if song has changed since last save.  2: Performs undo. LED is on if Redo is possible.  3: Copies the selection.  4: Pastes the Clipboard contents.  5: Deletes the selection.  6: Enables/Disables Scrub mode. LED is on if Scrub mode is enabled.  7: Enables/Disables Cycle mode. LED is on if Cycle mode is enabled.  8: Enables/Disables Drop mode. LED is on if Drop mode is enabled.  9: Switches Arrange window to volume automation view.  0: Switches Arrange window to pan automation view. Screenset mode:  1 to 9: Recall Screensets 1 to 9.  0: Enables/Disables Lock Screenset. SHIFT Locate mode:  1 to 9: Goes to Markers 10 to 18.  0: Deletes marker at SPL. Shortcut mode:  1: Performs Save As.  2: Performs Redo.  3: Cuts selection.  4: Pastes the Clipboard contents. Screenset mode:  1: Opens/Closes Arrange window.  2: Opens/Closes Track Mixer.  3: Opens/Closes Event Editor.  4: Opens/Closes Score Editor.  5: Opens/Closes Hyper Editor.  6: Opens/Closes Matrix Editor.  7: Opens/Closes Transport window.  8: Opens/Closes Audio window.  9: Opens/Closes Sample Editor. Chapter 14 Roland SI-24 183 Transport Section Control Assignment PAUSE Pause REW Rewinds SPL by one bar. F FWD Advances SPL by one bar. STOP Stops playback. PLAY Starts playback. RECORD Record Jog wheel Scrub mode off: Moves SPL by bars. Scrub mode on: Scrubs audio. 15 185 15 Tascam FW-1884 Introduction Logic Pro 7 supports the Tascam FW-1884, FE-8 extension and the FW-1082. Version 1.10 of the plug-in also supports the SoftLCD application which displays information on track names, parameter assignments and the current value of the encoders. SoftLCD displays the tracks’ current automation mode while one of the automation mode buttons is held down. The corresponding encoder edits the parameter. Alerts are displayed in SoftLCD. Select buttons allow you to remotely-control alert buttons. The following text referring to the FW-1884 also applies to FE-8 and FW-1082, except where mentioned explicitly. Set Up Please follow these steps before using your control surface with Logic Pro.  Ensure that the FW-1884’s MIDI driver is installed. See the FW-1884 documentation for details.  Connect the FW-1884 to your computer with the supplied FireWire cable.  Boot Logic Pro. The FW-1884 is installed automatically. Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Note: The FE-8 units only offer the Channel Strip section, so other facilities mentioned here don’t apply. The FW-1884 ENCODERS section does, however, apply to the FE-8 channel strips. The FW-1082 has no channel encoders, and offers an extended channel strip section. 186 Chapter 15 Tascam FW-1884 ENCODERS Section (FW-1884 only) SHORTCUTS Section (FW-1884 only). Control Assignment FLIP Switches Flip mode between Off and Swap. PAN Assigns Pan to encoders. AUX 1 Assigns Send 1 level to encoders. AUX 2 Assigns Send 2 level to encoders. AUX 3 Assigns Send 3 level to encoders. AUX 4 Assigns Send 4 level to encoders. AUX 5 Assigns Send 5 level to encoders. AUX 6 Assigns Send 6 level to encoders. AUX 7 Assigns Send 7 level to encoders. AUX 8 Assigns Send 8 level to encoders. Control Assignment SAVE/F1 Saves the active song; The button’s LED is lit when the song has been edited. REVERT/F2 Reverts the active song to the saved version. ALL SAFE/F3 Disables Record Enable button for all tracks. CLR SOLO/F4 Switches Solo off on all tracks. SHIFT Switches Mute off on all tracks. MARKERS/F5 Creates a new marker at the current SPL. SHIFT Deletes the marker at the SPL. LOOP/F6 Enables/Disables Cycle mode. CUT Cuts the current selection and places it in the Clipboard. DEL Deletes the current selection. COPY Copies the current selection to the Clipboard. PASTE Pastes the Clipboard contents to the current SPL. ALT/CMD Modifier for other buttons. UNDO Performs Undo; The button’s LED is lit when Redo is possible. SHIFT Performs Redo. SHIFT Modifier for other buttons. CTRL Modifier for other buttons. Chapter 15 Tascam FW-1884 187 Channel Strips EQ Section (FW-1884 only) The EQ controls apply to a certain EQ band of the selected track. A Channel or Linear Phase EQ will be automatically inserted in the track, if not already present. Control Assignment REC LEDs These LEDs are lit when the corresponding track is recording. The LEDs flash when the track is in Record Ready mode (armed). SEL Selects the track. SHIFT Enables/Disables Send mute, when encoders are controlling a Send level. READ Sets the track’s automation mode to Read. WRITE Sets the track’s automation mode to Write. TCH Sets the track’s automation mode to Touch. LATCH Sets the track’s automation mode to Latch. SOLO Enables/Disables the Solo status of the track. SHIFT Disables Solo status for all tracks (new for plug-in version 1.20). MUTE Enables/Disables the Mute status of the track. SHIFT Disables Mute status for all tracks (new for plug-in version 1.20). Encoder Controls parameter chosen with the ENCODERS section. SET When encoders control a Send’s level, this combination sets the Send destination. Fader Controls volume of the track. Mode Assignment REC While held down, the SEL buttons in the channel strips enable/disable the track’s Record Enable button. GAIN Edits Gain of currently selected EQ band. SET Selects track input. FREQ Edits Frequency parameter of currently selected EQ band. SET Selects Track output. Q Edits Q Factor of currently selected EQ band. SET Selects Track mode (mono/stereo). HIGH Selects EQ band 6. SHIFT Selects EQ band 8. REC Switches bypass state of EQ band 6 (new in plug-in version 1.20). HI-MID Selects EQ band 5. SHIFT Selects EQ band 7. REC Switches bypass state of EQ band 7 (new in plug-in version 1.20). LOW-MID Selects EQ band 4. 188 Chapter 15 Tascam FW-1884 Encoders and Controls Section (FW-1082 only) The three buttons at the bottom of this section define the mode of the other controls:  EQ/Pan mode: The controls apply to a certain EQ band of the selected track.  AUX 1–4 mode: The controls apply to Sends 1–4.  AUX 5–8 mode: The controls apply to Sends 5–8. SHIFT Selects EQ band 2. REC Switches bypass state of EQ band 3 (new in plug-in version 1.20). LOW Selects EQ band 3. SHIFT Selects EQ band 1. REC Switches bypass state of EQ band 3 (new in plug-in version 1.20). Mode Assignment Mode Assignment REC While held down, the SEL buttons in the channel strips enable/disable the track’s Record Enable button status. EQ GAIN–AUX 1/5 • EQ/PAN mode: edits Gain of currently selected EQ band. • AUX 1–4 mode: controls Send 1 level. • AUX 5–8 mode: controls Send 5 level. SET Selects Track input. EQ FREQ–AUX 2/6 • EQ/PAN mode: edits Frequency of currently selected EQ band. • AUX 1–4 mode: controls Send 2 level. • AUX 5–8 mode: controls Send 6 level. SET Selects Track output. EQ Q–AUX 3/7 • EQ/PAN mode: edits Q Factor of currently selected EQ band. • AUX 1–4 mode: controls Send 3 level. • AUX 5–8 mode: controls Send 7 level. SET Selects Track mode. PAN–AUX 4/8 • EQ/PAN mode: edits Pan. • AUX 1–4 mode: controls Send 4 level. • AUX 5–8 mode: controls Send 8 level. EQ HI–AUX 1/5 • EQ/PAN mode: selects EQ band 6. • AUX 1–4 mode: switches Send 1 Mute on/off. • AUX 5–8 mode: switches Send 5 Mute on/off. SHIFT • EQ/PAN mode: selects EQ band 8. • AUX 1–4 mode: switches Send 1 Position (pre/post.) • AUX 5–8 mode: switches Send 5 Position (pre/post). REC Switches bypass state of EQ band 6. EQ HI MID–AUX 2/6 • EQ/PAN mode: selects EQ band 5. • AUX 1–4 mode: switches Send 2 Mute on/off. • AUX 5–8 mode: switches Send 6 Mute on/off. Chapter 15 Tascam FW-1884 189 MASTER Fader This fader always controls the master volume. If no Master Object exists in the Environment, it controls Output 1/2. Automation/Clock Rate Section (FW-1884 only) SHIFT • EQ/PAN mode: selects EQ band 7. • AUX 1–4 mode: switches Send 2 Position (pre/post). • AUX 5–8 mode: switches Send 6 Position (pre/post). REC Switchess bypass state of EQ band 5. EQ LO MID–AUX 3/7 • EQ/PAN mode: selects EQ band 4. • AUX 1–4 mode: switches Send 3 Mute on/off. • AUX 5–8 mode: switches Send 7 Mute on/off. SHIFT • EQ/PAN mode: selects EQ band 2. • AUX 1–4 mode: switches Send 3 Position (pre/post). • AUX 5–8 mode: switches Send 7 Position (pre/post). REC Switches bypass state of EQ band 4. EQ LOW–AUX 4/8 • EQ/PAN mode: selects EQ band 3. • AUX 1–4 mode: switches Send 4 Mute on/off. • AUX 5–8 mode: switches Send 8 Mute on/off SHIFT • EQ/PAN mode: selects EQ band 1. • AUX 1–4 mode: switches Send 4 Position (pre/post). • AUX 5–8 mode: switches Send 8 Position (pre/post). REC Switches bypass state of EQ band 3. EQ/PAN Chooses EQ/PAN mode. SHIFT Enables/Disables Flip mode; With Flip mode enabled, the faders control Pan. AUX 1–4 Chooses AUX 1–4 mode. AUX 5–8 Chooses AUX 5–8 mode. Mode Assignment Control Assignment READ While held down, SEL buttons are on if a track is in Read automation mode. Pressing the SEL button sets Read mode. Turning the encoder also edits the automation mode. WRITE While held down, SEL buttons are on if a track is in Write automation mode. Pressing the SEL button sets Write mode. Turning the encoder also edits the automation mode. TCH While held down, SEL buttons are on if a track is in Touch automation mode. Pressing the SEL button sets Touch mode. Turning the encoder also edits the automation mode. LATCH While held down, SEL buttons are on if a track is in Latch automation mode. Pressing the SEL button sets Latch mode. Turning the encoder also edits the automation mode. 190 Chapter 15 Tascam FW-1884 Mode Controls Section (FW-1082 only) Master Section F7 Switches encoders to editing of pan/surround parameters on selected track: angle, radius, LFE, surround mode, X, Y. F8 Switches encoders to EQ editing on selected track. See upper line on SoftLCD application for parameter assignment. Cursor left/right shifts the parameter bank. F9 Switches encoders to plug-in editing on selected track. Cursor left/right shifts parameter bank; Cursor up/down chooses insert to edit. F10 Switches encoders to instrument editing on selected track. Cursor left/right shifts parameter bank. Control Assignment Control Assignment F1 Saves the active song; The button’s LED is lit if the song has been edited. SHIFT Opens the Save As dialog. F2 Performs Undo; The button’s LED is lit when Redo is possible. SHIFT Performs Redo. F3 Copies the current selection to the Clipboard. SHIFT Cuts the current selection and places it in the Clipboard. F4 Pastes the Clipboard contents. SHIFT Clears the current selection. Control Assignment Cursor buttons Identical to computer keyboard’s Arrow keys—except when encoders are in EQ, Plug-in or Instrument Edit modes (see above). SHIFT Zoom in and out horizontally or vertically. SHTL Enables Shuttle mode for wheel. Wheel Shuttle mode off: moves SPL by bar. Shuttle mode on: shuttles SPL. Bank LEDs Show currently selected fader bank. If you only have an FW-1884, a bank refers to eight tracks. If you have FE-8 extensions added, a bank means the entire number of channel strips: 16, 24, and so on. If no LED is lit, a bank higher than 4 is selected. < BANK Shifts fader bank down by one bank. SHIFT Shifts fader bank down by one track. SET Switches to Track view (new in plug-in version 1.20). BANK > Shifts fader bank up by one bank. SHIFT Shifts fader bank up by one track. SET Switches to Global view and shows Aux, Bus, and Output Objects (new in plugin version 1.20). Chapter 15 Tascam FW-1884 191 << LOCATE Goes to previous marker. SET Deletes the current marker (new in plug-in version 1.20). LOCATE >> Goes to next marker. SET Creates a new marker at the SPL (new in plug-in version 1.20). NUDGE buttons Nudge the selected event/Region left or right (by the current nudge value). SET Chooses the current nudge value: tick, format, denominator, bar, frame, 1/2 frame. SET Modifier for other buttons. IN Goes to left locator. SET Sets left locator to SPL. SHIFT Sets Drop In locator to SPL. OUT Goes to right locator. SET Sets right locator to current SPL. SHIFT Sets Drop Out locator to SPL. REW Shuttle Rewind key command. FFWD Shuttle Forward key command. STOP Stops playback. PLAY Starts playback. REC Record key command. Control Assignment 16 193 16 Tascam US-2400 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Make sure that your US-2400 unit(s) are connected to the computer via USB.  Ensure that the US-2400 is in native mode. Please consult your US-2400 manual for more information on this.  Launch Logic Pro 7. Your control surface(s) will be scanned for, and installed, automatically. Special Note The US-2400 is capable of running in both “native” and Logic Control emulation modes. If the unit is set up in Logic Control emulation mode, and the native support plug-in is installed in the Logic Pro 7 program bundle, Logic will detect both a US-2400 native control surface and a Logic Control plus two Extender (XT) units. If you wish to run the US-2400 in Logic Control mode, you may find it most convenient to remove the US-2400 plug-in from the Logic Pro 7 application bundle. Logic will then detect a Logic Control plus two Extender (XT) units (the appropriate setup for the US- 2400 in Logic Control emulation mode), when you scan your control surfaces. The Logic/Mackie Control differs in button layout to the Tascam US-2400. When running the Tascam US-2400 in Logic Control mode, certain controllers are not accessible (the Joystick, as an example). Given these restrictions, it’s not recommended that the Tascam US-2400 is used in Logic Control mode with Logic. If you choose to do so, please refer to the documentation supplied with the Tascam US-2400 for details. 194 Chapter 16 Tascam US-2400 Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Channel Strips Encoder Details In CHAN mode (CHAN button on), the encoders control these parameters on the selected track: Control Assignment Encoder(s) CHAN button on: see “Encoder Details” on page 194. CHAN button flashing: Encoders control Instrument parameters, also see “Instrument Edit View” on page 197. PAN button flashing: Encoders control plug-in parameters, also see “Plug-in Edit View” on page 197. Other modes: Encoders control the mode’s parameters. F-KEY  If you are in Instrument Edit view (CHAN button flashing), pressing the F-Key enters the Instrument Assignment view: The encoders then choose an instrument.  If you are in Plug-in Edit view (PAN button flashing), pressing the F-Key enters the Plug-in Assignment view: the encoders then choose a plug-in.  If you are in Send views (AUX button LED flashes) and press the F-Key, the encoders assign the send’s destination. SEL buttons Select tracks. SHIFT In Pan view: sets volume to Unity (0 dB) In Send views: switches Send mode pre/post F-KEY Activates/Deactivates Record Enable buttons. SOLO button(s) Enables/Disables Solo. MUTE button(s) Enables/Disables Mute. In Send views with Flip mode enabled: activates/deactivates Send mute. SHIFT In Send views: activates/deactivates Send mute. Faders Control volume. Control Assignment Encoder 1 (AUX 1) Controls Send 1 level. Encoder 2 (AUX 2) Controls Send 2 level. Encoder 3 (AUX 3) Controls Send 3 level. Encoder 4 (AUX 4) Controls Send 4 level. Encoder 5 (AUX 5) Controls Send 5 level. Encoder 6 (AUX 6) Controls Send 6 level. Encoder 7 Controls Send 7 level. Encoder 8 Controls Send 8 level. Chapter 16 Tascam US-2400 195 In CHAN mode, with the SHIFT button held, the encoders control the following parameters on the selected track: Encoder 11 (GAIN 1) Controls the Gain parameter of band 3, if a Channel or Linear Phase EQ is inserted. Encoder 12 (FREQ 1) Controls the Frequency parameter of band 3, if a Channel or Linear Phase EQ is inserted. Encoder 13 (Q 1) Controls the Q factor of band 3, if a Channel or Linear Phase EQ is inserted. Encoder 14 (GAIN 2) Controls the Gain parameter of band 4, if a Channel or Linear Phase EQ is inserted. Encoder 15 (FREQ 2) Controls the Frequency parameter of band 4, if a Channel or Linear Phase EQ is inserted. Encoder 16 (Q 2) Controls the Q factor of band 4, if a Channel or Linear Phase EQ is inserted. Encoder 17 (GAIN 3) Controls the Gain parameter of band 5, if a Channel or Linear Phase EQ is inserted. Encoder 18 (FREQ 3) Controls the Frequency parameter of band 5, if a Channel or Linear Phase EQ is inserted. Encoder 19 (Q 3) Controls the Q factor of band 5, if a Channel or Linear Phase EQ is inserted. Encoder 20 (GAIN 4) Controls the Gain parameter of band 6, if a Channel or Linear Phase EQ is inserted. Encoder 21 (FREQ 4) Controls the Frequency parameter of band 5, if a Channel or Linear Phase EQ is inserted. Encoder 22 (Q 4) Controls the Q factor of band 5, if a Channel or Linear Phase EQ is inserted. Encoder 24 (PAN) Controls Panning. Control Assignment Control Assignment Encoder 1 (AUX 1) Controls Pan/Surround Angle Encoder 2 (AUX 2) Controls Surround Radius. Encoder 3 (AUX 3) Controls Surround LFE. Encoder 4 (AUX 4) Controls Surround mode. Encoder 5 (AUX 5) Controls Surround X. Encoder 6 (AUX 6) Controls Surround Y. Encoder 11 (GAIN 1) Controls the Slope parameter of band 1, if a Channel or Linear Phase EQ is inserted. Encoder 12 (FREQ 1) Controls the Frequency parameter of band 1, if a Channel or Linear Phase EQ is inserted. Encoder 13 (Q 1) Controls the Q factor of band 1, if a Channel or Linear Phase EQ is inserted. Encoder 14 (GAIN 2) Controls the Gain parameter of band 2, if a Channel or Linear Phase EQ is inserted. Encoder 15 (FREQ 2) Controls the Frequency parameter of band 2, if a Channel or Linear Phase EQ is inserted. 196 Chapter 16 Tascam US-2400 Master Channel Encoder Assignment Section This is the standard assignment of these buttons: Encoder 16 (Q 2) Controls the Q factor of band 2, if a Channel or Linear Phase EQ is inserted. Encoder 17 (GAIN 3) Controls the Gain parameter of band 7, if a Channel or Linear Phase EQ is inserted. Encoder 18 (FREQ 3) Controls the Frequency parameter of band 7, if a Channel or Linear Phase EQ is inserted. Encoder 19 (Q 3) Controls the Q factor of band 7, if a Channel or Linear Phase EQ is inserted. Encoder 20 (GAIN 4) Controls the Slope parameter of band 8, if a Channel or Linear Phase EQ is inserted. Encoder 21 (FREQ 4) Controls the Q factor of band 8, if a Channel or Linear Phase EQ is inserted. Encoder 22 (Q 4) Controls the Q factor of band 8, if a Channel or Linear Phase EQ is inserted. Encoder 24 (PAN) Controls Panning. Control Assignment Control Assignment SEL Selects Master Output track (if Master Output Object exists). CLR SOLO Disables Solo for all tracks. SHIFT Disables Mute for all tracks. F-KEY Disables Record Enable button for all tracks. FLIP Switches Flip mode between Off (LED off ) and Duplicate (LED on). SHIFT Sets Flip mode to Swap (LED flashing). F-KEY Sets Flip mode to Zero—fader motors are disabled (LED flashing). Control Assignment CHAN Switches encoders to Channel Strip view (see encoders’ legend)—CHAN button LED is lit. F-KEY Switches encoders to Instrument Edit view—CHAN button LED flashes. See “Instrument Edit View” on page 197 for details. PAN Switches encoders to Multi Channel view of panning—PAN button LED is lit. F-KEY Switches encoders to Plug-in Edit view—PAN button LED flashes. See “Plug-in Edit View” on page 197 for details. AUX 1 Switches encoders to Multi Channel view of Send 1 level. F-KEY Switches display of Arrange window:  If Arrange window is open, it will be closed.  If Arrange window is closed, it will be opened. AUX 2 Switches encoders to Multi Channel view of Send 2 level. Chapter 16 Tascam US-2400 197 Instrument Edit View In Instrument Edit view, the following AUX buttons have special assignments: The AUX button LEDs show the currently selected parameter bank. AUX 2 LED is on if parameters 25–48 are shown on the encoders. Plug-in Edit View In Plug-in Edit view, the following AUX buttons have special assignments: The AUX button LEDs show the currently selected Insert slot. As an example: AUX 2 LED is on if Insert slot 2 is being edited. F-KEY Switches display of Event List:  If Event List is open, it will be closed.  If Event List is closed, it will be opened. AUX 3 Switches encoders to Multi Channel view of Send 3 level. F-KEY Switches display of Score Editor:  If Score Editor is open, it will be closed.  If Score Editor is closed, it will be opened. AUX 4 Switches encoders to Multi Channel view of Send 4 level. F-KEY Switches display of Audio window:  If Audio window is open, it will be closed.  If Audio window is closed, it will be opened. AUX 5 Switches encoders to Multi Channel view of Send 5 level. F-KEY Switches display of Hyper Editor:  If Hyper Editor is open, it will be closed.  If Hyper Editor is closed, it will be opened. AUX 6 Switches encoders to Multi Channel view of Send 6 level. F-KEY Switches display of Matrix Editor:  If Matrix Editor is open, it will be closed.  If Matrix Editor is closed, it will be opened. Control Assignment Control Assignment AUX 1 Scrolls parameter fader bank left by 24 parameters. AUX 2 Scrolls parameter fader bank right by 24 parameters. AUX 4 Enables/Disables Bypass button of the currently edited Instrument. Control Assignment AUX 1 Scrolls parameter fader bank left by 24 parameters. AUX 2 Scrolls parameter fader bank right by 24 parameters. AUX 3 Increments Insert slot. AUX 4 Enables/Disables Bypass button of the currently edited plug-in. AUX 6 Decrements Insert slot. 198 Chapter 16 Tascam US-2400 Master Section Control Assignment MTR Switches encoder LED rings between value controlled by encoder (LED off ), and level and peak hold meters (LED on). In Level Meter mode, the LED below the encoder displays signal overloads (clipping). F-KEY Modifier key, used to switch the function of other controls (see right-aligned “FKEY” in left column). NULL Sets Surround x/y or Panning of selected track to center position—LED is on if Surround X (or Panning) is centered. F-KEY Resets overload for level meters. Jog Wheel SCRUB off: moves SPL by bars. SCRUB on: audio scrubbing. SCRUB flashing: Shuttle mode. Joystick Edits Surround x/y or Panning of selected track. SCRUB Switches Jog Wheel between “Move SPL by Bars” (LED off ) and audio scrubbing (LED on). F-KEY Sets Jog Wheel to Shuttle mode (LED flashes). BANK – Shifts fader bank left by one bank—LED is lit if the left-most fader bank has not been reached. F-KEY Shifts fader bank left by one track. BANK + Shifts fader bank right by one bank—LED is lit if the right-most fader bank has not been reached. F-KEY Shifts fader bank right by one track. IN Sets Drop In locator to Song Position Line. SHIFT Navigates to left Cycle locator. F-KEY Sets left Cycle locator to Song Position Line. OUT Sets Drop Out locator to Song Position Line. SHIFT Navigates to right Cycle locator. F-KEY Sets right Cycle locator to Song Position Line. SHIFT Modifier key, used to switch the function of other controls (see right-aligned “SHIFT” in left column). REW Shuttles backward. SHIFT Identical to Left Arrow key on computer keyboard. F FWD Shuttles forward. SHIFT Identical to Right Arrow key on computer keyboard. STOP Stops playback. SHIFT Identical to Down Arrow key on computer keyboard. PLAY Starts playback. SHIFT Identical to Up Arrow key on computer keyboard. RECORD Enables/Disables Record. 17 199 17 Tascam US-428 and US-224 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Ensure that your US-428/224 unit(s) are connected to the computer via USB.  Launch Logic, and the unit(s) will be scanned for, and installed, automatically. Assignment Overview A right-aligned modifier button (such as NULL) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. Note: The US-224 has only four channel strips, and the EQ section, as well as the Master section (except the NULL button and data wheel) are not available. Channel Strips Control Assignment MUTE 1 to 8 SOLO LED off: Switches Mute on/off; LED displays Mute status. SOLO LED on: Switches Solo on/off; LED displays Solo status. REC 1 to 8 LEDs Displays Record Ready status. NULL On if fader is higher than actual volume. SELECT 1 to 8 LEDs Displays select status. NULL On if fader is lower than actual volume. SELECT 1 to 8 buttons Selects track. REC Enables/Disables Record Ready status. Fader 1 to 8 Controls Volume. NULL Allows you to update the fader position to match the actual volume. Master fader Controls master volume (Outputs 1 and 2 if no Master Fader Object is available in the Environment). 200 Chapter 17 Tascam US-428 and US-224 EQ Section Master Section Controls Control Assignment Gain Controls gain of currently selected EQ of chosen track. Freq Controls frequency of currently selected EQ of chosen track. Q Controls Q factor of currently selected EQ of chosen track. HIGH Selects EQ band 3 for Gain, Freq, and Q controls. ASGN Switches EQ band 3 bypass state. HI-MID Selects EQ band 4 for Gain, Freq, and Q controls. ASGN Switches EQ band 4 bypass state. LO-MID Selects EQ band 5 for Gain, Freq, and Q controls. ASGN Switches EQ band 5 bypass state. LOW Selects EQ band 6 for Gain, Freq, and Q controls. ASGN Switches EQ band 6 bypass state. Control Assignment AUX 1 Switches data wheel between Transport/Scrub mode and Send Level 1. ASGN Switches Send 1 Mute state. AUX 2 Switches data wheel between Transport/Scrub mode and Send Level 2. ASGN Switches Send 2 Mute state. AUX 3 Switches data wheel between Transport/Scrub mode and Send Level 3. ASGN Switches Send 3 Mute state. AUX 4 Switches data wheel between Transport/Scrub mode and Send Level 4. ASGN Switches Send 4 Mute state. ASGN Modifier for function of EQ controls, AUX 1 to 4 buttons, PAN knob and data wheel. F1 Enables/Disables Cycle mode. F2 Enables/Disables Drop mode. F3 Enables/Disables Scrub mode. PAN Controls panning of selected track. ASGN Selects current track’s input. NULL Modifier for NULL mode. NULL mode allows you to update the fader positions to match the actual volume. Chapter 17 Tascam US-428 and US-224 201 LOCATE Section BANK Section Transport Section Data wheel AUX 1 LED on: Controls Send 1 Level of selected track. AUX 2 LED on: Controls Send 2 Level of selected track. AUX 3 LED on: Controls Send 3 Level of selected track. AUX 4 LED on: Controls Send 4 Level of selected track. F3 LED on: Data wheel is in Scrub mode. None of the above is lit: Data wheel is in Transport mode and moves the SPL by bars. ASGN Selects current track’s output. Control Assignment Control Assignment << LOCATE Goes to previous marker. LOCATE >> Goes to next marker. SET Creates a new marker at the current SPL. Control Assignment < BANK Shifts fader bank left by one bank. The LED is lit if the left-most fader bank has not been reached. BANK > Shifts fader bank right by one bank. The LED is lit if the right-most fader bank has not been reached. Control Assignment REW Shuttles backward. F FWD Shuttles forward. STOP Stops playback. PLAY Starts playback. RECORD Record 18 203 18 Yamaha 01V96 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Make sure that your 01V96 unit(s) are connected to the computer via USB.  Make sure that the MIDI driver shipped with the unit is installed. Basically, you set up the 01V96 as if you are using it with Pro Tools. See the 01V96 user manual. Here are the necessary steps: 1 Press DISPLAY ACCESS [SETUP] repeatedly until the Setup/MIDI/Host page is visible. 2 Move the cursor to the port parameters: select DAW, then select USB and 1-2. 3 Press DISPLAY ACCESS [REMOTE]. 4 Choose General DAW as the TARGET parameter. 5 Press LAYER [REMOTE]. The unit is installed automatically when Logic Pro is launched. You should see two 01V96 (USB 1–2) icons in the setup window, aligned horizontally. 204 Chapter 18 Yamaha 01V96 Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. DISPLAY ACCESS Section FADER MODE Section Control Assignment DISPLAY Hides/shows the Sample Editor. AUTOMIX While held, the Channel Strip displays show the automation mode of the selected tracks. PAIR/GROUP Enters Group Edit mode:  The upper line in the DSP edit section displays the currently edited group number and name.  Parameter control push-switch buttons 1 to 4 switch the properties of the currently edited group. Group name is shown in the lower line.  When INSERT/PARAM is off, DSP Edit Scroll encoder scrolls through the group properties. At other times, it selects the group currently being edited.  The SELECT buttons switch group membership of the track. DAW SHIFT/ADD Switches to Track View. EFFECT Hides/shows the Sample Editor. Control Assignment AUX 1 Assigns Send 1 Level to encoders, and Send 1 to 4 Levels to DSP encoders. While held, the Channel Strip displays show the current Send 1 Destination assignment. DAW SHIFT/ADD As above, for Send 6. AUX 2 Assigns Send 2 Level to encoders, and Send 1 to 4 Levels to DSP encoders. While held, the Channel Strip displays show the current Send 2 Destination assignment. DAW SHIFT/ADD As above, for Send 7. AUX 3 Assigns Send 3 Level to encoders, and Send 1 to 4 Levels to DSP encoders. While held, the Channel Strip displays show the current Send 3 Destination assignment. DAW SHIFT/ADD As above, for Send 8. AUX 4 Assigns Send 4 Level to encoders, and Send 1 to 4 Levels to DSP encoders. While held, the Channel Strip displays show the current Send 4 Destination assignment. AUX 5 Assigns Send 5 Level to encoders, and Send 5 to 8 Levels to DSP encoders. While held, the Channel Strip displays show the current Send 5 Destination assignment. AUX 6 Switches Encoder Push-Switch buttons between normal behavior and setting default value. Chapter 18 Yamaha 01V96 205 LCD Function LCD The LCD displays different data, depending on the page selected with the F2, F3, and F4 buttons: Insert Display Mode Press the [F2] button to select Insert Display mode. In this mode, the LCD displays parameter details and you can edit and select plug-ins. AUX 7 Assigns Pan to encoders; assigns selected track’s pan/surround parameters to DSP encoders. AUX 8 Determines mode of channel strip SEL buttons when channel strip AUTO button is off:  Indicator off: Track selection.  Indicator on: Insert selection. HOME Enables/Disables Flip mode. Control Assignment Control Assignment Left/Right buttons Plug-in Edit mode: Shifts parameter display by the number of parameters shown in the control surface group (usually four). DAW ALT/FINE Plug-in Edit mode: Shifts parameter display by one. F1 Clears Overload LEDs. DAW SHIFT/ADD Switches to Global View and enables MIDI tracks. DAW ALT/FINE Opens/Closes Arrange window. Display Assignment TIME CODE option Active if counter is displaying time code. FEET Not assigned. BEATS option Active if counter is displaying bars/beats/format/ticks. Time display Displays time code or bars/beats/format/ticks. SELECT ASSIGN Displays the encoder assignment as follows: Pan, Snd1 to Snd8, S1As to S8As, In, Out. ASSIGN — COMPARE Switches DSP display between “track name/parameter name” and “parameter name/parameter value” modes. BYPASS Switches bypass status of plug-in insert currently being edited. INSERT/PARAM Switches between Plug-in Assign and Plug-in Edit modes. 206 Chapter 18 Yamaha 01V96 LCD Channel Page Selected Channel Section Parameter control 1 to 4 push-switch Assignment Pan:  Parameter control 1 push-switch centers Pan or Surround Angle.  Parameter control 2 push-switch centers Surround Diversity.  Parameter control 3 push-switch centers Surround LFE.  Parameter control 4 push-switch sets Surround Mode to center. Assignment Send:  Enables/Disables Sends 1 to 4 or Mutes 5 to 8. Plug-in Assign:  Confirms insert 1 to 4 or 5 to 8 plug-in selection, selects this insert slot and enters Plug-in Edit mode. Plug-In Edit mode:  Sets value to default, or bi-polar switch to on/off. Parameter controls Assignment Pan:  Parameter control 1 controls Pan or Surround Angle.  Parameter control 2 controls Surround Diversity.  Parameter control 3 controls Surround LFE.  Parameter control 4 controls Surround Mode. Assignment Send:  Control Send 1 to 4 or 5 to 8 Level. Plug-in Assign:  Assigns insert 1 to 4 or 5 to 8. Plug-in Edit mode:  Sets value to default. Display Assignment Control Assignment Encoder Adjusts parameter selected in the FADER MODE section. Encoder Switch Pan selected: Sets Pan to center if MATRIX 1 is on. Send 1 to 8 selected: Edits Send Pre/Post, enables/disables Send Mute or sets Send Level to default value. Assignment Send, Input, or Output: Confirms selection. Control Assignment Pan controls Adjusts parameter selected in the FADER MODE section. SEL Switches channel strip SEL buttons between track and insert selection. Chapter 18 Yamaha 01V96 207 Data Entry Section Channel Strips Stereo Channel Strip Control Assignment Parameter Wheel Default: Move SPL by one bar. Scrub: Scrubbing. Shuttle: Shuttle mode. – (DEC) Default: Exits Folder. Goto Marker: Cancels dialog. DAW ALT/FINE Opens/Closes Audio window. + (INC) Enters folder of selected track. Control Assignment Level Meters Display momentary and peak level. SEL If AUTO off:  FADER MODE [AUX 8] off: Selects track.  FADER MODE [AUX 8] on: Selects track for insert assignment. If AUTO on:  Cycles through automation modes. With an automation mode button held down, sets this automation mode. DAW SHIFT/ADD Sets volume to unity level. MATRIX SELECT 1 Sets volume to unity level. SOLO Enables/Disables Solo. DAW OPTION/ALL Disables Solo for all tracks. ON Enables/Disables Mute. DAW OPTION/ALL Unmutes all tracks. Fader Adjusts volume, or duplicates encoder in Flip mode. Control Assignment SEL Switches channel strips’ SEL buttons between track and insert selection. 208 Chapter 18 Yamaha 01V96 User Defined Keys Section These keys can be assigned to the following functions: Control Assignment DAW WIN STATUS Opens/Closes the Audio window. DAW REC/RDY 1 to 16 Enables/Disables Record Ready. DAW WIN TRANSPORT Opens/Closes the Transport window. DAW BANK– Shifts channel strips by one bank to the left. DAW BANK+ Shifts channel strips by one bank to the right. DAW SHIFT/ADD Shifts to second meaning of some buttons. See descriptions of other buttons. DAW OPTION/ALL While held down, value change mode is set to “relative”: relative value changes result in a minimum, default, or maximum value for the edited parameter. Also see description of other buttons. DAW GROUP STATUS Enters Group Edit mode:  The upper line in the DSP edit section displays the currently edited group number and name.  Parameter control push-switch buttons 1 to 4 switch between properties of the currently edited group. Group name is shown in the lower line.  When INSERT/PARAM is off, DSP Edit Scroll Encoder scrolls through the group properties. At other times, it selects the group currently being edited.  The SELECT buttons enable/disable group membership of the track. DAW SHIFT/ADD Switches to Track View. DAW SUSPEND Enables/Disables the Group Clutch. DAW SHIFT/ADD Switches to Extended Track View. DAW CREATE GROUP Creates a new group and enters Group Edit mode (see above). DAW SHIFT/ADD Switches to Global View. DAW WIN MIX/EDIT Switches between the Arrange and Track Mixer windows. DAW CHANNEL – Shifts channel strips by one channel to the left. DAW CHANNEL+ Shifts channel strips by one channel to the right. DAW CTRL/CLUTCH While held down, the Group Clutch is engaged (all groups are disabled). DAW ALT/FINE While held down, value change mode is set to “fine”: relative value changes work at maximum resolution. Also see description of other buttons. DAW MONI STATUS — DAW UNDO Performs Undo. DAW SHIFT/ADD Performs Redo. DAW OPTION/ALL Opens Undo History window. DAW SAVE Saves the song. DAW WIN MEM-LOC Opens/Closes the Marker List. Chapter 18 Yamaha 01V96 209 DAW OPTION/ALL Performs Save As and allows saving the song under a different name. DAW EDIT TOOL Selects the next tool. While held, numerical buttons select a specific tool. DAW WIN INSERT Opens/Closes the Sample Editor. DAW REC/RDY ALL Disable Record Ready on all tracks. DAW SCRUB Enables/Disables Scrub mode. DAW SHUTTLE Enables/Disables Shuttle mode. DAW REW Shuttles backward. DAW FF Shuttles forward. DAW STOP Stop DAW PLAY Play DAW SHIFT/ADD Pause DAW REC Record DAW PRE Sets left locator. DAW IN Sets Drop In locator. DAW OUT Sets Drop Out locator. DAW POST Sets right locator. DAW RTZ Goes to the left locator. DAW END Goes to the right locator. DAW ONLINE Enables/Disables internal/external sync. DAW QUICK PUNCH Enables/Disables Drop mode. DAW AUTO FADER Enables/Disables Volume automation playback and recording. DAW AUTO PAN Enables/Disables Pan automation playback and recording. DAW AUTO PLUGIN Enables/Disables Plug-in parameter automation playback and recording. DAW AUTO MUTE Enables/Disables Mute automation playback and recording. DAW AUTO SEND Enables/Disables Send Level automation playback and recording. DAW AUTO SEND MUTE — DAW AUTO WRITE Sets selected track to Write automation mode. While held down, channel Strip AUTO buttons set automation mode to Write. DAW OPTION/ALL Sets all tracks to Write automation mode. DAW AUTO TOUCH Sets selected track to Touch automation mode. While held down, channel Strip AUTO buttons set automation mode to Touch. DAW OPTION/ALL Sets all tracks to Touch automation mode. DAW AUTO LATCH Sets selected track to Latch automation mode. While held down, channel Strip AUTO buttons set automation mode to Latch. DAW OPTION/ALL Sets all tracks to Latch automation mode. DAW AUTO READ Sets selected track to Read automation mode. While held down, channel Strip AUTO buttons set automation mode to Read. Control Assignment 210 Chapter 18 Yamaha 01V96 DAW OPTION/ALL Sets all tracks to Read automation mode. DAW AUTO TRIM — DAW AUTO OFF Sets selected track to Off automation mode. While held down, channel Strip AUTO buttons set automation mode to Off. DAW OPTION/ALL Sets all tracks to Off automation mode. DAW AUTO STATUS While held down, the Channel Strip displays show the automation mode of the selected track. Control Assignment 19 211 19 Yamaha 02R96 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Make sure that your 02R96 unit(s) are connected to the computer via USB.  Make sure that the MIDI driver shipped with the unit is installed. On the 02R96 Front Panel: Basically, you set up the 02R96 as if you are using it with Pro Tools. See the 02R96 user manual. Here are the necessary steps:  Press DISPLAY ACCESS [SETUP] repeatedly until the Setup / MIDI/Host page is visible. Now move the cursor to the port parameters: select DAW, then select USB and 1-3.  Press DISPLAY ACCESS [REMOTE]. Choose General DAW as the TARGET parameter.  Press LAYER [REMOTE]. In Logic: The unit is installed automatically when Logic Pro is launched. You should see three 02R96 (USB 1-3) icons in the setup window, aligned horizontally. 212 Chapter 19 Yamaha 02R96 Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. DISPLAY ACCESS Section AUX SELECT Section ENCODER MODE Section FADER MODE Section Control Assignment METER Clears Overload LEDs. Control Assignment AUX 1 Assigns Send 1 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 1 destination assignment. AUX 2 Assigns Send 2 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 2 destination assignment. AUX 3 Assigns Send 3 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 3 destination assignment. AUX 4 Assigns Send 4 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 4 destination assignment. AUX 5 Assigns Send 5 Level to Encoders, and Send 5 to 8 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 5 destination assignment. Control Assignment PAN Assigns Pan to Encoders; assigns selected track’s pan/surround parameters to DSP Encoders. AUX Assigns Send 1 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 1 destination assignment. Control Assignment FADER Enables/Disables Flip mode. AUX/MTRX Enables/Disables Flip mode. Chapter 19 Yamaha 02R96 213 EFFECTS/PLUG-INS Section Control Assignment Display Opens/Closes the Sample Editor window. PLUG-INS Switches Encoder Push-Switch buttons between normal behavior and setting default value. CHANNEL INSERTS Determines mode of channel strip SEL buttons:  Indicator off: track selection.  Indicator on: Insert selection. 1 — 2 Switches DSP display between “track name/parameter name” and “parameter name/ parameter value” modes. 3 Switches bypass status of currently edited plug-in insert. 4 Switches between Plug-in Assign and Plug-in Edit modes. Parameter Up & Parameter Down Plug-In Edit: shifts parameter display by the number of parameters shown in the control surface group (usually four). Parameter control 1–4 push-switch Assignment Pan:  Parameter control 1 push-switch centers Pan or Surround Angle.  Parameter control 2 push-switch centers Surround Diversity.  Parameter control 3 push-switch centers Surround LFE.  Parameter control 4 push-switch sets Surround Mode to center. Assignment Send:  Enables/Disables Sends 1 to 4 or Mutes 5 to 8. Plug-In Assign:  Confirm insert 1 to 4 or 5 to 8 plug-in selection, selects this insert slot and enters Plug-In Edit mode. Plug-In Edit mode:  Sets value to default, or sets bi-polar switch to on/off. Parameter controls Assignment Pan:  Parameter control 1 controls Pan or Surround Angle.  Parameter control 2 controls Surround Diversity.  Parameter control 3 controls Surround LFE.  Parameter control 4 controls Surround Mode. Assignment Send:  Control Send 1 to 4 or 5 to 8 Level. Plug-In Assign:  Assigns insert 1 to 4 or 5 to 8. Plug-In Edit mode:  Sets value to default. 214 Chapter 19 Yamaha 02R96 LCD The LCD displays different data, depending on the page selected with the F2, F3, and F4 buttons:  INSERT ASSIGN/EDIT Display Mode: parameter details, plug-in selection or plug-in parameters. Press [F2] to select this mode.  Channel Display Mode: Encoder values and Channel Strip display). Press [F3] to select this mode.  level meters. Press [F4] to select this mode. USER DEFINED KEYS Section Display Assignment TIME CODE Active if counter is displaying time code. FEET Not assigned. BEATS Active if counter is displaying bars/beats/format/ticks. Time display Displays time code or bars/beats/format/ticks. SELECT ASSIGN Displays the Encoder assignment as follows: Pan, Snd1 to Snd8, S1As to S8As, In, Out. Control Assignment DISPLAY While held, the Channel Strip displays show the automation mode of the selected tracks. 1 Switches between the Arrange and Track Mixer windows. 2 Enables/Disables the Group Clutch. 3 Sets selected track to “Write” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Write.” 4 Sets selected track to “Touch” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Touch.” 5 Sets selected track to “Latch” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Latch.” 6 Sets selected track to “Read” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Read.” 7 — 8 Sets selected track to “Off” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Off.” 9 Shifts channel strips by one bank to the left. 10 Shifts channel strips by one bank to the right. 11 Enables/Disables Volume automation playback and recording. 12 Enables/Disables Mute automation playback and recording. 13 Enables/Disables Pan automation playback and recording. 14 Enables/Disables Send Level automation playback and recording. Chapter 19 Yamaha 02R96 215 Channel Strips MACHINE CONTROL Section Data Entry Section 15 — 16 Enables/Disables Plug-in parameter automation playback and recording. Control Assignment Control Assignment Encoder Adjusts parameter selected in the AUX SELECT section. Encoder Push- Switch Pan selected: sets Pan to center. If EFFECTS/PLUG-INS [PLUG-INS] on Sends 1 to 8 selected: edits Send Pre/Post, switches Send Mute status or sets Send Level to default value. Send Assign, Input, or Output: confirms selection. AUTO Cycles through automation modes. With an automation mode button held down, sets this automation mode. SEL If EFFECTS/PLUG-INS [CHANNEL INSERTS] off: selects track. If EFFECTS/PLUG-INS [CHANNEL INSERTS] on: chooses track for plug-in selection/ insertion. SOLO Enables/Disables Solo. ON Enables/Disables Mute. Fader Adjusts volume, or duplicates Encoder in Flip mode. Control Assignment DISPLAY Opens/Closes the Marker List window. 1 to 8 Recalls markers 1 to 8. REW Shuttles backward. FF Shuttles forward. STOP Stop PLAY Play REC Record Control Assignment SCRUB Enables/Disables Scrub mode. SHUTTLE Enables/Disables Shuttle mode. Parameter Wheel Default: move SPL by one bar. Scrub: scrubbing. Shuttle: Shuttle mode. ENTER Enters folder of selected track. DEC Exits Folder. 216 Chapter 19 Yamaha 02R96 INC Switches between Cursor and Zoom modes. Cursor Up Cursor mode: equivalent to computer keyboard up arrow key. Zoom mode: zooms out vertically. Cursor Down Cursor mode: equivalent to computer keyboard down arrow key. Zoom mode: zooms out vertically. Cursor Left Cursor mode: equivalent to computer keyboard left arrow key. Zoom mode: zooms out horizontally. Cursor Right Cursor mode: equivalent to computer keyboard right arrow key. Zoom mode: zooms in horizontally. Control Assignment 20 217 20 Yamaha DM1000 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Make sure that your DM1000 unit(s) are connected to the computer via USB.  Make sure that the MIDI driver shipped with the unit is installed. On the DM1000 Front Panel: Basically, you set up the DM1000 as if you are using it with Pro Tools. See the DM1000 user manual, section 17. Here are the necessary steps:  Press DISPLAY ACCESS [SETUP] repeatedly until the Setup / MIDI/Host page is visible. Now move the cursor to the port parameters: select DAW, then select USB and 1-2.  Press DISPLAY ACCESS [REMOTE], then [F1] (below the LCD). Choose General DAW as the TARGET parameter.  Press LAYER [REMOTE 1]. In Logic: When Logic Pro is launched, the unit is installed automatically. You should see two DM1000 (USB 1-2) icons in the Setup window, aligned horizontally. 218 Chapter 20 Yamaha DM1000 Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. DISPLAY ACCESS Section AUX SELECT Section Control Assignment DISPLAY Opens/Closes the Sample Editor window. AUTOMIX While held, the Channel Strip displays show the automation mode of the selected track. PAIR/GROUP Enters Group Edit mode:  The upper line in the DSP edit section displays the currently edited group number and name.  Parameter control push-switch buttons 1 to 4 switch between properties of the currently edited group (name shown in lower line of LCD).  When INSERT/PARAM is off, DSP Edit Scroll Encoder scrolls through the group properties. Otherwise, it selects the currently edited group.  The SELECT buttons enable/disable group membership of the track. DAW SHIFT/ADD Switches to Track View. METER Clears Overload LEDs. DAW SHIFT/ADD Switches to Global View and enables MIDI Tracks. DAW ALT/FINE Opens/Closes Arrange window. EFFECT Opens/Closes the Sample Editor window. Control Assignment AUX 1 Assigns Send 1 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 1 destination assignment. DAW SHIFT/ADD As above, for Send 6. AUX 2 Assigns Send 2 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 2 destination assignment. DAW SHIFT/ADD As above, for Send 7. AUX 3 Assigns Send 3 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 3 destination assignment. DAW SHIFT/ADD As above, for Send 8. AUX 4 Assigns Send 4 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 4 destination assignment. AUX 5 Assigns Send 5 Level to Encoders, and Send 5 to 8 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 5 destination assignment. Chapter 20 Yamaha DM1000 219 ENCODER MODE Section FADER MODE Section LCD Function LCD The LCD displays different data, depending on the page selected with the F2, F3, and F4 buttons:  INSERT ASSIGN/EDIT Display Mode: parameter details, plug-in selection or plug-in parameters. Press [F2] to select this mode. AUX 6 Switches Encoder Push-Switch buttons between normal behavior and setting default value. AUX 8 Determines mode of channel strip SEL buttons when channel strip AUTO button is off:  Indicator off: track selection.  Indicator on: Insert selection. Control Assignment Control Assignment PAN Assigns Pan to Encoders; assigns selected track’s pan/surround parameters to DSP Encoders. AUX Assigns Send 1 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 1 destination assignment. Control Assignment FADER MODE Enables/Disables Flip mode. Control Assignment Left & Right Plug-In Edit: shifts parameter display by the number of Parameter controls in the control surface group (usually four). DAW ALT/FINE Plug-In Edit: shifts parameter display by one (parameter). Display Assignment LCD Displays parameter details, plug-in selection or plug-in parameters. TIME CODE Active if counter is displaying time code. FEET Not assigned. BEATS Active if counter is displaying bars/beats/format/ticks. Time display Displays time code or bars/beats/format/ticks. SELECT ASSIGN Displays the Encoder assignment as follows: Pan, Snd1 to Snd8, S1As to S8As, In, Out. 220 Chapter 20 Yamaha DM1000 LCD Insert Page Data Entry Section Control Assignment ASSIGN — COMPARE Switches DSP display between “track name/parameter name” and “parameter name/parameter value” modes. BYPASS Activates/Deactivates bypass of plug-in insert currently being edited. INSERT/PARAM Switches between Plug-in Assign and Plug-in Edit modes. Parameter control 1–4 push-switch Assignment Pan:  Parameter control 1 push-switch centers Pan or Surround Angle.  Parameter control 2 push-switch centers Surround Diversity.  Parameter control 3 push-switch centers Surround LFE.  Parameter control 4 push-switch sets Surround Mode to center. Assignment Send:  Enables/Disables Sends 1 to 4 or Mutes 5 to 8. Plug-In Assign:  Confirm insert 1 to 4 or 5 to 8 plug-in selection, selects this insert slot and enters Plug-In Edit mode. Plug-In Edit mode:  Sets value to default, or sets bi-polar switch on/off. Parameter controls Assignment Pan:  Parameter control 1 controls Pan or Surround Angle.  Parameter control 2 controls Surround Diversity.  Parameter control 3 controls Surround LFE.  Parameter control 4 controls Surround Mode. Assignment Send:  Control Send 1 to 4 or 5 to 8 Level. Plug-In Assign:  Assigns insert 1 to 4 or 5 to 8. Plug-In Edit mode:  Sets value to default. Control Assignment Parameter Wheel Default: move SPL by one bar. Scrub: scrubbing. Shuttle: Shuttle mode. – (DEC) Default: leaves Folder. Goto Marker: cancels dialog. DAW ALT/FINE Opens/Closes Audio window. + (INC) Enters folder of selected track. Chapter 20 Yamaha DM1000 221 Channel Strips Stereo Channel Strip USER DEFINED KEYS Section These keys can be assigned to the following functions: Control Assignment Level Meters Display momentary and peak level. Encoder Adjusts parameter selected in the AUX SELECT section. Encoder Push-Switch Pan selected: sets Pan to center if MATRIX 1 on. Send 1 to 8 selected: edits Send Pre/Post, activates/deactivates Send Mute or sets Send Level to default value. Send Assign, Input, or Output: confirms selection. SEL If AUTO off:  AUX [AUX 8] off: selects track.  AUX [AUX 8] on: selects track for insert assignment. If AUTO on:  Cycles through automation modes. With an automation mode button held down, sets this automation mode. DAW SHIFT/ADD Sets volume to unity level. MATRIX SELECT 1 Sets volume to unity level. SOLO Enables/Disables Solo. DAW OPTION/ALL Disables Solo for all tracks. ON Enables/Disables Mute. DAW OPTION/ALL Unmutes all tracks. Fader Adjusts volume, or duplicates Encoder assignment in Flip mode. Control Assignment AUTO Switches channel strips’ SEL buttons between track and insert selection. Control Assignment DAW WIN STATUS Opens/Closes the Audio window. DAW REC/RDY 1 to 16 Enables/Disables Record Ready. DAW WIN TRANSPORT Opens/Closes the Transport window. DAW BANK- Shifts channel strips by one bank to the left. DAW BANK+ Shifts channel strips by one bank to the right. DAW SHIFT/ADD Shifts to second meaning of some buttons. DAW OPTION/ALL While held down, value change mode is set to “relative”: relative value changes result in a minimum, default, or maximum value for the edited parameter. Also see description of other buttons. 222 Chapter 20 Yamaha DM1000 DAW GROUP STATUS Enters Group Edit mode:  The upper line in the DSP edit section displays the currently edited group number and name.  Parameter control push-switch buttons 1 to 4 switch between properties of the currently edited group. Group name shown in lower line of LCD.  When INSERT/PARAM is off, DSP Edit Scroll Encoder scrolls through the group properties. At other times, it selects the group currently being edited.  The SELECT buttons enable/disable group membership of the track. DAW SHIFT/ADD Switches to Track View. DAW SUSPEND Enables/Disables the Group Clutch. DAW SHIFT/ADD Switches to Extended Track View. DAW CREATE GROUP Creates a new group and enters Group Edit mode (see above). DAW SHIFT/ADD Switches to Global View. DAW WIN MIX/EDIT Switches between the Arrange and Track Mixer windows. DAW CHANNEL - Shifts channel strips by one channel to the left. DAW CHANNEL+ Shifts channel strips by one channel to the right. DAW CTRL/CLUTCH While held down, the Group Clutch is engaged (all groups are disabled). DAW ALT/FINE While held down, value change mode is set to “fine”: relative value changes work at maximum resolution. Also see description of other buttons. DAW MONI STATUS — DAW UNDO Performs undo. DAW SHIFT/ADD Performs redo. DAW OPTION/ALL Opens undo history window. DAW SAVE Saves the song. DAW WIN MEM-LOC Opens/Closes the Marker List window. DAW OPTION/ALL Save As…: saves the song under a different name. DAW EDIT TOOL Selects the next tool. While held, numerical buttons select a specific tool. DAW WIN INSERT Opens/Closes the Sample Editor window. DAW REC/RDY ALL Disable Record Ready on all tracks. DAW SCRUB Enables/Disables Scrub mode. DAW SHUTTLE Enables/Disables Shuttle mode. DAW REW Shuttles backward. DAW FF Shuttles forward. DAW STOP Stop DAW PLAY Play DAW SHIFT/ADD Pause DAW REC Record DAW PRE Sets left locator. Control Assignment Chapter 20 Yamaha DM1000 223 DAW IN Sets Drop In locator. DAW OUT Sets Drop Out locator. DAW POST Sets right locator. DAW RTZ Goes to the left locator. DAW END Goes to the right locator. DAW ONLINE Activates/Deactivates internal/external Sync. DAW QUICK PUNCH Enables/Disables Drop mode. DAW AUTO FADER Enables/Disables Volume automation playback and recording. DAW AUTO PAN Enables/Disables Pan automation playback and recording. DAW AUTO PLUGIN Enables/Disables Plug-in parameter automation playback and recording. DAW AUTO MUTE Enables/Disables Mute automation playback and recording. DAW AUTO SEND Enables/Disables Send Level automation playback and recording. DAW AUTO SEND MUTE — DAW AUTO WRITE Sets selected track to “Write” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Write.” DAW OPTION/ALL Sets all tracks to “Write” automation mode. DAW AUTO TOUCH Sets selected track to “Touch” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Touch.” DAW OPTION/ALL Sets all tracks to “Touch” automation mode. DAW AUTO LATCH Sets selected track to “Latch” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Latch.” DAW OPTION/ALL Sets all tracks to “Latch” automation mode. DAW AUTO READ Sets selected track to “Read” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Read.” DAW OPTION/ALL Sets all tracks to “Read” automation mode. DAW AUTO TRIM — DAW AUTO OFF Sets selected track to “Off” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Off.” DAW OPTION/ALL Sets all tracks to “Off” automation mode. DAW AUTO STATUS While held down, the Channel Strip displays show the automation mode of the selected track. Control Assignment 21 225 21 Yamaha DM2000 Set Up Please follow these steps before using your control surface with Logic Pro 7.  Make sure that your DM2000 unit(s) are connected to the computer via USB.  Make sure that the MIDI driver shipped with the unit is installed. On the DM2000 Front Panel: Basically, you set up the DM2000 as if you are using it with Pro Tools. See the DM2000 user manual, section 19. Here are the necessary steps:  Press DISPLAY ACCESS [SETUP], then [F4] (below the LCD) so that the Setup / MIDI/Host page is visible. Now move the cursor to the port parameters: select DAW, then select USB and 1-3.  Press DISPLAY ACCESS [REMOTE], then [F1] (below the LCD). Choose General DAW as the TARGET parameter.  Press LAYER [REMOTE 1]. In Logic: When Logic Pro is launched, the unit is installed automatically. You should see three DM2000 (USB 1-3) icons in the Setup window, aligned horizontally. 226 Chapter 21 Yamaha DM2000 Assignment Overview A right-aligned modifier button (such as SHIFT) below a button description indicates that the button has an alternate meaning/use while holding down this modifier. MATRIX SELECT Section AUX SELECT Section Control Assignment MATRIX 1 Switches Encoder Push-Switch buttons between normal behavior and setting default value. MATRIX 2 Switches the Encoder Push-Switch buttons between Send Position and Send Mute mode. MATRIX 4 If ENCODER MODE [ASSIGN 4] is on, switches the channel strip SEL buttons between Insert Select (indicator off ) and Insert Bypass mode (indicator on). Control Assignment AUX 1 Assigns Send 1 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 1 destination assignment. USER 4 As above, for Send 6. AUX 2 Assigns Send 2 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 2 destination assignment. USER 4 As above, for Send 7. AUX 3 Assigns Send 3 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 3 destination assignment. USER 4 As above, for Send 8. AUX 4 Assigns Send 4 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 4 destination assignment. AUX 5 Assigns Send 5 Level to Encoders, and Send 5 to 8 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 5 destination assignment. Chapter 21 Yamaha DM2000 227 ENCODER MODE Section FADER MODE Section DISPLAY ACCESS Section Control Assignment PAN Assigns Pan to Encoders; assigns selected track’s pan/surround parameters to DSP Encoders. AUX/MTRX Assigns Send 1 Level to Encoders, and Send 1 to 4 Levels to DSP Encoders. While held, the Channel Strip displays show the current Send 1 destination assignment. ASSIGN 1 Assigns Track Input to Encoders. While held down, the Channel Strip displays show the current Track Input assignment. ASSIGN 2 Assigns Track Output to Encoders. While held down, the Channel Strip displays show the current Track Output assignment. ASSIGN 3 When Encoders display a Send level, switches them to Send Destination assignment mode. Press Encoder Push-Switch or ASSIGN 3 again to confirm the assignment. ASSIGN 4 Determines mode of channel strip SEL buttons:  Indicator off: track selection.  Indicator on: Insert selection or Insert Bypass, depending on MATRIX SELECT [MATRIX 4]. Control Assignment FADER Enables/Disables Flip mode. AUX/MTRX Enables/Disables Flip mode. Control Assignment METER Clears Overload LEDs. USER 4 Switches to Global View and enables MIDI Tracks. USER 13 Opens/Closes Arrange window. 228 Chapter 21 Yamaha DM2000 EFFECTS/PLUG-INS Section Control Assignment Display Opens/Closes the Sample Edit window. 5 — 6 Switches DSP display between “track name/parameter name” and “parameter name/ parameter value” modes. 7 Activates/Deactivates bypass of plug-in insert that is currently being edited. 8 Switches between Plug-in Assign and Plug-in Edit modes. Parameter Up & Parameter Down Plug-In Edit: shifts parameter display by the number of Parameter controls in the control surface group (usually four). USER 13 Plug-In Edit: shifts parameter display by one (parameter). Parameter control 1–4 push-switch Assignment Pan:  Parameter control 1 push-switch centers Pan or Surround Angle.  Parameter control 2 push-switch centers Surround Diversity.  Parameter control 3 push-switch centers Surround LFE.  Parameter control 4 push-switch sets Surround Mode to center. Assignment Send:  Enables/Disables Sends 1 to 4 or Mutes 5 to 8. Plug-In Assign:  Confirm insert 1 to 4 or 5 to 8 plug-in selection, selects this insert slot and enters Plug-In Edit mode. Plug-In Edit mode:  Sets value to default, or switches bi-polar parameter value on/off. Parameter controls Assignment Pan:  Parameter control 1 controls Pan or Surround Angle.  Parameter control 2 controls Surround Diversity.  Parameter control 3 controls Surround LFE.  Parameter control 4 controls Surround Mode. Assignment Send:  Control Send 1 to 4 or 5 to 8 Level. Plug-In Assign:  Assigns insert 1 to 4 or 5 to 8. Plug-In Edit mode:  Sets value to default. Chapter 21 Yamaha DM2000 229 LCD TRACK ARMING Section Display Assignment LCD Displays parameter details, plug-in selection or plug-in parameters. TIME CODE Active if counter is displaying time code. FEET Not assigned. BEATS Active if counter is displaying bars/beats/format/ticks. Time display Displays time code or bars/beats/format/ticks. SELECT ASSIGN Displays the Encoder assignment as follows: Pan, Snd1 to Snd8, S1As to S8As, In, Out. Control Assignment 1 to 24 Enables/Disables Record Ready. USER 5 Disables Record Ready for all tracks. MASTER Disables Record Ready for all tracks. 230 Chapter 21 Yamaha DM2000 AUTOMIX Section Control Assignment DISPLAY While held, the Channel Strip displays show the automation mode of selected track. REC Sets selected track to “Write” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Write.” USER 5 Sets all tracks to “Write” automation mode. ABORT/UNDO Sets selected track to “Touch” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Touch.” USER 5 Sets all tracks to automation mode “Touch.” AUTOREC Sets selected track to “Latch” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Latch.” USER 5 Sets all tracks to automation mode “Latch.” RETURN Sets selected track to “Read” automation mode. While held down, channel Strip AUTO buttons set automation mode to” Read.” USER 5 Sets all tracks to “Read” automation mode. RELATIVE — TOUCH SENSE Sets selected track to “Off” automation mode. While held down, channel Strip AUTO buttons set automation mode to “Off.” USER 5 Sets all tracks to “Off” automation mode. OVERWRITE [FADER] Enables/Disables volume automation playback and recording. OVERWRITE [PAN] Enables/Disables pan automation playback and recording. OVERWRITE [EQ] Enables/Disables Plug-in parameter automation playback and recording. OVERWRITE [ON] Enables/Disables mute automation playback and recording. OVERWRITE [AUX] Enables/Disables Send level automation playback and recording. OVERWRITE [AUX ON] — Chapter 21 Yamaha DM2000 231 USER DEFINED KEYS Section Control Assignment DISPLAY Opens/Closes the Audio window. 1 Opens/Closes the Transport window. 2 Shifts channel strips by one bank to the left. 3 Shifts channel strips by one bank to the right. 4 Shifts to second meaning of some buttons (see descriptions of other buttons). 5 While held down, value change mode is set to “full”: any relative value changes will “jump” to their minimum or maximum values. 6 Enters Group Edit mode:  The upper line in the DSP edit section displays the currently edited group number and name.  Parameter control push-switch buttons 1 to 4 switch the properties of the group currently being edited (names shown in lower line of display).  When INSERT/PARAM is off, DSP Edit Scroll Encoder scrolls through the group properties. Otherwise, it selects the currently edited group.  The SELECT buttons activate/deactivate group membership of the track. USER 4 Switches to Track View. 7 Activates/Deactivates the Group Clutch (disables all groups). USER 4 Switches to Extended Track View. 8 Creates a new group and enters Group Edit mode (see above). USER 4 Switches to Global View. 9 Switches between the Arrange and Track Mixer windows. 10 Shifts channel strips by one channel to the left. 11 Shifts channel strips by one channel to the right. 12 While held down, the Group Clutch is engaged (all groups are disabled). 13 While held down, value change mode is set to “fine”: relative value changes work at maximum resolution. Also see descriptions of other buttons. 14 — 15 Performs Undo. USER 4 Performs Redo. USER 5 Opens Undo History window. 16 Saves the song. USER 5 Save As…: saves the song under a different name. 232 Chapter 21 Yamaha DM2000 LOCATOR Section Control Assignment DISPLAY Opens/Closes the Marker List window. 1 to 8 Recalls markers 1 to 8. USER 4 Switches to Global View and enables: 1: MIDI Tracks. 2: Inputs. 3: Audio Tracks. 4: Audio Instruments. 5: Aux Tracks. 6: Busses. 7: Outputs and Master object. DISPLAY HISTORY [FORWARD] Selects tool: 1: Arrow. 2: Pencil. 3: Eraser. 4: Text edit. 5: Scissors. 6: Glue. 7: Solo. 8: Mute. AUDITION — PRE Sets left locator. IN Sets Drop In locator. OUT Sets Drop Out locator. POST Sets right locator. RETURN TO ZERO Navigates to the left locator. END Navigates to the right locator. ONLINE Enables/Disables internal/external sync. QUICK PUNCH Enables/Disables Drop mode. Chapter 21 Yamaha DM2000 233 Channel Strips Transport/Cursor Section Control Assignment Level Meters Displays momentary and peak levels. Encoder Adjusts parameter selected in the AUX SELECT section. Encoder Push- Switch Pan selected: sets Pan to center if MATRIX 1 on Send 1 to 8 selected: edits Send Pre/ Post, activates/deactivates Send Mute or sets Send Level to default value. Send Assign, Input, or Output selected: confirms selection. AUTO Cycles through automation modes. With an automation mode button held down, sets this automation mode. SEL If ENCODER MODE [ASSIGN 4] off: selects track. If ENCODER MODE [ASSIGN 4] on:  BYPASS off: selects track for plug-in selection.  BYPASS on: switches bypass status of currently selected insert slot. USER 4 Sets volume to unity level. MATRIX SELECT 1 Sets volume to unity level. SOLO Enables/Disables Solo. USER 5 Disables Solo for all tracks. ON Enables/Disables Mute. USER 5 Unmutes all tracks. Channel strip display Displays track name, or Send, In, or Out assignment. Fader Adjusts volume, or duplicates Encoder in Flip mode. Control Assignment REW Shuttles backward. FF Shuttles forward. STOP Stop PLAY Play USER 4 Pause REC Record DISPLAY HISTORY [BACK] — DISPLAY HISTORY [FORWARD] Selects the next tool. While held down, numerical buttons select a specific tool. SCRUB Enables/Disables Scrub mode. SHUTTLE Enables/Disables Shuttle mode. 234 Chapter 21 Yamaha DM2000 Parameter Wheel Default: move SPL by one bar. Scrub: scrubbing. Shuttle: Shuttle mode. DEC Default: leaves Folder. Goto Marker: cancels dialog. USER 13 Opens/Closes Audio window. INC Switches between Cursor and Zoom mode. Cursor Up Cursor mode: equivalent to computer keyboard up arrow key. Zoom mode: zooms out vertically. USER 4 Zoom mode: Individual track zoom in. USER 13 Page Up. USER 5 + USER 13 Scroll to top. Cursor Down Cursor mode: equivalent to computer keyboard down arrow key. Zoom mode: zooms out vertically. USER 4 Zoom mode: Individual track zoom out. USER 13 Page Down. USER 5 + USER 13 Scroll to bottom. Cursor Left Cursor mode: equivalent to computer keyboard left arrow key. Zoom mode: zooms out horizontally. USER 4 Zoom mode: Individual track zoom reset for tracks of the same type. USER 13 Page Left. USER 5 + USER 13 Scroll to left border. Cursor Right Cursor mode: equivalent to computer keyboard right arrow key. Zoom mode: zooms in horizontally. USER 4 Zoom mode: Individual track zoom reset of all tracks. USER 13 Page Right. USER 5 + USER 13 Scroll to right border. ENTER Enters folder of selected track. Control Assignment 235 A Appendix A Logic Control—Specifications Logic Control (Base Unit) This appendix describes the specifications of the Logic Control unit. Display  55 × 2-digit (LCD) backlit multi-function display for detailed parameter information and metering  Built-in screensaver function  2-digit, 7-segment display for mode displays  10-digit, 7-segment display for song position information in either SMPTE or bar/ beats/ticks  1 × button to toggle the LCD between parameter name/value and to activate the level meters.  1 × button to toggle the 7-segment display between SMPTE and bar/beats/ticks.  2 × LEDs show the current 7-segment display status.  1 × LED shows the current Solo status. Per Channel (8 Channels)  1 × motorized 100mm touch-sensitive Penny & Giles faders with 10Bit resolution (1024 steps)  1 × V-POT: digital endless rotary knob with position indicator and integrated push button for parameter adjustments of pan, EQ, send levels, and so on  4 × buttons with integrated colored LED for channel functions such as: Record, Solo, Mute, and Channel Selection  Signal Present LED indicates when an audio or MIDI signal is present. Master Fader  1 × motorized 100mm touch-sensitive Penny & Giles fader with 10Bit resolution (1024 steps). 236 Appendix A Logic Control—Specifications Controller  6 × buttons with status LED for direct selection of parameter groups for Track, Pan/ Surround, EQ, Send, Plug-In, Instrument  8 × buttons to directly select sections of Logic mixers such as audio tracks, MIDI tracks, inputs, busses, and so on  4 × buttons to shift the displayed mixer channels to the left and right, either one channel at a time, or in banks  1 × button with status LED for the channel fader/V-POT flip: swaps the assignments of fader and V-POTs  1 × button with status LED to toggle between Mixer View and Global View  4 × buttons with status LED to activate automation modes such as Read, Write, Touch, and Latch  4 × buttons to select utility functions such as: “Save Song,” “Undo,” “Cancel,” or confirmations in dialogs  4 × buttons to access additional functions through modifier keys  8 × freely definable user keys  2 × currently unassigned buttons for future use Transport Controls  5 × Transport buttons with status LED for Forward, Rewind, Stop, Play, Record  1 × Jog/Scrub wheel for precise location of any song position and audio scrubbing  1 × Scrub button with status LED to activate the scrub function  1 × Marker and 1 × Nudge button with status LED to extend the functionality of the Forward/Rewind buttons (Nudge functionality only available in Logic Pro)  4 × Navigation buttons to quickly navigate through plug-in slots and parameter pages  1 × Zoom button to switch the navigate buttons to zoom Internal Processor  High-speed RISC micro controller  Firmware can be updated via MIDI dump. Connections  1 × MIDI in, 1 × MIDI out.  2 × assignable foot switch inputs to control Start/Stop and Punch In/Out, for example  1 × assignable external control signal input to connect a volume pedal.  Power supply jack Appendix A Logic Control—Specifications 237 Power Supply  International (100–250V) external power supply for standard power cords  Rear-mounted power switch Weight and Construction  Logic Control weighs 5.05 kg (unpacked).  High quality, sturdy 1mm steel chassis and case  Comfortable, durable wrist rest Dimensions Logic Control XT (Extension Unit) Display  55 × 2-digit (LCD) backlit multi-function display for detailed parameter information and metering  Built-in screensaver function Per channel (8 channels)  1 × motorized 100mm touch-sensitive Penny & Giles faders with 10Bit resolution (1024 steps)  1 × V-POT: digital endless rotary knob with position indicator and integrated push button for parameter adjustments of pan, EQ, send levels, and so on  4 × buttons with integrated colored LED for channel functions such as: Record, Solo, Mute, and Channel Selection  Signal Present LED indicates the presence of an audio signal Internal Processor  High-speed RISC micro controller  Firmware can be updated via MIDI dump. 238 Appendix A Logic Control—Specifications Connections  1 × MIDI in, 1 × MIDI out  Power supply jack Power Supply  International (100–250V) external power supply for standard power cords  Rear-mounted power switch Weight and Construction  Logic Control XT weighs 3.45 kg (unpacked)  High quality, sturdy 1mm steel chassis and case  Comfortable, durable wrist rest Dimensions 239 B Appendix B Logic Control— MIDI Implementation The following information is important for software vendors who wish to create a level of software integration for the Logic/Mackie Control/XT units. This documentation covers firmware version V1.0. Note: All numbers are in hexadecimal format. Variable bytes are shown in italics and use characters other than a-f as a placeholder. All channel messages use running status messages. Once an initial 3-byte message has been sent, the status byte is dropped from proceeding transmitted channel messages, in order to conserve bandwidth. SysEx Message Header The following documentation uses the place holder “” whenever the SysEx header is transmitted or received. It has the following form: F0 MIDI SysEx status byte 00 00 66 Mackie 3-byte SysEx manufacturer ID ii Model ID 10 Logic Control 11 Logic Control XT A device ID is not required, as each unit needs a dedicated MIDI cable. 240 Appendix B Logic Control—MIDI Implementation Global Control Messages Host Connection and Initialization Received: 00 F7 Device Query 02 ss ss ss ss ss ss ss rr rr rr rr F7 Host Connection Reply 0F 7F F7 Go Offline Transmitted: 01 ss ss ss ss ss ss ss ll ll ll ll F7 Host Connection Query 03 ss ss ss ss ss ss ss F7 Host Connection Confirmation 04 ss ss ss ss ss ss ss F7 Host Connection Error ss = Serial number (7 bytes ASCII text, non null-terminated) ll = Challenge code (4 bytes) rr = Response code (4 bytes) Offline Mode: Logic Control employs a query system to maintain a connection to the host software. When Logic Control is initially powered up, it defaults to Offline mode. In Offline mode, Logic Control’s faders move to their lowest setting, and the LCD reads “EMAGIC LOGIC CONTROL -- by MACKIE.” After power-on, Logic Control also transmits a system exclusive Host Connection Query message that is used (by the host) to detect a connection, and what type of device is connected (Logic Control/Logic Control XT). Communications Initialization: When the host software receives a Host Connection Query message (containing a serial number and a random challenge code), it should transmit a Host Connection Reply command within 300ms to initialize Logic Control. The command must contain the same serial number and the correct response code for the challenge code. Here is the algorithm (l1 to l4 = challenge code bytes 1 to 4, r1 to r4 = response code bytes 1 to 4): r1 = 0x7F & (l1 + (l2 ^ 0xa) – l4); r2 = 0x7F & ((l3>>4) ^ (l1+l4)); r3 = 0x7F & (l4-(l3<<2) ^ (l1|l2)); r4 = 0x7F & (l2-l3+(0xF0^(l4<<4))); Logic Control will, in turn, respond with either:  a Host Connection Confirmation message that contains the serial number, and switch to Online mode—where it will await further instructions from the host, or  reply with a Host Connection Error message, if the response code was wrong. Appendix B Logic Control—MIDI Implementation 241 Online Mode: Once the connection between Logic Control and the host software has been made, Logic Control stays in Online Mode until it receives a Go Offline message. Firmware version request Received: 13 00 F7 Version request Transmitted: 14 vv vv vv vv vv F7 Version reply vv 5 ASCII bytes containing version string, e. g. “V1.0”. Note: When Logic Control receives a version request message, it sends the version reply message. Reset Messages Received: 61 F7 Faders to minimum (Sends all faders to the bottom of their throw) 62 F7 All LEDs off (Turns off all LEDs on Logic Control) 63 F7 Reset (Re-Boots Logic Control into Offline mode) Transmitted: No Configuration Messages Received: 0A tt F7 Transport button click 0B ll F7 LCD back light saver 0C mm F7 Touchless movable faders 0E ii ss F7 Fader touch sensitivity Transmitted: No tt 00 = no transport button click 01 = transport button click (default) ll 00 = LCD back light off 01 to 7F = LCD back light on, with time out in minutes (default: 0F = 15 minutes) mm 00 = fader movements are only transmitted if the fader has been recognized as touched 01 = fader movements are also transmitted if the fader has not been recognized as touched (e. g. with fingernail or pen) ii Fader ID (00 thru 07; Master = 08) ss Fader touch sensitivity (00 to 05; default: 03) 242 Appendix B Logic Control—MIDI Implementation Common Control Messages Faders Received: Ei, ll, hh Move fader to position Transmitted: Ei, ll, hh Fader moved by user i Fader ID (00 thru 07; Master = 08) ll Fader position value low 7 bits (00–7F) hh Fader position value high 7 bits (00–7F) Example: E0, 40, 55 = Fader Ch. 1, position (55 << 7) + 40 Note: Message format for transmitted fader position is the same as for received position. Only the top (high) 10 of the 14 transmitted bits are required. Positions 0 to 1023 (decimal) are transmitted as 0000 to 03FF (Ei 00 00 to Ei 7F 7F). Switches Received: None Transmitted: 90, ii, ss Switch pressed/released by user ii Switch ID (See “Logic Control—Control Surface Layout and IDs” on page 251.) ss Switch State 00 = switch or fader relead 7F = switch pressed or fader touched Example: 90, 0F, 7F = SOLO Ch. 8 is pressed 90, 0F, 00 = SOLO Ch. 8 is released Note: LEDs and switches use the same control message. This approach means that an LED has the same ID as its corresponding switch. LEDs Received: 90, ii, ss Set LED status Transmitted: None ii LED ID (See “Logic Control—Control Surface Layout and IDs” on page 251.) ss LED State (7F = on, 00 = off, 01 = flashing) Example: 90, 08, 7F = Turn LED 08 on 90, 08, 00 = Turn LED 08 off Note: Switches and LEDs use the same control message. This ensures that an LED always shares an ID with its corresponding switch. Appendix B Logic Control—MIDI Implementation 243 V-Pots Received: None Transmitted: B0, 1i, XX V-POTs turned by user i V-POT ID (00–07) XX delta value in the form of (0 s v v v v v v) s direction bit: 0 = clockwise, 1 = counter clockwise vv number of ticks Examples:  B0, 10, 01 = V-POT Ch. 1 is being turned clockwise by one tick.  B0, 17, 47 = V-POT Ch. 8 is being turned counter-clockwise by 7 ticks. V-Pot LED ring Received: B0, 3i, XX Set LED ring display Transmitted: None i V-POT number (0 thru 7) XX V-POT display control byte in the form of (0 p x x v v v v): p V-POT display center LED state (1 = on, 0 = off ) xx V-POT mode (00 thru 03; see diagrams below) vv V-POT display position value 00 = all LEDs in ring off; 01 thru 0B see diagrams below Example:  B0, 31, 06 = V-POT 2 display shows LEDs at position 6. Note: In any V-POT display mode, a received LED position value of 00 will turn off all of the V-POT LEDs. 244 Appendix B Logic Control—MIDI Implementation V-POT Display modes available: Appendix B Logic Control—MIDI Implementation 245 External Controller Received: None Transmitted: B0, 2E, vv External Controller changed vv External Controller position value (00–7F) Example:  B0, 2E, 07 = External Controller value = 07 Jog Wheel Received: None Transmitted: B0, 3C, XX Jog wheel turned by user XX delta value in the form of (0 s v v v v v v) s direction bit: 0 = clockwise, 1 = counter clockwise vv number of ticks Examples:  B0, 3C, 01 = Jog forward.  B0, 3C, 41 = Jog reverse. 246 Appendix B Logic Control—MIDI Implementation LCD Received: , 12, oo, yy, …, F7 Update LCD Transmitted: None oo Display offset to write from: 00 thru 37 for upper line, 38 thru 6F for lower line. yy Data: ASCII equivalents for display characters—written from left to right— and including line wrapping between upper and lower lines. Up to 100 data bytes may be sent in one message. Example:  The following message writes “Hello” to the top left of the LCD on a Logic Control master section. F0 00 00 66 10 12 00 48 65 6C 6C 6F F7 Notes:  There are 7 displayed characters per channel, with the exception of channel 8, which is limited to displaying the first 6 characters. Internally however, the LCD stores 2 x 56 characters.  In most cases, you will use the LCD in a scribble-strip fashion (text above each channel). In this scenario, you should only use the first six characters per channel, thus allowing for spaces between the text of each channel.  The lower line can be switched into meter mode. See “Metering” on page 249 for further details.  While the LCD switches between horizontal and vertical metering modes, it ignores LCD messages. You should delay LCD messages for at least 600 ms after sending an LCD metering mode change message. Appendix B Logic Control—MIDI Implementation 247 Time Code/BBT Display Received: , 10, yy, …, F7 Update multiple characters B0, 4i, yy Update single character Transmitted: None i Digit ID: 0 = right-most, 9 = left-most yy Data bytes representing character to be written (See “7-Segment Display Character Table” on page 248). Up to ten characters can be sent in the SysEx message. Examples:  The following message writes “109.02.01.126” to the Time Code display (note decimal points). F0 00 00 66 10 10 36 32 31 71 30 72 30 79 30 31 F7  B0 40 30 41 31 = writes “10” into the last two digits. Important: The digits in the Time Code and Assignment displays are written RIGHT-TOLEFT, which helps to conserve bandwidth. Assignment 7-segment display Received: , 11, yy, yy, F7 Update multiple characters B0, 4i, yy Update single character Transmitted: None i Digit ID: A= right, B = left yy Data bytes representing character to be written (See “7-Segment Display Character Table” on page 248). Two characters can be sent in the SysEx message. Example:  B0 4B 10 4A 4E = writes “Pn.” to the Assignment display. Important: The digits in the Time Code and Assignment displays are written RIGHT-TOLEFT, to help conserve bandwidth. 248 Appendix B Logic Control—MIDI Implementation 7-Segment Display Character Table Hint:  Characters @ (40h) thru ` (60h) = (ASCII value) − 40h  Characters ! (21h) thru ? (3Fh) = ASCII value Note: The decimal point on each 7-segment character can be lit by adding 40 Hex to the value of the data. Appendix B Logic Control—MIDI Implementation 249 Metering Received: D0, XX Peak level , 20, ii, mm, F7 Channel meter mode , 21, yy, F7 Global LCD meter mode Transmitted: None XX Meter level in the form of (0 h h h l l l l): hh Channel to be addressed (0 thru 7) ll Meter level: 0 thru C = level meter 0% to 100% Overload not cleared! E = set overload F = clear overload ii Channel ID (0 to 7) mm mode bit map in the form of (0 0 0 0 0 l p s): l Enable level meter on LCD p Enable peak hold display (horizontal only) s Enable Signal LED yy 00 = horizontal; 01 = vertical Notes:  There is only one level meter per channel. For stereo tracks, use the maximum of left and right levels.  Only transmit peak levels. Logic Control automatically decreases the level meter bars, and switches off the Signal Present LED (over time). This approach ensures that MIDI bandwidth takes only a fraction of that required by implementations where the current level (and peak level) is transmitted constantly.  Decay rate is approximately 300ms per meter division (1.8 seconds to fall from 100% to 0%).  The LCD meter value and the duration of the Signal Present LED are controlled by the same data byte.  While the LCD switches between horizontal and vertical metering mode, it ignores LCD messages. You should delay LCD messages for at least 600 ms after sending an LCD metering mode change message. 251 C Appendix C Logic Control— Control Surface Layout and IDs ID Switch LED Function 00 • • REC/RDY Ch. 1 01 • • REC/RDY Ch. 2 02 • • REC/RDY Ch. 3 03 • • REC/RDY Ch. 4 04 • • REC/RDY Ch. 5 05 • • REC/RDY Ch. 6 06 • • REC/RDY Ch. 7 07 • • REC/RDY Ch. 8 08 • • SOLO Ch. 1 09 • • SOLO Ch. 2 0A • • SOLO Ch. 3 0B • • SOLO Ch. 4 0C • • SOLO Ch. 5 0D • • SOLO Ch. 6 0E • • SOLO Ch. 7 0F • • SOLO Ch. 8 10 • • MUTE Ch. 1 11 • • MUTE Ch. 2 12 • • MUTE Ch. 3 13 • • MUTE Ch. 4 14 • • MUTE Ch. 5 15 • • MUTE Ch. 6 16 • • MUTE Ch. 7 17 • • MUTE Ch. 8 18 • • SELECT Ch. 1 19 • • SELECT Ch. 2 252 Appendix C Logic Control—Control Surface Layout and IDs 1A • • SELECT Ch. 3 1B • • SELECT Ch. 4 1C • • SELECT Ch. 5 1D • • SELECT Ch. 6 1E • • SELECT Ch. 7 1F • • SELECT Ch. 8 20 • V-Select Ch. 1 21 • V-Select Ch. 2 22 • V-Select Ch. 3 23 • V-Select Ch. 4 24 • V-Select Ch. 5 25 • V-Select Ch. 6 26 • V-Select Ch. 7 27 • V-Select Ch. 8 28 • • ASSIGNMENT: TRACK 29 • • ASSIGNMENT: SEND 2A • • ASSIGNMENT: PAN/SURROUND 2B • • ASSIGNMENT: PLUG-IN 2C • • ASSIGNMENT: EQ 2D • • ASSIGNMENT: INSTRUMENT 2E • FADER BANKS: BANK Left 2F • FADER BANKS: BANK Right 30 • FADER BANKS: CHANNEL Left 31 • FADER BANKS: CHANNEL Right 32 • • FLIP 33 • • GLOBAL VIEW 34 • NAME/VALUE 35 • SMPTE/BEATS 36 • F1 37 • F2 38 • F3 39 • F4 3A • F5 3B • F6 3C • F7 3D • F8 ID Switch LED Function Appendix C Logic Control—Control Surface Layout and IDs 253 3E • GLOBAL VIEW: MIDI TRACKS 3F • GLOBAL VIEW: INPUTS 40 • GLOBAL VIEW: AUDIO TRACKS 41 • GLOBAL VIEW: AUDIO INSTRUMENT 42 • GLOBAL VIEW: AUX 43 • GLOBAL VIEW: BUSSES 44 • GLOBAL VIEW: OUTPUTS 45 • GLOBAL VIEW: USER 46 • SHIFT 47 • OPTION 48 • CONTROL 49 • CMD/ALT 4A • • AUTOMATION: READ/OFF 4B • • AUTOMATION: WRITE 4C • • AUTOMATION: TRIM 4D • • AUTOMATION: TOUCH 4E • • AUTOMATION: LATCH 4F • • GROUP 50 • • UTILITIES: SAVE 51 • • UTILITIES: UNDO 52 • UTILITIES: CANCEL 53 • UTILITIES: ENTER 54 • • MARKER 55 • • NUDGE (Logic Pro only) 56 • • CYCLE 57 • • DROP 58 • • REPLACE 59 • • CLICK 5A • • SOLO 5B • • REWIND 5C • • FAST FWD 5D • • STOP 5E • • PLAY 5F • • RECORD 60 • Cursor Up 61 • Cursor Down ID Switch LED Function 254 Appendix C Logic Control—Control Surface Layout and IDs 62 • Cursor Left 63 • Cursor Right 64 • • Zoom 65 • • Scrub 66 • User Switch A 67 • User Switch B 68 • Fader Touch Ch. 1 69 • Fader Touch Ch. 2 6A • Fader Touch Ch. 3 6B • Fader Touch Ch. 4 6C • Fader Touch Ch. 5 6D • Fader Touch Ch. 6 6E • Fader Touch Ch. 7 6F • Fader Touch Ch. 8 70 • Fader Touch Master 71 • SMPTE LED 72 • BEATS LED 73 • RUDE SOLO LIGHT 76 • Relay click ID Switch LED Function 255 D Appendix D Logic Control— MIDI Implementation Chart Mode 1: OMNI ON, POLY, Mode 2: OMNI ON, MONO, O: Yes Mode 3: OMNI OFF, POLY, Mode 4: OMNI OFF, MONO, X: No Function Transmitted Recognized Remarks Channel, Default: Changed: 1 1 1 1 Each Logic Control unit should be installed on a separate MIDI port. Mode, Default: Messages: Altered: X X X X X X Note Number True Voice: O 0–127 X O 0–127 X Velocity, Note On: Note Off: O v = 1–127 X v = 00 O v = 1–127 X v = 00 After Touch, Keys: Chan’s: X X X O Pitch Bend O O Used for motor faders Control Change O O Program Change True #: X X SYSTEM EXCLUSIVE: O O SYSTEM COMMON: X X Soundtrack Pro 2 User Manual K Apple Inc. Copyright © 2007 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 Soundtrack Pro 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 book may be slightly different from what you see on your screen. Apple Inc. 1 Infinite Loop Cupertino, CA 95014–2084 408-996-1010 www.apple.com Apple, the Apple logo, Apple Cinema Display, AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iPhoto, iPod, iTunes, Logic, Mac, Macintosh, Mac OS, QuickTime, and Soundtrack are trademarks of Apple Inc., registered in the U.S. and other countries. Finder and Apple TV are trademarks of Apple Inc. AppleCare and Apple Store are service marks of Apple Inc., registered in the U.S. and other countries. iTunes Store is a service mark of Apple Inc. Dolby Laboratories: Manufactured under license from Dolby Laboratories. “Dolby,” “Pro Logic,” and the double-D symbol are trademarks of Dolby Laboratories. Confidential Unpublished Works, © 1992–1997 Dolby Laboratories, Inc. All rights reserved. NeXT is a trademark of NeXT Software, 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. Production stills from the film “Koffee House Mayhem” provided courtesy of Jean-Paul Bonjour. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour. All rights reserved. http://www.jbonjour.com 3 1 Contents Preface 11 An Introduction to Soundtrack Pro 11 Overview of Soundtrack Pro 13 Using Soundtrack Pro in Your Post-Production Workflow 15 Notable Features in Soundtrack Pro 18 Resources for Learning About Soundtrack Pro 18 About This Soundtrack Pro Onscreen User Manual 19 Apple Websites Chapter 1 21 Setting Up Your System 21 System Considerations 23 Connecting Equipment 24 Video and Audio Input and Output Devices 25 Video and Audio Interfaces 25 External Audio and Video Monitoring 27 Example Hardware Setups 32 Setting Up a System for Stereo Mixing 32 Setting Up a System for Surround Mixing Chapter 2 33 The Soundtrack Pro Interface 34 Soundtrack Pro Window Organization 37 Project Pane 38 Toolbar 38 Transport Controls 39 Timeline 43 File Editor 44 Mixer 46 Multitake Editor 47 Conform 48 Bin 49 Meters Tab 50 Recording Tab 51 Browser 52 Search Tab 4 Contents 54 Favorites Tab 55 Video Tab 55 Project Tab 57 Details Tab 60 Effects Tab 61 Tracks Tab 62 Actions Tab 63 Analysis Tab 64 HUDs Chapter 3 65 Setting Up Soundtrack Pro 65 Two Kinds of Projects 67 Setting Up Your Workspace 71 Playing Projects 75 About Changing Values and Timecode Entries 78 Locating and Adding Audio Files 91 Previewing Audio Files 93 Using Undo and Redo 94 Using Snapping 96 Reconnecting Media Files 97 Setting Soundtrack Pro Preferences Chapter 4 105 Working with Multitrack Projects 105 Creating and Opening Multitrack Projects 106 Creating a Multitrack Project from Final Cut Pro Clips or Sequences 106 Closing Multitrack Projects 106 Setting Project Properties 110 Setting the Project Length 111 Saving Multitrack Projects 112 Setting Default Locations for Saving Media Files 113 Adding Files to a Multitrack Project 114 Viewing and Editing Clip and Track Properties 124 Tracks, Busses, Submixes, and the Master Bus Chapter 5 127 Working in the Timeline 127 Working in the Timeline 128 Moving Around in the Timeline 135 Working with Tracks, Busses, and Submixes in the Timeline 147 Selecting Audio Clips in the Timeline 149 Selecting the Entire Contents of a Track 150 Selecting Partial Contents of One or More Tracks 151 Cutting, Copying, and Pasting Audio Clips 153 Spotting Clips to the Timeline Contents 5 154 Moving Clips 156 Snapping Clips to Clips on Adjacent Tracks 156 Resizing Audio Clips 157 Changing the Offset of an Audio Clip 158 Creating Fades and Crossfades in the Timeline 162 Truncating Overlapping Audio Clips 162 Editing Audio Clips in the Multitrack Timeline 164 Using the Timeline Editing Tools 165 Timeline Editing Tools HUD 166 Editing in Place 166 How Clips Are Affected by Media File Editing 166 How Source Audio File Editing Works in a Soundtrack Pro Multitrack Project 167 Modifying a Clip Without Affecting Its Source Media 168 Using the Multitrack Timeline and the File Editor Together 170 Spotting Sound Effects from the File Editor to the Timeline 170 Splitting and Joining Audio Clips 174 Editing with the Timeslice Tool 179 Using the Lift and Stamp Tools 183 Working with Markers 185 Using Markers with Video 188 Working with Tagged and Looping Clips 189 Replacing the Source Audio in a Clip Chapter 6 191 Editing Audio Files 193 Audio File Projects 193 Editing Audio Files Directly in a Multitrack Project 195 Editing in Place 195 How Clips Are Affected by Media File Editing 196 How Media File Editing Works in a Multitrack Project 196 How Source Audio File Editing Works in an Audio File Project 197 Modifying a Clip Without Affecting Its Source Media 198 Editing Audio Files in the File Editor 198 Opening Audio Files in the File Editor Tab 199 Playing Audio Files in the File Editor 199 Soloing an Audio File in the File Editor 200 Linking the File Editor Selection and the Cycle Region 200 Scrubbing Audio Files 202 Selecting Part of an Audio File 206 Cutting, Copying, and Pasting in the File Editor 207 Zooming In and Out in the File Editor 208 Editing Audio Files Graphically with Waveform Editing Tools 212 Choosing the Sample Units in the File Editor 212 Editing Multichannel Files 6 Contents 214 Using Frequency Spectrum View 219 Processing Audio Files 230 Working with Actions 236 Analyzing an Audio File 240 Using the File Editor Project View Chapter 7 251 Using the Multitake Editor 251 About the Multitake Editor 252 What Is ADR? 252 Multitake Clips 252 Creating Multitake Clips 253 Overview of the Multitake Editor 254 Editing in the Multitake Editor 255 Slipping Take Regions 256 Adding and Deleting Takes 256 Renaming Takes 257 Reordering Takes 257 Example: A Multitake Editing Workflow Chapter 8 261 Basic Mixing in Soundtrack Pro 262 Steps in Mixing 263 Structuring an Audio Post-Production Project 263 What Is a Submix and How Do You Use It? 263 Basic Signal Routing in Soundtrack Pro 266 Example: Mixing a Project with Dialogue, Music, and Effects Submixes 270 Using Sends and Busses 273 Using the Mixer 273 Working with Channel Strips in the Mixer 284 Working with Effects in the Mixer 286 Working with Sends and Busses in the Mixer 288 Setting the Overall Project Volume Level 290 Using the Master Bus 290 Listening to a Temporary Mono Mix 291 Recording Audio in the Mixer 291 Recording Automation in the Mixer 292 Creating Multiple Mixes 292 Things to Keep in Mind While Mixing Chapter 9 293 Mixing Surround Sound 293 What Is 5.1 Surround? 294 Creating a Surround Project 294 Setting Up for Surround 294 Setting Up Soundtrack Pro for Surround Contents 7 298 Surround Speaker Placement 299 Using Surround Panners to Create a Surround Mix 299 The Mini Surround Panner 300 The Surround Panner HUD 303 Surround Panner Automation 303 Modifier Keys for Moving the Puck 304 Surround Metering 306 Surround Mixing Strategies 306 Mixing Surround Files 307 Converting a Stereo Mix to 5.1 Surround 309 Placing Dialogue and Voiceover in a Surround Mix 310 Placing Stereo Music in a Surround Mix 310 Using the Center Channel 310 Using Surround Channels 311 Using Surround Effect Plug-ins 311 Limitations of the LFE Channel 312 Accommodating Stereo Playback 312 Exporting and Delivering 5.1 Surround Projects 312 Mixdowns 313 Project Files Chapter 10 315 Working with Video in Soundtrack Pro 315 Supported Video File Formats 316 Adding a Video to a Project 317 Playing the Video 320 Viewing Video Details 321 Working with a Video’s Audio 321 Using the Time Display and Time Ruler with Video 322 Scrubbing and Spotting with the Multipoint Video HUD 325 Removing a Video from a Project Chapter 11 327 Working with Audio Effects 327 Processing Effects and Realtime Effects 330 Working with Effect Presets 331 Audio Effects Included with Soundtrack Pro 343 Working with Realtime Effects 353 Working with Processing Effects Chapter 12 355 Working with Automation 355 Working with Envelopes 365 Recording Automation Data Chapter 13 367 Recording Audio in Soundtrack Pro 367 Getting Ready to Record 8 Contents 368 Recording Audio in the Timeline 374 Recording Audio in the Mixer 375 Recording Audio in the File Editor Project View Chapter 14 377 Creating Podcasts in Soundtrack Pro 378 Podcasting Media Production 379 Using the Podcast Track and Podcast Markers 379 Displaying the Podcast Track and the Details Tab 380 Podcast Marker Information in the Details Tab 381 Adding Markers to a Podcast 384 Adding Images to a Podcast 387 Exporting Podcasts 387 Exporting Audio Podcasts 388 Exporting Video Podcasts 390 Using Post-Export Actions for Podcast Production Chapter 15 391 Using Control Surfaces with Soundtrack Pro 391 Connecting Control Surfaces 392 Adding and Deleting Control Surfaces 393 Premapped Controls 393 Mapping Commands to Control Surface Buttons 394 Recording Control Surface Automation Chapter 16 395 Exporting Multitrack Projects 396 About the Export Dialog 397 Exporting and the Cycle Region 397 Exporting a Master Mix 414 Exporting Tracks, Busses, and Submixes Separately 415 Exporting Multiple Mono Files 416 Using Post-Export Actions 418 Using Export Presets 419 Exporting to AAF 419 Saving Multitrack Projects 419 Distributing a Multitrack Project and Its Media Files Together Chapter 17 421 Using Soundtrack Pro with Other Applications 421 Using Soundtrack Pro with Final Cut Pro 421 About Soundtrack Pro Audio File Projects 422 Methods for Sending Audio from Final Cut Pro to Soundtrack Pro 422 Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro 428 About Soundtrack Pro Multitrack Projects 428 Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences 432 Using Soundtrack Pro with DVD Studio Pro 434 Using Soundtrack Pro with Motion Contents 9 435 Using Soundtrack Pro with Third-Party Applications 435 Exchanging OMF and AAF Files with Other Applications 437 Exporting Audio Files Chapter 18 439 Using Conform with Final Cut Pro 439 About Conforming Manually 439 Using Soundtrack Pro Conform 444 Reviewing and Approving the Changes in the Conform Result Project Appendix A 449 Soundtrack Pro Keyboard Shortcuts 449 General and File 450 Layouts, Tabs, and HUDs 451 Navigating the Timeline 451 Project Playback 452 Cycle Region 453 General Editing 453 Editing Audio Clips in the Timeline 454 Moving Audio Clips and Envelope Points 455 Viewing the Timeline 456 Timeline Tools 456 File Editor Project View Tools and Commands 457 Processing and Editing Audio Files 458 Tracks, Busses, and Submixes 459 Markers 459 Selecting Audio Clips in the Timeline 460 Video Out 460 Recording 461 Using Arrow Keys to Move the Playhead 461 Working with Timeslices Appendix B 463 Audio Fundamentals 463 What Is Sound? 463 Fundamentals of a Sound Wave 465 Frequency Spectrum of Sounds 467 Measuring Sound Intensity 469 Signal-to-Noise Ratio 470 Headroom and Distortion 470 Dynamic Range and Compression 471 Stereo Audio 473 Digital Audio 474 Sample Rate 474 Bit Depth Appendix C 477 Working with Professional Video and Audio Equipment 10 Contents 477 About Video Interfaces, Signals, and Connectors 477 Video Interfaces 480 Video Signals and Connectors 485 About Audio Interfaces, Signals, and Connectors 485 Setting Up an Audio Interface 490 Audio Connectors, Cables, and Signal Formats 494 About Balanced Audio Signals 496 Tips for Choosing Speakers and an Amplifier 497 Frequency Response and Dynamic Range 497 Self-Powered Versus Passive Speakers 498 Amplifiers and Signal Levels for Unpowered Speakers 498 Connecting Professional Video Devices 498 Connecting Professional SD Video Devices 501 Connecting Professional Component Analog Video Devices 501 Connecting Consumer Analog Video Devices 501 Connecting Non-DV Devices to a DV Converter 503 Connecting Professional Audio Devices 503 Connecting Professional Digital Audio Devices 503 Connecting Consumer Digital Audio Devices 503 Connecting Professional Analog Audio 504 Synchronizing Equipment with a Blackburst Generator 506 Synchronizing Soundtrack Pro to External Timecode Appendix D 509 Working with Apogee Hardware in Soundtrack Pro 510 Global Parameters 511 Units Parameters 514 Setup Buttons Appendix E 515 Solutions to Common Problems and Customer Support 516 Solutions to Common Problems 517 Calling AppleCare Support Appendix F 519 Using Apple Loops Utility 519 What Is Apple Loops Utility? 520 The Apple Loops Utility Interface 526 Opening Files in Apple Loops Utility 527 Tagging Files in Apple Loops Utility 528 Working With Transients 530 Saving Changes to Files 530 Removing Files From the Assets Drawer 531 Apple Loops Utility Preferences 532 Apple Loops Utility Keyboard Shortcuts Index 537 11 Preface An Introduction to Soundtrack Pro Soundtrack Pro gives you the tools you need to create high-quality soundtracks for your film and video productions. Most experienced film and television producers know that “audio is more than half the picture.” The art and techniques of sound recording, dialogue editing, sound effect recording and placement, mixing, and sound design play a substantial role in how audiences perceive the (visual) quality of a film or video. Soundtrack Pro is designed to serve the art of motion picture sound post-production. Like the other applications in Final Cut Studio, Soundtrack Pro was created for the film and video industry. Soundtrack Pro gives you many specialized tools and powerful features that you can use to create high-quality audio. Overview of Soundtrack Pro Soundtrack Pro provides film and video professionals streamlined workflows for editing everything from individual audio files to large multitrack sound projects, including synchronizing audio and video, editing sound in place, working with automatic dialogue replacement (ADR), analyzing and fixing common audio problems like clicks and pops, and creating stereo and surround sound design. Add interoperability with the other applications in Final Cut Studio to this list of features, and you have a professional-quality audio application designed to meet the needs of the most discerning audio editors and mixers. Soundtrack Pro features two types of projects: audio file projects and multitrack projects. You use audio file projects to edit individual audio files. This is sometimes known as waveform editing. However, unlike most waveform editing applications, Soundtrack Pro allows you to edit your audio files nondestructively by keeping track of the actions you have performed on your audio file. You can edit down to the file’s individual sample level and perform tasks ranging from audio repair to sound design. You can perform edits nondestructively using actions, which include processing effects and other operations. You can analyze audio files for a range of common audio problems, including clicks and pops, hum, and phase issues, and automatically fix problems that are found. 12 Preface An Introduction to Soundtrack Pro Multitrack projects look and function similarly to Final Cut Pro projects. You arrange a multitrack project’s audio clips on the tracks in the Timeline. Multitrack projects contain the features you expect from a high-performance and professional-quality audio editor, including features to synchronize audio and video, work with ADR and multitake editing, and automate volume, pan, and other changes over time using envelopes. You can record over multiple channels to the Timeline or the File Editor or to multiple tracks in the Timeline. Most audio applications focus on multitrack editing or waveform editing, but not both. Furthermore, most waveform editing applications handle media destructively—making permanent changes to your media files. Soundtrack Pro provides the best of both worlds: nondestructive waveform editing while working in a multitrack project. You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy, and paste clips; move, resize, transpose, split, and join them; and edit them in other ways. You can also apply any actions to and process menu operations for any clip directly in the Timeline. You can organize your multitrack project for the final mix by creating busses and submixes, adding realtime effects and actions, and adding surround panning. When you’re ready to mix, you can mix in the Timeline or in the Soundtrack Pro Mixer. The Mixer models a traditional hardware mixing board and includes a channel strip for each track, bus, and submix in the project. Soundtrack Pro includes a large library of stereo and surround sound effects and music beds that you can use for Foley effects, background ambience, sound effects, and music transitions in your audio and multitrack projects. Soundtrack Pro also includes a generous selection of professional-quality effects plug-ins, like Space Designer and Channel EQ that you can add to tracks, busses, and submixes. You have numerous options for exporting your project. You can export your mix (or selected tracks, busses, or submixes) in a variety of audio file types including WAVE, AIFF, MP3, AAC, Dolby Digital Professional, and as a QuickTime movie. You can export your mix with Compressor, Apple’s high-performance encoding application. You can also pick from a variety of post-export actions that automatically open the mix in a Final Cut Pro sequence, or export it to Motion, Logic, or Waveburner. Preface An Introduction to Soundtrack Pro 13 Using Soundtrack Pro in Your Post-Production Workflow On its own, Soundtrack Pro is a powerful audio editing application. As part of Final Cut Studio, Soundtrack Pro becomes an integral part of your post-production workflow. You can easily share media projects between Final Cut Pro and Soundtrack Pro. When you send a sequence from Final Cut Pro, your audio files and a compiled video file arrive in a Soundtrack Pro multitrack project, ready for you to edit. After editing and creating your final mix, you can automatically send a mixdown back to the original Final Cut Pro sequence. The Soundtrack Pro Conform feature allows you to quickly sync up the picture editor’s cut with the sound editor’s version of the same sequence. Unlike many audio editing applications, Soundtrack Pro was created specifically to produce sound for motion picture audio projects. This means it has many specialized tools and features that simplify and enhance the sound-for-picture editing process. Here are some examples of how you can use Soundtrack Pro to enhance your motion picture sound editing and mixing experience:  To quickly synchronize a sound effect with the picture using the Multipoint Video HUD For more information, see “Scrubbing and Spotting with the Multipoint Video HUD” on page 322.  To edit audio dialogue replacement (ADR) recordings, combine them with production sound files, and create perfect voiceover narration For more information, see Chapter 7, “Using the Multitake Editor,” on page 251.  With the Soundtrack Pro Conform feature, to quickly merge two versions of the same sequence: the picture edit (from Final Cut Pro) and the sound edit/mix (from Soundtrack Pro) For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on page 439.  To perfect and clean up individual audio files. You can go straight into a clip’s waveform to correct a click or pop or add an effect. Soundtrack Pro makes it easy for you to move between editing individual clips and arranging your overall multitrack project for a quick back-and-forth workflow. To learn more about editing individual audio files, see “Editing Audio Clips in the Multitrack Timeline” on page 162 and Chapter 6, “Editing Audio Files,” on page 191.  To lift effects from one clip and apply them to other clips using lift-and-stamp tools and the Sound Palette, and to create palettes of sound processing for future use For more information, see “Using the Lift and Stamp Tools” on page 179.  To organize your multitrack project for professional sound effect editing and mixing For more information, see “Basic Signal Routing in Soundtrack Pro” on page 263 and “Using Sends and Busses” on page 270. 14 Preface An Introduction to Soundtrack Pro  To prepare your multitrack project for distribution and final delivery, such as foreign language versions (for example, to create separate submixes for dialogue, sound effects, and music) For more information, see “What Is a Submix and How Do You Use It?” on page 263 and “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266.  To use advanced editing techniques and tools in the multitrack Timeline for streamlined sound editing For more information, see “Using the Timeline Editing Tools” on page 164, “Moving Around in the Timeline” on page 128, “Selecting Audio Clips in the Timeline” on page 147, and “Editing with the Timeslice Tool” on page 174.  To create a podcast from a video edited in Final Cut Pro For more information, see Chapter 14, “Creating Podcasts in Soundtrack Pro,” on page 377 and “Exporting Video Podcasts” on page 388.  To create stereo and surround mixes for the same project For more information, see “Mixing Surround Sound” on page 293 and “Converting a Stereo Mix to 5.1 Surround” on page 307.  To set up your sound-for-picture editing system to display video on an external video monitor or use Digital Cinema Desktop on the Apple Studio and Apple Cinema Displays For more information, see “Setting Up a System Using a Video Output Device” on page 30 and “Video Out Preferences” on page 103.  To adjust the selection for an action. For example, you may have applied an effect to a portion of a file, and you might like to move that effect to a different portion of the file. For more information, see “Selecting Part of an Audio File” on page 202, “Editing with the Timeslice Tool” on page 174, and “Working with Actions” on page 230.  To use the resizable Timecode HUD to display the current project timecode (for a client sitting across the room) For more information, see “Timecode HUD” on page 64.  With the Frequency Spectrum view and the Frequency Selection tool, to make selections of frequency ranges as well as copy, paste, delete, and adjust the amplitude of frequency selections These tools help you visually pinpoint specific frequencies, for example, some noise that you want to remove. For more information, see “Using Frequency Spectrum View” on page 214.  To send a mixdown back to Final Cut Pro automatically Soundtrack Pro can send a new copy of the Final Cut Pro sequence that looks just like the original sequence but has additional audio tracks that contain your mixdown. For more information, see “Sending a Mixdown Back to Final Cut Pro Automatically” on page 430. Preface An Introduction to Soundtrack Pro 15  As you drag clips to the Timeline, to separate the channels of stereo and multichannel clips into individual clips, or combine separate clips into single stereo or multichannel clips For more information, see “Separating Channels by Option-Dragging” on page 122 and “Combining Separate Clips to Create Multichannel Clips” on page 123.  To arrange background music or add FX and Foley in stereo or surround sound For more information, see Chapter 18, “Using Conform with Final Cut Pro,” on page 439. Combining these Soundtrack Pro features creates your sound-for-picture project, a balanced sound design that enhances your video or film project using tools that look like and function similarly to the tools you know from using Final Cut Pro. Notable Features in Soundtrack Pro Soundtrack Pro provides a powerful set of tools for your motion picture sound editing and mixing projects, including the following features. Audio editing features:  Powerful audio editing: You can edit audio files nondestructively in Soundtrack Pro. You can edit audio files graphically with sample-accurate precision and process files using actions, which can be reordered and turned on or off individually.  Analysis and repair of common audio problems: You can choose which problems to analyze the file for, then fix the problems detected by analysis either individually or in a single operation. Selected problems are highlighted in the waveform display for easy viewing.  Multitake Editor: Use the Multitake Editor to edit multitake and synced audio that is created by performing multitake recording (such as in automatic dialogue replacement, or ADR).  Edit in place: Edit and process a file’s waveform directly in the Timeline and hear the changes in the context of your whole multitrack project. Simply select a clip in the Timeline and it appears in the File Editor tab below. Any changes you make to the media file are updated in the Timeline immediately.  Ability to add professional-quality effects: Soundtrack Pro includes high-quality effects plug-ins from the Logic Pro effects library that you can use in your projects, including the Space Designer convolution reverb. You can also install third-party effects in the Audio Units plug-in format.  Frequency Selection tool and Spectrum View HUD: Use the Frequency Selection tool in the Frequency Spectrum view to make selections of frequency ranges as well as copy, paste, delete, and adjust the amplitude of frequency selections. The new Spectrum View HUD provides extensive controls. 16 Preface An Introduction to Soundtrack Pro  Tape-style scrubbing: The Scrub tool provides detailed scrubbing that realistically approximates the “rock-the-reels” scrubbing on analog tape decks to help you quickly find a particular sound or event in a long audio file.  Multichannel support: You can edit up to 24 channels in a single audio file, and play back and record up to six channels in a single audio file in the Timeline. Soundtrack Pro 2 supports the following types of multichannel files: AIFF, WAVE, Broadcast Wave, QuickTime, CAF, and single folder/multi-mono file AIFF. Multitrack project features:  Advanced multitrack editing features: Soundtrack Pro includes the ability to lock/unlock, enable/disable, and color-label clips and tracks in the Timeline; an advanced Timeslice tool for marquee time selections; enhanced marquee clip selection; Final Cut Pro–style J-K-L transport controls; the ability to spot clips from various media tabs to the Timeline; the ability to move clips numerically; blade tools for splitting clips; region markers; and a mode for selecting and moving envelope points with clips.  Record and edit automation tools: You can record movements to sliders and other onscreen controls, play back the automation, and edit it in the Timeline.  OMF and AAF support: Soundtrack Pro can use these industry-standard project interchange formats to import the editing decisions from other video and audio editing applications. You can also export a multitrack project from Soundtrack Pro as an AAF file.  Sophisticated export options: You can export an entire project, or selected portions of it, to a mono, stereo, or multichannel audio file using the following audio file types: AIFF, WAVE, NeXT, Sound Designer II, MP3, AAC/Podcast, and Dolby Digital Professional (AC-3). Soundtrack Pro has a direct link to Compressor, the Final Cut Studio transcoding application, for exporting to numerous other audio and video formats. Other options include a variety of post-export actions, the ability to add your own custom AppleScript actions using the Export dialog, as well as custom export presets.  Lift and Stamp tools and the Sound Palette: Soundtrack Pro includes time-saving tools for applying work you have done on one clip to one or more other clips. Use the Lift tool to copy properties from selected clips. Create a processing template in the Sound Palette that can be applied to other clips with the Stamp tool. Final Cut Studio workflow features:  Send clips: You can send clips from the Final Cut Pro Timeline to Soundtrack Pro and edit the clips in the File Editor. When you save the clip, it is automatically updated in your Final Cut Pro project. Soundtrack Pro includes similar support for Motion and DVD Studio Pro.  Send sequences: You can also send clips or entire sequences to a Soundtrack Pro multitrack project to complete your final mix, adding additional tracks of sound effects, voiceover, and music. Both stereo and surround sound mixing are supported. Preface An Introduction to Soundtrack Pro 17  Conform: You can use the Conform feature in Soundtrack Pro to quickly merge two versions of the same sequence: the picture edit (from Final Cut Pro) and the sound edit/mix (from Soundtrack Pro).  Automatic mixdown return: When you export a mixdown of the multitrack project originally sent from Final Cut Pro, you can choose to open a new copy of the Final Cut Pro sequence that looks just like the original sequence but has additional audio tracks that contain your mixdown. Mixing features:  Advanced mixing capabilities: You can mix multitrack projects in the Mixer, which displays a virtual mixing console for a project. Using the channel strips in the Mixer, you can adjust levels, mute and solo tracks, and add realtime effects. You can create submixes using busses, and send audio to multiple physical outputs using submixes.  Surround editing and mixing: Soundtrack Pro provides an elegant and easy-to-use toolset for creating and adjusting projects in 5.1 discrete surround audio including surround panning, mixing, and automation; unparalleled flexibility with surround sources; and the ability to easily switch between stereo and surround mixes.  Support for control surfaces: In addition to recording movements of onscreen controls, you can connect a supported control surface and record automation of control surface movements.  Synchronized video display: You can add a video to a project and view it in the Video tab or display the video on an external video monitor. Audio/video synchronization is accurate both onscreen and on the external monitor, up to HD resolutions. You can accurately place audio clips to sync with specific frames or points in time in the video. Other features:  Audio recording capability: You can record audio directly into multiple tracks in the Soundtrack Pro Timeline, including recording multiple takes.  Powerful Inspector tabs: These include the Tracks tab for easily viewing, selecting, and grouping tracks, busses, and submixes, and the Bin, a hierarchical display of information about all open projects.  HUDs: Heads-up displays (HUDs) are semi-transparent floating windows with controls and displays that you can use to accomplish specific tasks. The HUDs include the Fade Selector HUD for quickly applying and adjusting fades and crossfades, the Multipoint Video HUD for providing visual context when you are positioning audio clips in a video-based project, and the Timecode HUD, which displays the current project timecode.  Podcasting: With Soundtrack Pro, audio creators can quickly and easily produce extremely high-quality audio and video podcasts directly from their Soundtrack Pro projects. 18 Preface An Introduction to Soundtrack Pro Resources for Learning About Soundtrack Pro This manual describes the Soundtrack Pro interface, commands, and menus, and gives step-by-step instructions for creating Soundtrack Pro projects and for accomplishing specific tasks. It also includes information on setting up your system and on audio basics. It is designed to provide the information you need to get up to speed quickly so you can take full advantage of the intuitive interface and powerful features of Soundtrack Pro. If you want to start by learning how to set up audio hardware to use with Soundtrack Pro, read Chapter 1, “Setting Up Your System,” on page 21. If you want to learn about the features and controls in the Soundtrack Pro interface, read Chapter 2, “The Soundtrack Pro Interface,” on page 33. If you want to jump right in and start using the application, skip ahead to Chapter 3, “Setting Up Soundtrack Pro,” on page 65. If you want to read about editing audio files, turn to Chapter 6, “Editing Audio Files,” on page 191. If you want to start using the multitrack Timeline, read Chapter 5, “Working in the Timeline,” on page 127. Soundtrack Pro provides several different sources of support. About This Soundtrack Pro Onscreen User Manual The Soundtrack Pro onscreen user manual allows you to access information directly onscreen while you’re working in Soundtrack Pro. To view this information, choose Help > Soundtrack Pro User Manual. The Soundtrack Pro onscreen user manual is a fully hyperlinked version of the Soundtrack Pro User Manual, enhanced with many features that make locating information quick and easy.  The homepage provides quick access to various features, including Release Notes, the index, and the Soundtrack Pro website.  A comprehensive bookmark list allows you to quickly choose what you want to see and takes you there as soon as you click the link. In addition to these navigational tools, the Soundtrack Pro onscreen user manual gives you other means to locate information quickly:  All cross-references in the text are linked. You can click any cross-reference and jump immediately to that location. Then, you can use the Preview Back button to return to where you were before you clicked the cross-reference.  The table of contents and index are also linked. If you click an entry in either of these sections, you jump directly to that section of the user manual.  You can also use the Find dialog to search the text for specific words or a phrase. Preface An Introduction to Soundtrack Pro 19 Apple Websites There are a variety of Apple websites that you can visit to find additional information. Soundtrack Pro Website For general information and updates, as well as the latest news on Soundtrack Pro, go to:  http://www.apple.com/finalcutstudio/soundtrackpro Apple Service and Support Website Go here for software updates and answers to the most frequently asked questions for all Apple products, including Soundtrack Pro. You’ll also have access to product specifications, reference documentation, and Apple and third-party product technical articles. To access the Apple Service and Support webpage, go to:  http://www.apple.com/support To access the Soundtrack Pro support webpage, go to:  http://www.apple.com/support/soundtrackpro To access the Soundtrack Pro discussion webpage, go to:  http://discussions.info.apple.com Other Apple Websites Start at the Apple homepage to find the latest and greatest information about Apple products:  http://www.apple.com QuickTime is industry-standard technology for handling video, sound, animation, graphics, text, music, and 360-degree virtual reality (VR) scenes. QuickTime provides a high level of performance, compatibility, and quality for delivering digital video. Go to the QuickTime website for information on the types of media supported, a tour of the QuickTime interface, specifications, and more:  http://www.apple.com/quicktime FireWire is one of the fastest peripheral standards ever developed, which makes it great for use with multimedia peripherals, such as video camcorders and the latest high-speed hard disk drives. Visit this website for information about FireWire technology and available third-party FireWire products:  http://www.apple.com/firewire 20 Preface An Introduction to Soundtrack Pro For information about seminars, events, and third-party tools used in web publishing, design and print, music and audio, desktop movies, digital imaging, and the media arts, go to:  http://www.apple.com/pro For resources, stories, and information about projects developed by users in education using Apple software, including Soundtrack Pro, go to:  http://www.apple.com/education Go to the Apple Store to buy software, hardware, and accessories direct from Apple and to find special promotions and deals that include third-party hardware and software products:  http://www.apple.com/store 1 21 1 Setting Up Your System The way you set up your system depends on the audio equipment you plan to use. You can use your computer’s speaker or headphone jack to monitor the audio output from Soundtrack Pro. For better results, you may want to connect external monitors or speakers to your system, so that you can monitor the audio output at a higher level of quality. You may want to connect other external audio equipment such as an audio interface or a mixer, particularly if you plan to record your own audio in Soundtrack Pro.  For information on system and hardware requirements, see the Read Before You Install document on the installation DVD.  For information on installing the software, see the Installing Your Software booklet. System Considerations To achieve the most effective results, you should consider the following issues when setting up your system. Processor Speed and RAM Digital audio files require intensive processing by your computer. If you plan to work on longer or more complex projects, or use multiple effects plug-ins in your projects, a computer with a faster processor can facilitate your productivity. Soundtrack Pro is optimized for use with computers that have a multiprocessor architecture. Working with Soundtrack Pro projects on a multiprocessor-equipped computer can make your workflow more efficient, especially when creating longer or more complex projects. If you plan to work on large projects, it’s useful to have extra random-access memory, or RAM, installed in your computer. Additional RAM allows you to play back more files simultaneously, use a greater number of effects plug-ins, and keep several multimedia applications open at the same time. 22 Chapter 1 Setting Up Your System Hard Disks It’s also a good idea to have a large hard disk with plenty of available space to store the media (audio and video) files you use with Soundtrack Pro. As you work with the application, you’ll likely want to acquire a large collection of sounds to use in your Soundtrack Pro projects. Hard disk performance is a critical aspect of your editing system: the storage capacity and data rate of your disks must match or exceed the requirements of the audio (and video) formats you are using. If you store media files on an external hard disk, make sure the disk has a fast enough seek time and a high enough sustained data transfer rate for use with video and audio files. Consult the manufacturer’s specifications. Dedicated Hard Disk Every minute of stereo digital audio (recorded using a 44.1 kHz sample rate and 16-bit depth) requires roughly 10 MB of hard disk space. If you plan to record large amounts of audio in Soundtrack Pro, you may want to record to a hard disk dedicated to storage for your Soundtrack Pro projects. Setting the Audio Input and Output You can set the default input and output devices for Soundtrack Pro with the Audio MIDI Setup utility. To select a default output device: 1 Double-click Audio MIDI Setup in the Utilities folder. 2 Choose the device from the Default Output pop-up menu. Note: Optionally, you can choose Apple menu > System Preferences, click Sound, then click Output. Select the audio interface in the list that appears. To select a default input device: 1 Double-click Audio MIDI Setup in the Utilities folder. 2 Choose the device from the Default Input pop-up menu. Note: Optionally, you can choose Apple menu > System Preferences, click Sound, then click Input. Select the audio interface in the list that appears. Chapter 1 Setting Up Your System 23 Audio MIDI Setup The Audio MIDI Setup utility is a program that comes with the Mac OS X for adjusting a computer’s audio input and output settings and managing MIDI devices. You can select audio channel input and output devices, configure output speakers, set clock rates, and control levels. You may also be able to open a configuration utility provided by your audio device. For more information, go to: http://www.apple.com/macosx/features/coreaudio Adding Audio Units Plug-ins to Your Computer Soundtrack Pro includes an extensive set of professional-quality effects plug-ins. Soundtrack Pro uses effects in the Audio Units plug-in format, the native plug-in format of Mac OS X. Audio Units plug-ins are also available from third-party manufacturers. When adding third-party effects to your computer, be sure to read the documentation, including any Read Me and installation files, that came with the plug-in. Supported Audio Units effects plug-ins appear in the Effects window under the manufacturer’s name. Soundtrack Pro does not support VST, ASIO, MAS, or RTAS effects plug-ins. Connecting Equipment You can use a variety of audio equipment with Soundtrack Pro for both recording and playback. For information on connecting a specific piece of equipment to your computer, read the documentation that came with the equipment. Final Cut Studio editing systems can be configured to meet the most demanding professional requirements. An advanced editing system can be built by expanding the basic system described in the Final Cut Pro User Manual. The following list includes equipment commonly used in Final Cut Studio editing systems:  Macintosh computer with Final Cut Studio installed: The core of your editing system  Professional video and audio devices: For capturing footage and outputting finished projects. (For more information about video and audio devices, see Appendix C, “Working with Professional Video and Audio Equipment,” on page 477.)  External video and audio monitors: For viewing and listening to your program in its final image and audio quality  Video and audio interfaces: For connecting professional and non-FireWire devices to your editing system  RS-422 serial device control interfaces: For remote device control during capture and output 24 Chapter 1 Setting Up Your System  Video, audio, and remote device control cables: For separate video, audio, and remote device control connections. Unlike a basic DV editing system that uses a solitary FireWire cable to transfer video, audio, and remote control signals, many professional configurations require separate cables for each of these signals.  Additional scratch disks: One or more internal or external hard disks, a RAID, or a connection to a storage area network (SAN)  Control surfaces: Hardware controls that let you mix and edit your projects with greater flexibility and precision than using a mouse to move onscreen controls Video and Audio Input and Output Devices An input device is used to transfer footage into your computer. For output, you record your finished movie to an output device. Basic editing systems use a DV camcorder or deck as both an input and output device. Professional editing systems may use multiple video decks to capture and output to different video formats. While Soundtrack Pro does not support video capture from devices such as camcorders or VTRs, it does support recording from a variety of digital audio devices. To connect non-FireWire devices to your computer, you also need a third-party video or audio interface. For more information, see “About Video Interfaces, Signals, and Connectors” on page 477. Video Device This is a VTR or camcorder you connect to your computer to capture and output media. The connectors and signal format on your video device determine what kind of video interface your computer needs to connect to your device. Audio Device This is a device, such as a digital audio tape (DAT) recorder or multitrack audio recorder, that lets you capture or output audio independently from video. Note: When using external audio devices, it’s a good idea to connect them before opening Soundtrack Pro. Chapter 1 Setting Up Your System 25 Video and Audio Interfaces An interface is a device that adds physical video or audio connectors to your computer so that you can connect your Final Cut Studio system to other professional equipment (such as video or audio decks and monitors). Interfaces provide input and output connectors that aren’t included with your computer. For example, if you want to output multiple audio channels to an analog audio mixer or digital multitrack, you need an audio interface that has XLR, 1/4” tip-ring-sleeve (TRS), AES/EBU, or ADAT Lightpipe output connectors. You may also want to consider adding a third-party interface to your system if:  You need to capture or output many audio channels at once  You are integrating Final Cut Studio into a professional broadcast environment that requires SDI, HD-SDI, or other non-FireWire video and audio connections  You need to capture, edit, and output full-resolution, uncompressed video signals instead of DV video (which is compressed)  You are digitizing video from an older analog VTR (such as a Betacam SP deck) that does not have digital video outputs or remote control via FireWire Third-party video and audio interfaces can be installed in one of your computer’s PCI slots, connected to the USB port, or connected via FireWire. For more information about selecting and connecting an audio interface for use with Soundtrack Pro, see “Setting Up an Audio Interface” on page 485. External Audio and Video Monitoring In the final stages of post-production, external video and audio monitors are essential to ensure the quality of your movie. Editing systems focused on these final phases of post-production are often called finishing systems. External Audio Speakers and Monitors You can play back audio through your computer’s speakers or headphone jack, but the audio output may not be high enough for you to evaluate your music at a professional level of quality. Connecting external speakers or monitors to your system allows you to hear the audio output with greater fidelity and a wider dynamic range. During the final mix, it is important to monitor your audio so that it matches the listening environment where the final project will be shown. For detailed information on connecting external speakers to your audio interface, see the documentation that came with the speakers. 26 Chapter 1 Setting Up Your System Setting Up a Proper Audio Monitoring Environment Room shape and material are just as important as the quality of the speakers themselves. Every surface in a room potentially reflects sound, and these reflections mix together with the sound originating from the speakers. Rooms with parallel walls can create standing waves, which are mostly low-frequency sound waves that reinforce and cancel each other as they bounce back and forth. Standing waves cause some frequencies to be emphasized or attenuated more than others, depending on your listening position. When you mix in a room that creates standing waves, you may adjust certain frequencies more than necessary. However, you may not notice until you play back your audio in a different listening environment, in which those frequencies may sound overbearing or nonexistent. Π Tip: A much cheaper alternative to building new walls is to mount angled pieces of material to the existing walls to eliminate parallel surfaces. If the material in a room is very reflective, the room sounds “brighter” because high frequencies are easily reflected. Mounting absorbing material (such as acoustic foam) on the walls can reduce the brightness of a room. A “dead room” is one that has very little reflection (or reverberation). Try to cover any reflective surfaces in your monitoring environment. Amplifiers If you are recording audio from microphones and are not running the microphone’s signal through a mixer with a microphone pre-amplifier, you need to connect an amplifier to boost the microphone’s signal before sending it to the computer. If you are connecting monitors or speakers that are not self-powered, you also need to connect them through an amplifier. Mixers Connecting a mixer to your system allows you to record audio from multiple microphones or instruments simultaneously, to play back the output from your computer through connected monitors or speakers, and to control the volume levels of both the audio input and output. Professional-quality mixers have a number of additional features, including equalization (EQ) controls, auxiliary sends and returns for adding external effects, and separate monitor and mix level controls. Mixers may also include inboard pre-amplification for microphones, making the use of a separate amplifier unnecessary. Control Surfaces Soundtrack Pro supports control surfaces that use the Mackie Control and Logic Control protocols. For information on connecting and using control surfaces, see Chapter 15, “Using Control Surfaces with Soundtrack Pro,” on page 391. Chapter 1 Setting Up Your System 27 External Video Monitors When you design and edit a video soundtrack, it’s ideal to watch the video on a monitor similar to the one you will use for the final screening. An external video monitor can display color, frame rate, and interlaced scanning more accurately than your computer display. (For information on connecting professional video devices, see “Connecting Professional Video Devices” on page 498.) If you are working on an NTSC or a PAL project, you should watch it on an external video monitor that shows the video interlaced. For more information about external video monitoring, see the Final Cut Pro User Manual. Example Hardware Setups The following sections provide several examples of different hardware setups. Setting Up a System Using Powered Speakers With this setup, you can monitor the audio output through a set of connected powered speakers. This setup uses the following equipment:  Your computer and display  A set of powered speakers, including speaker wire and a power adaptor Computer Speakers Speaker cables Power cables 28 Chapter 1 Setting Up Your System Setting Up a System Using a USB Audio Interface With this setup, you can record audio input from microphones and musical instruments, and monitor audio output, through a USB audio interface. This setup uses the following equipment:  Your computer and display  USB audio interface (from 2 to 8 channels) with USB cable to connect to your computer  Microphone  Musical instruments (guitar, bass, and keyboard)  Cables to connect microphones and instruments to the audio interface  Set of monitors or speakers Monitors Audio interface USB cable Speaker cables Microphone Computer Instrument Power cables Chapter 1 Setting Up Your System 29 Setting Up a System Using a FireWire Interface and a Control Surface With this setup, you can record audio input from several sources simultaneously and monitor audio output channels independently, through a mixer connected to a FireWire audio interface. This setup uses the following equipment:  Your computer and display  FireWire audio interface with FireWire cable to connect to your computer  Control surface and MIDI interface with USB cable to connect MIDI interface to your computer  MIDI cables to connect control surface to MIDI interface  Set of powered monitors or speakers  Speaker cables Monitors Control surface Audio interface FireWire cable Speaker cables Computer Power cables Midi interface 30 Chapter 1 Setting Up Your System Setting Up a System Using a Video Output Device With this setup, you can play video and audio through an external video output device. Because using a video output device can result in increased latency, you may want to combine this setup with an audio-only setup (as shown in the preceding pages), and switch between the two setups. This setup uses the following equipment:  Your computer and display  Video output device (FireWire device or PCI card)  High-quality video monitor  Audio monitors Computer Video output device FireWire cable Audio monitors Speaker cables Mixer Video monitor Chapter 1 Setting Up Your System 31 Setting Up a System Using a PCI Video Interface Card with Breakout Box Many PCI cards aren’t big enough to fit all of the necessary video and audio connectors. In these situations, a breakout box is connected to the PCI card via a multipin connector on a long cable, and the connectors are accessible on the breakout box instead of on the back of the PCI card. A breakout box is also useful because it allows you to place the connectors somewhere more convenient than the back of your computer, such as on an equipment rack or a desktop. This setup uses the following equipment:  Your computer and display  Video interface (PCI card with breakout box)  High-quality video monitor  Audio speakers Computer Analog or digital VTR (with PCI card) Breakout box BNC connector 32 Chapter 1 Setting Up Your System Setting Up a System for Stereo Mixing By default, Soundtrack Pro is set up for stereo mixing. Stereo Speaker Placement and Listening Position Most video editing suites use nearfield monitors, which are speakers designed to be listened to at fairly close range. Speakers should be at least a foot or two away from any walls to prevent early reflections of sound that combine with and muddy the original sound. Position the speakers as far from your listening position as they are from each other (forming an equilateral triangle). For example, if the distance between the speakers is six feet, you should place yourself six feet from each speaker. The apparent width of the sound stage, or stereo image, increases as the distance between the speakers increases. However, if the two speakers get too far apart, sound information appearing in the center (between both speakers) starts to disappear. Setting Up a System for Surround Mixing For complete instructions on setting up the surround mixing tools in Soundtrack Pro, see “Setting Up for Surround” on page 294. 2 33 2 The Soundtrack Pro Interface In Soundtrack Pro, you work in multiple windows and tabs that you can arrange to suit your workflow. Soundtrack Pro is designed to handle every aspect of creating audio for a video or film project, from multitrack recording to advanced audio processing and mixing. You can use Soundtrack Pro together with Final Cut Pro as a complete audio post-production solution that is powerful, yet also elegant and flexible. Video tab Details tab Toolbar Standard layout Meters tab Browser tab Mixer tab Transport controls 34 Chapter 2 The Soundtrack Pro Interface Soundtrack Pro Window Organization The Soundtrack Pro window is arranged into several areas: the project pane and three surrounding panes: the left pane, the lower pane, and the right pane. The project pane is reserved as the central “canvas” for the multitrack Timeline and for individual audio file projects. Use the transport controls at the bottom of the window to play back projects that you open in the project pane. Task-specific tabs are docked in the left, lower, and right panes. By default, the tabs are grouped by function and are laid out for a streamlined audio post-production workflow. Nonetheless, you can easily rearrange the tabs and resize the panes to suit your needs and then save the custom layouts for future use. Showing and Hiding the Panes The tabs are grouped by function to optimize your workflow. For example, the media I O-related tabs (Meters, Recording, Search, Browser, and Favorites) are located in the right pane by default. When you are finished with media input, you can close the entire right pane by choosing Window > Toggle Right Pane, and thereby allow more horizontal space for the project pane and the lower pane. Left pane Project pane Lower pane Transport controls (project pane) Right pane Chapter 2 The Soundtrack Pro Interface 35 Or, for example, you may wish to work exclusively in the Timeline or the File Editor project view and dedicate the entire Soundtrack Pro window to that view. 36 Chapter 2 The Soundtrack Pro Interface Because hiding and showing different panes of the Soundtrack Pro window is so convenient, you will probably use this feature frequently during the course of a project. Here are the keyboard shortcuts for hiding and showing the various panes. Rearranging Tabs At any time, you can rearrange the layout by tearing off individual tabs and docking them in other panes, or simply have them float over the Soundtrack Pro window. There are numerous possible combinations. Mix and match the tabs to suit your particular workflow needs. Note: At any time, you can revert to the default layout by choosing Window > Layouts > Standard, or pressing F1. Also, you can save any custom layouts you create. For more information on managing layouts, see “Using Project Layouts” on page 68. Pane Keyboard Shortcut Left pane Lower pane Right pane control A control S control D The Meters, Search, and Browser tabs have been moved from the right pane and docked in the left pane. Chapter 2 The Soundtrack Pro Interface 37 Project Pane The project pane is the central “canvas” where you work on your projects in either the multitrack Timeline or the File Editor project view. Use the Timeline (shown below) to arrange audio clips in multitrack projects. Use the File Editor project view for individual audio file projects.  Toolbar: Includes tools for common functions. You can customize which tools appear in the Toolbar.  Tabs: You can switch between any projects open in the Timeline or File Editor project view.  Transport controls: Control playback and the position of the playhead, and turn recording on or off. (For more information, see “Transport Controls” on page 38.)  Monitor Volume slider: Adjusts the overall monitor volume when you play the project. The volume level defaults to 0 dB when you create a project. Adjusting the Monitor Volume slider does not affect the mix signal or the export volume.  Mono Mix button: Click to listen to a temporary mono mix of the project.  Playhead Location value slider: Displays the current playhead position. You can move the playhead by clicking the arrows, dragging, or typing a value.  Selection Length value slider: Displays the length of the current Timeslice (in the Timeline) or selection (in the File Editor). You can change the Timeslice or selection length by clicking the arrows, dragging, or typing a value. Tabs Playhead Location value slider Monitor Volume slider Mono Mix button Transport controls Toolbar Selection Length value slider 38 Chapter 2 The Soundtrack Pro Interface Toolbar The Toolbar is located at the top of the Soundtrack Pro window. When you first open Soundtrack Pro, the Toolbar includes buttons for creating a new project, creating a new audio file, creating a new track, and other common functions. You can customize the Toolbar, adding buttons for functions you want to access frequently. For information about customizing the Toolbar, see “Customizing the Toolbar” on page 69. Transport Controls You use the transport controls to control playback, set the position of the playhead, start recording, and activate the cycle region.  Playhead Location value slider: Displays the current playhead position. You can move the playhead by clicking the arrows, dragging, or typing a value.  Record button: Starts and stops the recording process, and arms tracks for recording when no tracks are pre-armed.  Play from Beginning button: Starts playback from the beginning of the project.  Go to Beginning button: Moves the playhead to the beginning of the project or to the beginning of the cycle region if it is active.  Play/Pause button: Starts playback at the current playhead position. If the project is playing, stops playback.  Go to End button: Moves the playhead to the end of the project or to the end of the cycle region if it is active.  Cycle button: Activates the cycle region, if one is set in the Time ruler. If no cycle region is set, loops the project.  MIDI Sync button: Synchronizes playback with incoming MIDI Clock and MIDI Timecode (MTC) signals. Record Go to End MIDI Sync Play from Beginning Play Playhead Location value slider Selection Length value slider Go to Beginning Cycle Chapter 2 The Soundtrack Pro Interface 39  Selection Length value slider: Displays the length of the current Timeslice (in the Timeline) or selection (in the File Editor). You can change the Timeslice or selection length by clicking the arrows, dragging, or typing a value. For information on using the transport controls, see “Controlling Playback with the Transport Controls” on page 77. Timeline The Timeline gives you a visual representation of a multitrack project, showing the position of clips, the playhead, and other items in time. The Timeline is organized into three groups of horizontal rows called tracks, busses, and submixes, as well as a video track, a podcast track, and a Master bus. You can add and arrange audio clips in the audio tracks, use sends to create auxiliary busses, and route audio to physical output channels using submixes. You can control the sound of each audio track, bus, and submix using the controls in its header.  Previous and Next Selection buttons: Move backward and forward through Timeslice selections you’ve made in the waveform display.  Timeline editing tools: Select items using the Selection (arrow) tool, make time-based selections with the Timeslice tool, split audio clips using the Blade and Blade All tools, copy and paste attributes with the Lift and Stamp tools, and scrub the Timeline with the Scrub tool. For more information, see “Using the Timeline Editing Tools” on page 164.  Automation Mode pop-up menu: Choose the mode for recording automation using either the onscreen controls or an external control surface. Timeline controls Scroll bar Audio tracks, busses, and submixes Project controls Track area Timeline editing tools Time display Global Timeline view Time ruler Show pop-up menu Track headers Automation Mode pop-up menu Previous and Next Selection buttons 40 Chapter 2 The Soundtrack Pro Interface  Project controls: Set the project’s sample rate and other properties using these controls.  Show pop-up menu: Choose whether the video track, podcast track, audio tracks, busses, submixes, and master envelopes are visible in the Timeline.  Global Timeline view: Shows a miniature view of the entire Timeline and the playhead position, and lets you move quickly to different parts of a project.  Time display: Shows the current playhead position in both Time-based and Beats-based formats. You can set the playhead by typing a new playhead position in the time display.  Time ruler: You can precisely position clips, the playhead, and other items to a specific point in time (minutes, seconds, frames) or to a musical beat using the Time ruler.  Track area: Includes horizontal rows for tracks, busses, and submixes. Also includes the playhead, envelopes, and markers.  Headers: Each track, bus, and submix has a header with an icon, name, volume slider, and other controls. (For more information, see the next section.)  Timeline controls: Include controls to show the master envelopes, turn snapping on or off, set the track height, and zoom in or out. (For more information, see “Timeline Controls” on page 42.)  Scroll bar: Moves the Timeline horizontally so you can see different parts of the project. Headers Each track, bus, and submix in the Timeline has a header that includes the track name, track icon, and a set of track controls.  Color label: Indicates the track color, which is applied to any clips on the track (unless you choose to override the color for individual clips).  Icon: You can choose an icon for the track, bus, or submix, making it easy to quickly distinguish it in a large project.  Name field: You can type a new name for the track, bus, or submix in the name field. You cannot rename the Master bus.  Bypass Effects button: Select this button to hear the track without any of the applied realtime effects. Name field Mute button Color label Submix pop-up menu Envelopes Solo button disclosure triangle Panner Icon Arm for Recording Bypass Effects Input Routing buttons Volume slider Input menu Chapter 2 The Soundtrack Pro Interface 41  Arm for Recording button: Enables (or disables) the track for recording when you click the Record button. Only tracks have Arm for Recording buttons, not busses or submixes.  Mute button: Mutes (or unmutes) the track, bus, or submix.  Solo button: Solos (or unsolos) the track, bus, or submix. Soundtrack Pro supports both multiple solo and exclusive solo.  Envelopes disclosure triangle: Shows the track, bus, or submix envelopes in the area directly below the track.  Volume slider: Sets the track, bus, or submix relative volume in the overall mix.  Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks and busses only.)  Input Device pop-up menu: Use the Input Device pop-up menu to choose the recording input device, and its Channels submenu to choose the channel (or set of channels).  Input Routing buttons: Use the Input Routing buttons to confirm or change recording input signal routing.  Output pop-up menu: Choose the physical outputs for the submix from the menu. Submixes only. (Not shown in the illustration.)  Panner: Sets the pan position of the track or bus. Has two modes: stereo slider or surround panner. Appears in track and bus headers only, not in submix headers or the Master bus header. Note: The Input Device pop-up menu and Input Routing buttons are visible only when the track height is set to Medium or Large. For detailed information on using the track controls, see “Using the Track Controls” on page 142. 42 Chapter 2 The Soundtrack Pro Interface Timeline Controls The lower-left corner of the project pane contains controls for various aspects of Timeline display and operation.  Master Envelopes button: In the Timeline, shows or hides the master envelopes. In the File Editor project view, shows or hides the envelopes for the current audio file project.  Snapping button: Turns snapping on or off.  Snap To Value pop-up menu: Sets the value to which items in the Timeline snap.  Height control: Sets the height of tracks, busses, and submixes to one of four settings, from Reduced to Large. In the File Editor project view, sets the height of the envelopes for the current audio file project to one of four settings, from Reduced to Large.  Zoom control: Click the control or drag the slider to change the zoom level. You can zoom in to edit clips precisely, or zoom out to display more of the Timeline. For information about using master envelopes, see “Master Bus” on page 364. For information about snapping, see “Using Snapping” on page 94. For information about using the Height control and Zoom control, see “Moving Around in the Timeline” on page 128. Master Envelopes button Height control Zoom control Snapping button Snap to Value pop-up menu Chapter 2 The Soundtrack Pro Interface 43 File Editor You can edit individual audio files in the File Editor using actions. Actions give you a powerful and flexible way to edit audio files nondestructively using professional audio processing effects and other operations. You can turn individual actions on or off, reorder actions, flatten actions, and compare the project with and without actions. You can also analyze audio files in the File Editor and fix common audio problems, including clicks and pops, hum, and phase problems. The File Editor can take two forms: the File Editor project view, for detailed work on individual audio files, and the File Editor tab, for convenient editing within the context of a multitrack project.  Waveform editing tools: Include the Selection, Sample Edit, Audio Stretching, and Zoom tools that you can use to graphically edit audio files.  Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.  Previous and Next Selection buttons: Move back and forward through selections you’ve made in the waveform display.  Waveform View and Frequency Spectrum View buttons: Change the display between Waveform view and Frequency Spectrum view.  Time display: Shows the current position of the playhead.  Global Waveform view: Shows you a miniature view of the entire waveform and the playhead position, and lets you move quickly to different parts of an audio file.  Waveform display (and editing area): Shows the waveform of the audio file (or its frequency spectrum in Frequency Spectrum view). You can select parts of the audio file to apply different actions to. Waveform editing tools Time display Playhead Location value slider Monitor volume slider Waveform View and Frequency Spectrum View buttons Global Waveform view Actions tab Waveform display Previous and Next Selection buttons Transport controls Automation mode pop-up menu Playhead 44 Chapter 2 The Soundtrack Pro Interface  Transport controls: Control playback and the position of the playhead, and turn recording on or off. (For more information, see “Transport Controls” on page 38.)  Playhead: Shows the part of the audio file currently playing.  Monitor Volume slider: Adjusts the overall monitor volume when you play the project. The volume level defaults to 0 dB when you create a project. Adjusting the monitor volume slider does not affect the mix signal or the export volume.  Mono Mix button: Click to listen to a temporary mono mix of the project.  Playhead Location value slider: Displays the current playhead position. You can move the playhead by clicking the arrows, dragging, or typing a value.  Actions tab: Displays the currently applied actions. Mixer You mix your project in the Mixer. All tracks, busses, and submixes (as well as the Master bus) have channel strips in the Mixer with volume controls, mute and solo buttons, slots for adding effects, and other controls. You can view the levels for tracks, busses, submixes, and the Master bus using level meters in their channel strips. You can also record audio and automate volume and pan changes in the Mixer.  Automation Mode pop-up menu: Choose the automation mode from the pop-up menu.  Channel Strip and Mixer pop-up menus: Show or hide different sections of the channel strips and of the Mixer window.  Channel strips: Each track, bus, and submix has a channel strip with controls and level meters. Channel strips Channel Strip and Mixer pop-up menus Automation Mode pop-up menu Chapter 2 The Soundtrack Pro Interface 45 Each channel strip includes the following controls:  Color label: Indicates the track color, which is applied to any clips on the track (unless you choose to override the color for individual clips).  Name field: You can type a new name for the channel strip.  Icon: Icons let you visually distinguish channel strips in the Mixer. Double-click an icon to change it.  Effects slots: Show the effects and sends for the channel strip, and let you add effects and sends.  Panning controls: Set the pan position of a track or bus. In surround mode, drag anywhere inside the black circle to position the puck. In stereo mode, drag the pan slider left or right or change the value in the value slider. You can automate pan changes by setting the appropriate automation mode for the project. These appear in track and bus channel strips only, not in submix channel strips.  Volume fader and value slider: Set the channel strip’s volume level by dragging the fader or changing the value in the value slider. You can automate volume changes by dragging the slider with the project set to the appropriate automation mode.  Level meters with peak indicator: Show the volume level of the channel strip in real time as the project plays. The peak indicator shows the highest level played and changes color to indicate that clipping has occurred.  Arm for Recording button: Click to enable the track for recording. When you click a track’s Arm for Recording button, the Recording tab appears, showing the track’s current recording settings. The button appears in track channel strips only, not in bus or submix channel strips. Icon Volume fader Effects slots Solo button Panning controls Level meters and peak indicator Color label Arm for Recording button Name Submix pop-up menu Mute button Volume value slider 46 Chapter 2 The Soundtrack Pro Interface  Mute button: Click to mute (or unmute) the channel strip.  Solo button: Click to solo (or unsolo) the channel strip.  Submix pop-up menu: Choose a submix for the track or bus from the menu. (Tracks and busses only.)  Output pop-up menu: Choose the outputs for the submix from the menu. Submixes only. (Not shown in the illustration.) Multitake Editor Use the Multitake Editor to edit multitake and synced audio that is created by performing multitake recording (such as in automatic dialogue replacement, or ADR). This tool allows you to easily mix and match parts of different takes. Once you are done editing a multitake clip, you can collapse it into a single clip, hiding the constituent edits that are not relevant to the surrounding multitrack Timeline. For more information about the Multitake Editor, see Chapter 7, “Using the Multitake Editor,” on page 251. Take editing tools Take tracks Comp track Chapter 2 The Soundtrack Pro Interface 47 Conform The Conform tool helps sound editors handle picture changes. Conforming a sequence is the act of incorporating changes sent from the picture editor into a different, changed version of a sequence being used by the sound editor. The sound editor revisits all of the audio edits, ensuring that they line up with new video footage and inserting or deleting any added or deleted media. Soundtrack Pro Conform makes this merging procedure more efficient and less tedious. For more information about the Conform tool, see Chapter 18, “Using Conform with Final Cut Pro,” on page 439. 48 Chapter 2 The Soundtrack Pro Interface Bin The Bin tab lists information about items in all open projects. The Bin provides a hierarchical display of projects, their media files, and other information about each item, including duration, timecode, sample rate, Timeline information, and so on. You can drag files from the Bin tab to the Timeline. You can add files to the Bin for easy access at any time. The Bin also features sort and search functions to help you locate an item in any open project. For more information about the Bin, see “Using the Bin” on page 87.  Item list: Displays the files, clips, markers, and podcasts in the currently open projects.  Items pop-up menu: Choose what types of items (files, clips, markers, or podcasts) to display in the Bin.  Columns pop-up menu: Choose what types of columns of information (Timeline information, audio clip information, file information, metadata tags, or music information) to display in the Bin.  Preview controls: Include a Play button, a volume slider, and a “Preview on selection” button. For information on using the preview controls, see “Using the Preview Controls” on page 91.  Media pop-up menu: Choose menu items to Show in Timeline, Spot to Timeline, open a file in the File Editor, and perform other functions. Item list Preview controls Media pop-up menu Items pop-up menu Columns pop-up menu Chapter 2 The Soundtrack Pro Interface 49 Meters Tab The Meters tab displays mono, stereo, multichannel, and surround level meters that you can use to observe the volume of all submixes assigned to physical outputs or the overall output for an audio file project.  Level meters: Show the output volume of the overall project as the project plays.  Peaks Value and Location display: Displays the highest (peak) value played for each jack, and its timecode. Double-click any item in the Peaks Value and Location display to move the playhead to that point in the Timeline.  Reset button: Resets all items in the Peaks Value and Location display. Level meters Reset button Peaks Value and Location display 2-channel meter 6-channel meter 50 Chapter 2 The Soundtrack Pro Interface Recording Tab The Recording tab is where you edit a track’s recording settings. When you click a track’s Arm for Recording button, the Recording tab appears, displaying the track’s current recording settings.  Peak indicator: Shows the highest level reached by the recording input signal. If the level rises above 0 dB, the peak indicator becomes red to indicate clipping.  Track pop-up menu: Displays the recording settings for the selected track.  Level meter(s): Show the input volume for the selected track during recording. Adjust automatically to the number of channels and the channel valence selected in the Input Channel pop-up menu.  Input Device pop-up menu: Choose the input device for recording.  Input Channel pop-up menu: Choose the input channel (or channels) for recording.  Input Routing buttons: Use the Input Routing buttons to route the input signal to different channels.  Configure Device button: Opens the Audio MIDI Setup utility for adjusting the computer’s audio input and output configuration settings, or setting up software specific to your audio interface.  Monitor Device pop-up menu: Choose the output device and output channel (or channels) for monitoring during recording.  Mute Project checkbox: Select to mute the project during recording, so you hear only the sound being recorded. Level meter Peak indicator Input device pop-up menu Monitor Device pop-up menu Configure Device button Input channel pop-up menu Mute Project checkbox Input Routing buttons Track pop-up menu Chapter 2 The Soundtrack Pro Interface 51 Browser The Browser tab displays the disks connected to your computer in a view similar to the Finder’s list view. You can also preview files in the Browser tab and drag them to the Timeline.  Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.  Computer button: Displays your computer’s hard disk and other storage media connected to your computer.  Home button: Displays the contents of your home directory.  Path pop-up menu: Displays the levels of the file path to the current location, letting you move back to a previous level.  File list: Displays the files and folders at the current location.  Preview controls: Include a Play button, a volume slider, and a “Preview on selection” button. For information on using the Preview controls, see “Using the Preview Controls” on page 91.  Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin, open a file in the File Editor, and perform other functions. Preview controls Path pop-up menu Media pop-up menu Tabs Back and Forward buttons Computer and Home buttons File list 52 Chapter 2 The Soundtrack Pro Interface Search Tab The Search tab lets you locate audio files using a variety of criteria. You can perform text searches and search for Apple Loops and other tagged file formats using keywords for instrument, genre, mood descriptors, and other categories. Matching files are displayed in the Search Results list. Once you locate the files you want to use, you can preview them in the Search Results list or drag them to the Timeline. The Search tab has two views, Column view and Button view. Column view features a Keywords list containing keywords and a Matches list with subcategories you can use to refine your searches. Button view displays a matrix of keyword buttons you can click to see matching files.  Button and Column View buttons: Change the view to either Button or Column view.  Category pop-up menu: Restricts the available keywords to a particular category. Search Text field Matches list Scale Type pop-up menu Nearby Keys button Setup button Keywords list Button and Column View buttons Search Results list Preview controls Media pop-up menu Time Signature pop-up menu File Type pop-up menu Category pop-up menu Keyword buttons Chapter 2 The Soundtrack Pro Interface 53  Setup button: Displays the Search Setup dialog, from which you add items to the Search database.  Time Signature pop-up menu: Restricts search results to files with the selected time signature.  File Type pop-up menu: Choose whether to display all files, or only looping or non-looping files.  Scale Type pop-up menu: Restricts search results to audio files using the selected scale.  Keyword buttons (Button view only): Displays files matching the keyword in the Results list.  Keywords list (Column view only): Displays files matching the keyword in the Results list, and displays subcategories in the Matches list.  Matches list (Column view only): Displays subcategories of the selected keywords.  Search Text field: Type text in the field to display matching files whose filename or path contains the search text.  Nearby Keys button: Restricts search results to keys within two semitones above or below the project key.  Search Results list: Displays the files matching the selected search criteria, in alphabetical order. Includes columns displaying the tempo, key, and number of beats of each file. You can click files to preview them.  Preview controls: Include a Play button, a volume slider, and a “Preview on selection” button. For information on using the preview controls, see “Using the Preview Controls” on page 91.  Media pop-up menu: Choose menu items to add a Favorite, add a file to the Bin, open a file in the File Editor, and perform other functions. 54 Chapter 2 The Soundtrack Pro Interface Favorites Tab You can store frequently used items in Favorites so that you can easily access them directly. You can also preview files in Favorites and drag them to the Timeline.  Back and Forward buttons: Move through previously viewed levels of the folder hierarchy.  Path pop-up menu: Displays the levels of the file path to the current location, letting you move back to a previous level.  Favorites list: Displays the files and folders at the current location.  Preview controls: Include Play button, a volume slider, and a “Preview on selection” button. For information on using the preview controls, see “Using the Preview Controls” on page 91.  Media pop-up menu: Choose menu items to remove a Favorite, add a file to the Bin, open a file in the File Editor, and perform other functions. Favorites list Preview controls Media pop-up menu Path pop-up menu Button and Column View buttons Chapter 2 The Soundtrack Pro Interface 55 Video Tab Use the Video tab to add a video to a project and view the video.  Video Scale pop-up menu: Choose the scale of the video in the Video tab from the pop-up menu.  Video viewing area: You add a video by dragging it into the viewing area, where you may also watch it play. Note: You control playback of the video within the project using the transport controls at the bottom of the Soundtrack Pro window. For more information about the transport controls, see “Transport Controls” on page 38. Project Tab This tab contains controls and information for the currently active project as well as any metadata (tags) associated with the project. Video Scale pop-up menu Video viewing area 56 Chapter 2 The Soundtrack Pro Interface The Project tab features the following controls and categories of information:  General project information: This information includes file size, creation and modification dates, and location on the hard drive.  Pullup/Pulldown pop-up menus: Use these menus to adjust the video and audio playback to compensate for film-to-video and video-to-film conversions as well as international television standards conversions.  Project properties: Includes project length (duration) and sample rate.  Initial Timecode value slider: Use this slider to set the timecode for the first frame of the project. For more information about value sliders, see “About Changing Values and Timecode Entries” on page 75.  Ruler Units pop-up menu: Use this menu to set the project ruler to be either Timebased or Beats-based. Each multitrack project has a project time format, which can be either Time (seconds)–based or Beats-based. Setting the time format controls the appearance of the Time display, Time ruler, Timeline gridlines, and available Snap To values. For projects set to Time-based format, time is displayed using the Time Ruler units chosen in the View menu. For projects set to Beats-based format, the time is displayed in measures, beats, and beat divisions. The default format is Time-based. For information on setting the project time format, see “Project Time Format” on page 109.  Document file management: Use these controls to set project preferences for file saving and media management. These controls are available for multitrack projects only. For more information, see “Saving Multitrack Projects” on page 111. Chapter 2 The Soundtrack Pro Interface 57  Metadata: Use this area to add metadata to your project or to view your project’s metadata. If you export this project to certain output formats (such as a podcast), Soundtrack Pro passes through the metadata to the target output file. Metadata categories include Name, Copyright, Origination Date, Keywords, and so on.  Music settings: Use the controls in this area to set music properties (including tempo, time signature, and key) for the currently active project. Tempo, time signature, and key are important for projects set to Beats-based format. For projects set to Time-based format, you can usually leave the tempo, time signature, and key properties at their default settings. For more information, see “Setting Project Properties” on page 106. Details Tab The Details tab shows information about the currently selected media file, clip, marker, envelope point, cycle region, or Timeslice selection, and gives you a way to edit details about each. You can also view and edit details for a selection in the File Editor. File and Clip Details  Name: Name of the selected clip.  Position value slider: Sets the position (start point) of the selected clip.  Duration value slider: Sets the duration (length) of the selected clip.  Offset value slider: Sets the offset of the selected clip.  Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset value sliders.  Color pop-up menu: Sets the color of the selected clip. 58 Chapter 2 The Soundtrack Pro Interface  Enabled checkbox: Enables or disables the selected clip. For more information, see “Enabling and Disabling Clips” on page 118.  Locked checkbox: Locks or unlocks the selected clip. For more information, see “Locking and Unlocking Clips and Tracks” on page 118.  Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.  Clip Speed pop-up menu: Sets the playback speed for a looping clip.  Created: Displays the creation date.  Modified: Displays the modification date.  Size: Displays the file size.  Properties: Displays the following information for the clip or file: duration, sample rate, the timecode for the first frame of the clip or file, bit depth, and channel valence.  Metadata: Use this section to view the metadata for a file or a clip. Metadata categories include Name, Copyright, Origination Date, Keywords, and so on.  Music: Use to view music information for a clip or file, primarily music loops in the Search tab. The music information includes tempo, time signature, key, scale type, looping (yes or no), beats, instrument, and loop genre. Chapter 2 The Soundtrack Pro Interface 59 Marker Details  Type buttons: Select whether the marker is a beat marker or a time marker.  Name field: Enter a name for the marker.  Position value slider: Sets the time position of the selected marker.  Duration value slider: Sets the duration for the selected marker.  Comment: Enter comments or notes for the marker. Envelope Point Details  Position value slider: Sets the time position of the selected envelope point.  Measure in pop-up menu: Sets the units shown in the Position value slider.  Value value slider: Sets the value of the selected envelope point. In some cases, this control is a pop-up menu (for envelope types that only allow specific values).  Minimum and Maximum value: Displays minimum and maximum values for the selected envelope point.  Copy from Previous Point button: Sets the value of the selected envelope point to the value of the preceding one in the envelope.  Copy from Next Point button: Sets the value of the selected envelope point to the value of the next one in the envelope. File Editor Selection Details  Measure in pop-up menu: Sets the units shown in the Beginning, End, and Duration value sliders.  Beginning value slider: Sets the start position of the selection.  End value slider: Sets the end position of the selection.  Duration value slider: Sets the duration (length) of the selection. 60 Chapter 2 The Soundtrack Pro Interface Effects Tab You add effects and sends to your project and adjust effect parameters in the Effects tab. When you select a track or a bus in the Timeline or the Mixer, you can add and adjust the following effects and send settings. You can also apply effects to audio file projects.  Category list: Lists the categories of available effects. Click a category to see the effects for that category in the Effect list.  Effect list: Lists the effects in the selected category. Double-click an effect to add it to the track, bus, or submix.  Add Effect (+) button: Adds the selected effect to the current effects chain.  Remove Effect (–) button: Removes the selected effect from the current effects chain.  Effect Parameters area: Displays the parameters for effects in the current effects chain. Click an effect’s disclosure triangle to see its parameters. You can adjust effect parameters using the controls in the Effect Parameters area.  Add Send button: Adds a send to the end of the current effects chain for the track. You can add sends only to tracks, not to busses or submixes.  Reset Effect button: Resets the selected parameter or group of parameters to the default value (or values). Effect Parameters area Category list Effect list Reset Effect button Add Effect button Remove Effect button Add Send button Chapter 2 The Soundtrack Pro Interface 61 Tracks Tab Use the Tracks tab to easily view, select, and group tracks, busses, and submixes. Groups provide another layer of organization and a way to easily make changes (such as volume adjustments) to many tracks, busses, or submixes at once.  Mixer Objects outline: Displays an outline view of the Timeline.  Groups outline: Displays an outline view of any grouped tracks, busses, or submixes in the project. You can use the Groups outline to group Mixer objects, disable or enable groups, rename groups, delete groups, and delete items from groups.  Channel strip: The Tracks tab channel strip is a quick way to access the mixing controls for a particular Mixer object. This channel strip is identical to the corresponding channel strip in the Mixer in every way, including all controls and current settings. Mixer Objects outline Groups outline Channel strip 62 Chapter 2 The Soundtrack Pro Interface Actions Tab Use the Actions tab to perform edits nondestructively using actions, which include processing effects and other operations. You can also turn off or completely reorder actions.  Actions list: You can add, select, and reorder actions in the list.  Actions pop-up menu: Choose menu items to flatten actions, delete actions, and perform other operations.  Actions list: Shows the actions you apply to the project. You can add, select, and reorder actions in the list.  Action Insert bar: Shows where new actions will be added in the Actions list and which actions are heard when you play the project. Actions list Actions pop-up menu Action Insert bar Chapter 2 The Soundtrack Pro Interface 63 Analysis Tab Use the Analysis tab to analyze audio files for a range of common audio problems, including clicks and pops, hum, and phase issues. You can fix the problems detected by analysis either individually or in a single operation. Selected problems are highlighted in the File Editor waveform display for easy viewing.  Analysis Type list: Lists the types of analysis you can select.  Parameter list: Some analysis types (Click/Pop and Silence) have parameters you can adjust before analyzing the file. The parameters appear in this list.  Analyze button: Click to analyze the file for the problems selected in the Analysis Type list.  Analysis Results list: Lists items found by analyzing the file.  Clear Fixed button: Removes fixed items from the Analysis Results list.  Magnify button: Zooms in on the selected item in the Analysis Results list for as long as you hold down the button.  Fix All button: Fixes all items in the Analysis Results list.  Fix button: Fixes the selected items in the Analysis Results list. Parameter list Analysis Results list Analyze button Magnify button Fix All button Clear Fixed button Fix button Analysis Type list 64 Chapter 2 The Soundtrack Pro Interface HUDs A heads-up display (HUD) is a semi-transparent floating window with controls and displays that you can use to accomplish specific tasks. All of these windows float over the main Soundtrack Pro window. To open any of these windows, choose Window > HUDs. Timecode HUD The resizable Timecode HUD makes reading current timecode very easy, particularly from a distance. You can also use the Timecode HUD to navigate in the Timeline or the File Editor by dragging the displayed hours, minutes, seconds, or frames up or down. Sound Palette You can use the Sound Palette HUD to lift attributes from selections in the Timeline and apply them to one or more clips (or regions of clips). For more information on the Sound Palette HUD, see “Using the Lift and Stamp Tools” on page 179. Multipoint Video HUD You can use the resizable Multipoint Video HUD as a visual guide for precisely spotting (placing) sound effects and other audio clips to specific frames of a video program. For more information on the Multipoint Video HUD, see “Scrubbing and Spotting with the Multipoint Video HUD” on page 322. 3 65 3 Setting Up Soundtrack Pro This chapter describes two kinds of projects you can create in Soundtrack Pro and how to work with windows, use layouts, play projects, and set Soundtrack Pro preferences. Two Kinds of Projects Soundtrack Pro has two native project file formats to support state-of-the-art multitrack audio editing and powerful nondestructive audio waveform editing. Multitrack Projects Multitrack projects contain multiple audio tracks in the Timeline. As in a Final Cut Pro project, importing a media file creates a clip in Soundtrack Pro that then refers to the original media file. You can arrange audio clips within tracks and synchronize them to a single video clip in the video track. You can mix a multitrack project using track controls for volume, pan, mute, solo, effects, and effect parameters. These controls are available both in the Timeline and in channel strips in the Mixer. You can create additional audio busses for effect sends. You can group audio track outputs together with submixes. Tracks, busses, and submixes can be exported to individual audio files, or a mixdown of all the tracks can be exported to a stereo or multichannel audio file. These exported files can then be imported into Final Cut Pro. Project File extension Description Multitrack project .stmp Similar to a Final Cut Pro project, this file contains multiple tracks with clips that refer to media files elsewhere on your disk. Audio file project .stap Allows nondestructive editing of audio files. 66 Chapter 3 Setting Up Soundtrack Pro For more information, see:  “Creating and Opening Multitrack Projects” on page 105  Chapter 5, “Working in the Timeline,” on page 127  Chapter 8, “Basic Mixing in Soundtrack Pro,” on page 261 Audio File Projects Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing applications, Soundtrack Pro allows you to edit your audio files nondestructively by keeping track of the actions you have performed on your audio file. For more information about Soundtrack Pro audio file projects, see Chapter 6, “Editing Audio Files,” on page 191. You can remove, disable, or reorder past actions at any time or save actions as AppleScript documents that you can use to batch process other audio files. Actions you can perform include trimming audio, copying and pasting parts of the waveform, normalizing or amplifying levels, applying effects, and applying noise, pop, and click reduction. Soundtrack Pro audio file projects are stored in Mac OS X packages (or bundles). A package appears to be a single file in the Finder but actually contains a collection of files such as the original audio file, temporary render files, and the list of actions applied to your audio file. Important: So that you benefit from nondestructive editing, the default option for saving edited audio files is as a Soundtrack Pro audio file project. Soundtrack Pro usually does this automatically any time you apply any command or effect from the Process menu or the Edit menu to a clip in the Timeline. For more information on when Soundtrack Pro automatically creates audio file projects, see “How Source Audio File Editing Works in a Soundtrack Pro Multitrack Project” on page 166. You can open the following audio file formats in the File Editor:  Soundtrack Pro audio file project  AIFF  WAVE  Sound Designer II  NeXT  QuickTime movie containing audio tracks  CAF (Apple Core Audio Format) Chapter 3 Setting Up Soundtrack Pro 67 Compressed formats such as MP3 and AAC files are also supported, although these must be internally decompressed to a linear PCM format. Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. Up to 24 audio channels are supported in a single file. Audio files can be a maximum of 4 hours in length. Note: When you set a sample rate and play a file, Soundtrack Pro plays at the nearest sample rate your hardware can support. Setting Up Your Workspace You can choose from several ways to set up the Soundtrack Pro workspace to suit your display size and workflow, depending on the type of project you are creating. You can arrange, reorder, and detach tabs throughout Soundtrack Pro and add and reorder buttons in the Toolbar. You can show and hide different panes (areas) of the Soundtrack Pro window. You can also create layouts for different tasks and switch between them. Basic Window Controls You can move, resize, or minimize a project’s windows. Most windows feature tabs, which give you flexibility in arranging the visual elements of a project. To move a window: m Drag the window by its title bar to a new location. To resize the Soundtrack Pro window: m Drag the resize control in the lower-right corner of the window until the window is the desired size. To minimize the Soundtrack Pro window to the Dock: m Click the minimize button in the window’s title bar. To close the Soundtrack Pro window: m Click the window’s close button (or press Command-W with the window active). 68 Chapter 3 Setting Up Soundtrack Pro Using Tabs Soundtrack Pro uses tabs so you can quickly access different project views and controls. You can switch between projects and between different tabs. Clicking the tab you want makes it active and brings it to the front. You can rearrange and reorder the tabs to easily access the ones you use frequently. To reorder tabs: m Drag a tab left or right in the window’s tab area. You can also detach a tab from its docked position, which creates a separate resizable window for the tab that can be dragged or resized. For example, you can drag the Favorites tab to a new location so that you can easily move items from the Search tab to the Bin tab. To detach a tab: m Drag the tab out of its docked position in the window to create a separate window for the tab. To attach (dock) a tab: m Drag the tab to the top of any pane of the Soundtrack Pro window (except the top-center project pane, which is reserved for the Timeline and the File Editor project view). Using Project Layouts Soundtrack Pro lets you save and recall preset window arrangements called layouts, so that you can optimize your workspace for different tasks and different display sizes. You can show, hide, and resize windows, then save each window arrangement as a layout. To save a project layout: 1 Arrange the application windows as you want them to appear. 2 Choose Window > Save Layout. 3 In the Save dialog, type a name for the layout, then click Save. The layout is saved, and appears in the Layouts submenu. Note: By default, layouts are saved to the location /Users/username/Library/Application Support/Soundtrack Pro/Layouts/. Do not change the location or Soundtrack Pro may not be able to find and use your saved layouts. Chapter 3 Setting Up Soundtrack Pro 69 To switch to a saved project layout: m Choose Window > Layouts, then choose the layout you want to use from the submenu. To delete a saved layout: 1 Choose Window > Manage Layouts. 2 In the Manage Layouts dialog, select the layout you want to delete. 3 Click the – (minus) button to delete the layout, then click Done. To transfer a saved project layout file to another computer: 1 Locate the layout file in /Users/username/Library/Application Support/Soundtrack Pro/ Layouts/. 2 Transfer a copy of the file to the corresponding location in the second computer. Customizing the Toolbar The Toolbar at the top of the Soundtrack Pro window contains buttons for frequently used commands. You can customize the Toolbar, adding buttons for the actions you use most often, and can return to the default set later. The default set of Toolbar buttons includes buttons for creating new projects, opening project tabs, adding markers, and other common commands. You can customize the Toolbar with additional buttons for adding fade-ins and fade-outs, processing an audio file, playing the current project through a video output device, and other commands. You can also hide the Toolbar to maximize available screen space. You customize the Toolbar by dragging items from the Customize dialog to the Toolbar. 70 Chapter 3 Setting Up Soundtrack Pro To show the Customize dialog, do one of the following: m Choose View > Customize Toolbar. m Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu. The Customize dialog appears, and spaces between buttons in the Toolbar are outlined in gray. To add a button to the Toolbar: m Drag a button from the Customize dialog to the Toolbar. If you drag a button between two existing buttons, the buttons move to make room for the new button. To move a button in the Toolbar: m Command-drag the button to a new location on the Toolbar. You can also rearrange the Toolbar using set-width spaces, flexible spaces, and separators. To add space or a separator to the Toolbar: m Drag a space, flexible space, or separator from the Customize dialog to the Toolbar. To return the Toolbar to the default set of buttons: m Drag the default button set, located at the bottom of the Customize dialog, to the Toolbar. You can also change the Toolbar so that it shows only icons or only text. To show only icons in the Toolbar, do one of the following: m Control-click the Toolbar, then choose Icon Only from the shortcut menu. m In the Customize dialog, choose Icon Only from the Show pop-up menu. Chapter 3 Setting Up Soundtrack Pro 71 To show only text in the Toolbar, do one of the following: m Control-click the Toolbar, then choose Text Only from the shortcut menu. m In the Customize dialog, choose Text Only from the Show pop-up menu. To show both icons and text in the Toolbar, do one of the following: m Control-click the Toolbar, then choose Icon & Text from the shortcut menu. m In the Customize dialog, choose Icon & Text from the Show pop-up menu. To dismiss the Customize dialog: m When you have finished customizing the Toolbar, click Done. To hide the Toolbar: m Choose View > Hide Toolbar. When the Toolbar is hidden, the menu item becomes Show Toolbar. Using the Shortcut Menu You can quickly and easily access many Soundtrack Pro features with the shortcut menu (also known as the contextual menu). Using the shortcut menu by Control-clicking items in the Soundtrack Pro interface is often more convenient than using the menu bar at the top of the screen. If you have a 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 (for example, “Control-click the Toolbar, then choose Customize Toolbar from the shortcut menu”). Playing Projects You can play both multitrack and audio file projects as you work, so you can hear the audio in the project along with the changes you’ve made. To play the project: m Click the Play button in the transport controls (or press the Space bar). Click the Play button (or press the Space bar) again to stop playback. As the project plays, the playhead shows the point in the project currently playing. Soundtrack Pro lets you set the playhead and control playback of your projects in several different ways. You can use the transport controls or keyboard commands to start and stop playback and set the playhead to different points in time. You can also set a cycle region to repeat playback of a specific part of the project. 72 Chapter 3 Setting Up Soundtrack Pro Setting the Playhead Quickly The playhead appears as a thin black line running vertically through the Timeline in multitrack projects, and through the waveform display in audio file projects. Where it crosses the Time ruler, the top of the playhead has a triangular handle that makes it easier to see its position onscreen and drag the playhead. To set the playhead, do one of the following: m Click anywhere in the Timeline (in a multitrack project) or the File Editor (in an audio file project) to set the playhead to that position. m Drag the triangular handle at the top of the playhead to the position you want to set it. As you drag the playhead, you hear the audio at the current playhead position. When you set the playhead, it snaps to the nearest Snap To position if snapping is turned on. For information on setting the Snap To value, see “Using Snapping” on page 94. You can also set the playhead by using the transport controls or the Playhead Location value slider. Note: If you click the Time ruler, you may accidentally activate the cycle region. Press Option-X to remove the cycle region. Press C to turn the cycle region on or off. For more information about using the cycle region, see “Working with the Cycle Region” on page 134. Drag the playhead where you want it or click in the Timeline. Drag the playhead where you want it or click in the waveform display. Chapter 3 Setting Up Soundtrack Pro 73 Setting the Playhead Using the Time Display When a project is playing, the Time display constantly updates to show the current position of the playhead in both Time-based and Beats-based formats. You can also set the playhead to a new position by entering the position in the Time display. The arrangement of the Time-based and Beats-based positions in the Time display changes depending on the time format of the project. The position matching the time format of the project appears in large, white numerals in the upper part of the Time display, and the other position appears below it in smaller, gray numerals. Each position is labeled for quick visual recognition. For information on setting the project time format, see “Setting Project Properties” on page 106. To set the playhead using the Time display: m Select either the Time or Beats position in the Time display, then enter a new position. You can select the entire position or part of the position. Entering Time-Based Units When you set the playhead by entering a Time-based position in the Time display, you don’t need to enter all of the punctuation. Soundtrack Pro automatically adds the correct punctuation for the format of the Time display. For example:  If you enter 01234321, Soundtrack Pro interprets it as 01:23:43;21. This stands for 1 hour, 23 minutes, 43 seconds, and 21 frames. If you enter a partial number, Soundtrack Pro formats it with the rightmost pair of numbers as frames and with each successive pair of numbers to the left as seconds, minutes, and hours. Numbers omitted from a complete time position are interpreted as zeros. For best results, always enter delimiters to separate each division of time. For example:  If you enter 01.23, Soundtrack Pro interprets it as 00:00:01;23. This stands for 1 second and 23 frames. You can select only part of the position in the Time display and enter a new number for that position. For example, you can select only seconds, or minutes and seconds. The other categories keep their present values. You can enter a time position in timecode format, in a way similar to the way you enter timecode in Final Cut Pro. Enter a time position in the Time area. Enter a beat position in the Beats area. 74 Chapter 3 Setting Up Soundtrack Pro Entering Beats-Based Units When you set the playhead by entering a Beats-based position in the Time display, you enter periods between numbers to separate measures, beats, and beat divisions. Soundtrack Pro fills out the digits in the beat division category with zeros. For example:  If you enter 123, Soundtrack Pro interprets it as 123.1.000. This stands for the 123rd measure, 1st beat, with no added beat divisions.  If you enter 12.3, Soundtrack Pro interprets it as 12.3.000. This stands for the 12th measure, the 3rd beat, with no added beat divisions.  If you enter 1.2.3, Soundtrack Pro interprets it as 1.2.300. This stands for the 1st measure, the 2nd beat, and 300/1000ths of a beat (because each beat division is 1/1000 of a beat). You can select only part of the position in the Time display and enter a new number for that position. For example, you can select only measures, or measures and beats. The other categories keep their present values. Setting the Playhead Using the Playhead Location Value Slider Below and to the left of the transport controls is the Playhead Location value slider. When a project is playing, the Playhead Location value slider constantly updates to show the current position of the playhead. You can set the playhead by entering a new position in the Playhead Location value slider. Chapter 3 Setting Up Soundtrack Pro 75 About Changing Values and Timecode Entries Soundtrack Pro includes several types of value entry methods. Most of them have features that can make changing the values or timecode fields easy to do. Using Value Sliders There are two methods used to enter general numeric values: traditional sliders with separate numeric entry fields and value sliders that combine the slider with the numeric entry field. Value sliders allow you to enter a specific number in the value field or to drag in the value field to set a value. When using the value sliders, you can use a modifier key to make normal, small, or large value adjustments. Dragging in the middle area (where the number is) works the same as an ordinary slider; dragging to the right increases the value and dragging to the left decreases the value. Additionally, you can click the right or left arrow to change the value one step at a time. You can also double-click the number itself and type a new number to enter a specific number in the value field. To change values in normal increments, do one of the following: m Drag left or right in the value field. m Click the left arrow to decrease a value, or click the right arrow to increase a value. m If you have a three-button mouse with a scrollwheel, click in the value field and use the scrollwheel on the mouse. To change values in fine increments, do one of the following: m Option-drag in the value field. m Option-click the left arrow to decrease a value, or Option-click the right arrow to increase a value. m If you have a mouse with a scrollwheel, Option-scroll in the value field. Separate slider and numeric entry field Value slider with combined slider and numeric entry field 76 Chapter 3 Setting Up Soundtrack Pro To change values in coarse increments, do one of the following: m Shift-drag in the value field. m Shift-click the left arrow to decrease a value, or Shift-click the right arrow to increase a value. m If you have a mouse with a scrollwheel, Shift-scroll in the value field. When a value slider or value field is active (highlighted), press Tab to move to the next field. Using Timecode Value Sliders Soundtrack Pro uses timecode value sliders for timecode entry fields. In addition to being able to enter timecode values directly, you are able to scrub the timecode value by dragging. If you place the pointer over a segment of the timecode, small arrows appear above and below that segment. You can drag up or to the right to increase the value in that segment (values in segments to the left also increment if your dragging causes the selected segment to roll over). Dragging to the left or down decreases the value. You can hold down the Option key to make the value changes slower or the Shift key to make them faster. Alternatively, you can click the up and down arrows on each side of the timecode value or press the keyboard’s Up and Down Arrow keys to increase or decrease the timecode value. You can control which segment is affected by the up and down arrows by selecting a segment so that a caret (^) appears below the segment. You can also use the keyboard’s Left and Right Arrow keys to select other segments. Chapter 3 Setting Up Soundtrack Pro 77 Scrubbing Audio You can scrub a multitrack project in the Timeline or scrub an audio file project in the File Editor. Scrubbing the project lets you hear the audio at the playhead position as you drag the playhead, so you can find a particular sound or event in the audio file. You can scrub audio using either the Scrub tool or the playhead. For information about scrubbing, see “Scrubbing Audio Files” on page 200. Scrubbing Video In projects containing a video file, the video scrubs in the Video tab in sync with the audio as you scrub in the Timeline or the File Editor tab. As you drag audio clips, markers, envelope points, or other items in the Timeline or the File Editor tab, the video scrubs at the start point of the item being dragged. Dragging multiple items scrubs the video at the start point of the item under the pointer. You can use the Multipoint Video HUD as a visual tool for precisely positioning sound effects and other audio clips in a video program. For more information, see “Scrubbing and Spotting with the Multipoint Video HUD” on page 322. Controlling Playback with the Transport Controls You use the transport controls to control playback of your project. The transport controls let you set the playhead to various points in time, start and stop playback, activate the cycle region, and start a recording session to record your own audio.  Record: Starts recording at the playhead position on the track you have enabled for recording. If no track is enabled, a new track is created when recording starts.  Play from Beginning: Starts playback from the beginning of the project. Playback begins immediately, whether the project is playing or is stopped when you click the button.  Go to Beginning: Sets the playhead to the beginning of the project. If the cycle region is active, and the playhead is after the beginning of the cycle region in time, the playhead is set to the beginning of the cycle region.  Previous Frame: Moves the playhead backward by one frame.  Play: Starts playing back the project from the current playhead position. Clicking the Play button again stops playback at the current playhead position. MIDI Sync Go to Beginning Play Go to End Record Play from Beginning Cycle Previous Frame Next Frame 78 Chapter 3 Setting Up Soundtrack Pro  Next Frame: Moves the playhead forward by one frame.  Go to End: Sets the playhead to the end of the project. If the cycle region is active, and the playhead is before the end of the cycle region in time, the playhead is set to the end of the cycle region.  Cycle: If a cycle region is set, clicking the Cycle button toggles whether the cycle region is active or inactive. If no cycle region is set, clicking the Cycle button sets the project to repeat from the beginning when the playhead reaches the end of the project. For information on setting the cycle region, see “Working with the Cycle Region” on page 134.  MIDI Sync: Synchronizes playback with incoming MIDI Clock and MIDI Timecode (MTC) signals. Controlling Playback Using Keyboard Shortcuts There are a number of keyboard shortcuts you can use to control playback of your project. To use keyboard shortcuts, the pointer cannot be in a text field.  Space bar: Plays back the project from the current playhead position. If the project is playing, pressing the Space bar sets the playhead back to the point from which the project started playing. This is equivalent to clicking the Play button.  Return: Sets the playhead to the beginning of the project. If the cycle region is active, pressing Return sets the playhead to the beginning of the cycle region. This is equivalent to clicking the Go to Beginning button.  Shift-Return: Sets the playhead to the beginning of the project, and starts playback if it is stopped. This is equivalent to clicking the Start from Beginning button.  Option–Right/Left Arrow: Moves the playhead forward/backward by one frame. For more tips on keyboard shortcuts for playback, see “Using the J, K, and L Keys for Shuttling” on page 130. For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. Locating and Adding Audio Files You can locate audio files to use in a project using the media tabs, or drag files from the Finder. There are three media tabs for locating audio files: the Browser, Favorites, and Search tabs. You can also store media files for a project in the Bin for easy access in a project. The Bin also features a search function to help you locate an item in any open project. Chapter 3 Setting Up Soundtrack Pro 79 Supported Audio File Formats You can add audio files in the following formats: AIFF, WAVE, Broadcast WAVE, Sound Designer II, NeXT, QuickTime (.mov) audio files, and CAF (Apple Core Audio Format). Compressed formats such as MP3 and AAC (except protected AAC) files are also supported, although these must be internally decompressed to a linear PCM format. You can also add the following types of multichannel files: AIFF, WAV, Broadcast WAVE, QuickTime, and Single Folder Multi-mono AIFF and WAV. You can import audio files with any combination of the following sample rates and bit depths: Sample Rates  Any sample rate from 8 kHz to 192 kHz Bit Depths  8 bit  16 bit  24 bit  32 bit (both integer and floating point) Note: Files with lower bit depths or sample rates do not have the same playback quality as formats with higher bit depths or sample rates. Supported Video File Formats Soundtrack Pro supports standard QuickTime-compatible file formats. You can import a QuickTime movie (.mov) file into a Soundtrack Pro project, and you can import an MPEG-2 (.m2v) file if you have installed the QuickTime MPEG-2 Playback Component. Video files using NTSC, PAL, HD, and other formats supported by QuickTime can be imported into Soundtrack Pro. Imported video files can be up to four hours in length. For more information about importing video files, see Chapter 10, “Working with Video in Soundtrack Pro,” on page 315. Looping and Non-Looping Files Soundtrack Pro supports two types of audio files: looping and non-looping files. Most audio files are non-looping files unless they contain tags for tempo, key, and other information. Many of the Apple Loops that come with Soundtrack Pro, as well as other tagged audio files, can be looping files. Looping files may contain music, rhythmic sounds, or other repeating patterns. You can resize a looping file to fill any amount of time. Looping files adjust to the project tempo and key, letting you use loops recorded in different keys and at different tempos in the same project. 80 Chapter 3 Setting Up Soundtrack Pro Non-looping files do not adjust to the project tempo and key. You can shorten or lengthen a non-looping file, but lengthening it beyond the size of the original file adds only silence to the lengthened part. You can search for non-looping files in the Search tab using the Search text field. Both looping and non-looping files can contain tags with information about the file, including mood, genre, and musical instrument. Soundtrack Pro recognizes tags in audio files intended for use with loop-based music applications. You can open an audio file in Apple Loops Utility and add tags, and can convert a looping file to a non-looping file, or convert a non-looping file to a looping file. For information about tagging audio files using Apple Loops Utility, see the Apple Loops Utility User Manual. Using the Browser to Locate Files The Browser tab shows the hard disks and other storage media connected to your computer, and lets you browse through the file hierarchy to find audio files located on disk. To locate audio files using the Browser: m Double-click a volume or folder in the Browser to view its contents. You can move back through the previous locations in the Browser using the Forward and Back buttons, or through the levels of the file hierarchy using the Path pop-up menu. Double-click a folder to view items inside. Chapter 3 Setting Up Soundtrack Pro 81 Using Favorites to Locate Files Favorites let you store frequently used file locations, so that you can access them directly. You can add and remove Favorites from the Media pop-up menu at the lower-right corner of the Favorites tab. To locate audio files in Favorites: m Double-click the disk or folder you want to open. You can move back through the previous locations in the Favorites tab using the Forward and Back buttons, or through the levels of the file hierarchy using the Path pop-up menu. Using Search to Locate Files Using Search, you can search for media files to add to your project. Search has two views: Column view and Button view. You choose which view to display by clicking the Columns View or Button View button in the upper-left area of the window. In both views, the files matching your search criteria appear in the Search Results area, along with columns displaying additional information for tagged files. You can sort these columns by clicking the heading on top of each column. You can also perform text searches in both views, and refine your searches. If you use Apple Loops or other tagged audio files in a project, you can search based on a variety of criteria, including musical instrument, genre, time signature, mood descriptor, and scale type. You can also search using specific keywords. To search for items: m Click the Search tab. The Search tab becomes active. Double-click an item to open it. 82 Chapter 3 Setting Up Soundtrack Pro Searching for Files in Column View In Column view, the upper area of the Search tab displays two columns: Keywords shows the categories of files that meet the search criteria, and Matches shows the total number of matching files and any subcategories containing matching files, with the number of matching files in each. Clicking a keyword displays the files matching that keyword in the Search Results area. You can refine your search results by narrowing the criteria using the subcategories in the Matches column. To search for files in Column view: 1 Choose the type of keywords to display in the Keywords list from the Keywords pop-up menu. You can use the Time Signature and Scale Type pop-up menus to restrict matches by those categories. 2 Select a keyword in the Keywords list to display matching files in the Search Results area. The hints, tempo, key, and number of beats for each matching file are also displayed. You can also perform text searches, which can be especially helpful for non-tagged files. When you type text in the Search Text field, any files with the text in their file path or filename appear in the Search Results list. The number of files appears in the Matches column under “No Category.” To search using the Search Text field: m Enter text in the Search Text field. As you type, files matching the characters you type appear in the Search Results field. Select a keyword to display the matching files in the Search Results area. Search Text field Chapter 3 Setting Up Soundtrack Pro 83 Refining a Search in Column View There are several ways you can refine your searches in Column view. You can select items in the Matches column to add the matching files for each category to the search results, and you can enter text in the Search Text field to narrow your search to files that include the text in their file path. Selecting multiple keywords in the Keywords list narrows the search results to files matching all the selected keywords. To refine your search using the Matches column: m Click to select a match category, or Command-click to select multiple match categories. To refine your search by selecting multiple keywords: m Shift-click to select adjacent keywords, or Command-click to select nonadjacent keywords. Searching for Files in Button View In Button view, the upper area of the Search tab displays a grid of buttons, each of which is labeled with a keyword. The keywords displayed are determined by the Keywords pop-up menu; the choices are Music Beds, Instruments, Genre, Descriptors, and Custom. The keywords for each choice are fixed, and appear whether or not matching files for the keyword exist. Keywords for which no matching files exist are dimmed. Click a match category to refine your search. These are files that match the category selected above. Search Text field 84 Chapter 3 Setting Up Soundtrack Pro To search for files in Button view: 1 Choose the type of keywords to display on the keyword buttons from the Keywords pop-up menu. 2 You can optionally use the File Type, Time Signature, and Scale Type pop-up menus to restrict matches by those categories. 3 Click a keyword button to display matching files in the Search Results area. You can also perform text searches, which can be especially helpful for non-tagged files. When you type text in the Search Text field, any files with the text in their file path or filename appear in the Search Results list. To search by file path or filename: m Enter text in the Search Text field. As you type, files matching the characters you type appear in the Search Results field. Refining a Search in Button View There are several ways you can refine your searches in Button view. You can select multiple keyword buttons to narrow your search results to files matching all the selected keywords, and you can enter text in the Search Text field to narrow your search to files that include the text in their file path. Click a button to display the matching files in the Search Results area. Search Text field Chapter 3 Setting Up Soundtrack Pro 85 To refine your search using multiple keywords: m Click multiple keyword buttons. Adding Custom Keywords You can add custom keywords, which appear in the Keywords list in Column view and on the keyword buttons in Button view. Custom keywords can be added only in Button view. To add a custom keyword: 1 Choose Custom from the Keyword Type pop-up menu. 2 Control-click one of the buttons in the grid, then choose a custom keyword from the shortcut menu. These are files that match both of the keywords selected above. Select additional keywords to refine your search. Choose Custom from this pop-up menu. Control-click a button, then choose the desired keyword from the submenu. 86 Chapter 3 Setting Up Soundtrack Pro Adding a Directory to the Search Database Search looks through all indexed directories (volumes and folders) for files that match your search criteria. Before a file can appear in Search, you must add the directory containing the file to the Search database and index the directory. Note: The Search database does not update automatically. If you add files to an indexed directory, you must index the directory again before the files will appear in the Search tab. To add a directory to the Search database: 1 Click the Setup button at the top of the Search tab. 2 In the Setup dialog, click the Add Directory button. 3 In the file dialog, navigate to the directory you want to add, then click Open. The directory appears in the list in the Setup dialog. You can resize the Search dialog if you need to see more items in the list. 4 Select the directory in the list, then click the Index Now button. Note: Indexing a large collection of files may take several minutes. The bottom of the Add Directory dialog displays the progress of the directory being indexed. If you need to interrupt the indexing process, click the Stop Indexing button. You can re-index the directory later. You can deselect items you do not wish to re-index. 5 When Soundtrack Pro is finished indexing the directory, click Done to return to the Search tab. Click here to display the Setup dialog. Click the Add Directory button, then select a directory to add. Click here to index the directory. Chapter 3 Setting Up Soundtrack Pro 87 Removing a Directory from the Search Database If you move or change your collection of audio files, you can remove a folder from the Search database. Removing unneeded folders from the database can shorten search times and eliminate extraneous results. To remove a folder from the Search database: 1 Click the Setup button at the top of the Search tab. 2 In the Setup dialog, select the directory you want to remove, then click the Remove Directory button. 3 Click Done to return to the Search tab. Once you have added the folders containing your audio files to the Search database and indexed them, you can use Search to find the files. In both Column view and Button view, the audio files that match the search criteria appear in the Search Results area in alphabetical order. You can preview files in the File list and drag them to the Timeline. You can also add a folder to your Favorites from the Search tab. Using the Bin The Bin is a hierarchical list of all of the items in each open project. You can also add files to the Bin for easy access at a later time. Files appear in the Bin alphabetically by project and hierarchically within each project. Click the Remove Directory button to remove the selected directory. 88 Chapter 3 Setting Up Soundtrack Pro The Bin Hierarchy The items in the Bin are organized by project. In this hierarchy, projects contain media files, and media files contain clips. To add a file to the Bin, do one of the following: m Drag the file from the Finder to the Bin. m Drag the file from the Browser, Favorites, or Search tab to the Bin. Viewing and Editing Projects in the Bin The Bin can display the following categories of information: audio clip information (looping, transposition, and so on), file information (timecode, sample rate, file size, and so on), Timeline information (duration, position, and so on), metadata tags (author, copyright, and so on) and music information (beats, key, and so on). To control the display of information categories in the Bin: m Choose a category from the Columns pop-up menu. Searching Bin Information You can search across all information displayed in the Bin. Matching text and numbers from any of the fields causes that item to appear in the list. To search information categories in the Bin: 1 Click the Bin’s Search field. 2 Enter the search text. 3 Press Return. Objects Description Contents Projects Projects make up the top level of the hierarchy. You can view multiple projects at once. Media files Project markers Media files Audio and video source files Clips Markers (File Editor only) Clips If the source media file is used ten different times in the Timeline, it will have ten clips nested in the Bin. None Chapter 3 Setting Up Soundtrack Pro 89 Using the Shortcut Menu and the Media Pop-Up Menu in the Bin You can use the shortcut menu and the Media pop-up menu in the Bin for a variety of tasks. One of the most common tasks involves removing unused items from a project. This simple step will keep the media associated with a project to a minimum. You can also rename clips, markers, and podcast region markers that you’ve selected in the Bin. To use the shortcut menu or the Media pop-up menu to affect an entire project: 1 Select a project file in the Bin. 2 Do one of the following:  Choose Removed Unused from the Media pop-up menu.  Control-click the item, then choose Removed Unused from the shortcut menu. To use the shortcut menu or the Media pop-up menu to affect an individual item in the Bin: 1 Select an item in the Bin. 2 Choose an option from the Media pop-up menu. You can also Control-click the item, then choose an option from the shortcut menu.  Show in Timeline: Selects the corresponding clip in the Timeline.  Spot to Timeline: Spots the clip to the Timeline with the Spot to Timecode dialog.  Spot to Playhead: Spots the clip to the playhead position in the Timeline.  Open in Editor: Opens the file in the File Editor project view.  Reconnect: Allows you to locate and reconnect any offline files.  Rename: Selects the item in the Bin so that you can enter a new name.  Reveal in Browser: Selects the item in the Browser tab.  Show in Finder: Selects the item in the Finder.  Replace Selected Clips with: Replaces the clip with a clip of your choosing. 90 Chapter 3 Setting Up Soundtrack Pro Bin Column Information The following list describes the contents of the various Bin columns. Many Bin columns change their display style to match the settings of the dominant ruler (such as drop frame, non-drop frame, and so on). Much of this information can also be seen in the Details tab.  Name: Displays the icon and name for the various objects (projects, files, clips, markers, and podcast marker regions).  Position: Displays the position of the object, in the dominant ruler setting. Displays values for projects, clips, markers, and podcasts. Some items do not have a position. Others do not always display a position. (For example, a multitrack document only shows the position when the Initial Timecode value in the Project tab has been changed from the default 0 value.)  Duration: Displays the duration information for projects, files, clips, markers, and podcasts.  Track name: Lists the current track name for audio clips.  Offset: Shows the slip offset value: the difference between the start of the original file and the start of the clip (using the dominant ruler setting). Clips that start from the beginning show 0; others have a positive time value.  Sample rate: Shows the native sample rate of the item, in Hz (projects, files, and clips).  Timecode: This is the embedded timecode of the file, if present (in the dominant ruler setting). Displays the initial timecode for items (projects, files, clips).  Channels: The number of channels in the item (files, clips)  Takes: The number of takes in the item (files, clips)  File size: The disk size of the item (projects, files)  Path: The path to the item on disk (projects, files)  Annotation: Displays annotation metadata (projects, files, clips).  Author: Displays author metadata (projects, files, clips).  Copyright: Displays copyright metadata (projects, files, clips).  Tempo: The tempo of the item, in beats per minute (projects, files, clips)  Time Signature: Displays time signature data (projects, files, clips).  Key: Displays the musical key of the item, being the letter (A, A#, B, and so on), or “None” (projects, files, clips).  Scale: Displays musical scale type (projects, files, clips).  Looping: Indicates a looping file (Yes/No) (files, clips).  Beats: Displays the number of beats in the file (projects, files, clips).  Instrument: Displays instrument type, from Apple Loop tagged information (files, clips).  Genre: Displays genre name, from Apple Loop tagged information (files, clips).  Hint Quality: Displays the quantitative display of the amount of information saved in the file—keywords, beat information, and transients (files, clips). Chapter 3 Setting Up Soundtrack Pro 91 Previewing Audio Files You can preview files in the Bin or any of the media tabs. When you preview files, Soundtrack Pro matches the sample rate of the file to the project sample rate. When you preview looping files, Soundtrack Pro matches their tempo and key to the project tempo and key. To preview an audio file: m Select the file in the Bin or any of the media tabs. The selected file starts playing. If the project is playing when you preview a file, Soundtrack Pro starts playback of the previewed file on the downbeat of the next measure of the project. You can turn preview playback on and off by holding down Option and pressing the Space bar. Audio files tagged as loops play back repeatedly when previewed. You can control the playback of the file being previewed using the preview controls. You can only preview one audio file at a time. Using the Preview Controls The preview area at the bottom of the Bin and the media tabs contains controls you can use when previewing audio files. Select an audio file in the Search tab to preview it. Play button Preview on selection button Media pop-up menu Volume slider 92 Chapter 3 Setting Up Soundtrack Pro  Play button: Starts playback of the preview file. If the file is playing, stops playback.  Volume slider: Sets the playback volume of the preview file.  Preview on selection button: When activated, triggers immediate playback of the selected clip.  Media pop-up menu: Choose whether to add the file to Favorites, open it in the File Editor or Apple Loops Utility, or reveal it in the Finder. To preview an audio file with a project: 1 Click the Play button in the transport controls to play the project. 2 When the project reaches the point in time where you want to hear the preview file, select the file in the Search tab. To preview a file without the project (solo): 1 If the project is playing, click the Stop button in the transport controls to stop playback of the project. 2 Select the file in the Search tab to preview the file. You can also preview a video file using the preview controls. For information about previewing a video file, see “Playing the Video” on page 317. Viewing File and Clip Information You can view information in the Details tab about audio and video files and clips in the Bin, the media tabs, and the Timeline. When you select a file or clip in the Bin, the media tabs, or the Timeline, the Details tab displays the file path and other information about the item. Chapter 3 Setting Up Soundtrack Pro 93 For a complete description of the items listed in the Details tab, see “Details Tab” on page 57 and “Viewing and Editing Clip and Track Properties” on page 114. Note: The information that is displayed depends on whether or not the file is tagged. Untagged files may not display information for all categories. Using Undo and Redo As you edit clips and perform other operations in both multitrack and audio file projects, you might need to use the Undo and Redo commands. For example, if you don’t like the last change you’ve made to a project, it can usually be undone. Then, if you decide you prefer to keep the change you just undid, you can redo the command immediately after using Undo. You can also use the Undo and Redo commands as a quick way of trying out changes to your project. You can make changes to any aspect of the project, then use Undo to step back through changes you don’t like to the project’s previous state. If you change your mind after undoing a change or set of changes, you can always use Redo to recover the changes. At any point, you can save a new version of the project using the File > Save As command. You can use the Undo command repeatedly to undo every change made since the project was last saved. To undo the last change: m Choose Edit > Undo [item] (or press Command-Z). The [item] in the menu changes to show the last command or operation. You can use the Redo command repeatedly to redo every undone change since the project was last saved. To redo the last change: m Choose Edit > Redo [item] (or press Command-Shift-Z). The [item] in the menu changes to show the last command or operation. 94 Chapter 3 Setting Up Soundtrack Pro Using Snapping When you move and resize clips in the Timeline, or select part of an audio file in the File Editor, you usually want them to start and end at a specific point in time. To synchronize clips with a video, you may want to position them in line with a specific frame. In a music-based project, you may want to align clips with measures and beats. Soundtrack Pro includes a snapping feature that causes clips, the playhead, and other items in the Timeline and File Editor to “snap” to the nearest Snap To position. Snapping applies to the following operations:  Dragging audio clips to the Timeline  Moving audio clips  Resizing audio clips  Setting the playhead  Setting the cycle region  Inserting markers  Moving markers  Selecting Timeslices  Adding envelope points  Moving envelope points  Moving crossfade edges You can use snapping to ensure that audio clips are synchronized to a measure or beat, that they begin playing back at a precise point in time, and that they are precisely aligned with other clips in the Timeline. When you turn on snapping, the item you are moving snaps to the nearest Snap To position in the Timeline. The available Snap To values depend on the time format of the project. For projects set to Time-based format, the available Snap To values are:  Ruler ticks  Seconds  Frames  Clips on Adjacent Tracks  Markers Chapter 3 Setting Up Soundtrack Pro 95 For projects set to Beats-based format, the available Snap To values are:  Ruler ticks  1/4 notes  1/8 notes  1/16 notes  1/32 notes  1/64 notes  Markers  Clips on Adjacent Tracks To turn snapping on: m Choose View > Snap (or press G). A checkmark next to the menu item indicates that snapping is turned on. Choose View > Snap again to turn snapping off. To set the Snap To value: m Choose View > Snap To, then choose a value from the submenu. You can temporarily reverse the current snapping state while you work in the Timeline. When snapping is turned on and Markers is chosen in the Snap To submenu, clips in the Timeline snap to the playhead as well as to markers. To temporarily reverse the snapping state: m Select the item in the Timeline, then hold down the Command key as you drag the item. If snapping is turned on, Command-dragging lets you move the item without having it snap to the nearest Snap To position. If snapping is turned off, the item snaps to the nearest Snap To position. When you release the Command key, items moved in the Timeline follow the normal snapping state. 96 Chapter 3 Setting Up Soundtrack Pro Reconnecting Media Files Because Soundtrack Pro multitrack projects contain references to media files, and not the files themselves, a multitrack project cannot play back if the media files it uses are erased or moved. When you open a multitrack project in Soundtrack Pro, the application checks to see if the media files it uses exist in the same location as they did when the project was last opened. If the media files are not in the expected location, Soundtrack Pro displays a Can’t Find File dialog with three choices:  Skip All: Opens the project without reconnecting any missing files.  Skip File: Opens the project without reconnecting the missing file.  Locate: Presents a dialog that lets you locate the missing file and reconnect it to the project. If you choose to open the project without reconnecting its files, you can reconnect individual audio files from the Timeline or the Bin tab and reconnect a video file in the video track in the Timeline. To reconnect an audio file: 1 Do one of the following:  Select the clip in the Timeline, then choose Clip > Reconnect [filename].  Control-click the clip in the Timeline, then choose Reconnect [filename] from the shortcut menu.  Select the clip in the Bin tab, then choose Reconnect [filename] from the Media popup menu.  Control-click the audio file in the Bin tab, then choose Reconnect [filename] from the shortcut menu. 2 In the dialog that appears, locate the audio file you want to reconnect. 3 Click Open to reconnect the file. To reconnect a video file: 1 Control-click the video clip in the video track, then choose Reconnect Media Files from the shortcut menu. 2 In the dialog that appears, locate the video file. 3 Click Open to reconnect the file. Chapter 3 Setting Up Soundtrack Pro 97 Setting Soundtrack Pro Preferences You set preferences for various aspects of both the appearance and operation of Soundtrack Pro in the Preferences window. Some preferences apply to the current project, and some apply to new projects you create. You may want to specify some preferences before you begin working in Soundtrack Pro. To open the Preferences window: m Choose Soundtrack Pro > Preferences. General Preferences The General preferences include program startup behavior, Timeline defaults, and options for alerts, saving, fades, and handles. Startup These preferences let you set the startup behavior when you open Soundtrack Pro.  Last Project: Reopens the last project on startup.  New Multitrack Project: Creates a new, blank multitrack project on startup. This is the default behavior.  New Audio File Project: Creates a new, blank audio file project on startup.  Meters Channel Display pop-up menu: Choose whether meters display labeled channels in surround order (Ls, L, C, R, Rs, LFE) or output order (1, 2, 3, 4, 5, 6). 98 Chapter 3 Setting Up Soundtrack Pro Timeline  Move playhead by clicking pop-up menu: Choose whether you can move the playhead by clicking in both the Timeline and the Time ruler or only in the Time ruler.  Scrollwheel pop-up menu: Choose whether an attached mouse with a scrollwheel scrolls the Timeline or zooms in or out at the playhead position.  Use ellipses(...) in clip names checkbox: When selected, clips in the Timeline with long names are center-truncated with an ellipsis. “Use ellipses (...) in clip names” is deselected by default. Note: Selecting “Use ellipses (...) in clip names” can impact the speed at which the screen is redrawn during playback.  Automation Recording Sensitivity slider: Drag to set the level of sensitivity with which onscreen and control surface movements are recorded. Setting the slider to High results in all movements being recorded. Alerts and File Management  Show Alerts pop-up menu: Choose whether to show the alerts when various conditions occur (such as disk overload, unsupported sample rates, and so on).  Save Audio File Project pop-up menu: Choose whether saved audio file projects include the source audio file in the project or reference it. Note that if you move or delete the source audio file from a project that references source audio, the project cannot play.  Scratch Location button and display: Click this button, then browse to the location of the disk or folder you want to use as the location for storing temporary files. The current location is shown in the Scratch Location display.  Edited Media Location button and display: Click this button, then browse to the location of the disk or folder you want to use as the location for edited media such as audio file projects. The current location is shown in the Edited Media Location display.  New File Handle Length value slider: Enter a handle length (in seconds) for new files. For more information, see “Modifying a Clip Without Affecting Its Source Media” on page 197. Chapter 3 Setting Up Soundtrack Pro 99 Project Preferences These preferences let you set project properties and other default settings for new projects you create.  Tracks pop-up menu: Sets the default number of tracks for a new multitrack project.  Track Height pop-up menu: Sets the default track height for new multitrack projects. The choices are Mini, Small, Medium, and Large.  Snapping: Sets the default snapping mode for a new project.  Move Envelope Points with Clips checkbox: Sets the default envelope selection mode.  Overlap Mode pop-up menu: Sets whether overlapped clips are crossfaded or truncated for new multitrack projects.  Default Fade Type pop-up menu: Sets default fade type.  Audio Pulldown pop-up menu: Sets default audio playback compensation.  Video Pulldown pop-up menu: Sets default video playback compensation.  Sample Rate pop-up menu: Sets the default sample rate for new projects. The choices range from 32 kHz to 192 kHz.  Starting Timecode field: You can set the starting timecode for new projects to a value other than 00:00:00;00 by entering a timecode value in the Starting Timecode field. You can only enter positive values in the field. When you open the project, the Time ruler and time display start from the starting timecode value.  Timescale pop-up menu: Choose whether the overall project uses Time-based or Beats-based time format.  Export Bit Depth pop-up menu: Sets the export bit depth for the current project and new projects. The choices are 16-bit (CD-quality audio) and 24-bit.  Video Frames per Second pop-up menu: Choose which video frame rate to use for new projects. 100 Chapter 3 Setting Up Soundtrack Pro  Tempo value slider: Sets the default tempo for new projects in beats per minute (bpm). The range is 60 to 200 bpm.  Key pop-up menu: Sets the default key for new projects. The range is any key in the chromatic scale from A to G#, or None.  Time Signature pop-up menu: Sets the default time signature for new projects. The choices are 3/4, 4/4, 5/4, 6/8, and 7/8. Recording Preferences These preferences let you specify settings for recording audio.  Input pop-up menu: Displays the available devices for audio input. Choose an input device from the pop-up menu. Note: For more information about setting inputs and outputs, see “Setting the Audio Input and Output” on page 22.  Channels: Use these buttons to confirm or change default input signal routing settings.  Monitor pop-up menu: Displays the available devices for monitoring audio output. Choose an output device from the pop-up menu.  Latency Compensation slider: Sets the amount of latency compensation in milliseconds. If recorded audio is late, drag the slider right. If the recorded audio is early, drag the slider left. For information on eliminating latency, see “Eliminating Recording Latency” on page 516.  Recordings Location display: Displays the default location to which recording sessions are saved. You can set the save location by clicking the Choose button and navigating to a new location. To select an audio interface as the output device: m Choose Apple menu > System Preferences, click Sound, then click the Output button. Select the audio interface in the list that appears. Chapter 3 Setting Up Soundtrack Pro 101 Synchronization Preferences These preferences let you specify synchronization settings. Input  Sync To MIDI Clock checkbox: Sets Soundtrack Pro to receive MIDI Clock signals from a MIDI application or external device.  Sync To MIDI Time Code checkbox: Sets Soundtrack Pro to receive MIDI Time Code (MTC) signals from a MIDI application or external device. Output  MIDI Clock pop-up menu: Choose the device to send MIDI Clock to, or choose None.  MIDI Clock Virtual MIDI Device checkbox: Sets Soundtrack Pro to send MIDI Clock signals to MIDI applications as “Soundtrack Sync Source.”  MIDI Time Code pop-up menu: Choose a device to send MTC signals to, or choose None.  MIDI Time Code Virtual MIDI Device checkbox: Sets Soundtrack Pro to send MTC signals to MIDI applications as “Soundtrack Sync Source.”  Frame Rate pop-up menu: Sets the frame rate for outgoing MTC signals. (Note that Soundtrack Pro automatically detects the frame rate for incoming MTC signals.) Time Code Offset  Bar 1 At field: Sets the offset of Measure 1 of your Soundtrack Pro project in SMPTE format. The offset affects both incoming and outgoing MTC signals. This should be set to the same value in all applications and devices. 102 Chapter 3 Setting Up Soundtrack Pro Control Surfaces Preferences These preferences let you specify settings for communicating with attached control surfaces.  Control Surfaces field: Shows the control surfaces connected to your computer. Channels and banks are assigned to control surfaces in the order they appear in the field, starting from the left.  Add and Delete buttons: Add or delete the selected control surface so that Soundtrack Pro no longer connects to it.  Previous and Next buttons: Change the order of the selected control surface in the Control Surfaces field.  Summary information: Displays information about the selected control surface including type, input port, and output port.  Control Surface Buttons button: Click to show the Control Surface Mapping window, where you can assign control surface buttons and other controls to specific commands and operations. For information about connecting and using control surfaces, see Chapter 15, “Using Control Surfaces with Soundtrack Pro,” on page 391. Chapter 3 Setting Up Soundtrack Pro 103 Video Out Preferences These preferences let you specify settings for video output from Soundtrack Pro.  Video Output Device pop-up menu: Choose a video output device, or choose None.  Use Quarter-size Frames checkbox: Select to send video to the output device as quarter-size frames. Quarter-size frames require less data throughput and can be sent more efficiently than full-size frames. 4 105 4 Working with Multitrack Projects You can arrange and mix audio clips in a multitrack project. Multitrack projects include tracks, busses, and submixes you can use to create sophisticated signal routing and mixes. Creating and Opening Multitrack Projects When you open Soundtrack Pro, a new, blank project appears. You can change the default startup behavior in the Preferences window. For information about setting preferences, see “Setting Soundtrack Pro Preferences” on page 97. To create a new multitrack project: m Choose File > New > Multitrack Project (or press Command-N). A new, untitled project appears. You can name the project when you save it. For information on saving projects, see “Saving Multitrack Projects” on page 111. To open an existing project: 1 Choose File > Open (or press Command-O). 2 Optionally, to view only multitrack projects in the dialog, choose Multitrack Document from the File Type pop-up menu. 3 Locate and select the project, then click Open. You can also open a recently open project by choosing it from the File > Open Recent menu, or open a project by dragging it onto the Soundtrack Pro icon in the Dock. You can have multiple projects open in Soundtrack Pro and cut and paste between them, but you can only play one project at a time. You can open projects created with earlier versions of Soundtrack and Soundtrack Pro, but you can only save them as multitrack projects (with the extension .stmp). 106 Chapter 4 Working with Multitrack Projects Creating a Multitrack Project from Final Cut Pro Clips or Sequences A convenient and powerful audio post-production workflow for any film or video project is sending a Final Cut Pro sequence or clip to a Soundtrack Pro multitrack project. For example, when the picture edit in a Final Cut Pro sequence is near completion, you simply choose File > Send To > Soundtrack Pro Multitrack Project. Soundtrack Pro opens a new multitrack project with the tracks, clips, and edits from the Final Cut Pro sequence, including the synchronized video. For information on sending Final Cut Pro sequences and clips to Soundtrack Pro, see “Using Soundtrack Pro with Final Cut Pro” on page 421. Closing Multitrack Projects At any time while you are working, you can close a multitrack project. To close a project: m Select the project’s tab in the project pane, then choose File > Close Project (or press Command-W). Setting Project Properties Each project has a set of project properties that include sample rate, overlap mode, selection mode, timecode, file management, and music-related properties. You can change the project properties for a particular project using the multitrack project controls at the top of the project pane or the Project tab. Each project property has a default setting. You can also change the default project properties for new projects in the Project pane of the Preferences window. For information on setting preferences, see “Setting Soundtrack Pro Preferences” on page 97. Automation Mode You can automatically record movements you make to faders, sliders, and other onscreen controls using the pointer. You record automation in Soundtrack Pro by selecting either Touch or Latch automation mode in the project controls, then changing volume, pan, and effects settings as the project plays. Chapter 4 Working with Multitrack Projects 107 To set the automation mode: m Choose Read, Latch, or Touch from the Automation Mode pop-up menu. For more information about the automation mode, see “Recording Automation Data” on page 365. Sample Rate The project sample rate determines the number of samples per second Soundtrack Pro uses for audio playback and export. When you add audio files to your project, their sample rate is matched (upsampled or downsampled) on the fly to the project sample rate with no change to their pitch or file duration. The available sample rates are 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz, 176.4 kHz, and 192 kHz. The default is 48 kHz, which is the standard for digital video and DVD projects. Note: When creating a soundtrack for a video, be sure you save and export your project at the same sample rate the final video project will use. To set the sample rate: m Choose the sample rate from the Sample Rate pop-up menu. The choices are:  32.0  44.1  48.0  88.2  96.0  176.4  192.0 Note: If you open your project on a computer that cannot support the project sample rate, the project is resampled to the nearest rate the hardware supports for playback. When you export your project, it is exported at the project sample rate, regardless of hardware limitations. For more information on hardware sample rates, see Chapter 1, “Setting Up Your System,” on page 21. Automation Mode pop-up menu Sample Rate pop-up menu 108 Chapter 4 Working with Multitrack Projects Overlap Mode The project overlap mode determines what happens when you move an audio clip so that it partially or completely overlaps another clip in the Timeline. There are two overlap modes: crossfade mode and truncate mode. In crossfade mode, when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline, a crossfade is created for the overlapped part of the two audio files. You can adjust the boundaries of the crossfade in the Timeline. In truncate mode, when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline, the overlapped part of the clip is truncated. To set the project overlap mode: m Click the Crossfade Mode button to set the project to crossfade mode, or click the Truncate Mode button to set the project to truncate mode. Envelope Selection Mode The project selection envelope mode determines whether, when you select or move a clip in the Timeline, the associated envelope points are also selected or moved with the clip. You can set Soundtrack Pro to either the Select Only Clips mode or the Select Envelope Points With Clips mode. To select and move clips and envelope points together: m Click the Select Envelope Points With Clips button at the top of the Timeline. To select and move clips and envelope points independently of each other: m Click the Select Only Clips button at the top of the Timeline. For more information about the envelope selection mode, see “Selecting and Moving Envelope Points with Clips” on page 359. Truncate Mode button Crossfade Mode button Select Only Clips button Select Envelope Points With Clips button Chapter 4 Working with Multitrack Projects 109 Project Time Format Each multitrack project has a project time format, which can be either Time (seconds)–based or Beats-based. Setting the time format controls the appearance of the Time display, Time ruler, Timeline gridlines, and available Snap To values. For projects set to Time-based format, time is displayed using the Time Ruler units chosen in the View menu. For projects set to Beats-based format, the time is displayed in measures, beats, and beat divisions. The default format is Time-based. Setting the format to Time-based lets you align clips and other items in the Timeline with specific points in time, for example, specific frames in a video file. Setting the format to Beats-based lets you align items in the Timeline with measures, beats, and other musical units of time, regardless of tempo. You can switch between Time-based and Beats-based formats while working on a project. You can also set individual tracks to use a different time format than the project’s time format. For information on setting a track’s time format, see “Changing Track Time Format” on page 146. Setting the Project Ruler Units You can switch the ruler units for a project in the Project tab and define the details for the ruler units in the View menu. To choose the ruler units for a project: m In the Project tab, use the Ruler Units pop-up menu to choose either Seconds or Beats. When you import a video file into a Soundtrack Pro project, the Time display and Time ruler adjust to show the timecode format of the video. The Time display and Time ruler can display time in seconds, frames, drop frames, or non-drop frames. You can choose the format for timecode display, and you can set the video frame rate for projects not containing a video file. You can also set the default frame rate for new projects in the Project Preferences pane. To specify the details of the units shown in the Time display and Time ruler: m Choose View > Time Ruler Units, then choose one of the following time formats from the submenu:  HH:MM:SS  Seconds  Samples (Audio file projects only)  Frames  Drop frame (timecode)  Non-drop frame (timecode) Additionally, you can specify the following settings for your project if it does not contain video:  Set Video Frame Rate: Choose from the following: 23.98, 24, 25, 29.97, 30, 59.94, 60.  Set Starting Timecode: Enter the timecode for the first frame of your project. 110 Chapter 4 Working with Multitrack Projects Time Ruler Units and Grid Lines The number of grid lines drawn will depend on the dominant ruler type and zoom level. For example, when the dominant ruler is Seconds and the Timeline is zoomed out, grid lines appear only on the hour marks. As you zoom in, grid lines are drawn on the minute mark. Zoom in more, and grid lines are drawn on the second marks, and so on. Setting the Project Length By default, the length of a project depends on the media in the project. The project length is set to the end of the last clip in the project. If the project uses a time-based effect, and the effect extends past the end of the last clip, the project length extends to include the effect’s “tail.” Adding a clip to the end of the project, or adding an effect that produces a “tail,” extends the project length to include the new clip or the effect’s tail. You can optionally set the project to a definite length. To set the project length: m In the Timeline, place the playhead at the point where you want the project to end, then choose Mark > Set End of Project. You can move the end-of-project marker to change the length of the project, or delete it if you decide you no longer want it in the project. To delete the end-of-project marker: m Select the marker in the Timeline, then choose Edit > Delete (or press the Delete key.) End-of-project marker Chapter 4 Working with Multitrack Projects 111 Saving Multitrack Projects To save your project: 1 Choose File > Save. 2 In the dialog that appears, enter a name for the project in the Save As field. 3 Navigate to the folder in which you want to save the project. 4 Select any of the following checkboxes:  Save Compacted: Saves the project without display data, which can save disk space, but the project may take longer to open.  Collect Audio Files: Saves a copy of every audio file the project uses to the selected location. This makes it easy to move projects between computers, and ensures that all needed audio files are available for playback. When you select this checkbox, the setting is retained for any subsequent saves. In other words, the File > Save menu option changes to File > Save (Collected), and any new media you add to the project is collected the next time you save the project. Note: To play a project on another computer, you must install the audio files the project uses on that computer, or on a disk it can access. If you remove the audio files used in a project so that your computer cannot access them, missing files will not play.  Collect Unused Audio Files: Includes media files you have deleted from the project but that remain in the Bin. If you do not want to include these media files, deselect this checkbox. Note: Optionally, you can open the Bin, select the audio files you want to remove, then choose Remove Unused from the Media pop-up menu.  Collect Video File: Saves the project’s video file in the same folder as the project.  Save Edited Media Locally: Saves the project’s edited audio files in the same folder as the project (in a subfolder named Media). If this checkbox is not selected, edited media is saved to the edited media location defined in Soundtrack Pro preferences. Note: Multitrack projects are saved as documents with the extension .stmp. 5 You can optionally click the New Folder button to create a new folder for the collected project. 6 Click Save to save the project. If the folder already contains any of the media files, an alert appears, asking if you want to replace the existing files. Note: Since video files can be very large, if you save a multitrack project collected (by selecting the Collect Audio Files or Collect Video File checkbox in the Save As dialog), it may take several minutes and may require a large amount of disk space to save the project. 112 Chapter 4 Working with Multitrack Projects Setting Default Locations for Saving Media Files During the course of a large sound editing project, you may generate numerous project files, clips, render files, and audio recordings. Soundtrack Pro helps you manage all this media by saving the files to default scratch locations. You can change the scratch locations using Soundtrack Pro preferences. Edited Media Location When Soundtrack Pro creates and saves audio file projects, the default location for those files is: /Users/username/Documents/Soundtrack Pro Documents/Edited Media/ Project Name/. To change the edited media location, do one of the following: m Choose Soundtrack Pro > Preferences > General, then click Choose to enter a new location. m In the Project tab, choose one of the following in the Create Media section:  In Edited Media (from Preferences)  In Media folder with project Scratch Location When Soundtrack Pro creates temporary render files, the default location for those files is: /Users/username/Documents/Soundtrack Pro Documents/Temporary Files/. To change the scratch location: m Choose Soundtrack Pro > Preferences > General, then click Choose to enter a new location. Recordings Location When you record audio with Soundtrack Pro, the default location for those audio recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/. To change the recordings location: m Choose Soundtrack Pro > Preferences > Recording, then click Choose to enter a new location. Collecting Media for a Project When you save a Soundtrack Pro multitrack project, you have the option to collect the associated audio and video files in one folder, alongside the multitrack project. You can make these choices at the time you save a project, or in the Project tab in the Project File Management section. For more information on these options, see “Saving Multitrack Projects” on page 111. Chapter 4 Working with Multitrack Projects 113 Adding Files to a Multitrack Project Once you’ve located and previewed an audio file you want to add, you drag the file to the Timeline to add it to the project. When you drag an audio file to the Timeline, Soundtrack Pro creates an audio clip from the audio file and adds the clip to the project. An audio clip does not contain the actual audio data; instead, it contains a reference to the file stored on disk. Editing an audio clip in the Timeline does not change the source audio file. To add an audio file from the media tabs, do one of the following: m Drag the file from one of the media tabs to a track in the Timeline. m Drag the file from the File list to the strip between two existing tracks. A new track is created and the clip is added to the track. m Drag the file from the File list to the empty part of the Timeline below the Master bus. A new track is created and the clip is added to the track. m Drag a file from the File list to a track or to the part of the Timeline below the existing tracks. To spot the clip to the playhead, do one of the following: m Select the clip and choose Clip > Spot to Playhead (or press Command-\). m Control-click the clip, then choose Spot to Playhead from the shortcut menu. To spot the clip to the Timeline, do one of the following: m Select the clip and choose Clip > Spot to Timeline (or press Command-Shift-\). m Control-click the clip, then choose Spot to Timeline from the shortcut menu. For more information, see “Spotting Clips to the Timeline” on page 153. Drag the file from a media tab to the Timeline. 114 Chapter 4 Working with Multitrack Projects To add an audio file from the Finder: m Drag the file from the Finder to the Timeline (to a track, between two existing tracks, or to the area below all existing tracks). When the Bin tab is active, the Bin shows all of the audio clips in the project. You can drag a clip from the list to the Timeline to add a new clip from the same audio file at a different point in time, or to a different track. To add an audio file from the Bin tab: m Drag the file from the Bin tab to the Timeline, either to a track or to the area below the existing tracks. Note: When you drag an audio file to the Timeline, the file snaps to the nearest Snap To position if snapping is turned on. For information on setting the Snap To value, see “Using Snapping” on page 94. Viewing and Editing Clip and Track Properties In Soundtrack Pro, you can easily view and adjust the specific details about individual clips and tracks. Clip Properties When you create an audio clip by dragging an audio file to the Timeline, the audio clip has a set of properties. These properties are specific to the clip and can be different for two clips created from the same source audio file. Chapter 4 Working with Multitrack Projects 115 The following properties for the selected clip are displayed and can be edited in the Details tab: File and Clip Details  Name: Name of the selected clip.  Position value slider: Sets the position (start point) of the selected clip.  Duration value slider: Sets the duration (length) of the selected clip.  Offset value slider: Sets the offset of the selected clip.  Measure in pop-up menu: Sets the units shown in the Position, Duration, and Offset value sliders.  Color pop-up menu: Sets the color of the selected clip.  Enabled checkbox: Enables or disables the selected clip.  Locked checkbox: Locks or unlocks the selected clip.  Transpose pop-up menu: Sets the number of semitones to transpose a looping clip.  Clip Speed pop-up menu: Sets the playback speed for a looping clip.  Created: Displays the creation date.  Modified: Displays the modification date.  Size: Displays the file size.  Properties: Displays the following information for the clip or file: duration, sample rate, the timecode for the first frame of the clip or file, bit depth, and channel valence.  Metadata: Use this section to view the metadata for a file or a clip. Metadata categories include Name, Copyright, Origination Date, Keywords, and so on.  Music: Use to view music information for a clip or file, primarily music loops in the Search tab. The music information includes tempo, time signature, key, scale type, looping (yes or no), beats, instrument, and loop genre. 116 Chapter 4 Working with Multitrack Projects Some properties can be changed by editing the clip in the Timeline. For detailed information on editing audio clips, see “Selecting Audio Clips in the Timeline” on page 147. The name of an audio clip appears on the clip in the Timeline. By default, the entire name appears on the clip if the clip is long enough to display it. You can change the default behavior in the General pane of the Preferences window, so that long clip names are truncated from the center. For information on setting preferences, see “Setting Soundtrack Pro Preferences” on page 97. Setting Clip and Track Colors Soundtrack Pro allows you to set colors for clips and tracks. Setting a clip or track color is a useful way to differentiate a set of clips from the rest of the clips or tracks in the Timeline. For example, you could color-code your clips by category: dialogue, music, and effects. This helps you organize your project visually. By default, video clips are set to blue and audio clips are set to green, but you can change the color of audio clips and tracks at any time. There are four ways to set the color of a clip or a selection of clips. You can change the colors of audio clips and tracks. Chapter 4 Working with Multitrack Projects 117 To set the color of a clip, do one of the following: m Select the clip in the Timeline or the Bin, choose Clip > Color, then choose a color from the submenu. m Control-click the clip in the Timeline or the Bin, then choose Color from the shortcut menu and choose a color from the submenu. m Select the clip. In the Details tab, choose a color from the Color pop-up menu. m Drag the clip to a track that already has a color. The clip takes on the track color. Note: If you have already applied a color to a clip, the clip does not take on the track color. You can set the color for a track, so that any clip you add to the track takes on the track color. To set a track color, do one of the following: m Select the track, then choose Multitrack > Track Color, and choose a color from the submenu. m Control-click the track, then choose Color from the shortcut menu and choose a color from the submenu. Choose a clip color from the shortcut menu. 118 Chapter 4 Working with Multitrack Projects Enabling and Disabling Clips In addition to muting entire tracks, you can disable (mute) individual clips in the Timeline in Soundtrack Pro. To disable a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Disable Clip. m Control-click the clip in the Timeline, then choose Disable Clip from the shortcut menu. m Select the clip. In the Details tab, deselect the Enable checkbox. To enable a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Enable Clip. m Control-click the clip in the Timeline, then choose Enable Clip from the shortcut menu. m Select the clip. In the Details tab, select the Enable checkbox. Locking and Unlocking Clips and Tracks You can prevent any changes to a clip or a track by locking it. Locking Clips A locked clip cannot be moved, resized, or otherwise modified in the Timeline. A locked clip can be enabled or disabled. A clip can overlap a locked clip. The envelope points under a locked clip are locked based on the envelope mode: if attached to a clip, envelope points are locked; if not attached to a clip, envelope points are unlocked. For more information about attaching envelope points, see “Adding Envelope Points” on page 357. Choose Disable Clip from the shortcut menu. Chapter 4 Working with Multitrack Projects 119 To lock a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Lock Clip. m Control-click the clip in the Timeline, then choose Lock Clip from the shortcut menu. m Select the clip. In the Details tab, select the Locked checkbox. To unlock a clip in the Timeline, do one of the following: m Select the clip, then choose Clip > Unlock Clip. m Control-click the clip in the Timeline, then choose Unlock Clip from the shortcut menu. m Select the clip. In the Details tab, select the Locked checkbox. Locking Tracks When an audio track is locked, the clips on the track cannot be moved, resized, or otherwise modified in the Timeline. Clips and effects cannot be added to or removed from a locked track. Effects and other parameters (such as pan, gain, and output) are not editable on a locked track. Choose Lock Clip from the shortcut menu. 120 Chapter 4 Working with Multitrack Projects To lock a track, do one of the following: m Select the track, then choose Multitrack > Lock Selected Track. m Control-click the track, then choose Lock Selected Track from the shortcut menu. To unlock a track, do one of the following: m Select the track, then choose Multitrack > Unlock Selected Track. m Control-click the track, then choose Unlock Clip from the shortcut menu. Making Clip Channel Selections A production sound recording often results in a stereo file or a multichannel file that contains distinct data on different channels (for example, a lapel microphone on one channel and a boom microphone on another channel). In such cases, you may want to adjust a stereo clip so that it represents just one of its two channels in the Timeline. You can also adjust a multichannel clip to represent just one of its channels, an adjacent pair of its channels, or six channels. Soundtrack Pro provides two different ways to make these channel selections in a clip. Using the Shortcut Menu to Make a Channel Selection Once a clip is in the Timeline, you can select (solo) an individual channel of a stereo file. Or you can select an individual channel or various pairs of channels of a multichannel file. The clip retains this channel selection throughout the life of the multitrack project. If you duplicate the clip, the copy also inherits the same channel selection. Changing any one instance of a clip does not affect any other instance. For stereo files, there are two options: channel 1 and channel 2. For six-channel files, there are nine different options. Note: You can change the channel selection at any time by repeating the following steps. Choose Lock Selected Track from the shortcut menu. Chapter 4 Working with Multitrack Projects 121 To use the shortcut menu to make a mono channel selection from a stereo clip: m Control-click the clip in the Timeline, then choose one of the following options from the shortcut menu:  Channel Select > Mono > 1  Channel Select > Mono > 2 The clip waveform display changes to a single (mono) waveform, and the clip functions in the project as a mono file. To use the shortcut menu to make a channel selection from a multichannel clip: m Control-click the clip in the Timeline, then choose one of the options from the shortcut menu. If you choose a mono option, the clip waveform display changes to a single (mono) waveform, and the clip functions in the project as a mono file. If you pick a stereo option, the clip waveform display changes to a stereo waveform, and the clip functions in the project as a stereo file. Choose a channel from the shortcut menu. The clip’s waveform display updates to a single (mono) waveform. 122 Chapter 4 Working with Multitrack Projects Separating Channels by Option-Dragging You can separate the channels of stereo and multichannel clips into individual clips as you drag them to the Timeline. When adding a clip to the Timeline from either the Browser, Bin, or Finder, holding down the Option key while dragging will automatically generate mono clips from a stereo or multichannel file. The dragged clip becomes a vertical stack of clips, with the first under the pointer and the rest on subsequent tracks. To convert the channels of a stereo or multichannel clip into individual clips as you add it to the Timeline: 1 Option-click the clip in any of the Soundtrack Pro media tabs. 2 Continue to press the Option key as you drag the clip to the Timeline. The dragged clip becomes a vertical stack of clips, with the top clip under the pointer and the rest on subsequent tracks. If you dragged a stereo clip, the stack consists of two clips, one for each channel. If you dragged a six-channel clip, the stack consists of six clips, one for each channel. Option-drag a stereo file from the Browser to the Timeline. The stereo file is split into two mono files–each in its own track. Chapter 4 Working with Multitrack Projects 123 Combining Separate Clips to Create Multichannel Clips In Soundtrack Pro, you can create a single multichannel clip by combining separate clips. To create a single multichannel clip from separate clips: 1 Select up to 24 separate source clips in any one of the Soundtrack Pro media tabs (Bin, Browser, Search, or Favorites). 2 Drag the clips to a track in the Timeline. The clips are combined into a single multichannel clip. Note: This feature is available for mono source files only. Drag multiple mono source files into the Timeline to create a multichannel clip. 124 Chapter 4 Working with Multitrack Projects Tracks, Busses, Submixes, and the Master Bus Multitrack projects contain tracks, busses, and submixes. Tracks, busses, and submixes appear as horizontal rows in the Timeline and as vertical channel strips in the Mixer. In both the Timeline and Mixer, tracks, busses, and submixes are grouped together, with a separator between each category. You can move each type within its own category but cannot move it to either of the other categories. Each track, bus, and submix has a header with its icon, name, and a set of controls. The Master bus represents the final mix that goes to physical outputs. The Master bus has no icon or editable name. Tracks Tracks contain the audio you add to your project in the Timeline. Each track has a color label, a name, an icon, and a set of controls that appear in the track’s header in the Timeline and in its channel strip in the Mixer. Track controls include a volume slider, a pan control, a submix pop-up menu, and buttons to mute or solo the track, bypass effects, and enable the track for recording. In addition, each channel strip includes level meters you can use to watch the track’s levels and a set of effects slots where you can add and order track effects and sends. Busses In Soundtrack Pro, a bus is a separate but parallel audio signal created with a send. A send can tap an audio signal and create a separate signal known as a bus. (Some might call this an auxiliary bus.) Busses can be processed or combined independently of the main signal. They can be combined with other signals in a submix or at the final mix, or they can be routed to altogether separate outputs. Each bus has a color label, a name, an icon, and a set of controls that appear in the bus’s header in the Timeline and in its channel strip in the Mixer. Bus controls are the same as track controls, except that a bus does not have an Arm for Recording button (because you can’t record audio to a bus). The bus controls affect the audio of every track sent (routed) to that bus. Send Track Submix bus Bus 1 Audio clip Effects Volume fader Chapter 4 Working with Multitrack Projects 125 For example, you could route every dialogue track for a particular actor to a bus with the actor’s name. You could adjust the volume of all the actor’s dialogue using the bus volume fader and add an EQ effect that brings out the actor’s voice in the mix. You could then route that audio bus to a particular submix. The main reason to apply effects this way (rather than directly on the track) is so you can control the amount and characteristics of the effect on multiple tracks using one set of controls. For more information about using busses and sends, see “Using Sends and Busses” on page 270. Submixes Submixes let you combine the audio from different tracks and busses and route the audio to physical outputs. If you are using external audio hardware that supports multiple physical outputs, you can add submixes to a project and choose the physical output to which each submix routes its audio. For more information about signal routing in Soundtrack Pro, see “Basic Signal Routing in Soundtrack Pro” on page 263. For example, you could route the audio from the dialogue tracks for each actor to a submix called “Dialogue” and then route all of the dialogue from that submix to a single output jack. You could route all music tracks to another submix and all effects tracks to a third submix. Then you could adjust the volume or add effects separately to each submix. For a final stereo mix, you could route all submixes to the same pair of physical output channels (channels 1 and 2, for example), or to separate outputs. In the case of a surround mix, you could route all submixes to channels 1–6. For a detailed explanation of this example, see “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266. Each submix has a color label, a name, an icon, and a set of controls that appear in the submix’s header in the Timeline and in its channel strip in the Mixer. Submix controls include a volume slider, a pop-up menu where you can choose the physical output channels for the submix, and buttons to mute or solo the submix and add effects. Each submix channel strip includes level meters you can use to watch the submix’s levels and a set of effects slots where you can add and order effects and sends. Submixes do not have pan controls or Arm for Recording buttons. 126 Chapter 4 Working with Multitrack Projects For information about working with tracks, busses, and submixes in the Timeline, see “Working with Tracks, Busses, and Submixes in the Timeline” on page 135. For information about working with tracks, busses, and submixes in the Mixer, see “Using Sends and Busses” on page 270. The Master Bus The Master bus represents the final mix from Soundtrack Pro: what will be heard from physical output jacks. On a signal routing basis, the Master bus is practically a mirror image of the connected hardware output device. It has a single volume control but does not have panners. You can apply effects to the Master bus, but you cannot automate those effects. Effects applied to the Master bus are placed across all channels. For more information about the Master bus, see “Using the Master Bus” on page 290. Tracks, busses, and submixes in the Timeline Tracks, busses, and submixes in the Mixer 5 127 5 Working in the Timeline The Timeline is where you arrange audio clips to build your soundtrack. You can also adjust volume and panning, add effects, and edit envelopes to control automation. Note: This chapter covers the mechanics of working with clips, tracks, busses, and submixes in the Timeline. For strategies on setting up a sound-for-picture post-production project, see “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266. For information on signal routing in Soundtrack Pro, see “Basic Signal Routing in Soundtrack Pro” on page 263. Working in the Timeline The Timeline displays a visual representation of a project, showing the point in time when audio clips start playing and their duration. You control when and how long clips play by moving and resizing them in the Timeline. The Timeline is arranged in three sets of horizontal rows: tracks, busses, and submixes. You add audio clips to tracks, create submixes using busses, and send audio to physical output devices using submixes. For information about working with tracks, busses, and submixes, see “Tracks, Busses, Submixes, and the Master Bus” on page 124. The Timeline also displays vertical gridlines that make it easy to position clips precisely in time. The gridlines correspond to the divisions of time in the Time ruler. The units of time the gridlines display change depending on the Ruler Units setting in the Project tab and the current zoom level. 128 Chapter 5 Working in the Timeline Moving Around in the Timeline Soundtrack Pro provides several controls that let you change the view of the Timeline and move to different parts of your project. You can zoom in or out for a closer or wider view of the Timeline, control how many tracks are displayed in the Timeline, and change which part of the project is currently visible using the scroll bars and project controls. You can split the Timeline view and use the Global Timeline view to quickly move to different parts of your project. Using the Scroll Bars If the entire project cannot be displayed in the Timeline, you can scroll through the project using the horizontal scroll bar located at the bottom of the Timeline. Drag the horizontal scroll bar left or right to move the visible part of the Timeline. If your project contains more tracks than can be displayed in the Timeline, a vertical scroll bar appears along the right edge of the Timeline. Drag the vertical scroll bar up or down to change which tracks are visible. In the lower left of the project pane are the Timeline controls, including the Track Height control and Zoom control. Vertical scroll bar Horizontal scroll bar Chapter 5 Working in the Timeline 129 Using the Zoom Control You can zoom in to make precise edits in the Timeline, or zoom out for a wider view of your project using the Zoom control. The Zoom control features a slider on a graduated scale. Moving the slider to the left or clicking the left side of the control zooms in for a closer view, displaying a smaller area of the Timeline close up. Moving the slider to the right or clicking the right side of the control zooms out for a wider view, displaying a wider area of the Timeline. You can also zoom in and out using menu commands or keyboard shortcuts. If your mouse has a scrollwheel, you can use it to zoom in and out. You can also fit the entire project in the visible area of the Timeline. Timeline zoomed out Timeline zoomed in 130 Chapter 5 Working in the Timeline To zoom in, do one of the following: m Move the Zoom slider to the left. m Click the left side of the Zoom control. m Choose View > Zoom In. m Press Command-plus (+). m If the mouse connected to your computer has a scrollwheel, position the pointer over the Zoom control and move the scrollwheel. To zoom out, do one of the following: m Move the Zoom slider to the right. m Click the right side of the Zoom control. m Choose View > Zoom Out. m Press the Down Arrow key. m Press Command-minus (–). m If your mouse has a scrollwheel, position the pointer over the Zoom control and move the scrollwheel. Note: Optionally, you can change the default scrollwheel behavior in the General pane in Soundtrack Pro preferences to zoom in to the playhead in the Timeline or the File Editor using the scrollwheel. To fit the project in the visible area of the Timeline: m Choose View > Fit in Window (or press Shift-Z). Using the J, K, and L Keys for Shuttling You can use the keyboard commands (the J, K, and L keys) to speed playback up to eight times normal speed. When you use the keyboard shortcuts, the only speed available under 1x is 1/2x. { Moves through reverse speeds Pause “ Moves through forward speeds Chapter 5 Working in the Timeline 131 To begin forward playback at normal (1x) speed: m Press L. To begin reverse playback at normal (1x) speed: m Press J. To pause playback: m Press K. To double the current playback speed: m Press L or J again. You can play back up to eight times normal speed, switching from 1x to 2x to 4x to 8x normal speed (pressing either key a total of four times). Pressing the key for playback in the opposite direction halves the playback speed, slowing down playback in that direction until it reaches 1x playback. Playback then begins doubling in reverse, starting from 1x. To immediately reverse the playback direction: m Press K to pause, then press the key for the direction you want. To move the playhead one frame at a time: m Hold down the K key, then press J or L. To move the playhead at below 1/2x speed: Hold down the K key, then press and hold down J or L. Moving the Playhead with Keyboard Shortcuts Soundtrack Pro provides a variety of keyboard shortcuts to move the playhead. To move the playhead to the previous edit: m Press the Up Arrow key. To move the playhead to the next edit: m Press the Down Arrow key. To move the playhead to the previous edit and toggle the clip selection: m Press Shift–Up Arrow. To move the playhead to the next edit and toggle the clip selection: m Press Shift–Down Arrow. To move the playhead one gridline to the left: m Press the Left Arrow key. To move the playhead one gridline to the right: m Press the Right Arrow key. 132 Chapter 5 Working in the Timeline For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. Note: The gridlines correspond to the divisions of time in the Time ruler. The units of time the gridlines display change depending on the Ruler Units setting in the Project tab and the current zoom level. Setting Track Height You set the height of tracks, busses, and submixes in the Timeline using the Track Height control. The Track Height control has four settings. The smallest rectangle sets the track height to a minimized setting, with each track (and track header) reduced to half-height, allowing more tracks to be displayed in the Timeline. To set the height of tracks, busses, and submixes, do one of the following: m Click one of the four rectangles on the Track Height control. m Press Command-6, Command-7, Command-8, or Command-9. Note: Track header controls for setting up recording appear in the two tallest track heights only. Reduced track height Large track height Chapter 5 Working in the Timeline 133 Using the Global Timeline View The Global Timeline view, located above the Time display and Time ruler, shows a miniature view of the entire project. The playhead appears as a black vertical line with a triangular handle. The part of the project currently visible in the Timeline is indicated by a blue rectangle in the Global Timeline view. To move to a new area of the Timeline using the Global Timeline view: m Drag the visible area rectangle to a new position. You can quickly move to different parts of the Timeline by dragging the blue rectangle. This is especially useful when working on longer projects. You can also drag the rectangle up or down to move vertically in the Global Timeline view. This is useful if your project contains more tracks, busses, and submixes than can be displayed in the project pane. Using the Time Ruler The Timeline has a Time ruler that shows the divisions of time in a project. You can set the playhead to a precise frame, point in time, or sample number using the Time-based units on the Time ruler, or to a specific musical measure or beat using the Beats-based units, to synchronize playback of audio clips in the Timeline. The Time ruler changes depending on the time format of the project and the Time ruler units. If the project is currently set to Time-based format, Time-based units appear in the upper part of the ruler. If the project is set to Beats-based format, Beats-based units appear in the upper half of the ruler. You can use the Time ruler to position clips or the playhead at a precise point in time, including synchronizing them to a specific timecode reference in a video file. To set the playhead to a specific point in the Time ruler: m Click the Time ruler at the point where you want to set the playhead. Drag this rectangle to a new position. 134 Chapter 5 Working in the Timeline Working with the Cycle Region You can create a cycle region in a project, an area that plays back repeatedly. This is sometimes called cycling or looping playback. A project has only one cycle region, but you can move and resize it as often as you want. Additionally, for selecting, marking, and exporting purposes, the cycle region functions much like In and Out points in Final Cut Pro. You also use the cycle region when recording multiple takes. For information on recording, see Chapter 13, “Recording Audio in Soundtrack Pro,” on page 367. To set the cycle region, do one of the following: m Drag in the Time ruler from the beginning of where you want the cycle region to the end. m Position the playhead and press I to set the cycle region In point. Position the playhead and press O to set the cycle region Out point. m Press X to set the cycle region In and Out points at the boundaries of the clip that currently intersects the playhead. The clip on the uppermost track is used. Note: For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. The cycle region is lighter in color than the rest of the Time ruler, with triangular markers indicating its start and end points. If a cycle region already exists, you can drag anywhere in the Time ruler outside of the current cycle region to set the cycle region to a new position. If cycling is turned off, you must turn it on for the cycle region to be active. The Cycle button darkens to indicate that the cycle region is activated. To activate or deactivate the cycle region, do one of the following: m Click the Cycle button in the transport controls. m Press C. To move the cycle region: m Click in the bottom half of the cycle region and drag it to a new position in the Timeline. Drag in the Time ruler to set the cycle region. Chapter 5 Working in the Timeline 135 To resize the cycle region: m Drag either the In point or Out point handle in the Time ruler to resize the cycle region. To remove the cycle region, do one of the following: m Choose Edit > Cycle Region > Remove Cycle Region (or press Option-X). m Control-click the cycle region, then choose Cycle Region from the shortcut menu and Remove Cycle Region from the submenu. Working with Tracks, Busses, and Submixes in the Timeline The Timeline is arranged sets of horizontal rows: tracks, busses, and submixes. You add audio to tracks in your project, use busses to create effect sends, and route audio to physical output channels using submixes. The tracks in a project appear in the upper part of the Timeline. Busses appear below tracks, and submixes appear below busses. The Master bus appears below submixes. The Master bus represents the final mix that will be heard from physical output jacks. It has a single volume control and no panners or meters. You can apply effects to the Master bus. A separator between each set of Timeline rows helps visually distinguish them, and disclosure triangles on each separator let you show or hide the different sets. Tracks, busses, and submixes in the Timeline correspond to channel strips in the Mixer. When you add a track, bus, or submix, adjust its controls, or add effects, the same changes appear in the corresponding channel strip when you open the Mixer. Tracks, busses, and submixes are described in greater detail in “Tracks, Busses, Submixes, and the Master Bus” on page 124. Adding Tracks, Busses, and Submixes There are several ways to add tracks, busses, and submixes. To add a track, do one of the following: m Choose Multitrack > Add Track (or press Command-T). m Control-click an open area of the Timeline, then choose Add Track from the shortcut menu. m Control-click a track, then choose either Add Track Above or Add Track Below from the shortcut menu. To add a bus, do one of the following: m Choose Multitrack > Add Bus. m Control-click a bus, then choose either Insert Bus Before or Insert Bus After from the shortcut menu. 136 Chapter 5 Working in the Timeline To add a submix, do one of the following: m Choose Multitrack > Add Submix. m Control-click a submix, then choose either Insert Submix Before or Insert Submix After from the shortcut menu. Selecting Tracks, Busses, and Submixes You can select a track, bus, or submix in order to move, copy, or remove it, and you can also select tracks, busses, and submixes to export. The headers of selected tracks, busses, and submixes appear darker in the Timeline. To select a track, bus, or submix, do one of the following: m Click in the header for the track, bus, or submix. m Click anywhere in the row for the track, bus, or submix in the Timeline. m Press Control-Up Arrow or Control-Down Arrow. You can select multiple tracks, busses, or submixes in the Timeline. To select adjacent tracks, busses, or submixes, do one of the following: m Shift-click in the header of each track, bus, or submix. m Press Shift-Control-Up Arrow or Shift-Control-Down Arrow. To select nonadjacent tracks, busses, or submixes: m Command-click in the header of each track, bus, or submix. Grouping Tracks, Busses, and Submixes You can create groups of tracks, groups of busses, and groups of submixes. Groups provide a way to easily select and make changes (such as volume, mute, solo, and lock adjustments) to many tracks, busses, or submixes at once. When Mixer objects are grouped, selecting one item in the group selects all items in that group. Note: It is not possible to group Mixer objects from different categories. For example, you cannot group tracks with busses or tracks with submixes. The selected track is highlighted. Chapter 5 Working in the Timeline 137 To group tracks, busses, or submixes: 1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled. 2 Do one of the following:  Select any combination of tracks.  Select any combination of busses.  Select any combination of submixes. 3 Choose Multitrack > Group Tracks (or press Command-G). The selected items are grouped. Applying Changes to Groups of Selected Tracks, Busses, and Submixes When multiple tracks, busses, or submixes are selected (whether they are officially grouped or not) you can apply the following changes to all the selected items at once: Changes in the track header or the shortcut menu:  Toggling the envelopes  Volume  Effect bypass  Mute  Solo  Setting track color  Track locking  Remove track  Switching between stereo/surround panner Changes in the Timeline:  Blade tool  Creating a Timeslice selection  Marquee-selecting multiple clips with the Selection tool 138 Chapter 5 Working in the Timeline Managing Track Selections with the Tracks Tab The Soundtrack Pro Tracks tab is a convenient tool for selecting and grouping tracks, busses, and submixes. The Tracks tab consists of three sections: the Mixer Objects outline, the Groups outline, and a channel strip for the currently selected item. Mixer Objects Outline The upper left of the Tracks tab displays an outline view of the Timeline, including all tracks, busses, and submixes. Use this outline to quickly manage, select, and group Mixer objects (track, bus, or submix) without having to view the entire Timeline. To select an individual Mixer object (track, bus, or submix) in the Tracks tab: m Click the track, bus, or submix in the Mixer Objects outline. You can also use the Up and Down Arrow keys to navigate through individual Mixer objects. To select adjacent Mixer objects in the Tracks tab: m Shift-click the adjacent tracks, busses, or submixes in the Mixer Objects outline. To select nonadjacent tracks, busses, or submixes: m Command-click the nonadjacent tracks, busses, or submixes in the Mixer Objects outline. Chapter 5 Working in the Timeline 139 Groups Outline The Groups outline displays an outline view of any grouped tracks, busses, or submixes in the project. You can use the Groups outline to group Mixer objects, disable or enable groups, rename groups, delete groups, and delete items from groups. To group tracks, busses, or submixes in the Groups outline: 1 Confirm that grouping is enabled by choosing Multitrack > Groups Enabled. 2 In the Mixer Objects outline, do one of the following:  Select any combination of tracks.  Select any combination of busses.  Select any combination of submixes. For more information on selecting, see “Selecting Tracks, Busses, and Submixes” on page 136. 3 Choose Multitrack > Group Tracks (or press Command-G). The selected items are grouped and the new group appears in the Groups outline. To enable or disable groups in the Groups outline: m Click the checkbox next to the group in the Groups outline to enable or disable it. Note: Three standard groups (All Tracks, All Busses, and All Submixes) are disabled by default. 140 Chapter 5 Working in the Timeline To rename a group in the Groups outline: 1 Double-click the name. 2 Enter the new name. To delete a group or remove an item from a group: 1 Select the group or item in the Groups outline. 2 Press Delete. Channel Strip The right side of the Tracks tab displays a single channel strip for the currently selected track, bus, or submix. (This channel strip is identical to the corresponding channel strip in the Mixer in every way, including all controls and current settings.) It is a quick way to access the mixing controls for a particular Mixer object. Note: The channel strip is displayed only if a single track, bus, or submix is selected. For more information about channel strips, see “Working with Channel Strips in the Mixer” on page 273. Chapter 5 Working in the Timeline 141 Moving and Copying Tracks, Busses, and Submixes As you work on your project, you may want to rearrange tracks, busses, and submixes. You can move and copy them to change their vertical arrangement in the track, bus, or submix section of the Timeline. You cannot move one to the area for another (as indicated by the rows labeled “Tracks,” “Busses,” “Submixes,” and “Master” in the Timeline). You can only move or copy one track, bus, or submix at a time. To move a track, bus, or submix: m Drag the track, bus, or submix header up or down to a new vertical position. A light blue horizontal line in the header area indicates the place the track, bus, or submix is moved to when you release the mouse button. To copy a track, bus, or submix: m Option-click in the header for the track, bus, or submix, then drag it up or down. A copy of the track, bus, or submix appears when you release the mouse button. Renaming Tracks, Busses, and Submixes By default, tracks are numbered when created and take the name of the first audio clip you add to them. Busses and submixes are numbered starting from 1 (Bus 1, Submix 1, and so on). You can rename a track, bus, or submix and use the names to distinguish the type of audio it contains (for example, dialogue, voiceovers, music, or sound effects), its part in the overall project, or to identify it in some other way. To rename a track, bus, or submix: m Click the name field in the header for the track, bus, or submix and type a new name. Note: You cannot rename the Master bus. Changing a Track, Bus, or Submix Icon You can choose a new icon from the icon grid or add your own image to the grid. To change the icon for a track, bus, or submix, do one of the following: m Double-click the icon, then select a new icon from the icon grid that appears. m Drag a graphics file from the Finder to the icon. 142 Chapter 5 Working in the Timeline Using the Track Controls Tracks, busses, and submixes have headers, located along the left side of the Timeline. Each header contains track controls that you can use to mute or solo the track, bus, or submix, adjust its volume level and pan position, add effects, and show or hide its envelopes. Adjusting Volume The volume slider controls the volume (the loudness relative to other tracks) of the track, bus, or submix. To adjust the volume level of a track, bus, or submix: m Drag the volume slider left or right. The range is –96 dB to +6 dB, with the default at 0 dB. Double-clicking the slider resets it to the 0 dB position. Adjusting Pan Position Tracks and busses also include panning controls. The stereo pan slider controls the stereo pan position (the left-to-right placement in the stereo field) of the track. The surround panner controls the surround pan position, placing sounds in a multidimensional space defined by 5.1-surround speaker systems. To adjust the pan position of a track or bus, do one of the following: m In stereo mode, drag the pan slider left or right. The range is –100 (full left) to +100 (full right), with the default at 0 (center position). Double-clicking the slider resets it to the center position. Drag the volume slider left or right. Drag the slider to pan the sound. Chapter 5 Working in the Timeline 143 m In surround mode, drag anywhere inside the black circle to position the puck. For finer panning adjustments and other surround controls, double-click the surround panner to open the Surround Panner HUD. For more information about using surround panners, see “Using Surround Panners to Create a Surround Mix” on page 299. For more information about the Surround Panner HUD, see “The Surround Panner HUD” on page 300. Muting and Soloing Tracks, Busses, and Submixes The Mute button mutes (silences) the track, bus, or submix. You can mute multiple tracks, busses, and submixes, which allows you to hear only the remaining, unmuted ones. Muting lets you compare the sound of the project using different combinations of tracks, busses, and submixes, and hear the result of changes you make to them. To mute a track, bus, or submix: m Click the Mute button. Click the Mute button again to unmute the track, bus, or submix. Muted tracks, busses, and submixes appear darker in the Timeline and their clips appear translucent, making it easy to identify which tracks are currently audible. The Solo button solos the track, bus, or submix, muting all others. Soloing a track, bus, or submix lets you quickly isolate it from the rest of the project, so you can adjust the sound of the soloed track, bus, or submix and make changes. Drag the puck to pan the sound. Click the Mute button to mute the track, bus, or submix. muted track 144 Chapter 5 Working in the Timeline Soundtrack Pro supports multiple solo and exclusive solo. Clicking the Solo button for multiple tracks, busses, or submixes solos them and mutes all others. When you exclusively solo a track, bus, or submix, all others are muted, regardless of whether they are soloed. To solo a track, bus, or submix (multiple solo): m Click the Solo button. Click the Solo button again to unsolo the track, bus, or submix. To exclusively solo a track, bus, or submix: m Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or submix. When you solo tracks, busses, or submixes, the ones not soloed appear darker in the Timeline, and their clips appear translucent. Adding Effects to a Track, Bus, or Submix You can use the Effects tab, which you use to add effects. The Effects tab also displays any effects currently assigned to the track, bus, or submix. To add effects to a track, bus, or submix: 1 Do one of the following:  Control-click the header for the track, bus, or submix, then choose Show (Track, Bus, or Submix) Effects from the shortcut menu. This activates the Effects tab.  Click the header for the track, bus, or submix to select it. If it is not already active, click the Effects tab to activate it. Click the Solo button to solo the track, bus, or submix. soloed track Chapter 5 Working in the Timeline 145 2 Select a category in the Category list to display the effects for that category in the Effect list. 3 In the Effect list, do one of the following:  Double-click the effect you want to add.  Select the effect name, then click the Add Effect button.  Drag the effect to the Effect Parameters area. The effect’s advanced settings window appears, and the effect name appears in the Effect Parameters area with its checkbox selected. For detailed information about adding and adjusting effects, see Chapter 11, “Working with Audio Effects,” on page 327. Showing and Hiding Track, Bus, and Submix Envelopes Clicking the automation disclosure triangle for a track or bus shows the volume and pan envelopes, which you can use to automate changes to pan position and volume level over the course of the project. Clicking the triangle for a submix shows the submix’s volume envelope. The envelopes appear in the Timeline below the track, bus, or submix. You can also add envelopes for effect parameters, which appear below the other envelopes. For information on adding envelopes for effect parameters, see Chapter 11, “Working with Audio Effects,” on page 327. Select the category of effects you want to use from this list. ...to the Effect Parameters area. Drag the effect from the Effect list... 146 Chapter 5 Working in the Timeline To show or hide the envelopes for a track, bus, or submix, do one of the following: m Click the envelopes disclosure triangle in the header for a track, bus, or submix. Click the disclosure triangle again to hide the envelopes. m Press E to show envelopes for any selected tracks. Press E again to hide the envelopes. Note: If you automate controls or effects using envelopes, you hear the results whether or not the envelopes are visible. For information on automating changes to volume, pan, and other settings, see Chapter 12, “Working with Automation,” on page 355. Changing Track Time Format By default, tracks use the same time format as the project (Time-based or Beats-based). You can change the time format of a track, which changes the behavior of tagged clips when you change the project tempo. When the track time format is Time-based, clips remain at the same time position (the same second or frame) when you change the project tempo. When the track time format is Beats-based, clips remain at the same beat position (the same measure, beat, and beat division) when you change the project tempo. When you set a track to Beats-based time format, a metronome appears in the corner of the track icon. To change a track’s time format: 1 Select the track. 2 Choose Multitrack > Track Time Base, then choose a format from the submenu. Click the envelopes disclosure triangle. The envelopes appear below the track in the Timeline. Chapter 5 Working in the Timeline 147 Removing Tracks, Busses, and Submixes You can remove a track, bus, or submix if you decide you no longer want it in a project. To remove a track, bus, or submix, do one of the following: m Select the track, bus, or submix, then choose Multitrack > Remove [item] (or press Command-Shift-T). m Control-click the track, bus, or submix, then choose Remove [item] from the shortcut menu. The [item] changes depending on whether a track, bus, or submix is selected. Selecting Audio Clips in the Timeline You select the audio clips you want to edit. You can select a single clip or multiple clips, including clips in different tracks. When you select a clip, it appears darker than unselected clips, and it has a white border. Selecting individual clips is as straightforward as clicking, as long as you are clicking with the right tool. Also included here are the tricks you need to know for selecting multiple contiguous and noncontiguous clips quickly. To select an individual clip: 1 Click the Selection tool at the top of the Timeline (or press A). 2 In the Timeline, click anywhere in a clip. To select multiple audio clips in the same track: 1 Click the Selection tool at the top of the Timeline (or press A). 2 Do one of the following:  Hold down the Command key while selecting the desired clips using the Selection tool.  Drag from a point in the track before the first clip you want to select to a point after the last clip you want to select, encompassing the clips.  If the clips are adjacent, select a clip item, then hold down the Shift key and select another clip item farther down on the Timeline. All of the clips between the two are selected. 148 Chapter 5 Working in the Timeline To select multiple audio clips in different tracks, do one of the following: m Shift-click the clips in the Timeline. All clips between those two tracks are selected as well. m Command-click the clips in the Timeline. m Drag across multiple tracks to select the clips. Note: If there is no track background available because the tracks in your project are too dense, you can also make the selection by dragging in the track separator. To deselect an individual clip item within a selection: 1 Select the Selection tool in the Tool palette (or press A). 2 Command-click the item you want to deselect. To select all clips using the same source audio file, do one of the following: m Select the clip in the Timeline or the Bin tab, then choose Clip > Select All Occurrences of [filename]. m Control-click the source audio file in the Bin tab, then choose Show in Timeline from the shortcut menu. Chapter 5 Working in the Timeline 149 Selecting the Entire Contents of a Track Sometimes you may find that you want to select all of the clips on a track in order to drag them to close a gap or to create space to accommodate new clips in your project. After selecting a track’s contents, you can perform different operations on all the track’s items at once, such as moving, copying, or deleting them. This feature also works with multiple tracks. To select all the clips on selected tracks: 1 Select one or more tracks. For more information on selecting tracks, see “Selecting Tracks, Busses, and Submixes” on page 136. 2 Choose Edit > Select > Across Tracks (or press Shift-T). All clips in the track are selected. If you make this selection in Selection tool mode, all clips on currently selected tracks are selected. Any clips that were selected before choosing the menu item are included in the new selection. Note: Double-clicking a track in Selection tool mode selects all clips in that track. Any previously selected clips are not included in the new selection. Triple-clicking a track selects all clips in the Timeline. If you make this selection in Timeslice tool mode, any existing Timeslice selection is extended horizontally to cover the entire duration of the project. If there is no existing Timeslice, Soundtrack Pro creates a Timeslice across the entire length of all selected tracks (or all tracks if none are selected). Note: Double-clicking a track in Timeslice tool mode creates a timeslice over the double-clicked area (either a clip or the gap between two clips). Triple-clicking a track creates a Timeslice across the entire track. 150 Chapter 5 Working in the Timeline Selecting Partial Contents of One or More Tracks When there are many clips in a multitrack project, it’s difficult to see and select many of them at once, especially if you don’t want to zoom in and out frequently. The Select Forward and Select Backward commands let you easily select all clips before or after the playhead. To select all the clips to the right or the left of the playhead on selected tracks: 1 Select one or more tracks. For more information on selecting tracks, see “Selecting Tracks, Busses, and Submixes” on page 136. 2 Position the playhead in the Timeline. 3 Do one of the following:  To select everything to the right of the playhead in the selected tracks, choose Edit > Select > Forward (or press Shift-End).  To select everything to the right of the playhead in the selected tracks, choose Edit > Select > Backward (or press Shift-Home). If you make this selection in Selection tool mode, all clips to the right (Forward) or left (Backward) of the playhead in the selected tracks are selected. Any clips that were selected before choosing the menu item are included in the new selection. The clips at and to the right of the playhead are selected. Chapter 5 Working in the Timeline 151 If you make this selection in Timeslice tool mode, any existing Timeslice selection is extended to the end of the project (for the Forward option) and to the beginning of the project (for the Backward option). If there is not an existing Timeslice, Soundtrack Pro creates a Timeslice across selected tracks starting at the playhead and extending to the end of the project (for the Forward option) and to the beginning of the project (for the Backward option). Note: If you hold down the Option key, the menu items read Select > All Forward and Select > All Backward and behave the same as described above except the selection is across all tracks instead of just the selected tracks. Cutting, Copying, and Pasting Audio Clips You can cut, copy, and paste audio clips in the Timeline. You can also paste multiple copies of a clip. To cut an audio clip: m Select the clip in the Timeline, then choose Edit > Cut (or press Command-X). The clip is removed from the Timeline and placed on the Clipboard. To copy an audio clip, do one of the following: m Select the clip in the Timeline, then choose Edit > Copy (or press Command-C). m Option-drag the clip to the position where you want to copy it. To paste an audio clip: m Set the playhead at the position where you want to paste the clip, then choose Edit > Paste (or press Command-V). The clip is pasted in the currently selected track, starting at the current playhead position. If no track is selected, the clip is pasted in the track from which it was cut or copied. When pasting clips cut or copied from different positions in the Timeline or from multiple tracks, the following conditions apply:  Pasting clips from different Timeline positions: The clip closest to the beginning of the project is pasted at the current playhead position, and the remaining clips are pasted at the same positions in time relative to the first clip as when they were cut or copied.  Pasting clips from multiple tracks: The clip from the topmost track is pasted in the currently selected track, and the remaining clips are pasted at the same positions relative to the first clip as when they were cut or copied. If there are not enough tracks to accommodate the clips being pasted, a dialog appears asking if you want to create new tracks for the clips. If you choose not to create new tracks, only the clips for which tracks already exist are pasted. 152 Chapter 5 Working in the Timeline When pasting audio clips, you can choose to paste multiple copies of the clip in succession. Using the Paste Repeat command, you can paste any number of copies of a clip in the selected track. To paste multiple copies of a clip: 1 Cut or copy the clip. 2 Set the playhead to the point where you want to paste the first copy of the clip. 3 If you want to paste the copies in a different track, select the track. 4 Choose Edit > Paste Special > Paste Repeat (or press Option-Command-V). 5 In the Paste Repeat dialog, enter the number of times you want to paste the clip. The copies are pasted in the selected track, starting at the current playhead position. If no track is selected, the copies are pasted in the same track as the cut or copied clip. Removing Audio Clips As you work on a project, you may decide that a clip that sounded great on its own no longer fits with the overall composition. You can remove clips from a project by deleting them from the Timeline. To remove an audio clip: m Select the clip, then choose Edit > Delete (or press the Delete key). Type the number of times you want to paste the clip in the Paste Repeat dialog. The copies are pasted in the selected track, starting at the current playhead position. Chapter 5 Working in the Timeline 153 Spotting Clips to the Timeline Soundtrack Pro allows you to easily spot clips to the Timeline. You can spot clips to the playhead location or you can spot clips to the Timeline based on timecode information inherent in the clip or that you enter in the Spot to Timecode dialog. To spot a clip to the playhead: 1 Position the playhead where you would like to spot the clip. 2 Select the track on which you would like to spot the clip. 3 Do one of the following:  Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser, Favorites, or Search tab), then choose Clip > Spot to Playhead (or press Command-\).  Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser, Favorites, or Search tab), then choose Spot to Playhead from the shortcut menu. The clip is added to the Timeline at the specified playhead location. To spot a clip to the Timeline using timecode: 1 Select the track on which you would like to spot the clip. 2 Do one of the following:  Select the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser, Favorites, or Search tab), then choose Clip > Spot to Timeline (or press Command-Shift-\).  Control-click the clip in one of the Soundtrack Pro media tabs (such as the Bin, Browser, Favorites, or Search tab), then choose Spot to Timeline from the shortcut menu. 3 Do one of the following:  Select Use Embedded Timecode if the clip contains timecode intended to place it in the proper location in the Timeline.  Enter the target Timeline timecode location. 4 Click Spot. The clip is added to the Timeline at the specified timecode location. The Spot to Timeline dialog appears. 154 Chapter 5 Working in the Timeline Moving Clips As you work in Soundtrack Pro, you may want to move tracks to new positions. There are several ways to do this: dragging clips, entering timecode values, and using keyboard shortcuts. Moving Audio Clips You can move an audio clip in the Timeline by dragging the clip to a new position. You can also move the clip to a different track. To move an audio clip to a new time position: m Drag the clip left or right to a new position in the Timeline. To move an audio clip to a new track: m Drag the clip up or down to a different track. You can also move an audio clip using the Left and Right Arrow keys with various modifier keys. Using the Option key with the arrow keys moves the clip by one pixel at a time; using the Option and Shift keys with the arrow keys moves the clip to the next gridline in the Timeline. When you move a clip by one pixel, the amount the clip moves in time depends on the current zoom setting. You can lock the horizontal (time) position of an audio clip when moving the clip between tracks in the Timeline. This makes it easy to keep the clip’s start point when moving the clip or copying it by Option-dragging. To lock the time position of a clip as you move it between tracks: m Hold down the Shift key while dragging the clip up or down to a different track. Drag a clip up or down to move it to a different track. Drag a clip left or right to move it to a new position. Chapter 5 Working in the Timeline 155 Moving Clips Numerically When you want to move clips precisely, you can move them by entering positive or negative timecode values. To move an item by entering a timecode value: 1 In the Timeline, select the clip item or items you want to move. 2 Type a relative timecode value for where you want the clip to be positioned. For example, type +48 (or simply 48) to move the item 48 frames forward. To move 48 frames backward in time, type –48. When you type a number, a Move field appears at the top of the Timeline. Note: Don’t click in the Current Timecode field before you do this, or you’ll move the playhead instead. Moving Clips with Keyboard Shortcuts Soundtrack Pro provides a variety of keyboard shortcuts to move selected clips. To move a selected clip up one track: m Press Command-Option-Up Arrow. To move a selected clip down one track: m Press Command-Option-Down Arrow. To nudge a selected clip one video frame to the left: m Press Command-Option-Left Arrow. To nudge a selected clip one video frame to the right: m Press Command-Option-Right Arrow. To nudge a selected clip one gridline to the left: m Press Command-Left Arrow. To nudge a selected clip one gridline to the right: m Press Command-Right Arrow. To move a selected clip one edit point to the left: m Press Command-Up Arrow. To move a selected clip one edit point to the right: m Press Command-Down Arrow. Note: These commands are also available as menu commands by choosing Edit > Move Selection. For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. 156 Chapter 5 Working in the Timeline Snapping Clips to Clips on Adjacent Tracks If snapping is turned on, you can snap a clip to the edges of a clip in an adjacent track (the track either directly above or directly below the track containing the clip). This is especially useful when the start and end points of clips do not fall on the current Snap To value. To snap a clip to adjacent clips: m Choose View > Snap To > Adjacent Tracks. Resizing Audio Clips You control the duration of an audio clip (the amount of time the clip plays back) by resizing the clip. When you add a clip to the Timeline, the clip has the same duration as the source audio file. You can shorten clips to play back only a part of the source file. When you lengthen a clip with looping playback mode, it repeats the source file multiple times. To resize an audio clip: 1 Place the pointer at either the left or right edge of the audio clip. The pointer changes to a Clip Resize pointer. 2 Click the edge of the clip and drag left or right to resize it. When you lengthen a regular, nonlooping clip beyond its original length, Soundtrack Pro adds blank space at the end of the clip. When you lengthen a clip with looping playback mode, the notches at the top and bottom of the clip indicate the end of each repetition of the source audio file. A blank space appears when a nonlooping clip is lengthened beyond its original length. Notches indicate the points where a looping clip repeats. Drag the clip to the left or right to resize it. Chapter 5 Working in the Timeline 157 When you resize a clip by shortening its left edge, you change the point in the source audio file at which the clip starts playing, making the earlier part of the source audio inaudible. When you resize a clip by shortening its right edge, the part you shorten becomes inaudible. You cannot lengthen the left edge of a clip with non-looping playback mode beyond the beginning of the source audio file. When you resize a clip, the edge being resized jumps to the nearest Snap To position if snapping is turned on. If you want to resize the clip independently of the Snap To value, change the Snap To value or turn off snapping before you resize the clip. For information about snapping, see “Using Snapping” on page 94. Changing the Offset of an Audio Clip When you add an audio clip to the Timeline, the clip plays back from the beginning of the source audio file. The point in the audio file where the clip starts playing is called the offset. By default, a clip’s offset is zero, the beginning of the source audio file. You can change the offset so that the clip starts playing from a later point in the source audio file. (In Final Cut Pro, this is known as a slip.) This allows you to use the audio from a later part of the source file without splitting the clip. To slip (change the offset of) a clip: m Select the clip, then Command-Option-drag left (toward the beginning of the project). Once you have changed the offset by dragging to the left, you can also drag to the right to change the offset. Note: You can only drag the offset to a later part of the clip’s source audio file, not to a point before the beginning of the file. When you change the offset of a clip, the waveform moves inside the clip’s boundary to indicate the change in offset. The length of the clip stays the same. If the clip has not been resized, it will reach the end of the source audio file and start looping. As you move the offset by dragging, the clip’s notches move to show the point at which the clip will start looping. Command-Option-drag left to change the clip’s offset. The waveform moves inside the clip’s boundary to indicate the change in offset. 158 Chapter 5 Working in the Timeline Creating Fades and Crossfades in the Timeline One of the most common tasks of a sound editor is adding fade-ins and fade-outs to individual clips and crossfades between clips to smooth the overall sound of a video or motion picture soundtrack. Creating Fade-Ins and Fade-Outs in the Timeline Soundtrack Pro lets you easily add fades and crossfades and adjust the fade type directly in the multitrack Timeline. To create a fade-in or fade-out on a clip in the Timeline: 1 Move the pointer Over the top-left edge of the clip (for a fade-in) or top-right edge of the clip (for a fade-out). The pointer becomes a fade pointer. 2 Drag from the corner toward the center of the clip. A fade is superimposed over the clip. 3 Drag the edge of the fade left or right to adjust the fade duration. Chapter 5 Working in the Timeline 159 To adjust the fade type: 1 Double-click the fade in the Timeline. The Fade Selector window appears. 2 Click one of the four buttons on the left side of the Fade Selector to select a fade type.  Linear: The rate of attenuation stays constant over the length of the fade.  Logarithmic: Starts quickly, then slowly tapers off toward the end.  Exponential: Starts slowly, then moves quickly toward the end.  S-curve: Eases in and out of the fade, with the midpoint at 0 dB. Note: This list describes the different types of fade-ins. The reverse behavior is true for fade-outs in the logarithmic and exponential cases. The fade in the Timeline is updated to reflect your choice of fade type. Note: The default fade type is +3 dB. Choose Soundtrack Pro > Preferences > General to change the default fade type. Linear Logarithmic Exponential S-curve 160 Chapter 5 Working in the Timeline Creating Crossfades Between Audio Clips Crossfades let you create smooth transitions between one audio clip and the next and avoid clicks or sudden changes in loudness that can result when placing audio files one after another. To create a crossfade between audio clips, you set the project to crossfade mode, then drag an audio clip so that it overlaps another clip. A crossfade is created for the length of the overlapped area. To set the project to crossfade mode: m Click the Crossfade Mode button, located above the Global Timeline view. In crossfade mode, when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline, a crossfade is created for the overlapped part of the two audio files. You can adjust the boundaries of the crossfade in the Timeline. To create a crossfade: m In the Timeline, drag an audio clip so that it overlaps another audio clip. The crossfade appears in the overlapped area of the two clips. You can adjust crossfades in several ways. You can change the edges of the crossfaded clips or move the position of the crossfade without changing its length. To adjust crossfade boundaries: 1 Move the pointer over the left or right edge of the crossfade. The pointer becomes a crossfade pointer. 2 Drag the edge of the crossfade to adjust the crossfade boundary. To move the crossfade without changing its length: m Drag the lower area of the crossfade left or right. As with other edits you make in the Timeline, creating a crossfade between two audio clips does not change the source audio files. Crossfade Mode button Crossfade Chapter 5 Working in the Timeline 161 To adjust the crossfade type: 1 Double-click the crossfade. The Fade Selector window appears with two columns of the four fade type choices. Note: For descriptions of the four fade types, see “To adjust the fade type:” on page 159. 2 Click one of the four buttons in the column on the left to select a fade-out type for the left clip. The crossfade in the Timeline is updated to reflect your choice of fade type. 3 Click one of the four buttons in the column on the right to select a fade-in type for the right clip. The crossfade in the Timeline is updated to reflect your choice of fade type. Π Tip: Fades and crossfades can be applied using keyboard shortcuts. For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. 162 Chapter 5 Working in the Timeline Truncating Overlapping Audio Clips You can have Soundtrack Pro truncate the overlapping part of audio clips in the Timeline instead of crossfading them. To truncate audio clips, you set the project to truncate mode, then drag an audio clip so that it overlaps another clip. To set the project to truncate mode: m Click the Overlap Mode button, located above the Global Timeline view. In truncate mode, when you drag an audio clip so that it partially overlaps another audio clip in a track in the Timeline, the overlapped part of the clip is truncated. To truncate an audio clip: m In the Timeline, drag another audio clip over part of the clip. Editing Audio Clips in the Multitrack Timeline Most audio applications focus on multitrack editing or waveform editing, but not both. Furthermore, most waveform editing applications handle media destructively—making permanent changes to your media files. Soundtrack Pro provides the best of both worlds: nondestructive waveform editing while working in a multitrack project. You can edit audio clips in a variety of ways in the Timeline. You can select, cut, copy, and paste clips, move, resize, transpose, split and join them, and edit them in other ways. You can also apply any actions and process menu operations to any clip directly in the Timeline. You can view and modify a clip’s media file in the File Editor tab without losing the context of your multitrack timeline. This is called editing in place. Simply select a clip in the Timeline and it appears in the File Editor tab below. The playhead in the Timeline and the File Editor tab are synchronized so you can play the media file within the context of your whole multitrack project. Any changes you make to the media file are updated in the Timeline immediately. You can also solo any item in the File Editor tab. Chapter 5 Working in the Timeline 163 If you prefer, you can also double-click a clip in your multitrack project and its media file opens in the File Editor project view, ready for waveform editing. Changes you make to the file are instantly reflected in the multitrack project. 164 Chapter 5 Working in the Timeline Using the Timeline Editing Tools The Timeline includes editing tools you can use to edit and adjust clips in the Timeline. Selection Tool When you open the Timeline, the pointer is a selection pointer (arrow). You can use the Selection tool to select clips and tracks by clicking them and use it to make marquee selections across multiple tracks. When you are done using another Timeline editing tool, you can return the pointer to a selection pointer by clicking the Selection Tool button or by pressing A. Timeslice Tool You can use the Timeslice tool to make time-based selections. Timeslice tool selections are entirely time-based, so you can use the Timeslice tool to select portions of clips or portions of multiple clips. (This is unlike selections across multiple tracks with the default Selection tool, which can only select whole clips.) Timeslice selections in the Timeline will also appear as selections in the File Editor tab. For more information about the Timeslice tool, see “Editing with the Timeslice Tool” on page 174. Blade and Blade All Tools Using the Blade tool, you can perform many splits consecutively without moving the playhead each time. Use the Blade All tool to split across all tracks. For more information about the Blade and Blade All tools, see “Splitting and Joining Audio Clips” on page 170. Selection tool Timeslice tool Blade tool Blade All tool Chapter 5 Working in the Timeline 165 Lift and Stamp Tools The Lift and Stamp tools provide an efficient way to transfer properties from one clip to one or more other clips. Use the Lift tool to copy properties from selected clips and create a processing template in the Sound Palette that can be applied to other clips. Use the Stamp tool to apply those properties to the other clips. For more information about the Lift and Stamp tools, see “Using the Lift and Stamp Tools” on page 179. Scrub Tool The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically approximates the “rock-the-reels” scrubbing on analog tape decks. For more information about the Scrub Tool, see “Scrubbing Audio Files” on page 200. Timeline Editing Tools HUD The Timeline includes a handy HUD that provides all of the graphical Timeline editing tools at the stroke of a single keyboard shortcut. This saves you the time and effort of having to move the pointer up to the top of the Timeline whenever you need to select (or deselect) a Timeline editing tool. To use the Timeline Editing Tools HUD: 1 Press the grave accent key ( ` ). The Timeline Editing Tools HUD appears at the pointer location. 2 In the HUD, do one of the following to choose the Timeline editing tool that you want to use:  Click the tool’s icon.  Press the corresponding number key (1–7, left to right).  Use the Left and Right Arrow keys and press Enter. When you have finished using a Timeline editing tool, it is a good idea to immediately return to the default Selection tool. Lift tool Stamp tool Scrub tool 166 Chapter 5 Working in the Timeline Editing in Place Editing a clip’s media file in place (directly in the Timeline) is nearly identical to editing any other media file in the Soundtrack Pro File Editor. All of the same effects, editing tools, and waveform views are available. However, there are a few differences:  Timeline and File Editor playhead synchronization: When you edit a clip’s media file in place, the Timeline and File Editor playhead are synchronized so you can work with the media file within the context of your multitrack project.  Multiple region markers: Because a media file may be referred to by multiple clips in a multitrack project, you may see multiple region markers above a media file in the File Editor. Each region marker shows the In and Out points of a clip in the Timeline that refers to this media file. This alerts you to the fact that changes you make to this media file may affect multiple clips. How Clips Are Affected by Media File Editing When you modify a media file in a multitrack project, all clips that refer to that media file are updated simultaneously. For example, if you have ten clips referring to the same media file and you double-click one of the clips to modify its underlying media file, any changes you make to the media file affect all ten clips. How Source Audio File Editing Works in a Soundtrack Pro Multitrack Project When you edit a clip in place or open a clip in the File Editor tab, the way the source audio file is handled depends on its file format.  If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file project is opened directly in the File Editor tab, allowing you to make nondestructive changes to the media. Multiple In and Out points Chapter 5 Working in the Timeline 167  If the clip’s audio file format is a flat file such as an AIFF or WAVE file: Soundtrack Pro automatically creates a Soundtrack Pro audio file project for the flat file and relinks all clips in the project to the new audio file project. This allows you to work with this media nondestructively. Each time you save your multitrack project, any newly created audio file project media files are saved to the Edited Media Location on your hard disk. (You can change this location by choosing Soundtrack Pro > Preferences and then clicking General.) Modifying a Clip Without Affecting Its Source Media Any time you use multiple instances of the same clip in a multitrack project, the clip refers to the same source media file. This means that any time you modify the media file, all of the clips that refer to the media file are affected. How do you edit just one clip without editing its source media? In cases where you only want to make changes to a single clip, you can make a new copy of the clip’s media file in a new audio file project and link this clip to the new audio file project. To create a copy of a clip’s media file and link the clip to the new audio file project: 1 Select the clip whose source media file you want to copy. 2 Control-click the clip in the Timeline, then choose Replace with Independent Audio File Project from the shortcut menu. A new Soundtrack Pro audio file project is created that includes a copy of the original audio file. Only media between the clip’s In and Out points is copied, plus handles on either side for later trimming, if necessary. The new audio file project opens in the File Editor tab and the clip now links to the new audio file project. Note: The default handle duration is 5 seconds. To adjust the handle duration, go to Soundtrack Pro > Preferences > General. 168 Chapter 5 Working in the Timeline Using the Multitrack Timeline and the File Editor Together One of the unique advantages of Soundtrack Pro is the combination of nondestructive waveform editing in the context of a multitrack Timeline. This section focuses on how you can exploit this powerful toolset in your sound editing project. Making Changes in the File Editor and Hearing Them in the Timeline When you arrange a multitrack project, you frequently need to edit and adjust individual audio files, and immediately hear the results in the context of the larger multitrack Timeline. You can do this by using the Timeline and File Editor in tandem. To make changes in the File Editor and hear the results in the Timeline: 1 With the File Editor tab active, select a clip in the Timeline that you would like to adjust. The waveform for the clip appears in the File Editor. 2 Make adjustments and edits to the clip in the File Editor. Chapter 5 Working in the Timeline 169 For information on making basic edits, see “Editing Audio Files in the File Editor” on page 198. For information on processing effects, see “Processing Audio Files” on page 219. For information on analyzing files, see “Analyzing an Audio File” on page 236. 3 As you make changes to the clip in the File Editor, the Actions tab records the changes. You can adjust, edit, and reorder the actions as needed. For information on using actions, see “Working with Actions” on page 230. Note: Any time you apply a command from either the Edit menu or the Process menu, Soundtrack Pro creates an audio file project (.stap) for the source audio file if one doesn’t exist already. Clips that reference the audio source file all have their audio source replaced with that audio file project. 4 Play the clip. Soundtrack Pro plays the clip together with any other active tracks in the Timeline. 5 Make any other adjustments and edits to the clip in the File Editor (or to the actions in the Actions tab) and play the clip again. Repeat as necessary. 170 Chapter 5 Working in the Timeline Spotting Sound Effects from the File Editor to the Timeline A common task for sound editors is adding sound effects or ambient clips to a multitrack project. Often you will use one or more small sections from a longer source file. You can make quick work of this by using the File Editor tab in conjunction with the Timeline. To add small sections of a longer audio file to a multitrack project: 1 Open the multitrack project in the Timeline. 2 Drag an audio file to the File Editor tab. 3 Select a portion of the audio file in the File Editor tab. 4 Drag it to a track in the Timeline. 5 Select another portion of the audio file in the File Editor tab. 6 Drag it to a track in the Timeline. Optionally, you can open the Multipoint Video HUD to give you visual context for spotting the sound effects to the Timeline. For more information about the Multipoint Video HUD, see “Scrubbing and Spotting with the Multipoint Video HUD” on page 322. ‘ Splitting and Joining Audio Clips You may want to use only part of the source audio file in an audio clip. Soundtrack Pro lets you split the clip into segments and use the segments in the Timeline as independent clips. You can move the segments, edit them, and split each one into additional segments. You can also easily (re)join clips. You can split clips by using the Split command or by using the Blade (razor) and Blade All tools. Each method has advantages, depending on the situation. Chapter 5 Working in the Timeline 171 Splitting Clips with the Blade Tool Using the Blade tool, you can perform many splits consecutively without moving the playhead each time. To split audio clips with the Blade tool: 1 Click the Blade Tool button above the Timeline. The pointer changes to the Blade All pointer. 2 Click a clip at the point where you want to split it. The clip is split at the point where you clicked. Splitting Clips Across All Tracks with the Blade All Tool Use the Blade All tool to split across all tracks. To split audio clips on all tracks with the Blade All tool: 1 Click the Blade All Tool button above the Timeline. The pointer changes to the Blade All pointer. Note: To toggle between the Blade and the Blade All tools, hold down the Shift key while either tool is selected. 2 Click anywhere in the Timeline where you want to split clips on all tracks. Blade Tool button Click the clip with the Blade tool to split it. Blade All Tool button 172 Chapter 5 Working in the Timeline Note: If you use the Blade All tool in the podcast track, it cuts the podcast track as well as any audio clips that are also under the Blade All tool. However, if you use the Blade All tool in an audio track, it does not make a cut in the podcast track. Splitting Clips with the Playhead Using the playhead, you can split clips while a project is playing, split clips on selected tracks, and split clips without having to use the mouse. To split selected audio clips with the playhead: 1 Set the playhead at the point where you want to split the clip, then select the clip or clips you want to split. You can split multiple clips in the same operation. 2 Choose Clip > Split (or press S). Every selected clip under the playhead is split into two segments. The first segment ends at the playhead position, and the second segment begins at the playhead position. Use the Blade All tool to split clips across all tracks. Move the playhead to where you want to split the selected clip. The clip is split into two segments, each of which plays part of the source audio file. Chapter 5 Working in the Timeline 173 You can split an audio clip into three segments with the Timeslice tool by making a selection in the middle of the audio clip (any part not including either the beginning or the end), and then pressing the S key. The clip is split into three segments, defined by the beginning and end of the selection. For more information about the Timeslice tool, see “Editing with the Timeslice Tool” on page 174. To split audio clips on selected tracks: 1 Set the playhead at the point where you want to split the clip or clips. 2 Select the track or tracks containing the clip or clips you want to split. 3 Choose Clip > Split (or press S). Every clip under the playhead on the selected tracks is split into two segments. The first segment ends at the playhead position, and the second segment begins at the playhead position. Note: Any clip selections will supersede track selections: if both clips and tracks are selected under the playhead, Soundtrack Pro will split only the clips. To split audio clips while playing a project: 1 Do one the following:  Select the clip or clips you want to split.  Select the track or tracks containing the clip or clips you want to split. 2 Play the section of the Timeline containing the clip or clips you want to split. 3 While the project is playing, press S as often as you like. The clip or clips are split at the playhead each time you press S. Joining Audio Clips You can join clips from the same original audio file, including segments of split clips. Clips being joined must be adjacent to each other and in the same track. To join audio clips: 1 Place the clips next to each other in the same track. 2 Select the clips, then choose Clip > Join (or press Option-S). When you join looping files or segments of looping files, the joined file plays to the end of the source audio file before looping. The notches in the joined file indicate the end of the source audio file. 174 Chapter 5 Working in the Timeline Editing with the Timeslice Tool You can use the Timeslice Tool to make time-based selections. Unlike selections of multiple clips with the default Selection tool (which can only select whole clips), Timeslice tool selections are entirely time-based. This means you can use the Timeslice tool to select portions of clips or portions of multiple clips. You can also easily move and adjust the size of a Timeslice tool selection and add or remove entire tracks from the selection. This is most important for processing effects. Use the Timeslice tool to select any combination of the following:  One or more clips or tracks and their envelopes  Portions of one or more clips or tracks and their envelopes To make a selection with the Timeslice tool: 1 Click the Timeslice tool at the top of the Timeline (or press W). 2 Drag across any portion of the Timeline to make a Timeslice selection. A Timeslice selection rectangle appears over the area. By default, the selection includes all of the clips within the rectangle and their envelopes. To select a portion of a clip with the Timeslice tool: 1 Click the Timeslice tool at the top of the Timeline (or press W). 2 Drag across any portion of the clip with the Timeslice tool. Chapter 5 Working in the Timeline 175 A Timeslice selection rectangle appears over the portion of the clip and the File Editor tab displays the same selection in its waveform view. By default, the selection includes all of the clip’s envelopes. To adjust the size of a Timeslice selection, do one of the following: m Drag any of the four edges of the selection to extend or shorten that side of the selection rectangle. m Shift-click any track you want to include in the Timeslice at the opposite end of the area you want to select. Timeslice selection File Editor selection 176 Chapter 5 Working in the Timeline To move a Timeslice selection: m Click the center of the Timeslice selection, then drag it to a new location in the Timeline. To add a noncontiguous track, bus, or submix to a Timeslice selection: m Command-click anywhere in the track, bus, or submix. Note: You can add tracks, busses, and submixes that are not adjacent to or contiguous with the selection. To remove a track, bus, or submix from a Timeslice selection: m Command-click anywhere in the track. You can select a master Timeslice that includes the audio content and the envelopes of all tracks, busses, and submixes, including the video’s audio track. (Only a master Timeslice contains busses and submixes.) To make a master Timeslice selection: m Using the Timeslice tool, drag in the selection bar of the video track, located above the Time ruler. Drag in the selection bar of the video track to create a master Timeslice. Chapter 5 Working in the Timeline 177 Cutting, Copying, and Pasting Timeslices You can cut or copy a Timeslice and paste it at a different position in the Timeline. To cut a Timeslice: m Select the Timeslice, then choose Edit > Cut (or press Command-X). To copy a Timeslice: m Select the Timeslice, then choose Edit > Copy (or press Command-C). To paste a Timeslice: m Set the playhead at the position where you want to paste the Timeslice, then choose Edit > Paste (or press Command-V). If the Timeslice is from a single track, it is pasted in the same track at the current playhead position. If the Timeslice includes multiple tracks, the topmost track of the Timeslice is pasted in the currently selected track, and the remaining tracks are pasted in the tracks below the selected track. If not enough tracks exist for the number of tracks in the Timeslice, a dialog appears asking if you want to create additional tracks. Deleting the Contents of Timeslices To delete the contents of a Timeslice selection: m Select the Timeslice, then choose Edit > Delete (or press the Delete key). Changing the Timeslice Selection Area You can change the height or the length of a Timeslice selection area to include more of the Timeline, either graphically or numerically. To extend the Timeslice selection area graphically: m Shift-click any track at the point to which you want to extend it. Shift-click the Timeline to extend a Timeslice. 178 Chapter 5 Working in the Timeline To change the In point, Out point, or duration of a Timeslice numerically: 1 Make a Timeslice selection in the Timeline. The Details tab displays Timeslice controls. 2 In the Details tab, type a new value in the In value slider, the Out value slider, or the Duration value slider. 3 Press Tab or Enter to confirm the new value. Note: To the right of the Timeline transport controls is the Selection Length value slider. When a Timeslice is active, the Selection Length value slider shows the length (duration) of the active Timeslice. You can use this value slider the same way you use the Duration value slider in the Timeslice section of the Details tab. For more information on how to use value sliders, see “About Changing Values and Timecode Entries” on page 75. Using the Timeslice Tool with Keyboard Shortcuts Soundtrack Pro provides a variety of keyboard shortcuts to adjust Timeslice selections. To extend the left edge of the Timeslice selection by one gridline: m Press Shift-Left Arrow. To extend the right edge of the Timeslice selection by one gridline: m Press Shift-Right Arrow. For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. Chapter 5 Working in the Timeline 179 Using the Lift and Stamp Tools The Lift and Stamp tools provide a time-saving way to apply work you have done on one clip to one or more other clips. Use the Lift tool to copy properties from selected clips and create a processing template in the Sound Palette that can be applied to other clips. Use the Stamp tool to apply those properties to the other clips. You can use the Sound Palette to customize the processing template by enabling and disabling various properties, naming the template, and saving it as a preset. You can also add a thumbnail image to represent the preset. Presets are saved in the Sound Palette so that you can select and edit them and apply them in multiple multitrack projects. To lift properties from a clip in the Timeline: 1 Click the Lift tool at the top of the Timeline (or press UU). The Sound Palette appears. As you move the pointer over clips in the Timeline, it changes into the Lift pointer. 2 If you want to limit the type of properties lifted, deselect either of the two checkboxes at the top of the Sound Palette:  Lift Analysis Items: These include Clicks and Pops, Power Line Hum, DC Offset, Phase, Clipped Signal, and Silence.  Lift Process Items: These include processing effects in these categories: Dynamics, Distortion, EQ and Filter, Modulation, Reverb/Delay, Miscellaneous, and Mac OS. 3 Click a clip in the Timeline whose properties you want to lift. Soundtrack Pro creates a temporary template named Lifted Data (Track Name) with Track Name being the track holding the source clip. The clip properties appear in the list on the right of the Sound Palette HUD. The pointer immediately changes to the Stamp pointer, ready for you to stamp the template of lifted properties to another clip. The properties in the Sound Palette template appear in the same order they appear in the Actions tab for the source clip. 180 Chapter 5 Working in the Timeline To stamp properties on one or more clips in the Timeline: 1 If you are stamping on more than one clip, select the target clips in the Timeline. 2 In the Sound Palette, select the template or preset containing the properties you want to stamp. (This is only necessary if there are already presets on the left side of the Sound Palette.) 3 Choose one of the following from the pop-up menu at the center-bottom of the Sound Palette:  Add: Adds the properties selected in the Sound Palette to the list of actions in the target clip’s Actions tab.  Replace: Replaces the actions in the target clip’s Actions tab with the properties selected in the Sound Palette. 4 Do one of the following:  Click the Stamp tool at the top of the Timeline (or press U), then click the target clip or clips in the Timeline.  If the target clip is already selected in the Timeline, click Stamp in the lower-right corner of the Sound Palette. Choose Add or Replace from the pop-up menu Chapter 5 Working in the Timeline 181 Actions appear in the target clip’s Actions tab for each property listed in the selected template or preset in the Sound Palette. They appear in the same order as they appear in the Sound Palette. Note: By default, Soundtrack Pro applies equalization every time you use the Lift and Stamp feature. This equalization automates the Match EQ effect, which matches the average frequency spectrum of the target clip to that of the source clip. When you first lift properties with the Lift tool, Soundtrack Pro creates a temporary template in the Sound Palette named Lifted Data (Track Name), with Track Name being the track holding the source clip. To save a Sound Palette preset: m With a template loaded on the right of the Sound Palette, click Save as Preset in the lower-right corner. The template is listed as a preset on the left of the Sound Palette. To enable or disable properties in a Sound Palette preset: 1 If there are already presets on the left of the Sound Palette, click the template or a preset to edit it. 2 In the Enabled column, click the checkbox next to the property you want to enable or disable. 182 Chapter 5 Working in the Timeline To name or rename a Sound Palette preset: 1 If there are already presets on the left of the Sound Palette, click the template name or a preset name that you want to name or rename. The template or preset details are loaded on the right of the Sound Palette. 2 Click the name field at the top-right corner of the Sound Palette. 3 Enter the new name. 4 Press Return or Tab to confirm the new name. To attach a thumbnail image to a Sound Palette preset: 1 Click the preset name in the list on the left of the Sound Palette. 2 Do one of the following:  Drag a still image from the Finder or from iPhoto to the image well at the top of the Sound Palette.  Copy an image in an image editing application and paste it into the image well at the top of the Sound Palette. The image appears in the image well each time you select the preset. To delete a Sound Palette preset: m Control-click the preset name in the list on the left of the Sound Palette, then choose Delete from the shortcut menu. Chapter 5 Working in the Timeline 183 Working with Markers Markers have a variety of uses in the Timeline and the File Editor. For example, you can use markers to:  Mark the start and end points of major sections in your project  Indicate places you want to come back to and work on later  Mark points where you want to synchronize the audio with the picture in a video  Indicate where particular sounds begin and end in an audio file Markers extend vertically through the Timeline, like the playhead. Each marker has a handle in the area above the Time ruler, letting you position the marker precisely in the Timeline. Types of Markers Soundtrack Pro displays Final Cut Pro scoring markers, and lets you add your own markers to a project. You can add two kinds of markers: time markers and beat markers. The two types can be distinguished by their handles: Time markers have green handles, and beat markers have purple handles. Final Cut Pro scoring markers have orange handles. By default, time and beat markers can only occupy a single frame of time, but their duration can be extended to any length. This section discusses how to work with time markers and beat markers in a project. For information about working with Final Cut Pro scoring markers, see “Using Final Cut Pro Scoring Markers” on page 185. Inserting Markers You can insert a beat marker or time marker at any point in the Timeline. To insert a time marker: m Set the playhead to the point where you want to add the marker, then choose Project > Insert Time Marker (or press the M key). To insert a beat marker: m Set the playhead to the point where you want to add the marker, then choose Project > Insert Beat Marker (or press Option-B). End-of-project marker (red) Time marker (green) Final Cut Pro scoring marker (orange) Beat marker (purple) 184 Chapter 5 Working in the Timeline Naming Markers You can name time markers and beat markers, so that each marker can provide a unique visual cue to a specific point in the Timeline or File Editor. For example, you can name markers to define sections of your project (Introduction, Verse, or Chorus), to reflect what’s happening in the music (Latin Rhythm or Fast Groove), or to serve as reminders for your workflow (Add Horns Here, Transpose to D, Insert Delay Effect). To name a time marker or beat marker: m Make the Details tab active, select the marker, then type a name in the Name field of the Details tab. To view marker titles in the Timeline: m Choose View > Show Marker Titles. Moving Markers You can move a marker either by dragging the marker’s handle, or by entering a new position for the marker in the Details tab. To move either a beat marker or time marker, do one of the following: m Drag the marker by its handle, located in the area above the Time ruler, to a new position in the Timeline. m Show the Details tab, click the marker you want to move, then enter a new position in the Position field. You can also select and drag multiple markers. When you move a marker by dragging, the marker’s position snaps to the nearest Snap To position if snap is turned on. For information on setting the Snap To value, see “Creating Fades and Crossfades in the Timeline” on page 158. Type a name in the Marker Name field. Enter a time position here to move the marker to that position. Chapter 5 Working in the Timeline 185 Adjusting a Marker’s Duration By default, Time markers and Beat markers have a duration of zero, but you can create Time or Beat region markers by changing the duration of any marker. You adjust a marker’s duration either by entering a new duration for the marker in the Details tab, or, if it is already a region marker, by dragging the ends of a marker handle. To adjust a marker’s duration, do one of the following: m Show the Details tab, click the marker you want to adjust, then enter a new duration in the Duration field. m Adjust a region marker by dragging the end of its handle. Deleting Markers If you decide you don’t want a time or beat marker that you’ve added, you can delete it at any time. To delete a marker: m Click the marker handle to select the marker, then choose Edit > Delete (or press Delete). Note: You cannot delete Final Cut Pro scoring markers in Soundtrack Pro. Using Markers with Video Soundtrack Pro displays Final Cut Pro scoring markers included in a video file imported from Final Cut Pro. You can add time markers at points in time corresponding to specific timecode positions in the video clip, and align audio clips with markers using the snapping feature. When you add a marker to a project containing a video, the video clip displays the frame of the video that occurs at the marker’s position in time. For more information about adding and moving markers, see “Working with Markers” on page 183. You can score both Final Cut Pro scoring markers and time markers to the playhead, letting you synchronize the audio with specific points in the video. Using Final Cut Pro Scoring Markers When you import a video file from Final Cut Pro or Final Cut Express HD, Soundtrack Pro displays any Final Cut Pro scoring markers included in the video file in the Timeline. Scoring markers have an orange handle in the area above the Time ruler. You cannot move or edit Final Cut Pro scoring markers in Soundtrack Pro. 186 Chapter 5 Working in the Timeline Using Markers to Align Audio Clips to Timecode You can add a time marker at a specific timecode position in a video clip, and align audio clips with the time marker or with a Final Cut Pro scoring marker. To add a time marker at a specific timecode position in a video clip, do one of the following: m Type the timecode position where you want to add the marker in the Time display, press Return, then choose Mark > Insert Time Marker (or press M). m Make the Details tab active, add a time marker, select the marker handle, then enter a new position in the Position value slider in the Details tab. In order to add a marker at a specific timecode position, the Time ruler units must be set to the timecode format of the video in your project. To align an audio clip with a marker: m Make sure that snapping is turned on and that Markers is selected in the View > Snap to menu, then drag the clip to the position of the marker in the Timeline. Note: You can momentarily toggle snapping by pressing N. Scoring a Marker to the Playhead For tracks set to Beats-based time format, you can score a time marker or Final Cut Pro scoring marker to the playhead, so that you can synchronize the audio with the video. Scoring a marker to the playhead adjusts the tempo so that the required number of beats exactly fills the amount of time between the last tempo change and the marker’s position in the Time ruler. When you score a marker to the playhead, a set of special envelope points is created in the project’s tempo envelope, from the previous envelope point (or the beginning of the tempo envelope, if no previous envelope point exists) to the position of the marker. These special envelope points are locked and cannot be moved (but can be deleted). The locked envelope points, and the segment of the tempo envelope between them, appear red. With Markers selected, you can align a clip with a marker. Chapter 5 Working in the Timeline 187 The tempo change created when you score a marker to the playhead is always instantaneous; that is, the tempo changes from the previous tempo immediately, without ramping. The distance between the two envelope points determines whether the resulting tempo change can be heard easily. If the resulting change in tempo sounds too abrupt, you can edit the tempo envelope to make the tempo change less noticeable. To score a marker to the playhead: 1 Select the marker’s handle at the top of the Timeline, above the Time ruler. 2 Choose Mark > Score Marker to Playhead. You can also adjust the tempo relative to a marker’s position by Option-dragging the marker in the Timeline. As you drag, the red segment of the tempo envelope moves vertically as the tempo changes. By Option-dragging a marker, you can synchronize the marker’s position with the Beats-based units. Note: If you score a marker to the playhead, and the tempo change resulting from the scoring operation sounds too noticeable or extreme, you can undo the scoring operation. After undoing the scoring operation, add an envelope point to the tempo envelope at a point after any audio clips you do not want to be affected by the tempo change, but before the marker to be scored, then repeat the scoring operation. Click the marker handle at the top of the Timeline. The marker is scored to the playhead. 188 Chapter 5 Working in the Timeline Working with Tagged and Looping Clips Soundtrack Pro includes a large selection of Apple Loops that you can use to add Foley effects, background ambience, sound effects, and music transitions to your projects. Apple Loops tagged as looping files automatically match the tempo and key of the project. Transposing Tagged Audio Clips When you drag an audio file tagged with key information to the Timeline, Soundtrack Pro transposes the clip to the project key. You can transpose tagged clips to another key to create chord progressions from the same audio file or to achieve other musical effects. You can transpose a tagged clip to any interval from one octave above (+12 semitones) to one octave below (–12 semitones) its current key. Note: Soundtrack Pro uses the key tag in the audio file to transpose it. In order to be correctly transposed, the file must be tagged. To transpose a tagged audio clip, do one of the following: m Select the clip, choose Clip > Transpose, then choose the number of semitones by which you want to transpose the clip up or down. m Select the clip, open the Details tab, then use the Transpose pop-up menu to choose the number of semitones by which you want to transpose the clip up or down. Changing a Clip’s Playback Mode Audio files you add to the Timeline can be either looping or non-looping. Looping files are special audio files that can be used to create repeating patterns, and include musical phrases useful for creating music beds. Audio files containing discrete, non-rhythmic sounds, sound effects, and other non-musical sounds such as dialogue or sound effects should be used as non-looping files in most cases. When you add an audio file to the Timeline, the audio file is added as a clip with non-looping playback mode unless the audio file is tagged as a looping file. You can change the playback mode of a clip after you add it to the Timeline. To convert the playback mode to looping, do one of the following: m Select the clip, then choose Clip > Convert to Looping. m Control-click the clip in the Timeline, then choose Convert to Looping from the shortcut menu. To convert the playback mode to non-looping, do one of the following: m Select the clip, then choose Clip > Convert to Non-Looping. m Control-click the clip in the Timeline, then choose Convert to Non-looping from the shortcut menu. Chapter 5 Working in the Timeline 189 Replacing the Source Audio in a Clip Each audio clip in the Timeline has a set of properties specific to the clip, including duration, speed, and transposition. You can replace the source audio in the clip while preserving the clip’s properties. This feature has a variety of uses, such as letting you try out similar audio files (for example, music beds or sound effects) while maintaining the clip’s duration, position in the Timeline, and transposition. For information about properties of audio clips, see “Reconnecting Media Files” on page 96. To replace the source audio file for a clip: 1 In the Timeline, select the clip for which you want to replace the source audio. 2 In any media tab, Control-click the audio file that will replace the selected clip’s audio, then choose Replace Selected Clips With [filename] from the shortcut menu. When you replace the source audio in a clip, the clip’s duration and offset stay the same. Only the portion of the new source audio file equal to the clip’s length plays. If the new source audio file is a music loop and it is shorter than the clip’s length, the clip loops when it reaches the end of the new source audio file. Notches appear on the clip to indicate the point at which the clip starts looping. You can replace the source audio in all clips using the same source audio file with another source audio file by using the Select All Occurrences and Replace Selected Loops commands together. Select a clip, Control-click the audio file that will replace the original audio... ...then choose the Replace option from the shortcut menu. 190 Chapter 5 Working in the Timeline To replace the source audio file in all clips using the same source file: 1 Select all occurrences of the clip for which you want to replace the source audio file, following the steps described in “Selecting Audio Clips in the Timeline” on page 147. Every clip using the same source audio file is selected. 2 In the Timeline, select the clip for which you want to replace the source audio. 3 In any media tab, Control-click the audio file that will replace the selected clip’s audio, then choose Replace Selected Clips With [filename] from the shortcut menu. 6 191 6 Editing Audio Files In Soundtrack Pro, you can edit audio files nondestructively, analyze and fix common audio problems, and create AppleScript documents to batch process other audio files. The Soundtrack Pro File Editor gives you extensive audio file editing capabilities. You can open and edit an audio file with up to 24 channels in the File Editor, view it in Waveform or Frequency Spectrum view, process the file using actions, analyze it for common audio problems, fix analyzed problems individually or together, and then save the edited file as an audio file project or as a standard audio file. Waveform view 192 Chapter 6 Editing Audio Files And you can do all this while working interactively with same audio file in the multitrack Timeline and while hearing (and seeing) the file in the context of other audio files in a multitrack project. In addition, the File Editor project view includes realtime effects and effects automation, AppleScript droplet creation, and other useful features. For more information about the File Editor project view, see “Using the File Editor Project View” on page 240. Important: In order to edit nondestructively and save a file with actions, you need to convert standard audio files (such as AIFF or WAVE files) to Soundtrack Pro audio file projects (with the .stap file extension). You can easily do this by opening an AIFF or a WAVE file in Soundtrack Pro and then saving it as a Soundtrack Pro audio file project. You can open the following audio file formats in the File Editor:  Soundtrack Pro audio file project  AIFF (including Apple Loops)  WAVE  Sound Designer II  NeXT  QuickTime movie containing audio tracks  CAF (Apple Core Audio Format) Spectrum view Chapter 6 Editing Audio Files 193 Compressed formats such as MP3 and AAC files are also supported, although these must be internally decompressed to a linear PCM format. Soundtrack Pro supports audio files with any sample rate between 8 kHz and 192 kHz and any of the following bit depths: 8, 16, 24, 32, and 32-bit floating point. You can edit up to 24 tracks in a single file. You can play back up to six channels in a single file in the multitrack Timeline. Audio files can be a maximum of 4 hours in length. Note: When you play the file, Soundtrack Pro plays at the nearest sample rate your hardware can support. Audio File Projects Soundtrack Pro allows you to edit individual audio files (sometimes known as waveform editing) using Soundtrack Pro audio file projects. However, unlike most waveform editing applications, Soundtrack Pro allows you to edit your audio files nondestructively by keeping track of the actions you have performed on your audio file. You can remove, disable, or reorder past actions at any time or save actions as AppleScript documents that you can use to batch process other audio files. Actions you can perform include trimming audio, copying and pasting parts of the waveform, normalizing or amplifying levels, applying effects, and applying noise, pop, and click reduction. Editing Audio Files Directly in a Multitrack Project Most audio applications focus on multitrack editing or waveform editing, but not both. Furthermore, most waveform editing applications handle media destructively—making permanent changes to your media files. Soundtrack Pro provides the best of both worlds: nondestructive waveform editing while working in a multitrack project. 194 Chapter 6 Editing Audio Files You can view and modify a clip’s media file in the File Editor tab without losing the context of your multitrack Timeline. This is called editing in place. Simply select a clip in the Timeline and it appears in the File Editor tab below. The playheads in the Timeline and the File Editor tab are synchronized so you can play the media file within the context of your whole multitrack project. Any changes you make to the media file are updated in the Timeline immediately. If you prefer, you can also double-click a clip in your multitrack project and its media file opens in a new File Editor project view, ready for waveform editing. Changes you make to the file are instantly reflected in the multitrack project. Chapter 6 Editing Audio Files 195 Editing in Place Editing an audio file directly in the multitrack Timeline is nearly identical to editing any other audio file in the Soundtrack Pro File Editor. All of the same effects, editing tools, and waveform views are available. However, there are several differences:  Timeline and File Editor playhead synchronization: When you edit a clip’s media file in place, the Timeline and File Editor playheads are synchronized so you can work with the media file within the context of your multitrack project.  Multiple region markers: Because a media file may be referred to by multiple clips in a multitrack project, you may see multiple region markers above the ruler in the File Editor tab. Each region marker shows the In and Out points of a clip in the Timeline that refers to this media file. In addition, the display of the name of the file in the File Editor tab changes to reflect the number of clips that refer to this media file; for example, “Scene8.aiff (1 of 4).” These indications alert you to the fact that changes you make to this media file may affect multiple clips. How Clips Are Affected by Media File Editing When you modify a media file in a multitrack project, all clips that refer to that media file are updated simultaneously. For example, if you have ten clips referring to the same media file and you double-click one of the clips to modify its underlying media file, any changes you make to the media file affect all ten clips. Multiple In and Out points 196 Chapter 6 Editing Audio Files How Media File Editing Works in a Multitrack Project When you edit a clip in place or open a clip in a new File Editor tab, the way the media file is handled depends on its file format.  If the clip’s audio file format is a native Soundtrack Pro audio file project: The audio file project is opened directly in the File Editor tab, allowing you to make nondestructive changes to the media. When you save the multitrack project, Soundtrack Pro automatically saves all of the associated audio file projects.  If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro automatically creates a Soundtrack Pro audio file project for the file and relinks all clips in the project to the new audio file project. This allows you to work with this media nondestructively. Each time you save your multitrack project, any newly created audio file project media files are saved to the Edited Media Location on your hard disk. (You can change this location by choosing Soundtrack Pro > Preferences, and then clicking General.) How Source Audio File Editing Works in an Audio File Project When you edit an audio file in the File Editor project view, the source audio file is handled as follows:  If the clip’s audio file format is a native Soundtrack Pro audio file project: Any changes you make are saved to the audio file project, allowing you to make nondestructive changes to the media.  If the clip refers to a standard-format audio file (such as AIFF or WAVE): Soundtrack Pro automatically creates a Soundtrack Pro audio file project for the flat file. When you attempt to save the changes to the audio file project, the default File Type is Audio File Project, which retains the nondestructive changes in the form of an Actions list. If you change the File Type in the Save dialog to a flat file format (such as AIFF or WAVE), you lose the nondestructive characteristics of a Soundtrack Pro audio file project. For more information about the File Editor project view, see “Using the File Editor Project View” on page 240. Chapter 6 Editing Audio Files 197 Modifying a Clip Without Affecting Its Source Media Any time you use multiple instances of the same clip in a multitrack project, the clip refers to the same source media file. This means that any time you modify the media file, all of the clips that refer to the media file are affected. How do you edit just one clip without editing its source media? In cases where you only want to make changes to a single clip, you can make a new copy of the clip’s media file in a new audio file project and link this clip to the new audio file project. To create a copy of a clip’s media file and link the clip to the new audio file project: 1 Select the clip whose source media file you want to copy. 2 Control-click the clip in the Timeline, then choose Replace with Independent Audio File Project from the shortcut menu. A new Soundtrack Pro audio file project is created that includes a copy of the original audio file. Only media between the clip’s In and Out points is copied, plus handles on either side for later trimming if necessary. The new audio file project opens in the File Editor tab and the clip now links to the new audio file project. Note: The default handle duration is 5 seconds. To adjust the handle duration, choose Soundtrack Pro > Preferences > General. 198 Chapter 6 Editing Audio Files Editing Audio Files in the File Editor You can edit audio files in many different ways in the File Editor tab and File Editor project view. You can edit the entire file or select part of the file to edit. You can cut, copy, and paste audio, and graphically edit audio files using a variety of tools in the File Editor. Opening Audio Files in the File Editor Tab You can play an audio file in the File Editor so you can hear the file and any changes you make to it. To open an audio file in the File Editor tab, do one of the following: m With the File Editor tab active, select a clip in the Timeline. The waveform for the clip appears in the File Editor tab. m Drag a clip into the File Editor tab from one of the media tabs. The waveform for the clip appears in the File Editor. Note: You can drag from the Bin, Browser, Search, and Favorites tabs. If there is already a clip in the File Editor, it is replaced by the new clip. Select a clip in the Timeline... ...to work with it in the File Editor. Chapter 6 Editing Audio Files 199 Playing Audio Files in the File Editor You can play an audio file in the File Editor so you can hear the file and any changes you make to it. To play an audio file: m Click the Play button in the transport controls (or press the Space bar). Click the Play button (or press the Space bar) again to stop playback. You can set the playhead in the File Editor in the same way you set it in the Timeline, by clicking in the waveform display or in the Time ruler, using the transport controls, or using the Playhead Location value slider. For more information, see “Setting the Playhead Quickly” on page 72. Soloing an Audio File in the File Editor You can use the Solo button in the File Editor tab to mute all other tracks so that you can hear the audio file outside the context of the multitrack project. To solo an audio file in the File Editor tab: 1 With the File Editor tab active, select a clip in the Timeline. The waveform for the clip appears in the File Editor tab. 2 Click the Solo button in the File Editor tab. All other tracks in the Timeline are muted and the Preview Volume slider next to the Solo button becomes active. 3 Play the file and adjust the volume using the Preview Volume slider, as needed. Solo button Preview Volume slider Link button 200 Chapter 6 Editing Audio Files Linking the File Editor Selection and the Cycle Region You can link the File Editor tab to the Cycle Region so that when you make selections in the File Editor tab (or selections of clips in the Timeline with the Timeslice tool), Soundtrack Pro automatically adjusts the Cycle Region to match the selection. To link the Cycle Region to File Editor and Timeslice selections: 1 Click the Link button in the File Editor tab. 2 Make one of the following kinds of selections:  Make a selection in the File Editor tab.  Using the Timeslice tool, select a portion of a clip in the Timeline. The Cycle Region adjusts accordingly. Scrubbing Audio Files Scrubbing an audio file lets you hear the audio at the playhead position as you drag the playhead so you can quickly find a particular sound or event in the audio file. The Soundtrack Pro Scrub tool provides detailed scrubbing that realistically approximates the “rock-the-reels” scrubbing on analog tape decks. To scrub an audio file with the Scrub tool: 1 In the Timeline or the File Editor, click the Scrub tool or press H. 2 Drag the Scrub tool left or right across a clip in the Timeline or across the File Editor. When you use the Scrub tool in the multitrack Timeline, you can only scrub one clip at a time. To scrub multiple tracks at once, scrub with the playhead. Scrub tool Use the Scrub tool to scrub through an audio file. Chapter 6 Editing Audio Files 201 To scrub an audio file with the playhead: 1 Press and hold the triangular part of the playhead. 2 While holding the playhead, drag left or right at the speed you want to scrub the audio file. Scrubbing is useful to help identify the part of an audio file that you want to edit. While you are scrubbing an audio file, you can also select the part of the file that you want to edit. To make a selection while scrubbing with the playhead: m As you move the playhead, press and hold the Shift key. For projects containing a video file, dragging to create a selection scrubs the video at the selection point. To scrub using keyboard shortcuts: m As you move the playhead, press and hold the Shift key. For projects containing a video file, dragging to create a selection scrubs the video at the selection point. Shift-drag to create a selection with the Scrub tool. 202 Chapter 6 Editing Audio Files Selecting Part of an Audio File When you apply an action to an audio file in the File Editor, the action is applied to the entire file unless you select part of the file. You can select different parts of the audio file and apply different actions to each selection. To select part of an audio file: m In the waveform display, drag horizontally across the part of the waveform you want to select. Some actions can only be applied to a selection. The selection can contain the entire audio file. To select the entire audio file: m Choose Edit > Select All. You can select one channel (left or right) of a stereo audio file and apply actions to only the selected channel. You can also select only part of one channel. To select the left channel of an audio file: 1 Move the pointer near the upper edge of the waveform display. The pointer changes to the letter “L.” Selected area Chapter 6 Editing Audio Files 203 2 Drag the pointer to select the part of the left channel you want to work with. As you drag, the right (lower) channel of the audio file becomes darker in the waveform display. You can also double-click in the upper part of the waveform display to select the entire left channel. To select the right channel of an audio file: 1 Move the pointer near the lower edge of the waveform display. The pointer changes to the letter “R.” 2 Drag the pointer to select the part of the right channel with which you want to work. As you drag, the left (upper) channel of the audio file becomes darker in the waveform display. You can also double-click in the lower part of the waveform display to select the entire right channel. Left channel selected Right channel selected 204 Chapter 6 Editing Audio Files If you have added markers to an audio file project, you can select the area between two markers. To select the area between two markers in the File Editor project view: m Double-click the waveform display in the area between the two markers. If there are additional markers, you can expand the selection by dragging toward them. To select the entire contents of one or more channels: 1 Click the File Editor tab or the File Editor project view to make it the active window. 2 Choose Edit > Select > Across Channels (or press Shift-T). If there is an existing selection, it is extended across the entire duration of the file (but only for the currently selected channels). If there is not an existing selection, Soundtrack Pro creates a new selection across active channels for the entire length of the file. To select the partial contents of one or more channels: 1 Click the File Editor tab or the File Editor project view to make it the active window. 2 Position the playhead. 3 Do one of the following:  To select everything to the right of the playhead in the active channels, choose Edit > Select > Forward (or press Shift-End).  To select everything to the right of the playhead in the active channels, choose Edit > Select > Backward (or press Shift-Home). If there is an existing selection, the selection is extended to the end of the audio file (for Forward) or to the beginning of the audio file (for Backward). If there is no existing selection, Soundtrack Pro creates a new selection across active channels from the end of the audio file (for Forward) or from the beginning of the audio file (for Backward). Note: If you hold down the Option key, the menu items will read Select > All Forward and Select > All Backward, and behave the same as described earlier except the selection will be across all channels instead of just the selected channels. Chapter 6 Editing Audio Files 205 Adjusting Selections to a Zero Crossing A zero crossing is a point in an audio file where the amplitude is zero. When you edit an audio file in the File Editor, if the beginning or end points of your edit do not occur at a zero crossing, the edited audio file can have unwanted noise at the beginning and/or end of the edited area. Subsequent editing of the file, such as normalizing or increasing the gain, can increase this unwanted noise. Once you have made a selection in the File Editor, you can fine-tune the selection so that it begins or ends at the nearest zero-crossing point. To adjust a selection to the zero crossing: 1 Make a selection in the File Editor. 2 Choose Edit > Adjust Selection to Zero Crossing and choose one of the following from the submenu:  Inward  Outward  In Point to Left  In Point to Right  Out Point to Left  Out Point to Right The edit point is adjusted to occur at the specified zero-crossing. Moving Between Selections You can select different areas of the audio file to apply different actions or to play different areas. Any selection can include the same part of an audio file as another selection. As you work on the audio file, you can move back and forth between selections. To move to the previous selection: m Click the Previous Selection button above the waveform display. The previous selection becomes the current selection. The selection area appears darker than the rest of the waveform. To move to the next selection: m Click the Next Selection button above the waveform display. The next selection becomes the current selection. The selection area appears darker than the rest of the waveform. Previous Selection button Next Selection button 206 Chapter 6 Editing Audio Files Cutting, Copying, and Pasting in the File Editor You can cut, copy, and paste audio in the File Editor. Cutting, copying, and pasting can change the length of an audio file. To cut part of an audio file in the File Editor: 1 Select the part of the file you want to cut. 2 Choose Edit > Cut (or press Command-X). The selected part of the file is removed, and the file shortens by the cut amount. To copy audio in the File Editor: 1 Select the part of the file you want to copy. 2 Choose Edit > Copy (or press Command-C). You can paste audio in the File Editor. You can paste at the playhead position, paste mix, or paste repeat. To paste audio in the File Editor: 1 Set the playhead to the point where you want to paste the audio. 2 Choose Edit > Paste (or press Command-V). The cut or copied audio is pasted starting at the playhead position. The audio after the playhead in the file moves to accommodate the pasted audio, and the file lengthens by the pasted amount. You can also paste mix in the File Editor. When you paste mix, the pasted audio is mixed (or blended) with the existing audio in the audio file. You can control the mix of the pasted audio and existing audio and can crossfade the pasted audio. To paste mix audio in the File Editor: 1 Set the playhead to the point where you want to paste the audio. 2 Choose Edit > Paste Special > Paste Mix. 3 In the Paste Mix dialog, drag the Original Material Level slider to set the mix level of the existing audio in the pasted area. 4 Drag the Clipboard Level slider to set the mix level of the pasted audio. 5 Optionally, you can crossfade the pasted audio by selecting the Crossfade In and Out Points checkbox and typing crossfade values (in milliseconds) in the Fade In Length and Fade Out Length fields. Chapter 6 Editing Audio Files 207 6 Click OK. The cut or copied audio is mixed with the existing audio. You can also paste repeat in the File Editor. When you paste repeat, the cut or copied audio is pasted the number of times you specify in succession, so that each copy starts at the end of the previous one. To paste repeat in the File Editor: 1 Set the playhead to the point where you want to paste the audio. 2 Choose Edit > Paste Special > Paste Repeat. 3 In the Paste Repeat dialog, type the number of copies you want to paste in the field. 4 Click OK. The copies are pasted starting at the playhead position. The audio after the playhead in the file moves to accommodate the pasted audio, and the file lengthens by the pasted amount. Zooming In and Out in the File Editor You can zoom in on a specific part of an audio file to make precise edits and perform other tasks. To zoom in or out, do one of the following: m Drag the Zoom control left to zoom in for a closer view, or drag right to zoom out for a wider view. m Choose View > Zoom In to zoom in one level. m Choose View > Zoom Out to zoom out one level. If you have a mouse with a scrollwheel connected to your computer, you can set Soundtrack Pro to zoom in or out when you move the scrollwheel. You can select part of the audio file and zoom in on the selected area, zoom in to see individual samples in the waveform, or zoom out to peaks. To set Soundtrack Pro to zoom the waveform display when you move the scrollwheel: 1 Choose Soundtrack Pro > Preferences. 2 If the General preferences pane is not visible, click the General button. 3 In the Timeline section of the General preferences pane, choose “Zooms at playhead” from the Scrollwheel pop-up menu. To zoom in or out using a scrollwheel: m Move the scrollwheel up to zoom in, or move it down to zoom out. 208 Chapter 6 Editing Audio Files To zoom in on a selection: 1 In the waveform display, select the area you want to zoom in on. 2 Choose View > Zoom to Selection. To zoom in to see individual samples: m Choose View > Zoom to Samples. Note: If you have previously zoomed in to a level where individual samples are visible in the waveform display, choosing Zoom to Samples zooms in to the same zoom level. To zoom out to see the entire waveform: m Choose View > Fit to Window. To return to the original zoom level: m Choose View > Zoom Normal. You can also zoom in on a selected area using the Zoom tool. For information about using the Zoom tool, see “Zoom Tool” on page 211. Editing Audio Files Graphically with Waveform Editing Tools The File Editor includes waveform editing tools you can use to graphically edit the audio file in the waveform display. Selection Tool You can use the Selection tool to select part of an audio file, as described in “Selecting Part of an Audio File” on page 202. When you open the File Editor, the pointer is a selection pointer (arrow). When you are done using another waveform editing tool, you can return the pointer to a selection pointer by clicking the Selection Tool button. Frequency Selection Tool You can use the Frequency Selection tool to make selections in Frequency Spectrum View not just of time ranges but also of frequency ranges. You can copy, paste, and delete frequency selections as well as adjust the amplitude of frequency selections. For more information, see “Viewing an Audio File in Frequency Spectrum View” on page 214. Selection Tool button Chapter 6 Editing Audio Files 209 Sample Edit Tool You can graphically edit samples in the audio file using the Sample Edit tool. To use the Sample Edit tool, the waveform display must be zoomed in enough to see individual samples, which appear as small squares connected by a thin line. To edit samples using the Sample Edit tool: 1 Click the Sample Edit Tool button above the time display. The pointer becomes a Sample Edit pointer. 2 Zoom in on the part of the waveform you want to edit. 3 To graphically edit samples, do one of the following:  Drag a sample up or down to a new value.  Click directly above or below a sample.  Drag left or right to reshape the waveform. You can also edit samples numerically in the waveform display. To edit samples numerically: 1 Control-click a sample, then choose Set Value from the shortcut menu. 2 In the dialog that appears, type a new value for the sample. 3 Click OK. Sample Edit Tool button Use the Sample Edit tool to reshape the waveform. 210 Chapter 6 Editing Audio Files Audio Stretching Tool You can time stretch all or part of an audio file to change the amount of time it occupies. When you stretch an audio file, the length of time changes but not the pitch (letting you fill dialogue, music, or other audio to a specific amount of time). For audio files with music or other repeating patterns, stretching the file changes the tempo of the music without changing the key. The range of the Audio Stretching tool is limited to between 25% to 400% of the length of the original audio. To graphically time stretch an audio file: 1 Click the Audio Stretching Tool button above the time display. 2 In the waveform display, drag horizontally across the waveform to select the part you want to time stretch. 3 Move the pointer over the right edge of the selection. The pointer becomes a Stretch pointer. 4 Drag the right edge of the selection left to shorten the selected area, or drag it right to lengthen the selected area. When you shorten a selection of an audio file using the Audio Stretching tool in the File Editor, the empty part of the selection area is filled with ambient noise if an ambient noise print exists. If no ambient noise print exists, the empty part of the selection area is filled with silence. Shortening a selection using the Audio Stretching tool does not change the length of the audio file. Audio Stretching Tool button Use the Audio Stretching tool to shorten or lengthen the selected area of the waveform. Chapter 6 Editing Audio Files 211 When you lengthen the selection using the Audio Stretching tool, any audio overlapped by the lengthened selection area is deleted. Lengthening the selection past the end of the file changes the length of the audio file. If you hold down the Option key while dragging the selection with the Audio Stretching tool, the audio following the selection area ripples forward when you lengthen the selection and ripples backward when you shorten the selection. In both cases, using the Option key changes the length of the audio file. Note: Stretching an audio file by a large amount can degrade the sound quality of the audio file. For information about stretching an audio file numerically using the Process menu, see “Time Stretch” on page 224. Zoom Tool You can zoom in on a specific part of the waveform display to make precise edits. To zoom in using the Zoom tool: 1 Click the Zoom Tool button above the time display. The pointer changes to a Zoom pointer. 2 In the waveform display, do one of the following:  Click to zoom in.  Option-click to zoom out.  Drag horizontally to select the part of the waveform you want to zoom in on. The waveform display zooms in on the selected area. For information on other ways to zoom in and out in the waveform display, see “Zooming In and Out in the File Editor” on page 207. Zoom Tool button 212 Chapter 6 Editing Audio Files Choosing the Sample Units in the File Editor Along the left edge of the File Editor is a scale of sample units for the audio file. You can set this scale to any of the following sample units:  Sample Value  Normalized  Percent  Decibels To set the sample units in the waveform display, do one of the following: m Choose View > Sample Ruler Units, then choose a format from the submenu. m Control-click along the left edge of the waveform display where the sample units appear, then choose the sample units you want from the shortcut menu. Editing Multichannel Files In Soundtrack Pro, you can edit multichannel files with up to 24 channels, including the following types of multichannel files: AIFF, WAV, Broadcast Wave, QuickTime, and single folder/multi-mono file AIFF. Each channel row is identified by a number. Chapter 6 Editing Audio Files 213 Selecting and Editing Channels in Multichannel Files Editing multichannel files in the File Editor is similar to editing in a multitrack Timeline. To make a selection across all channels: m Drag in the bottom 90 percent of any channel. To make a selection in an individual channel: 1 Move the pointer to the top 10 percent of a channel row. The pointer changes to indicate the channel name or number. 2 Drag in the channel row over the area you want to select. To make a selection in multiple, adjacent channels: 1 Move the pointer to the top 10 percent of a channel row. The pointer changes to indicate the channel name or number. 2 Drag in the channel row to the area you want to select. 3 Continue dragging up or down to include the adjacent channels. To make a selection in multiple, nonadjacent channels: 1 Move the pointer to the top 10 percent of a channel row. The pointer changes to indicate the channel name or number. 2 Drag in the channel row over the area you want to select. 3 Command-click in the bottom 10 percent of any nonadjacent channels. Note: Nonadjacent selections must be within the same time range. To disable or enable an individual channel: m Control-click a channel, then choose Enabled from the shortcut menu to toggle it on or off. To enable all channels: m Control-click a channel, then choose Enable All from the shortcut menu. To disable all channels: m Control-click a channel, then choose Disable All from the shortcut menu. To reorder channels: m Choose Process > Reorder Channels, then use the dialog that appears to rearrange the channel order. For more information, see “Reorder Channels” on page 229. 214 Chapter 6 Editing Audio Files Creating a New Multichannel Audio File You can create a new multichannel file and specify the number of channels and the sample rate. To open a new multichannel audio file: 1 Do one of the following:  Choose File > New > Audio File (or press Command-Shift-N).  Click New Audio File in the Toolbar. 2 Choose an option from the Channels pop-up menu:  Mono  Stereo  Surround (5.1)  Other Note: If you choose Other, use the value slider to enter the number of channels for the new audio file. 3 Enter a sample rate in the Sample Rate field or choose one from the pop-up menu. 4 Click OK. Using Frequency Spectrum View When you first open the File Editor, it shows the audio file in Waveform view. You can also view and edit an audio file in Frequency Spectrum view. Frequency Spectrum view gives you a way to find areas of significant frequency change that aren’t visible in a waveform. Viewing an Audio File in Frequency Spectrum View In Frequency Spectrum view, the display shows the frequency spectrum of each channel of a stereo audio file on a scale from 0 Hertz (Hz) to half the sample rate of the file. For example, for a 48 kHz audio file, the scale progresses from 0 Hz to 24 kHz. Chapter 6 Editing Audio Files 215 To view an audio file in Frequency Spectrum view, do one the following: m Choose View > File Editor Display > Show Spectrum. m Click the Frequency Spectrum View button in the upper-right corner of the File Editor tab or the File Editor project view. The display changes to show the audio file’s frequency spectrum. You can select parts of the audio file, apply actions, and edit the audio file in Frequency Spectrum view in the same way as in Waveform view. In addition, you can make selections of frequency ranges as well as copy, paste, delete, and adjust the amplitude of frequency selections. You can also change the Frequency Spectrum view display to show the frequency spectrum linearly or logarithmically, use different analysis windows, and change the number of samples used to calculate the view. To return to Waveform view, do one the following: m Choose View > File Editor Display > Show Waveform. m Click the Waveform View button. Frequency Spectrum View button Waveform View button 216 Chapter 6 Editing Audio Files Using the Spectrum View HUD The Spectrum View HUD is a floating window that provides extensive controls for Frequency Spectrum view.  Preemphasis: Applies gain per octave. Drag the slider to the right to emphasize high frequency content.  Minimum Frequency: Allows you to view a subset of the frequency range (for example, only the frequencies over 1 kHz).  Maximum Frequency: Allows you to view a subset of the frequency range (for example, only the frequencies under 9 kHz).  Minimum Power: Defines the bottom of the scale (where the blue portion of the gradient starts).  Maximum Power: Defines the top of the scale (where the red portion of the gradient ends).  Analysis Window: To display the audio file in Frequency Spectrum view, part of the audio data for each given point in time is analyzed. Each method of analysis represents a slightly different compromise between frequency resolution and spectral leakage. You can choose between several different analysis methods, called analysis windows, used to display the frequency spectrum in Frequency Spectrum view.  Window Size: The number of samples used for Frequency Spectrum view. This parameter trades off frequency resolution for time resolution. Smaller window sizes are more accurate timewise, but smear frequency information across adjacent frequencies (vertical lines, or transients, appear sharper). Larger window sizes provide a more accurate frequency display, but will smear things horizontally (horizontal lines appear sharper, but transients are smeared).  Frequency Scale: Use Frequency Scale to switch between linear display (in which harmonics appear evenly spaced) and logarithmic display (in which octaves appear evenly spaced). Chapter 6 Editing Audio Files 217  Color pop-up menu and gradient slider: Use the menu and slider to customize the gradient for Frequency Spectrum view.  Reset button: Resets all controls to their default values. To open the Spectrum View HUD: 1 Turn on Frequency Spectrum view. 2 Do one of the following:  Choose View > File Editor Display > Show Spectrum Controls.  Control-click the spectrum display, then choose Show Spectrum Controls from the shortcut menu. Adjusting the Frequency Spectrum View with the Shortcut Menu You can also Control-click the Frequency Spectrum view to change the settings. To show the frequency spectrum on a logarithmic scale: m Control-click the Sample ruler along the left edge of the display, then choose Logarithmic from the shortcut menu. To show the frequency spectrum on a linear scale: m Control-click the Sample ruler along the left edge of the display, then choose Linear from the shortcut menu. To display the audio file in Frequency Spectrum view, part of the audio data for each given point in time is analyzed. Each method of analysis represents a slightly different compromise between frequency resolution and spectral leakage. You can choose among several different analysis methods, called analysis windows, used to display the frequency spectrum in Frequency Spectrum view. To choose an analysis window for Frequency Spectrum view: m Control-click the spectrum display, then choose an analysis window from the upper part of the shortcut menu. Frequency Spectrum view changes the display using the analysis window you selected. Experiment with these options to see which one shows the data the best. 218 Chapter 6 Editing Audio Files You can also choose the number of samples used to calculate the spectrum display. To choose the window size (number of samples used) for Frequency Spectrum view: m Control-click the spectrum display, then choose a number from the lower part of the shortcut menu. Editing in Frequency Spectrum View Use the Frequency Spectrum view and the Frequency Selection tool to select frequency ranges as well as to copy, paste, delete, and adjust the amplitude of frequency selections. You can also select parts of the audio file, apply actions, and edit the audio file in Frequency Spectrum view in the same way as in Waveform view. To select a frequency range: 1 Turn on Frequency Spectrum view. 2 Click the Frequency Selection Tool button at the top of the File Editor tab or the top of the File Editor project view. In general, editing in Frequency Spectrum view uses the same conventions as editing in Waveform view. For more information about editing in Waveform view, see “Using the Global Waveform View” on page 249. Frequency Selection Tool button Frequency Spectrum view selection Chapter 6 Editing Audio Files 219 Frequency Selection Tool Guidelines Here are some further guidelines for editing in Frequency Spectrum view with the Frequency Selection tool:  All paste edits, including paste, paste mix, and paste repeat, are supported for frequency selections.  Pasting to an ordinary (full frequency range) selection follows the same conventions as in the Waveform view.  Pasting to a narrow frequency range causes the contents of the Clipboard to be filtered before being pasted. This filtered result is added to the result of applying the complementary filter to the original audio with any necessary truncation or zero-padding if the length of the selection is greater than or less than, respectively, the length of the Clipboard audio data.  When you switch between Frequency Spectrum view and Waveform view, ordinary (full frequency range) selections are preserved, but any narrow frequency range selections are reset. Processing Audio Files You can process audio files in the File Editor in a variety of ways. You can choose processing effects and other operations from the Process menu and apply them to an entire file, or select part of the file and apply the effect to the selection. When you choose an item from the Process menu, the item appears as an action in the Actions list. The Process menu contains the items described in the following sections. Choosing Processing Effects The Effects submenu contains an extensive set of professional audio effects you can apply to an audio file or a selection. The audio effects in the Effects submenu are the same as the realtime effects you can apply to tracks, busses, and submixes in the Timeline. For information about individual effects in the Effects submenu, see “Audio Effects Included with Soundtrack Pro” on page 331 and the Soundtrack Pro Effects Reference document, available in the Help menu. The effects included with Soundtrack Pro are categorized by type in the Effects submenu. Below these effect categories is a submenu for Mac OS effects. If you have installed third-party Audio Units effects on your computer, additional submenus for the third-party effects appear at the bottom of the Effects submenu. When you apply a processing effect from the Effects submenu, the floating advanced settings window for the effect appears. Processing effects windows are nonmodal, allowing you to click a window behind the effects window (for instance, the Timeline or File Editor window) to move the playhead or adjust the selection range. 220 Chapter 6 Editing Audio Files The advanced settings window contains controls for previewing the effect in the File Editor, bypassing, applying, or canceling the effect, resetting effect parameters, and applying effect presets.  Play button: Plays the audio file or selection with the effect.  Volume slider: Controls the volume of the audio file or selection as you play it.  Bypass button: Bypasses the effect so you can hear the difference in the sound of the audio file or selection with and without the effect.  Reset button: Resets all effect parameters to their default values.  Cancel button: Closes the advanced settings window without applying the effect.  Apply button: Applies the effect to the audio file or selection and closes the advanced settings window.  Show/Hide Presets button: Shows or hides the Presets drawer so you can apply effect presets. For information about applying effect presets in the File Editor, see “Working with Effect Presets” on page 330. For information about the effects in the Effects submenu, see Chapter 11, “Working with Audio Effects,” on page 327. Fade In Choosing this command fades in the audio file or selection. The fade-in progresses in linear fashion from the beginning to the end of the audio file or selection. Fade Out Choosing this command fades out the audio file or selection. The fade-out progresses in linear fashion from the beginning to the end of the audio file or selection. Show/Hide Presets button Bypass button Reset button Chapter 6 Editing Audio Files 221 Normalize Choosing this command normalizes (adjusts the gain of ) the audio file or selection to the decibel level shown in the Normalization Level field. The highest peak in the file is raised or lowered to the level you set, and the rest of the audio file is raised or lowered by the same amount. When you choose Process > Normalize, the level is set to 0 dB. To set the normalization level: 1 Choose Process > Normalize. 2 In the Normalize dialog, drag the Normalization Level slider or select the value in the Normalization Level field and type a new value. 3 Click OK. You can preview the audio file at the normalization level before closing the Normalize dialog. This makes it easy to set the level before normalizing the file. To preview the file at the normalization level: m In the Normalize dialog, select the Preview checkbox. Adjust Amplitude Choosing this command raises or lowers the gain of the audio file or selection by the amount shown in the Amplitude Level field. When you choose Process > Adjust Amplitude, the level shown in the field is zero (0) dB, or unity gain. To set the amplitude level: 1 Choose Process > Adjust Amplitude. 2 In the Adjust Amplitude dialog, drag the Amplitude Level slider or select the value in the Amplitude Level field and type a new value. 3 Click OK. Silence Choosing this command replaces the audio file or selection with complete silence. Invert Choosing this command inverts the phase of each sample in the audio file or selection. Each sample’s amplitude is unchanged, but the phase is inverted. In the waveform display, the wave’s crests become troughs and vice versa. Reverse Choosing this command reverses the order of the samples in the audio file or selection so that the first sample becomes the last and vice versa. 222 Chapter 6 Editing Audio Files Insert You can insert silence, noise, or a waveform in an audio file or selection. When you choose Process > Insert, then choose one of the three items from the Insert submenu, the silence, noise, or waveform is inserted at the current playhead position. The remainder of the audio file ripples so that it continues after the inserted silence, noise, or waveform. Inserting Silence When you choose Process > Insert, then choose Silence from the Insert submenu, the Insert Silence sheet appears. You can set the length of silence to insert, and choose the format for setting the length of the silence (any of the Time Ruler Units formats). To set the length of the inserted silence: 1 In the Insert Silence sheet, choose the format you want to use from the Format pop-up menu. 2 In the “Length of silence to insert” value slider, do one of the following:  Click the left arrow to shorten the length of the inserted silence, or click the right arrow to increase the length.  Click the center of the value slider, then drag the slider that appears left or right to change the length of inserted silence.  Click the value in the value slider, then type a new value. 3 Click OK. Inserting Noise When you choose Process > Insert, then choose Noise from the Insert submenu, the Noise Generator dialog appears. You can set the type of noise to insert, set the length of the inserted noise, choose the format for setting the noise length (any of the Time Ruler Units formats), and set the volume of the inserted noise. The inserted noise can be white noise (emphasizing higher frequencies) or pink noise (equal distribution of frequencies). Chapter 6 Editing Audio Files 223 To choose the type of noise to insert: m In the Noise Generator dialog, choose the type of noise from the Waveform Type pop-up menu. To set the length of the inserted noise: 1 In the Noise Generator dialog, choose the format you want to use from the Duration pop-up menu. 2 In the Duration value slider, do one of the following:  Click the left arrow to shorten the length of the inserted noise, or click the right arrow to increase the length.  Click the center of the value slider, then drag the slider that appears left or right to change the length of inserted noise.  Click the value in the value slider, then type a new value. 3 Click OK. To set the volume level of the inserted noise: m In the Noise Generator dialog, drag the Volume slider left or right to set the noise level. You can also type a level (in decibels) in the Volume field. Inserting a Waveform When you choose Process > Insert, then choose Waveform from the Insert submenu, the Wave Generator dialog appears. You can set the type of waveform to insert, set the length of the inserted waveform, choose the format for setting the waveform length (any of the Time Ruler Units formats), and set the volume of the inserted waveform. The inserted waveform can be a sine, sawtooth, square, or triangle wave. To choose the type of waveform to insert: m In the Wave Generator dialog, choose the type of waveform from the Waveform Type pop-up menu. To set the frequency of the inserted waveform: m In the Wave Generator dialog, drag the Frequency slider left or right to set the frequency. You can also type a frequency (in Hertz) in the Frequency field. 224 Chapter 6 Editing Audio Files To set the length of the inserted waveform: 1 In the Wave Generator dialog, choose the format you want to use from the Duration pop-up menu. 2 In the Duration value slider, do one of the following:  Click the left arrow to shorten the length of the inserted waveform, or click the right arrow to increase the length.  Click the center of the value slider, then drag the slider that appears left or right to change the length of the inserted waveform.  Click the value in the value slider, then type a new value. 3 Click OK. Time Stretch You can time stretch an audio file or selection. When you time stretch an audio file, you change the duration (length) of the file without changing the frequency (pitch) of the file. For example, for a file containing music, the tempo of the music is changed, but not the pitch. When you time stretch an audio file, you can choose the format for time values you enter. To time stretch an audio file: 1 Select the part of the file you want to time stretch (it can be the entire file). 2 Choose Process > Time Stretch. The Time Stretch sheet appears. 3 In the Time Stretch sheet, choose the format for setting the amount to time stretch the file from the Format pop-up menu. 4 In the “Length of selection” value slider, do one of the following:  Click the left arrow to shorten the length, or click the right arrow to increase the length.  Click the center of the value slider, then drag the slider that appears left or right to change the length.  Click the value in the value slider, then type a new value. 5 Click OK. For information on stretching a file graphically using the Audio Stretching tool, see “Audio Stretching Tool” on page 210. Chapter 6 Editing Audio Files 225 Noise Reduction Some audio files contain unwanted noise, making it difficult to hear the voices, music, or other content of the file. Soundtrack Pro features two commands, Set Noise Print and Reduce Noise, that you can use together to reduce noise in an audio file or selection. Set Noise Print The Set Noise Print command lets you select part of an audio file containing only the noise that you want to remove as a “noise print.” The noise print provides a signature of the frequencies to reduce or remove from the file. Setting the noise print before reducing noise is optional. If you do not set a noise print before using the Reduce Noise command, Soundtrack Pro extracts a noise print from the selected part of the audio file. If there is an existing noise print, it will be used, even if it is from a different audio file, unless you set a new noise print. To set part of an audio file as a noise print: 1 In the waveform display, select the part of the audio file containing only the noise you want to reduce. 2 Choose Process > Noise Reduction > Set Noise Print. The selected noise is stored as a noise print. Reduce Noise The Reduce Noise command uses the frequency content of the noise print to reduce noise in the audio file or selection. To reduce noise using the noise print: 1 In the waveform display, select the part of the audio file in which you want to reduce noise. 2 Choose Process > Noise Reduction > Reduce Noise. The Reduce Noise dialog appears. In the Reduce Noise dialog, you can optionally set the noise threshold and tone for noise reduction. You can also preview the noise reduction with the dialog open. The noise threshold determines the level below which audio in the noise print is considered to be noise. Lowering the threshold results in only very low signals being reduced, while raising the threshold results in more high-level signals being reduced. 226 Chapter 6 Editing Audio Files To set the threshold of the noise reduction: m In the Reduce Noise dialog, drag the Noise Threshold slider left to lower the threshold, or drag it right to raise the threshold. You can also type a value (in decibels) in the Noise Threshold field. To set the amount of noise reduction: m Drag the Reduction slider left to decrease the amount of noise reduction, or drag it right to increase the amount of noise reduction. To change the tone of the noise reduction: m In the Reduce Noise dialog, drag the Tone Control slider left to preserve more low-frequency content (bass), or drag it right to preserve high-frequency content (treble) during noise reduction. You can preview noise reduction with the Reduce Noise dialog open and adjust the threshold and tone of noise reduction. You can also hear the audio file or selection with and without noise reduction, or hear only the noise to be removed. To preview the file with noise reduction: m Click the Play button in the lower part of the Reduce Noise dialog. To set the preview volume level: m Drag the Volume slider in the lower part of the Reduce Noise dialog left to lower the volume or right to raise the volume. To compare the file with and without noise reduction: m Click the Bypass button to hear the file without noise reduction. Click the button again to hear the file with noise reduction. To hear only the noise to be removed: m Select the Noise Only checkbox. To use a noise reduction preset: 1 In the Reduce Noise dialog, click Show Presets. The Presets drawer appears. 2 In the Presets drawer, select a preset from either the Factory Presets or User Presets list. 3 Click Apply. Chapter 6 Editing Audio Files 227 Adding Ambient Noise When editing an audio file, you may want to remove some sounds from the file while preserving the room tone or other ambient background noise in the file. Soundtrack Pro features commands you can use to set a selection as an ambient noise print and add the noise print to existing audio or replace the audio with the noise print. Set Ambient Noise Print The Set Ambient Noise Print command lets you copy part of an audio file containing only ambient noise that you want to add to another part of the file (or another file). To set part of an audio file as an ambient noise print: 1 In the waveform display, select the part of the audio file containing only ambient noise. 2 Choose Process > Set Ambient Noise Print. The ambient noise is stored in a special buffer separate from the Clipboard, and is saved to the project. If you have copied audio to the Clipboard, you can set the contents of the Clipboard as an ambient noise print. To set the contents of the Clipboard as an ambient noise print: m Choose Process > Set Ambient Noise From Clipboard. Add Ambient Noise The Add Ambient Noise command adds the ambient noise stored in the ambient noise buffer to the audio file or selection. To add ambient noise to an audio file: 1 In the waveform display, select the part of the audio file to which you want to add the ambient noise. 2 Choose Process > Add Ambient Noise. The ambient noise is added to the selected audio. If the selection is longer than the copied ambient noise, the ambient noise repeats to fill the selection. Replace With Ambient Noise The Replace With Ambient Noise command replaces the selected audio with the ambient noise stored in the ambient noise buffer. To replace existing audio with ambient noise: 1 In the waveform display, select the part of the audio file you want to replace with ambient noise. 2 Choose Process > Replace With Ambient Noise. The ambient noise replaces the selected audio. If the selection is longer than the copied ambient noise, the ambient noise repeats to fill the selection. 228 Chapter 6 Editing Audio Files Equalization Matching Equalization matching matches the average frequency spectrum of the target clip to that of the source clip. Set Equalization Print The Set Equalization Print command lets you select part of an audio file and create an equalization print from it. The equalization print provides an equalization signature that you can apply to other files. To set an equalization print: 1 Select the audio file (or part of the audio file) containing the equalization you want to match. 2 Choose Process > Equalization Matching > Set Equalization Print. The selection is stored as a equalization print. Apply Equalization The Apply Equalization command uses the average frequency spectrum of the equalization print to match the equalization in the audio file or selection. To match equalization using the equalization print: 1 Select the audio file (or part of the audio file) in which you want to match the equalization. 2 Choose Process > Equalization Matching > Apply Equalization. The equalization print is applied to the target file. Convert to Mono Choosing this command converts a stereo audio file to mono. You can choose whether to convert the file to mono by using only the left channel, using only the right channel, or combining the two channels. Combining the left and right channels sums them as an equal gain mix. To select how a stereo file is converted to mono: 1 Choose Process > Convert to Mono. 2 In the Convert to Mono dialog, select the button corresponding to the method by which you want to convert the file to mono. 3 Click OK. The Convert to Mono action converts the entire stereo file to mono. You cannot convert only a selection of a file to mono. The Convert to Mono action flattens the file, removing existing actions from the Actions list. For information about flattening actions, see “Flattening Actions” on page 233. Chapter 6 Editing Audio Files 229 Resample Choosing this command resamples the audio file to a new sample rate. To choose the new sample rate: 1 Choose Process > Resample. 2 In the Resample sheet, choose a sample rate from the Sample Rate pop-up menu. You can also type a sample rate (in Hertz) in the Sample Rate field. 3 Click OK. The Resample action flattens the file, removing existing actions from the Actions list. For information about flattening actions, see “Flattening Actions” on page 233. Swap Channels Choosing this command swaps the left and right channel of a stereo audio file or selection. If the file is mono or multichannel (more than two channels), Swap Channels is disabled. Reorder Channels This command opens a dialog that allows you to rearrange the order of channels in a multichannel file. If the file is mono, Reorder Channels is disabled. To reorder channels in an audio file: 1 Choose Process > Reorder Channels. 2 Drag the name of the channel to a different location in the channel list. 3 Click OK. Render to Action This command renders realtime effects to actions. It is available in the File Editor project view only. For more information, see “Rendering Realtime Effects to Actions” on page 243. Applying Realtime Effects to Individual Audio Files In addition to processing effects, you can apply realtime effects to an audio file project. You can apply realtime effects in the Effects tab, and you can automate realtime effect parameters in the File Editor project view. For more information, see “Applying Realtime Effects in the File Editor Project View” on page 242. 230 Chapter 6 Editing Audio Files Working with Actions Actions give you an extremely flexible and powerful way to edit audio files in the File Editor. You can apply an action to an entire file or a selected part of the file, including applying an action to only one channel of a stereo audio file. You can turn individual actions on or off and reorder actions in the Actions list, changing the sequence in which the actions change the audio file. You can adjust action settings after applying the action, and can flatten actions. Applying Actions You start working with actions by applying an action to the audio file or the currently selected part of the file. To apply an action: 1 With the file open in the File Editor, choose an item from the Process menu. The item appears in the Actions list. 2 Some actions have a dialog that appears when you choose the item from the Process menu. Adjust the settings in the dialog, then click Apply. The action is added to the Actions list, and the waveform display updates to show the change to the audio file. You can hear the change when you play the project. Some actions may take a moment to apply. In this case, a progress bar appears, indicating that the action is being applied. Some effects, including reverb and delay, add audio that extends past the end of the file. This is called an effect tail. When you apply a processing effect that produces an effect tail to an audio file in the File Editor, the file is lengthened to include the tail until the point at which the tail falls below –96 dB. If you apply a processing effect that produces a tail to a selection, the tail is mixed with the audio following the selection. If the tail extends past the end of the file, the file is lengthened to include the effect tail until the point at which the tail falls below –96 dB. When you apply an action that adds a short (0.1 second or less) tail to an Apple Loop, the tail is shortened to preserve the overall length of the loop. Action Insert bar Actions Resulting waveform Actions tab Chapter 6 Editing Audio Files 231 Editing Actions Many actions have settings that you can edit. When you apply an action that has editable settings, a dialog appears, letting you edit the action’s settings. You can edit an action’s settings any time you are working in the File Editor. To show an action’s settings, do one of the following: m In the Actions list, Control-click the action you want to edit, then choose “Edit Settings For [action name]” from the shortcut menu. m Double-click the action in the Actions list. m In the Actions list, select the action you want to edit, then choose “Edit Settings For [action name]” from the Actions pop-up menu. If the action has no editable settings, the Edit Settings menu item appears dimmed. Adjusting and Applying Action Selections You can adjust the selection for an action or set the current selection in the File Editor to an action’s selection. To adjust an action’s selection, do one of the following: m Make a selection in the File Editor, then in the Actions list, Control-click the action, then choose “Set Selection For [action name]” from the shortcut menu. m Make a selection in the File Editor, then in the Actions list, choose “Set Selection For [action name]” from the Actions pop-up menu. The action is shifted to the selected region. To set the File Editor’s current selection to the action’s selection, do one of the following: m In the Actions list, Control-click the action, then choose “Selection For [action name]” from the shortcut menu. m In the Actions list, choose “Selection For [action name]” from the Actions pop-up menu. The action’s selection becomes the current selection in the File Editor. Turning Actions On and Off You can turn individual actions on and off in the Actions list and hear the result when you play the audio file. The waveform display updates to show the change to the audio file. Depending on the length of the file, turning actions on and off can take time. To turn an action off: m In the Actions list, deselect the checkbox next to the action name. To turn an action on: m In the Actions list, select the checkbox next to the action name. 232 Chapter 6 Editing Audio Files Reordering Actions You can reorder actions after applying them to an audio file. The order in which effects and other actions occur can drastically change the resulting sound of the audio file. Depending on the length of the file, reordering actions can take time. To reorder actions: m In the Actions list, drag the actions you want to reorder up or down to new positions. You hear the change when you play the audio file. The waveform display updates to show the change to the audio file. Using the Action Insert Bar The Action Insert bar appears as a purple marker along the left side of the Actions list with an associated bar that extends across the list. As you apply actions, the Action Insert bar moves below the last action applied. You can move the Action Insert bar up or down to a new position in the Actions list. Only actions before the Action Insert bar are heard when you play the project, so you can control which actions are heard by moving the bar. The purple strip to the left of the checkboxes in the Actions list indicates the actions that are heard when you play the project. When you choose an item from the Process menu, it is applied directly following the Action Insert bar. By moving the bar, you set where in the list the next action is applied. To set the position of the next applied action: m Drag the Action Insert bar up or down in the Actions list to the position you want. Action Insert bar Drag the Action Insert bar to the position you want. Chapter 6 Editing Audio Files 233 Reversing the Order of the Actions List You can reverse the order in which actions are shown in the Actions list, so the last action applied appears at the top of the list. This is useful when your project has a large number of actions. To reverse the order of the Actions list: m Click the triangle at the upper-right corner of the Actions list. Click the triangle again to return the list to its default order. When you reverse the order of the Actions list, the Action Insert bar appears at the top of the list instead of at the bottom. You hear actions below the Action Insert bar in the list, rather than above it. When you choose an item from the Process menu, it is applied directly above the position of the Action Insert bar. Reversing the order of the Actions list affects only the visual appearance of the list. The order in which actions are applied to the audio file is unchanged. Flattening Actions You can flatten the actions in a project to a single action. Flattening actions renders the actions into the file, reducing the complexity of the file and the file size. When you flatten actions, all existing actions are removed from the Actions list, and you can no longer reorder the actions or edit their action settings, unless you undo flattening the actions. Some items in the Process menu, including Convert to Mono and Resample, flatten all actions in the project. To flatten all audible actions: 1 Move the Action Insert bar directly below the last action you want to flatten. 2 Do one of the following:  Choose Process > Flatten Audible Actions.  Choose “Flatten audible actions” from the Actions pop-up menu. To flatten all actions, do one of the following: m Choose Process > Flatten All Actions. m Choose “Flatten all actions” from the Actions pop-up menu. Click the triangle to reverse the order of the Actions list. 234 Chapter 6 Editing Audio Files Comparing the Project With and Without Actions When you are adding and adjusting actions, you may want to compare the results of your changes to the original file. To hear the file without actions: 1 Choose “Play without actions” from the Actions pop-up menu. 2 Click Play or press the Space bar. To hear the file with all actions: 1 Choose “Play with all actions” from the Actions pop-up menu. 2 Click Play or press the Space bar. To hear the file with only selected actions: 1 In the Actions list, deselect the checkboxes for the actions you do not want to hear. 2 Click Play or press the Space bar. When you deselect an action, its settings are saved and are available when you select the action again. Comparing the Last Two Actions You can quickly compare the last two actions applied to an audio file or selection. This is helpful when you want to try out two similar actions, and hear which one you like better. To compare the last two actions: 1 Do one of the following:  Choose Process > A/B Last Two Actions.  Choose A/B from the Actions pop-up menu (or press Command-F1). 2 Click Play or press the Space bar. You hear the first of the two actions. The checkbox of the second action appears deselected in the Actions list. 3 Do one of the following:  Choose Process > A/B Last Two Actions again.  Choose A/B from the Actions pop-up menu (or press Command-F1) again. You hear the second of the two actions. The checkbox of the first action appears deselected in the Actions list. Chapter 6 Editing Audio Files 235 Deleting Actions You can delete an action if you decide you no longer want it in the project. To delete an action: m Select the action in the Actions list, then press Delete. Limitations of Actions That Change the File’s Length Some actions change the overall length of the audio file by inserting or deleting audio. These include inserting silence, noise, or a waveform, time stretching, and deleting part of a file. Recording audio, pasting, and adding an effect with a “tail” can also change the file’s length. In the Actions list, the selection checkbox for each action that changes the file’s length appears red, making it easy to visually distinguish those actions. Each selection you make in the File Editor applies to a specific range of time, and each action applies to a range of time defined by the selection at the time the action is applied. Because selections and actions apply to a range of time, changing the file’s length can change the audio to which a selection or action applies. In the File Editor, you see the selection remain in the same place (the same range of time as shown in the Time ruler) and see the waveform under the selection change. When you apply an action that changes the file’s length, any existing selections apply to the same range of time, but the audio occupying that range of time may be different than when you applied the action. For example, if you select a range of time beginning five seconds after the start of an audio file, then insert one second of silence at the beginning of the file, the selection still begins five seconds after the start of the file, but the audio at the beginning of the selection corresponds to what was previously four seconds after the start of the file. If a project includes an action that increases the file’s length, and you turn off or reorder that action, any selection that includes audio added by the length-changing action may extend past the end of the shortened file. In this case, the selection applies to the remaining audio in the selected range of time, but has no effect past the end of the file. For example, if you have a five-second project that includes a one-second Insert Silence action at the beginning of the project, and you select the last half-second of the project, then turn off the Insert Silence action, the selection applies to the last halfsecond of the project. However, the remaining half-second of the selection is empty. 236 Chapter 6 Editing Audio Files Analyzing an Audio File Soundtrack Pro includes a set of audio analysis tools. You can analyze an audio file for common problems such as clicks and pops, hum, phase issues, and clipping, and fix them individually or in a single operation. When you analyze an audio file, you can select which types of analysis to perform. To show the analysis lists and tools: m In the File Editor, click the Analysis button. The Analysis Type list, Parameter list, and Analysis Results list replace the Actions list in the window. To analyze an audio file: m Click the Analyze button, located below the Parameter list. Types of Audio Analysis The following types of analysis can be performed in the File Editor: Clicks and Pops Sudden, short peaks in the audio file can result from a variety of causes, including mechanical defects in analog recordings. You can set the threshold above which Soundtrack Pro considers peaks to be clicks or pops. (Power Line) Hum Power lines and other electrical equipment can produce a steady hum, often at 50 or 60 Hz. The hum can also include low-order harmonics of the fundamental frequency. Analysis Type list Parameter list Analyze button Analysis Results list Fix buttons and Magnify button Chapter 6 Editing Audio Files 237 DC Offset DC offset is a shift in the audio, causing the positive and negative parts of the signal not to average to zero. DC offset can limit the dynamic range of an audio file. Phase Issues Phase issues can result from a distorted or inaccurate stereo image, caused by poor microphone placement or other issues. When converting a stereo file to mono, the presence of phase issues can cause the left and right channels to cancel each other out partially or completely. Clipped Signal A clipped or overloaded signal can result from several causes, including poor gain staging in a preamp during recording, bad electrical cables, or surface damage to an analog recording. If analysis identifies a clipped signal, Soundtrack Pro gives you the option to soften the abrasive nature of the truncation. Silence Silence detects the parts of the audio file at which the audio signal falls to zero (0). You can set the threshold below which Soundtrack Pro considers the signal to be silence. To select the types of analysis to perform: 1 In the Analysis Type list, select the checkboxes next to the types of analysis you want to perform on the audio file. 2 To analyze the file, click Analyze. When analyzing an audio file in the File Editor, some analysis types might produce better results if you select a part of the audio file instead of the entire audio file. The Power Line Hum, DC Offset, and Phase analysis types determine whether the audio file or selection exhibits these problems. Because hum, DC offset, and phase issues tend to last for long times, up to the entire length of the file, better results might be achieved when analyzing the entire audio file or the part of the file you think has the problem. On the other hand, the Clicks and Pops, Clipped Signal, and Silence analysis types tend to be momentary and isolated rather than constant. If part of an audio file or selection contains a large number of clicks and pops, for example, the analyzed waveform might display the entire region as being problematic, rather than each individual click or pop. However, when you fix these problems using the Fix button, Soundtrack Pro correctly fixes each individual click or pop. The Clicks and Pops Threshold slider uses an algorithm to detect transients that are clicks or pops. Moving the slider to the right results in fewer clicks or pops being detected. The Silence Threshold slider ranges from 0% to 10% of the full-scale level of the audio file, which corresponds to a range of –infinity dB to –20 dB. 238 Chapter 6 Editing Audio Files Setting Analysis Parameters The Clicks and Pops and Silence analysis types have parameters you can set. Each type has a Threshold slider you can drag to set the threshold for detecting clicks and pops or detecting silence. To set analysis parameters: 1 In the Analysis Type list, click the disclosure triangle for the analysis types for which you want to set parameters. 2 Drag the Threshold slider left to lower the threshold or right to raise the threshold. You can also type a value in the Threshold field. Reading Analysis Results When you analyze an audio file, the problems detected through analysis are shown in the Results list. For each item, the following information appears in the Results list.  Status: Shows whether the problem is fixed or not fixed.  Problem: Shows the analysis type to which the problem belongs.  Start: Shows the point at which the problem begins.  Length: Shows the duration of the problem.  Channels: Shows whether the problem occurs in the left channel (L), the right channel (R), or both channels (LR) of a stereo audio file. You can select items in the Results list. When you select an item in the Results list, the part of the audio file to which the problem applies becomes red in the waveform display, making it easy to see where in the audio file the problem occurs. If you select multiple items, the parts of the audio file to which any of the selected problems apply become red. Chapter 6 Editing Audio Files 239 By default, the region shown in red in the waveform display includes some extra time before the first sample with the problem and some extra time after the last sample with the problem. This extra time is included so that when you play or loop the problem area, you can hear the problem in context. You can narrow the problem area to include only the samples identified as having the problem, with no extra time. To narrow the problem area to include only problem samples: m Option-click the item in the Analysis Results list. Zooming In on Analyzed Problems You can zoom in on an item in the Results list using the Magnify button, so you can see the problem area of the audio file closely. To zoom in on an item in the Results list: 1 In the Results list, select the item. 2 Press and hold the Magnify button, located at the bottom of the Results list. The waveform display zooms in on the problem area for as long as you hold the Magnify button. To zoom in and stay at the new zoom level: 1 In the Results list, select the item. 2 Option-click the Magnify button. The problem area is highlighted in the File Editor. Select an item in the Results list, then press and hold the Magnify button. Magnify button 240 Chapter 6 Editing Audio Files Fixing Analyzed Problems You can select items in the Results list and fix them individually, in groups, or all together. When you select a single item, the part of the waveform where the item occurs becomes red. To fix an item: m Select the item in the Results list, then click the Fix button. You can select multiple items to fix by Shift-clicking or Command-clicking. You can also fix all items in a single operation. To fix all items in one operation: m Click the Fix All button. Once you have fixed a problem, you can remove it from the Results list, so that you can focus on remaining problems. To clear fixed items from the Results list: m Click the Clear Fixed button. Using the File Editor Project View You can open the File Editor so that it appears in the top-center pane of the Soundtrack Pro window (in place of the Timeline). The File Editor project view has several unique properties that allow you to:  Apply realtime effects and automation to an individual file and render those effects to actions  Save an individual audio file as an audio file project  Save an audio file project as a standard audio file  Create AppleScript droplets from Soundtrack Pro actions  View and navigate the Global Waveform view  Add and edit markers in an audio file project Chapter 6 Editing Audio Files 241 Opening the File Editor Project View You start working in the File Editor project view by creating an audio file project, opening an existing audio file project, or opening an audio file in the File Editor. To create a new, blank audio file project: m Choose File > New > Audio File. You can create an audio file project from a clip and open it in the File Editor. Audio file (.stap) projects let you edit nondestructively. To open an audio file project in the File Editor project view, do one of the following: m Choose File > Open (or press Command-O), locate and select the project or file, then click Open. m Drag the project or file over the Soundtrack Pro icon in the Dock. m In the Timeline, double-click the audio clip. m In Final Cut Pro, select a clip, then choose File > Send To > Soundtrack Pro Audio File Project. m In Motion, select an audio track, then choose Edit > Send Audio to Soundtrack Pro. You can also open the original file in its native format in the File Editor. Editing the original audio file means that when you save your changes, you overwrite (replace) the original file with the edited one. To open an audio file in its native format in the File Editor project view, do one of the following: m Select the clip, then choose Clip > Open in Editor. m In the Timeline or in one of the media tabs, Control-click a project or file, then choose Open in Editor from the shortcut menu. m In Final Cut Pro or Motion, Control-click an audio clip, then choose Open in Editor from the shortcut menu. When you open a clip from the multitrack window, if the clip is part of a larger audio file, the File Editor zooms in to the length of the clip. A marker is added to mark the start and end points of the clip. When you open a stereo audio file in the File Editor, the left channel appears in the upper part of the waveform display, and the right channel appears in the lower part. You can have multiple audio file projects open in Soundtrack Pro and cut and paste between them, but only one project can play back at a time. 242 Chapter 6 Editing Audio Files Setting the Time Ruler Units in the File Editor Project View You can set the Time Ruler units in the File Editor project view to any format in the Time Ruler Units submenu. To set the Time Ruler units in the File Editor project view: m Choose View > Time Ruler Units, then choose a format from the submenu. For more information, see “Setting the Project Ruler Units” on page 109. Closing Audio File Projects You can close the project when you no longer want to work on it, or close the Soundtrack Pro window and close all open projects (both multitrack and audio file projects). To close a project: m Choose File > Close Tab (or press Command-W). To close all open projects and close the Soundtrack Pro window: m Click the close button in the upper-left corner of the window. Applying Realtime Effects in the File Editor Project View Using the File Editor project view, you can apply realtime effects to an individual audio file project and automate those effects. You can also render realtime effects to actions. To add a realtime effect to an audio file project in the File Editor project view: 1 Open an audio file or audio file project in the File Editor project view. 2 In the Effects tab, select a category in the Category list to display the effects for that category in the Effect list. 3 In the Effect list, do one of the following:  Double-click the effect you want to add to the track.  Select the effect name, then click the Add Effect button.  Drag the effect to the Effect Parameters area. The effect’s advanced settings window appears, and the effect name appears in the Effect Parameters area with its checkbox selected. For more information on applying realtime effects, see “Working with Realtime Effects” on page 343. Chapter 6 Editing Audio Files 243 Automating Realtime Effects in the File Editor Project View Once you have applied realtime effects to an individual audio file project, you can automate those effects in the File Editor project view. To automate a realtime effect parameter: 1 In the Effects tab, select the Auto checkbox next to the parameter’s control. 2 In the File Editor project view, click the Master Envelope button (in the lower-left corner of the project pane) to show the envelopes for the audio file project. 3 Add and adjust envelope points in the effect’s envelope. For information on adding and adjusting envelope points, see Chapter 12, “Working with Automation,” on page 355. Rendering Realtime Effects to Actions Choosing this command renders any realtime effects applied to the audio file project and the project’s envelopes to an action in the Actions list, letting you turn these effects and envelopes on or off, reorder them in the list, and save them with the audio file project. 244 Chapter 6 Editing Audio Files To render realtime effects and envelopes to an action: m Choose Process > Render to Action. Once you render realtime effects and envelopes to an action, the realtime effects are deleted from the project, and the envelopes are reset to their default values. Some effects, including reverb and delay, add audio that extends past the end of the file. This is called an effect tail. When you render realtime effects to an action, if any of the effects creates an effect tail that extends past the end of the audio file, the file lengthens to include the effect tail. Saving Audio File Projects from the File Editor Project View You can save a project as an audio file project or as a standard audio file and can choose other options when you first save the file. Audio file projects are saved with the extension .stap. Saving a project as an audio file project lets you make changes to actions and other edits when you reopen the project in the File Editor. To save a project as an audio file project: 1 Choose File > Save. 2 In the Save dialog, type a name for the file and browse to the location where you want to save it. 3 Choose the file type for the project from the File Type pop-up menu. The available choices in the Save dialog change depending on whether you choose Audio File Project or an audio file format as the file type. 4 Optionally, select the Update Multitrack Documents checkbox to switch all instances of the original file in open multitrack projects to the new audio file project. 5 Click Save. Chapter 6 Editing Audio Files 245 Saving Audio File Projects Containing Video For audio file projects containing video, the video file is saved as a reference movie. If the video file is moved or deleted, or if you copy the project to another computer, the video may be missing when you open the project. To add the video to the project again, drag the video file into the Video tab or the video track of the Timeline. When you open a QuickTime movie in the File Editor as an audio file project, or send an audio clip from Final Cut Pro to an audio file project, by default the source audio is referenced. When you save the project by choosing File > Save As, you can include the source audio in the project. If the source audio is moved or deleted, or if you copy the project to another computer, the audio might not play correctly. The first time you save an audio file project with referenced audio, a dialog appears asking if you want to include or reference the source audio. Your choice becomes the default behavior for new audio file projects and can be changed in the General preferences pane. About Saving QuickTime Movies and File Size When you lengthen or shorten the duration of a QuickTime movie in the File Editor by adding or deleting audio, the file size of the movie might be larger than expected when you save the movie. For example, if you shorten the duration of the movie by deleting audio, the file size of the movie does not decrease. When you change the sample rate, bit depth, or number of channels in a QuickTime movie, the file size of the saved movie might be larger than expected. Also, when saving to a QuickTime movie that uses a compressed audio format, the audio is saved uncompressed and the file size might be larger than expected. In all of the above cases, saving the movie to a different location results in the file being saved at the correct file size. 246 Chapter 6 Editing Audio Files Saving Audio Files from the File Editor Project View You can also save a project as a standard audio file from the File Editor project view. In this case, the edits you have made are rendered into the audio file and cannot be changed or undone the next time you open the audio file in the File Editor. To save a project as an audio file: 1 Choose File > Save. 2 In the Save dialog, type a name for the file and browse to the location where you want to save it. 3 Choose the file type for the project from the File Type pop-up menu. You can save a project to any of the following standard audio file formats:  AIFF  WAVE  NeXT  Sound Designer II  Core Audio File  QuickTime Movie 4 Choose the bit depth for the project from the Bit Depth pop-up menu. 5 Choose the sample rate for the project from the Sample Rate pop-up menu. 6 Optionally, select any of the following checkboxes:  Dither: Select to dither the file. Dithering is useful when saving a project at a lower bit depth or sample rate. In general, you should dither a project only when saving it as a standard audio file, and only when you have finished all bit depth or sample rate conversions. Dithering is not appropriate for 32-bit files.  Include Source Audio: Select to include the source audio in the project. If you don’t select this checkbox, the project refers to the external source audio file. Referenced files must be present to open the project correctly.  Update Multitrack Documents: Select to switch all instances of the original file in open multitrack projects to the new audio file project. Chapter 6 Editing Audio Files 247 7 Click Save. When you save an audio file with the same name, location, and extension as the original audio file, you overwrite the existing audio file. Using the Timeline Controls in the File Editor Project View You can use the Timeline controls, located at the lower-left corner of the project pane, while working in the File Editor project view. Some of these controls have slightly different functions in the File Editor than they do in the Timeline.  Master Envelopes button: You can show or hide the envelopes for the audio file.  Snapping button: You can turn snapping on or off in the File Editor.  Snap To button: You can choose the Snap To value that the playhead and other items snap to. In the File Editor, the choices for snap are Ruler Ticks and Zero Crossings.  Track Height control: This sets the height of the envelope rows when you show envelopes in the File Editor. 248 Chapter 6 Editing Audio Files Scripting Actions in the File Editor Project View You can save a series of actions in the File Editor project view as an AppleScript droplet and use the droplet to modify other audio files. You can apply the actions in a saved droplet while you are working in Final Cut Pro using the Send To shortcut menu. You can also drag files or folders onto a droplet, making it easy to batch process files. You can edit the droplet in the AppleScript Script Editor to adjust action settings. This is especially helpful when you want to apply the same series of actions to multiple files, or when you want to apply actions repeatedly, changing one or several settings each time. You can apply a droplet to another audio file, or group of files, by dragging files or folders containing a group of files onto the droplet. To save a series of actions as a droplet: 1 Open an audio file in the File Editor. 2 Apply the actions to the audio file. 3 Choose File > Save as AppleScript. 4 In the Save dialog, type a name for the droplet. By default, droplets are saved to the location /Users/username/Library/Scripts/ Soundtrack Pro Scripts/. Do not change the location or Soundtrack Pro and Final Cut Pro may not be able to find and use your saved droplets. Applying a Saved Droplet to a Clip in Final Cut Pro You can apply a series of actions saved as a droplet to a clip in Final Cut Pro. To apply a saved droplet to a clip in Final Cut Pro: m In the Final Cut Pro Timeline or Bin, Control-click the clip, choose Send To > Soundtrack Pro Script from the shortcut menu, then choose the droplet you want to apply from the submenu. Soundtrack Pro opens with the clip visible in the File Editor. The actions are applied to the clip, the clip is saved with the changes, and the File Editor moves to the background, behind the Final Cut Pro windows. Chapter 6 Editing Audio Files 249 Using the Global Waveform View The File Editor includes a Global Waveform view, located directly above the main waveform display. The Global Waveform view displays a miniature view of the entire audio file and shows the current playhead position. The part of the audio file visible in the waveform display appears inside a blue rectangle. You can quickly move to different parts of the audio file by dragging the visible area rectangle. To move to a different part of the audio file using the Global Waveform view: m Drag the blue visible area rectangle to a new position. Using Markers in the File Editor Project View You can insert markers in an audio file project in the same way as in a multitrack project. Markers can be useful for indicating where a specific sound, cue, or event begins or ends in the audio file. They can also be useful for indicating an area of an audio file you want to time stretch. When an audio file project has two or more markers, you can select the area between two markers by double-clicking in the waveform display. For more information, see “Selecting Part of an Audio File” on page 202. For information about inserting, naming, moving, and deleting markers, see “Working with Markers” on page 183. Drag this rectangle to a new position. 7 251 7 Using the Multitake Editor The Multitake Editor presents a new way of dealing with layered audio clips. About the Multitake Editor You use the Multitake Editor to edit multitake (multiple-take), synchronized audio that is created by performing multiple-take recordings (such as in automatic dialogue replacement, or ADR). With this flexible tool, you can mix and match parts of different takes and make adjustments at any time. Once you are done editing a multitake clip, you can collapse it into a single (composite) clip, hiding the constituent edits that are not relevant to the surrounding multitrack Timeline, and move it anywhere in your project as a single item. 252 Chapter 7 Using the Multitake Editor What Is ADR? Automatic dialogue replacement (ADR) is a process of re-recording dialogue in the studio in synchronization with the picture. There are at least three roles in the ADR process: the actor, the recording engineer, and the sound editor. The actor has to recreate his or her performance and perfectly match up his or her speech to that of the film. The recording engineer has to recreate acoustic spaces so that it doesn’t sound like an actor is in a recording studio. The sound editor has to pick and choose the best parts of multiple takes, combine them into one composite clip, and keep everything synchronized to the picture. The Multitake Editor in Soundtrack Pro was created to address the needs of the sound editor in this scenario. Multitake Clips A multitake clip is a “layered” audio clip. This means it contains multiple versions or “takes” of the same audio material, such as a line of dialogue. Generally, these takes represent overlapping spans of time in your program. In an ADR recording session, an actor may repeat the same line many times. A single multitake clip can contain all of those takes as distinct items. Creating Multitake Clips You can create a multitake clip by either recording one or converting a standard clip to a multitake clip. Recording Multitake Clips For information about recording multitake clips, see “Recording Multiple Takes” on page 372. Converting Standard Clips to Multitake Clips You can convert any clip to a multitake clip. To convert a standard clip to a multitake clip: 1 Select a clip in the Timeline. 2 Do one of the following:  Control-click the clip and choose Convert to Multitake Clip from the shortcut menu.  Select the Multitake tab and click the Make Multitake Clip button that appears in the center of the Multitake tab. The new multitake clip appears in the Multitake Editor. 3 Add any additional takes, as needed. For information on adding takes, see “Adding and Deleting Takes” on page 256. Chapter 7 Using the Multitake Editor 253 Overview of the Multitake Editor You can think of the Multitake Editor as a simplified multitrack Timeline that is focussed entirely on the contents of a single multitake clip. In the Multitake Editor, you can audition and choose which take will be used for each section of dialogue. The top row in the Multitake Editor is the comp (or composite) track. This track represents a combination of all of the edits that you make in the Multitake Editor. The other tracks represent individual takes. You use the Blade tool to split the takes into regions. Use the Selection tool to select the active take for each region. Use transition points to adjust the timing and to create crossfades between the selected portions of takes.  Selection tool: Use the Selection tool to select take regions by clicking them.  Blade tool: Use the Blade tool to split takes into regions.  Scrub tool: Use the Scrub tool to quickly find a particular sound or event in the audio.  Comp track: Represents combined edits that you made in the Multitake Editor.  Take tracks: Represent individual takes.  Solo button: Solos the take track.  Snapping button: Toggles snapping for the Multitake Editor.  Snap To pop-up menu: Sets Multitake snapping to Ruler Ticks, Seconds, or Frames.  Track Height: Sets the height of tracks in the Multitake Editor.  Zoom slider: Drag the slider to change the zoom level. Note: When a multitake clip is displayed in the Multitake Editor, the Action Insert bar is moved to the top of the Actions list. When you deselect the clip or you click a different tab, the Action Insert bar is restored to its original position. For more information about the Actions tab, see “Working with Actions” on page 230. Blade tool Scrub tool Solo button Track Height Zoom slider Comp track Take tracks Snapping button Snap To pop-up menu Selection tool 254 Chapter 7 Using the Multitake Editor Editing in the Multitake Editor Fundamentally, there are three steps in making any multitake edit: splitting, selecting, and adjusting. First, you split the takes into regions using the Blade tool. To split a take using the Blade tool: 1 Select the Blade tool by clicking the Blade tool in the upper-left corner of the Multitake Editor or by pressing B. 2 Click one of the take tracks using the Blade tool pointer. A transition point appears in the Multitake Timeline at the point where you clicked. After you have split the takes into regions, select the active take for each region with the Selection tool. To select an active take for a region: 1 Select the Selection tool by clicking the Selection tool in the upper-left corner of the Multitake Editor or by pressing A. 2 In the region, click the take track you want to select. The take you clicked becomes the active take for that region. Next, use transition points to adjust the timing and to create crossfades between the selected portions of takes. Slip (offset) take regions to synchronize them with the picture. Click a take track using the Blade tool to create a transition point. Select the take track to make it the active take for that region. Chapter 7 Using the Multitake Editor 255 To adjust a transition point, do one of the following: m Drag the vertical transition point line left or right to adjust the timing of the cut. m Drag the left or right arrow handle at the top of a transition point to create a crossfade between two takes, then double-click the fades to use the Fade Selector. You can also adjust the fade type by double-clicking either part of the crossfade. For more information on fade types, see “Creating Fade-Ins and Fade-Outs in the Timeline” on page 158. To delete a transition point: 1 Select the vertical transition point line. 2 Press Delete. Slipping Take Regions Because it’s common for a particular take to be good but out of sync, you can slip (offset) an individual take region. To slip a take region: 1 Command-Option-click the take region. 2 Without releasing the mouse button, drag to the left or to the right. For more information about slipping (the offset of ) a take region, see “Changing the Offset of an Audio Clip” on page 157. Drag the transition point handles to create a crossfade between takes. 256 Chapter 7 Using the Multitake Editor Adding and Deleting Takes You can easily add audio files to a multitake clip. Added takes can be any audio files that Soundtrack Pro supports and that match the sample rate and channel valence of the takes already in the Multitake Editor. The takes do not have to be from the same recording session. It is just as easy to remove takes from a multitake clip. Π Tip: Optionally, you can add a take from the original production audio to use a guide track. The waveform in this original recording can be a good reference point during your multitake editing session. To add a take, do one of the following: m Drag a file into the Multitake Editor. m Choose Add Take from the pop-up menu in the upper-left corner of the Multitake tab. In the dialog that appears, navigate to the audio file you want to add and click Open. Note: The sample rate and the channel valence (mono, stereo, surround, and so on) of the files you want to add must match the sample rate and the channel valence of the files already in the Multitake Editor. To remove a take: m Choose Remove Take from the pop-up menu in the upper-left corner of the Multitake tab and choose the take you want to remove from the submenu. Renaming Takes By default, Soundtrack Pro names takes according to the order in which they were recorded and the track in which they were recorded. For example, “Take 3 - Track 1 Recording 3.aiff.” You can easily rename any take to suit your needs. To rename a take in a multitake clip: m Click the name field in the header for the take and enter a new name. Chapter 7 Using the Multitake Editor 257 Reordering Takes You can vertically rearrange the order of takes in a multitake clip. To rearrange the order of takes in a multitake clip: 1 Click the track header of the take you want to move. 2 Drag the take vertically to a new position in the list. Example: A Multitake Editing Workflow The following example demonstrates how you might create a comp from multiple takes of an ADR session using the Multitake Editor. In this case, there are four takes of the same line: “Would you like to try a sample of our organic Peruvian blend?” To edit multiple takes of a line of dialogue using the Multitake Editor: 1 Select the multitake clip in the Timeline. 2 Control-click the ruler at the top of the multitrack Timeline, then choose Cycle Region from the shortcut menu and Create Cycle Region from Selection from the submenu (or press Shift-A). 3 Click the Multitake Editor tab to open it. The comp track and, in this example, four take tracks, appear in the Multitake Editor. 4 Click the Solo button on the Take 1 track and click the Play button to listen to the first take. Take 1 plays. 5 Repeat this playback for each take to familiarize yourself with how they sound. 6 Optionally, you can choose to add a take from the original sync-sound production audio to use a guide track. (See “Slipping Take Regions” on page 255 for more information.) 7 When you are ready to make the first cut, click the Blade tool in the upper-left corner of the Multitake Editor (or press B). In this example, Take 3 contains the best version of the first few words (“Would you like to...”). Drag a take track header to a new position in the list. A blue bar indicates where the take track will be positioned. 258 Chapter 7 Using the Multitake Editor 8 Using the Blade tool, click just before the waveform for the word “try” in the Take 2 track. A transition point appears in the Multitake Editor Timeline at the point where you clicked. 9 Click the Selection tool in the upper-left corner of the Multitake Editor. 10 In the Take 3 track, click the waveform for the word “try” to select it. The take you clicked becomes the active take for the region. 11 Repeat steps 6 to 9, selecting the best takes for each of the other phrases or words in the line of dialogue. 12 Slip (offset) individual take regions, as needed, to synchronize them with the picture. (For more information, see “Example: A Multitake Editing Workflow” on page 257.) Click the waveform with the Blade tool to create a transition point. The Take 3 track becomes the active take for that region. Chapter 7 Using the Multitake Editor 259 13 Do one of the following to adjust any of the transition points:  Drag a transition point left or right to adjust the timing of the cut.  Drag the left or right arrow handle at the top of a transition point to create a crossfade between two takes. Note: You can also adjust the fade type by double-clicking either part of the crossfade. For more information on fade types, see “Creating Fade-Ins and Fade-Outs in the Timeline” on page 158. 14 When you are satisfied with the edit, use the multitake clip in the main multitrack Timeline as you would use any other clip. If you need to make additional edits or adjustments to the multitake clip, repeat Steps 1 to 3. Drag the transition point handles to create a crossfade between takes. 8 261 8 Basic Mixing in Soundtrack Pro Soundtrack Pro gives you the tools to create sophisticated audio mixes for your projects. When you have added audio clips to your project and placed them in the Timeline, you mix the project. Mixing is where you balance different elements, such as dialogue, music, and sound effects, bring focus to key moments and events in the project, and create a sense of perspective by placing sounds in space. When you finish mixing, you have one or more final mixes that you can export. Soundtrack Pro offers you professional mixing capabilities, including the abilities to create busses and submixes and to send audio to multiple physical outputs. The Mixer provides a visual representation of your project in a virtual mixing console, with channel strips where you control different aspects of the sound. You can adjust volume and pan, mute and solo tracks, choose track submixes, add effects, and observe levels as the project plays. This chapter covers basic mixing. For information about mixing surround sound, see Chapter 9, “Mixing Surround Sound,” on page 293. 262 Chapter 8 Basic Mixing in Soundtrack Pro Steps in Mixing Mixing a project typically involves the following tasks:  Balancing relative volume levels  Panning tracks to create perspective  Adding EQ, compression, and other processing using effects  Using automation to create changes over time  Setting the overall project volume and eliminating clipping You can perform these steps in any order, and move back and forth between them as you create the mix. In most situations, you finish mixing the individual tracks before making changes to the overall project. The following suggested order provides a guideline that may be useful for common situations: Step 1: Mix main dialogue tracks Solo the main voice tracks and pan to your liking. Add any EQ, compression, or other processing. Adjust relative volume, leaving some headroom (typically around –6 dB) for peaks in the signal, in case you need to raise levels later. Step 2: Mix other dialogue and middle ground tracks With main voice tracks still soloed, solo the other dialogue, ADR, and voiceover tracks one at a time and adjust volume and pan relative to the main voice tracks. Add any processing if needed. Step 3: Mix background tracks With the previously mixed tracks still soloed, solo the background tracks one at a time and adjust volume and pan relative to the other tracks. Add any processing if needed. Step 4: Make changes to the overall mix Once you have mixed all the individual tracks in your project, add any EQ, compression, or other processing to the overall project. Adjust the overall volume to an appropriate level and remove any clipping before exporting the project. Chapter 8 Basic Mixing in Soundtrack Pro 263 Structuring an Audio Post-Production Project To organize their projects, most video and motion picture sound editors combine the signals of related tracks and busses into submixes (also known as stem mixes). Then they combine these submixes to build a final mix. Soundtrack Pro is designed with this workflow in mind. What Is a Submix and How Do You Use It? In Soundtrack Pro, you use a submix to combine (or “sum”) the audio from different tracks and busses, and route the audio to physical outputs. The name of this feature implies its purpose—to mix the audio signals of a subset of the tracks and busses in your project. If you are using external audio hardware that supports multiple physical outputs, you can have multiple submixes in your project and then choose the physical output to which each submix routes its audio. By default, all tracks are routed to Submix 1, and Submix 1 is routed to the Stereo 1, 2 outputs. You can easily add more submixes, reroute audio, and change the hardware output setting using the Output pop-up menu in each submix. Basic Signal Routing in Soundtrack Pro At a minimum, any audio that you edit in the Soundtrack Pro Timeline passes through the following “mixer objects” on its way out to the physical audio outputs: a track, a submix, and the Master bus. 1 Master bus Hardware output Track Submix bus Audio clip Effects Volume fader 264 Chapter 8 Basic Mixing in Soundtrack Pro Audio post-production projects typically include many tracks and submixes. The following diagram shows the signal flow of multiple tracks to just one submix. While this is an unlikely scenario, it illustrates the fact that you can route as many tracks to a submix as you like. See “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266 for a typical example. Setting the Submixes for Tracks and Busses To be included in a project, the audio signal of each track and each bus must be routed to a submix. By default, in new multitrack projects, there is only one submix (Submix 1) and all tracks are routed to Submix 1. You can add as many submixes as you like and route as many signals from tracks and busses to those submixes as you want. To create a more elaborate project (as described in “Example: Mixing a Project with Dialogue, Music, and Effects Submixes” on page 266), you create additional submixes. To add a submix, do one of the following: m Choose Multitrack > Add Submix. m Control-click a submix, then choose either Insert Submix Before or Insert Submix After from the shortcut menu. Once you have created multiple submixes, you can route any combination of tracks or busses to any submix. To set the submix for a track or bus: m Choose the submix from the Submix pop-up menu in the track header or at the bottom of the Mixer channel strip for the track or bus. If you choose None from the pop-up menu, you are effectively removing that track or bus from the mix and from the final output. 1 2 3 4 Tracks Submix bus Stereo panner Chapter 8 Basic Mixing in Soundtrack Pro 265 Setting Hardware Outputs Use the Output pop-up menu in each submix to choose an output channel or set of output channels. Your choice defines the output of that submix as either mono, stereo, or surround. To select the hardware output jacks for a submix: m Click None, Surround, Stereo, or Mono from the Output pop-up menu in the track header of each submix, then choose a channel or set of channels from the submenu. The available choices within each of these output categories depend on the number of available physical outputs and number of submixes in your project. Note: You can create submixes independently of the audio hardware connected to your computer and can route audio to an output that does not correspond to a physical output. In most situations, each submix in a project should correspond to a physical output on the audio interface or other hardware connected to your computer. Submixes that do not correspond to a physical output will not be heard. You may set as many submixes in a project to the same physical output device or output channel as you like. If you choose None from the Output pop-up menu, you are effectively removing that submix from the mix and from the final output. For more information about system output settings, see “Setting the Audio Input and Output” on page 22. For more information about connecting an audio interface, see “Setting the Audio Input and Output” on page 22. For more information about working with tracks, busses, and submixes in the Timeline, see “Tracks, Busses, Submixes, and the Master Bus” on page 124 and “Working with Tracks, Busses, and Submixes in the Timeline” on page 135. 266 Chapter 8 Basic Mixing in Soundtrack Pro Example: Mixing a Project with Dialogue, Music, and Effects Submixes A classic audio post-production practice for film and video is creating separate submixes for the dialogue, the music, and the sound effects. This provides an appropriate degree of flexibility, both in the mixing phase and in distributing the final product. Creating Submixes In this example project, all tracks containing dialogue are routed to a submix called “Dialogue.” The tracks containing sound effects are routed to a submix called “FX.” The tracks containing music are routed to a submix called “Music.” The following diagram shows how audio signals from tracks in each category are routed into their respective submixes. Dialogue tracks Effects tracks Music track Submix bus Music Effects Dialogue Stereo panner Audio clip VO: Debra VO: Jacob Stage Mic FX: Foley Tracks FX: Background FX: Boom Music: Music 1 Music: Music 2 Chapter 8 Basic Mixing in Soundtrack Pro 267 Once the audio signals are organized in this way, you can apply (and automate) volume settings and effects on any of the submixes, rather than on the individual tracks or busses. You might, for example, add a compressor or EQ effect to a Dialogue submix to enhance all of the dialogue signals at once. Obviously, this saves a lot of time and effort (when compared with applying all of these settings to each dialogue track individually). Using submixes to segment your project provides you with greater control over all aspects of your final mix. Creating a Stereo Mix The next routing decision is the choice of hardware outputs. The following example diagram shows the routing for a traditional final product: a stereo mix. To do this, you would simply choose the Stereo 1,2 output for each of the three submixes. (This also happens to be the default output for every submix in Soundtrack Pro.) In this case, the left and right channels for each submix are routed to the left and right (1 and 2) channels of the hardware output device. All three submixes are combined into one stereo (left and right) signal. This is a “stereo mixdown,” suitable for any stereo-capable playback device. At this stage, the Master bus presents a (final) opportunity to make volume adjustments and apply effects. For information about the Master bus, see “Using the Master Bus” on page 290. 1 2 3 4 Tracks Submix bus Channels 1, 2 Channels 1, 2 Channels 1, 2 5 6 7 8 Right Left Hardware outputs Master bus Music Effects Dialogue Audio clip Stereo panner 4 3 2 1 6 7 8 5 268 Chapter 8 Basic Mixing in Soundtrack Pro Creating a Separate Music and Effects Mix Using submixes in your workflow becomes very powerful when you consider the many different ways you might be delivering the final program. One common practice is creating a separate music and effects (M & E) submix for foreign distribution. This gives distributors the option to create versions of the program with the dialogue dubbed in foreign languages but to still include the program’s original music and effects in the dubbed versions. As in the stereo mixdown example, the Dialogue submix is routed to the Stereo 1,2 output. But the Music and Effects submixes are routed to the Stereo 3,4 output channels, isolating the dialogue signal from the music and effects signals. Technically, only one output channel is required for the dialogue, because the Dialogue submix is made up of mono signals. But in practice, it is usually routed as two identical mono signals to channels 1 and 2. Most likely, producers making the foreign language version will use the original dialogue as a guide track and then replace it with their edited foreign language track in the final mix. This M & E case is just one simple example of how you can structure a project for an efficient workflow. Each mix project comes with its own particular quirks. The good news is that Soundtrack Pro has a lot of flexibility. For example, the sends and busses features in Soundtrack Pro offer additional options for structuring a project. For more information, see “Working with Sends and Busses in the Mixer” on page 286. 4 3 2 1 6 7 8 5 Hardware outputs Output device Master bus Submix bus Channels 3, 4 Music Channels 3, 4 Effects Channels 1, 2 Dialogue Stereo panner Audio clip 1 2 3 4 Tracks 5 6 7 8 Chapter 8 Basic Mixing in Soundtrack Pro 269 Signal Routing for a Separate Music and Effects Mix in Surround When you shift from a stereo project to surround, you need to keep in mind some minor signal routing consequences. This section discusses what changes you would make to the submix and output settings. (For information about creating a surround version of a stereo project, see “Converting a Stereo Mix to 5.1 Surround” on page 307.) First, assuming that the music and effects are mixed over six surround channels, those submixes must be routed to the Surround 1-6 output. The Dialogue submix could either remain routed to the Stereo 1,2 output jacks to be added to the Surround 1-6 mix or routed to the center channel at the submix, or could be panned to the center channel in a surround signal, as shown below. To create the surround version of the separate music and effects mix (as described earlier), you route the Dialogue submix to any output channels other than 1-6. This example uses channels 7 and 8, the last two available output channels, thus isolating the dialogue from the music and effects. 1 2 3 4 Tracks 5 6 7 8 Right Left Center Right surround Left surround LFE Submix bus Channels 1–6 Hardware outputs Master bus 4 3 2 1 6 7 8 5 Channels 1–6 Music Channels 1–6 Effects Audio clip Surround panner Dialogue 1 2 3 4 Tracks Submix bus Channels 7, 8 Dialogue 5 6 7 8 Output device Hardware outputs Master bus 4 3 2 1 6 7 8 5 Audio clip Stereo panner Surround panner Channels 1–6 Music Channels 1–6 Effects 270 Chapter 8 Basic Mixing in Soundtrack Pro Using Sends and Busses You can use sends to split an audio signal into two or more separate signals. A send taps a track’s audio signal and routes it down a separate but parallel path. In Soundtrack Pro, these separate paths are known as busses. (Some might call these auxiliary busses.) This process is analogous to diverting a portion of a river to an alternate (but parallel) stream. Busses are like alternate streams of audio. They can be processed or combined independently of the “main river.” They can rejoin the main signal further “downstream,” at the final mix, or they can be routed to altogether separate outputs. By preparing these alternate versions and combinations of track audio signals, you give yourself more options at the final mix stage, when all of your project’s media elements and adjustments are in place. Example: Adding Effects with Sends and Busses The following example shows how you could add a reverb effect to a music track using a bus. The main reason to apply effects this way (rather than directly on the track) is so you can control the amount and characteristics of the effect (in this case, reverb) on multiple tracks using one set of controls. To accomplish this, you do the following:  Create a new bus. (In this example, the new bus is named “MusicReverb.”)  Add a send to the music track.  Route the new send to the MusicReverb bus.  Apply a reverb effect to the MusicReverb bus. For specific information about how to add sends to tracks and route them to busses, see “Adding Sends to Tracks” on page 349. Send Track Submix bus Bus 1 Audio clip Effects Volume fader Send Track Submix bus MusicReverb bus Music Audio clip Effects Volume fader Reverb effect Chapter 8 Basic Mixing in Soundtrack Pro 271 As the diagram shows, the new MusicReverb bus represents an alternate version of the Music track audio signal. Once created, this bus appears as a row in the Timeline and a channel strip in the Mixer. It becomes a resource to draw from during the final mix. Rather than having to tweak the effects settings of individual tracks in the mix, you can simply adjust the volume fader on the MusicReverb bus to increase or decrease the amount of reverb on that music track. By default, new sends are pre-fader sends. This means the signal is tapped before the track’s output fader. In this example, if you used the default pre-fader send setting, adjusting the Volume slider on the Music track would have no effect on the music level in the MusicReverb bus. In contrast, a post-fader send taps the track signal after a track’s output fader. You can change a send to a post-fader send. To make a send a post-fader send: m Click the disclosure triangle for the send in the Effects tab, then select the On button next to Post-Fader. In the post-fader case, adjusting the Volume slider on the Music track would have a direct effect on the music level in the MusicReverb bus. Pre-fader send Track Submix bus Bus 1 Audio clip Effects Volume fader Submix bus Track Post-fader send Bus 1 Audio clip Effects Volume fader 272 Chapter 8 Basic Mixing in Soundtrack Pro Example: Combining Track Signals with Sends and Busses You can also send the signals from multiple tracks to a single bus, creating “intermediate submixes.” For example, you could route every dialogue track for a particular actor to a bus with the actor’s name. You could adjust the volume of all the actor’s dialogue using the bus volume fader and add an EQ effect that brings out the actor’s voice in the mix. You could then send (route) the bus to a particular submix. In the above diagram, tracks 1 and 4 contain dialogue from the actor, Jacob. Each of these tracks has a send applied to it that taps the signal and routes it to a bus (named “Jacob”). This bus is effectively an intermediate submix. Now, any effects and fader adjustments applied to this bus will be available during the final mix as a single channel strip (named “Jacob.”) For more information about using sends and busses in the Mixer, see “Working with Sends and Busses in the Mixer” on page 286. Submix bus 1 2 3 4 Tracks Jacob bus Audio clip Effects Volume fader Chapter 8 Basic Mixing in Soundtrack Pro 273 Using the Mixer While most mixing tasks can be accomplished in the Timeline and elsewhere in the Soundtrack Pro interface, the Mixer offers an interface analogous to hardware mixing consoles found in most audio post-production facilities. Another advantage of the Mixer is that you can view levels on all (or at least many) tracks simultaneously in real time. Working with Channel Strips in the Mixer The Mixer features a series of vertically arranged controls called channel strips, like the channel strips in a hardware mixing console. The channel strips in the Mixer correspond to the horizontal tracks, busses, and submixes in the project Timeline. Channel strip 274 Chapter 8 Basic Mixing in Soundtrack Pro The controls a channel strip contains depend on whether it is a track, bus, or submix channel strip. The controls for each type are as follows: The channel strips in the Mixer make it easy to see the settings for all the tracks, busses, and submixes in your project at once and to adjust those settings relative to each other as you create the overall mix. In the Mixer, the channel strips appear in order corresponding to their order in the Timeline. Top-to-bottom order in the Timeline corresponds to left-to-right order in the Mixer. You can reorder tracks in the Mixer and have the new order reflected in the Timeline. Changes you make to controls such as volume and pan also show up in the track controls when you open the project in the Timeline. Using Custom Layouts for Mixing You can rearrange the Soundtrack Pro layout to suit your particular mixing workflow. There are numerous possible combinations. You can tear off tabs and have them float over the Soundtrack Pro window or show them on a second display. One default layout (in addition to the standard layout) floats the Mixer and the Video tabs as separate windows. This allows you to further resize the Mixer and the Video windows to an arrangement that is convenient for mixing. Track channel strips Bus channel strips Submix channel strips Color label Color label Color label Icon Icon Icon Effects slots Effects slots Effects slots Output pop-up menu Output pop-up menu Output pop-up menu Panners (stereo or surround) Panners (stereo or surround) — Volume fader and value slider Volume fader and value slider Volume fader and value slider Level meters with peak indicator Level meters with peak indicator Level meters with peak indicator Arm for Recording button — — Mute button Mute button Mute button Solo button Solo button Solo button Name Name Name Chapter 8 Basic Mixing in Soundtrack Pro 275 To display the Mixer and Video tabs as separate windows, do one of the following: m Choose Window > Layouts > Separate Mixer and Video (or press F2). m Using the pointer, drag the Mixer and Video tabs out of their docked positions. The Mixer and the Video tabs float over the Soundtrack Pro window as separate windows. Another useful layout to consider is one showing just the Timeline and the Mixer. This arrangement is convenient for visually positioning the playhead during a mix. Once you have resized or moved the windows to a comfortable arrangement, you can save the layout as a custom layout for future use. For information about saving custom layouts, see “Using Project Layouts” on page 68. Adding Channel Strips to the Mixer You can add a channel strip for a track, bus, or output in the Mixer in the same way you add a track, bus, or output in the Timeline. To add a track channel strip: m Choose Multitrack > Add Track. To add a bus channel strip: m Choose Multitrack > Add Bus. To add an output channel strip: m Choose Multitrack > Add Output. Timeline Mixer 276 Chapter 8 Basic Mixing in Soundtrack Pro Selecting Channel Strips You can select a channel strip in order to move, copy, or remove it. Selected channel strips appear darker in the Mixer. To select a channel strip, do one of the following: m Click any empty part of the channel strip. You can select multiple channel strips in the Mixer. To select adjacent channel strips: m Shift-click the channel strips you want to select. To select nonadjacent channel strips: m Command-click the channel strips you want to select. Reordering Channel Strips You can change the order of channel strips in the Mixer. When you open the Mixer, the order of channel strips corresponds to the order of tracks, busses, and submixes in the Timeline. Because channel strips are oriented horizontally in the Mixer, top-to-bottom order in the Timeline corresponds to left-to right order in the Mixer. Reordering channel strips in the Mixer also changes their order in the Timeline. In the Mixer, as in the Timeline, channel strips of the same type (track, bus, or output) are grouped together. You can reorder a channel strip within its own group, but cannot move it to a group of a different type. You can only move one channel strip at a time. To reorder a channel strip: m Drag the channel strip left or right to a new position. Copying Channel Strips You can copy channel strips in the Mixer. You can copy a channel strip within its own group, but cannot copy it to a group of a different type. You can only copy one channel strip at a time. To copy a channel strip: m Option-click the channel strip, then drag it left or right. A copy of the channel strip appears when you release the mouse button. Chapter 8 Basic Mixing in Soundtrack Pro 277 Setting Channel Strip Volume Levels You set relative volume levels to balance the various parts of the project. You set the volume level of a channel strip using the channel strip volume fader or value slider. Different sounds can have different apparent loudness at the same volume level, so perceived loudness does not precisely correspond to numeric values on the volume faders. You determine the appropriate volume level by listening to the track and adjusting its level in the overall mix. To set the volume level of a channel strip, do one of the following: m Drag the volume fader up to raise (increase) the volume, or drag it down to lower (decrease) the volume. m Click along the length of the volume fader at the point you want to set the volume level. m Click the left or right arrows on the edges of the volume value slider. m With the pointer over the center of the volume value slider, hold down the mouse button and drag left or right. m Click the center of the volume value slider, then type a new value. The scale is from –96 to +6 dB. The default level is 0 (zero) dB. To return the volume fader to the default level: m Double-click the knob in the volume fader. As you adjust track volume, watch the level meters next to the volume fader to make sure that the track is not clipping. For information about preventing clipping, see “Setting the Overall Project Volume Level” on page 288. Volume value slider Volume fader 278 Chapter 8 Basic Mixing in Soundtrack Pro Setting Channel Strip Pan Position You pan sounds to different positions to place them in the stereo or the surround field. You set the pan position of a track or bus channel strip using the stereo pan slider and value slider or the surround panner. You can’t pan a submix or the Master channel strip. To set the stereo pan position of a channel strip, do one of the following: m Drag the pan slider left or right to the pan position you want. m Click along the length of the pan slider at the point you want to set the pan position. m Click the left or right arrow on the edges of the pan value slider. m With the pointer over the center of the pan value slider, hold down the mouse button and drag left or right. m Click the center of the pan value slider, then type a new value. The scale is from –100 to 100, with 0 (zero) as the center value. Negative values are left of center, and positive values are right of center. The default is 0. To return the stereo pan slider to the default level, do one of the following: m Control-click the slider, then choose Set to Centered from the shortcut menu. m Double-click the knob in the stereo pan slider. To switch the panning controls from stereo to surround in the channel strip, do one of the following: m Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner. m Control-click the stereo pan slider, then choose Use Surround Panner from the shortcut menu. Pan slider Pan value slider Chapter 8 Basic Mixing in Soundtrack Pro 279 To set the surround pan position of a channel strip: m Drag anywhere inside the black circle to position the puck. To return the surround panner to the default level: m Control-click the panner, then choose Set to Centered from the shortcut menu. For finer surround panning adjustments and other surround controls, double-click the surround panner to open the Surround Panner HUD. For more information about using surround panners, see “Using Surround Panners to Create a Surround Mix” on page 299. For more information about the Surround Panner HUD, see “The Surround Panner HUD” on page 300. Setting Channel Strip Output On a hardware mixing console, you can send signals to different busses and physical outputs. You can create submixes and busses in Soundtrack Pro, assign tracks and busses to different submixes, and assign submixes to physical output channels on connected audio devices. You can send audio from as many tracks and busses to the same output as you want. To set the submix for a track or bus: m Choose the submix from the Submix pop-up menu at the bottom of the channel strip for the track or bus. For submixes in the Mixer, the Output pop-up menu lists the available output channels. To set the output for a submix in the Mixer: m In the channel strip for the submix, choose the output channel or set of channels from the Output pop-up menu. The options listed in the Output pop-up menu depend on the number of available physical outputs and the number of submixes in your project. For more information about setting the output, see “Setting Hardware Outputs” on page 265. Submix pop-up menu 280 Chapter 8 Basic Mixing in Soundtrack Pro Note: You can create submixes independently of the audio hardware connected to your computer and can route audio to an output that does not correspond to a physical output. In most situations, each submix in a project should correspond to a physical output on the audio interface or other hardware connected to your computer. Submixes that do not correspond to a physical output will not be heard. You may set as many submixes in a project to the same physical output device or output channel as you like. To select an audio interface as the output device: m Choose Apple menu > System Preferences, click Sound, then click the Output button. Select the audio interface in the list that appears. For more information about these settings, see “Setting the Audio Input and Output” on page 22. Muting and Soloing Channel Strips You can mute and solo channel strips in the Mixer in order to hear or silence specific tracks, busses, or submixes. To mute a channel strip: m Click the channel strip’s Mute button. Click the button again to unmute the channel strip. To solo a channel strip: m Click the channel strip’s Solo button. Click the button again to unsolo the channel strip. To exclusively solo a channel strip: m Option-click the Solo button. Click the Solo button again to unsolo the track, bus, or output. When you export a project, all unmuted tracks, busses, and submixes are included in the exported file. If you export a track, bus, or output that is muted (including being muted by having another track soloed), the exported file contains no audio. Enabling Track Channel Strips for Recording You can enable a track channel strip for recording. When you enable a track channel strip for recording, audio will be recorded on the track when you click the Record button in the transport controls. You can’t record to a bus or output channel strip. To enable a track channel strip for recording: m Click the Arm for Recording button in the channel strip. Click the button again to disable the channel strip for recording. You can record only to a track, not to a bus or an output. Solo button Arm for Recording Mute button button Bypass Effects button Chapter 8 Basic Mixing in Soundtrack Pro 281 Renaming Channel Strips You can rename a channel strip to help you remember its content or purpose in the overall mix. To rename a channel strip: m Click the channel strip’s name (at the top of the channel strip) to select it, then type a new name. Changing a Channel Strip Icon You can change the icon of a channel strip. Icons do not affect the sound, but are useful as a quick visual reference for the channel strip, particularly for projects with many tracks, busses, or submixes. To change a channel strip icon: m Double-click the icon you want to change, then choose a new icon from the icon menu. Showing and Hiding Sections of the Mixer You can show or hide sections of the Mixer window and sections of channel strips. Hiding sections of the Mixer and the channel strips can be helpful, especially when using Soundtrack Pro with a smaller computer display or when working on projects with a large number of tracks, busses, or submixes. You can show or hide any of the following sections of the Mixer:  Audio tracks  Busses  Submixes Double-click the channel strip icon... ...the icon menu appears. 282 Chapter 8 Basic Mixing in Soundtrack Pro To hide a section of the Mixer: m Choose the section you want to hide from the Show pop-up menu, located at the upper right of the Mixer. To hide sections of channel strips: m Choose the section you want to hide from the Channel Strip pop-up menu. The visible sections of the channel strips appear with a checkmark in the Channel Strips pop-up menu. You can show or hide any of the following sections of the channel strips:  Icons  Effects slots  Output pop-up menus  Pan controls  Volume faders and level meters Using the Channel Strip Level Meters Each channel strip includes level meters to the left of its volume fader. You can use the level meters to observe each channel strip’s level as the project plays. The level meters range from –96 dB to +6 dB, moving from bottom to top as the level increases. The segments of the level meters run from green through yellow to orange as the level increases. Note: For surround signals, the channel strip meters show the signals in this order: Ls, L, C, R, Rs, LFE. This matches the surround order in the Meters tab. (See “Setting the Overall Project Volume Level” on page 288 for more information.) Show (Mixer) pop-up menu Channel Strip pop-up menu Chapter 8 Basic Mixing in Soundtrack Pro 283 At the top of each set of level meters is a peak indicator. As the project plays, the value in decibels of the highest level reached appears in the peak indicator. If the level rises above 0 dB, the peak indicator becomes red. The values shown in each peak indicator remain until you play the project again, close the project, or reset the peak indicator. To reset a peak indicator: m Click the peak indicator. To reset all peak indicators, do one of the following: m Option-click the peak indicator in any channel. m Click the Reset button in the Meters tab. The peak indicators can help identify where clipping occurs in the project. For information about removing clipping, see “Setting the Overall Project Volume Level” on page 288. Removing Channel Strips You can remove a channel strip from the Mixer if you decide you no longer want it in the project. To remove a channel strip, do one of the following: m Select the channel strip, then choose Multitrack > Remove [item]. m Control-click the channel strip, then choose Remove [item] from the shortcut menu. The term indicated by [item] changes in the menu depending on whether a track, bus, or output is selected. Note: If audio from a track is sent to a bus or output, and you remove the bus or output, the audio from the track will not be heard when you play the project. Level meters Peak indicator 284 Chapter 8 Basic Mixing in Soundtrack Pro Working with Effects in the Mixer You can add effects to a channel strip in the Mixer, show effects settings, turn effects on and off, replace an effect, and delete effects. You can also adjust effects settings in the Effects tab or in the effect’s advanced settings window. Adding Effects to a Channel Strip You can add effects, turn effects off and on, and reorder effects in a channel strip. Note: Before adding an effect to a track, it’s a good idea to solo the track so that you can hear how the effect changes its sound, separate from the other tracks in the project. To add an effect to a channel strip: m Control-click an empty effects slot in the channel strip, choose Add Effect from the shortcut menu, then choose one of the available effects from the categories in the submenu. Showing Channel Strip Effects Settings Once you add an effect, you can view and adjust its settings in the Effects tab. To show an effect’s settings in the Effects tab: m In the channel strip, Control-click the effect, then choose Show [effect name] Settings from the shortcut menu. The Effects tab becomes active, and shows the selected effect’s settings. Some effects have a floating advanced settings window with sliders and other controls you can use to adjust effect parameters. Chapter 8 Basic Mixing in Soundtrack Pro 285 To show advanced settings for an effect, do one of the following: m Double-click the effect name in the channel strip. m Control-click the effect, then choose Show [effect name] Advanced Settings from the shortcut menu. The effect’s advanced settings window appears. For information on working in the advanced settings window, see “Automating Realtime Effect Parameters” on page 351. Reordering Effects in the Mixer You can reorder effects in the Mixer as well as in the Effects tab. When you reorder effects, you change the order in which the audio is processed by each effect, which can change the sound drastically. To reorder an effect in the Mixer: m Drag the effect up or down in the effects slot area to change its order. Turning Effects Off and On You can turn off a channel strip’s effects. Turning off an effect lets you hear the channel strip without the effect, while preserving the current effects settings. To turn off an effect in a channel strip, do one of the following: m Deselect the checkbox to the left of the effect name. m Control-click the effect, then choose Disable [effect name] from the shortcut menu. To turn off all effects in a channel strip: m Control-click an effects slot, then choose Disable All Effects from the shortcut menu. To turn on an effect again, do one of the following: m Select the checkbox to the left of the effect name. m Control-click the effect, then choose Enable [effect name] from the shortcut menu. To turn on all effects in a channel strip: m Control-click an effects slot, then choose Enable All Effects from the shortcut menu. 286 Chapter 8 Basic Mixing in Soundtrack Pro Replacing an Effect You can replace an effect in a channel strip with another effect. When you replace an effect with another effect, the new effect has its own default settings, regardless of the settings of the previous effect. To replace an effect in a channel strip: m Control-click the effect, choose Replace [effect name] from the shortcut menu, then choose a new effect from the submenu. Deleting Effects from a Channel Strip You can delete an effect if you decide you don’t want to use it in a channel strip. You can also delete all effects from a channel strip. To delete an effect from a channel strip, do one of the following: m Select the effect, then choose Edit > Delete (or press the Delete key.) m Control-click the effect, then choose Delete [effect name] from the shortcut menu. To delete all effects from a channel strip: m Control-click an effects slot, then choose Delete All Effects from the shortcut menu. For more information about working with effects, including information on uses of different effects and adjusting effect parameters, see Chapter 11, “Working with Audio Effects,” on page 327. Working with Sends and Busses in the Mixer This section covers using sends in Mixer channel strips. For more general information about sends and busses, see “Using Sends and Busses” on page 270 and “Adding Sends to Tracks” on page 349. Adding Sends to a Channel Strip You can add sends to a channel strip, show send settings in the Effects tab, bypass a send, or remove a send in the Mixer. To add a send to a channel strip: m Control-click an empty effects slot in the channel strip, choose Add Send from the shortcut menu, then choose one of the available busses in the submenu. The new send is added. When you add a send, the audio is routed from the send to a bus. By default, the first send you add to an effects chain is routed to Bus 1, the second send is routed to Bus 2, and so on, if the default bus exists. You can choose the bus to which a send is routed. By default, new sends are pre-fader sends. You can change a send to a post-fader send. Chapter 8 Basic Mixing in Soundtrack Pro 287 To make a send a post-fader send: m Click the disclosure triangle for the send in the Effects tab, then select the On button next to Post-Fader. Reordering Sends in the Mixer You can reorder sends in the Mixer as well as in the Effects tab. When you reorder sends, you change which effects are routed to the send, which can change the sound drastically. To reorder a send in the Mixer: m Drag the send up or down in the effects slot area to change its order. Showing Send Settings You can show the settings for a send in the Effects tab. Send settings include volume, pan, and the bus to which the send is routed. To show settings for a send: m In the Mixer, Control-click the send, then choose Show Send Settings from the shortcut menu. The Effects tab becomes active, with the settings for the send visible in the Effect Parameters area. Turning Sends Off and On You can turn sends off, and turn them back on. When you turn off a send, the audio is not routed to the send bus, and is not heard. To turn off a send in a channel strip, do one of the following: m Deselect the checkbox to the left of the send name. m Control-click the send, then choose Disable Send from the shortcut menu. To turn on an effect again: m Select the checkbox to the left of the effect name. 288 Chapter 8 Basic Mixing in Soundtrack Pro Setting the Overall Project Volume Level As you finalize a project mix, you set the overall project volume to the appropriate level. Certain formats or methods of distribution may require that the project conform to a particular maximum level. In general, you set the overall volume of the project to the highest level at which no clipping occurs at any point in the project. Clipping occurs when the digital audio signal exceeds the maximum level that can be reproduced accurately. Unlike analog audio, digital audio is completely unforgiving of clipping, which creates sharp distortion of the audio signal. Soundtrack Pro projects clip whenever the output displayed in the level meters exceeds zero decibels (0 dB). It’s important to eliminate clipping from projects before exporting the final mix. For more information about digital distortion, see Appendix B, “Audio Fundamentals,” on page 463. You can monitor audio output levels using the level meters in the Mixer, the Meters tab, and in individual track headers. In the Mixer, each channel strip has level meters that show the levels for that channel strip. In the Meters tab, the level meters show the levels for all submixes assigned to physical output channels. For more information about setting up physical outputs, see “Setting the Audio Input and Output” on page 22. The Meters tab includes additional controls and displays to help you maintain proper audio levels and eliminate clipping. As a project plays back, the levels in each channel change constantly with the rising and falling of the audio signal. The level meters show these changes both as bars rising to varying heights and as changes in color from green to yellow. Level meters Reset button Peak Value and Location display 2-channel meter 6-channel meter Chapter 8 Basic Mixing in Soundtrack Pro 289 In each channel’s meter, a white horizontal bar displays the current signal level; bars below the white bar display successive levels in a scale that rises from green to yellow as the signal increases. The meters peak at red when the signal clips (rises above 0 dB). Note: The meters can be configured via Soundtrack Pro preferences to display either surround order (Ls, L, C, R, Rs, LFE) or output order (channels 1-n). To change this setting, choose Soundtrack Pro > Preferences > General. To change the channel order in the meter display: m Choose Soundtrack Pro > Preferences > Startup, then select the order using the Meters Channel Display pop-up menu. For more information about Soundtrack Pro preferences, see “Setting Soundtrack Pro Preferences” on page 97. Using the Peak Indicators in the Mixer Channel Strips At the top of the level meters in the Mixer channel strips is a rectangular peak indicator that lights red when that channel clips (exceeds 0 dB). The peak indicators are “sticky,” meaning that if clipping occurs in either channel, the peak indicator lights red and stays red until you reset it, or reset all peak indicators. To reset a peak indicator: m Click the peak indicator. To reset all peak indicators: m Option-click any peak indicator in any of the Mixer level meters. Using the Peaks Value and Location Display in the Meters Tab The Peaks Value and Location display in the Meters tab displays the highest (peak) value played in each output channel in decibels (dB) and its timecode. The Time column shows the location in the Timeline where the peak occurs. You can use the Peaks Value and Location display to quickly locate a section of your project that is clipping or peaking. To move the playhead to the highest (peak) value played in a channel: m Double-click any item in the Peaks Value and Location display. The playhead moves to the corresponding point in the Timeline. The Reset button located in the upper-right corner of the Meters tab display resets the Peaks Value and Location display to a minimum value (–96 dB) and resets the Time column to the beginning of the project. To reset the Peaks Value and Location display values: m Click the Reset button. 290 Chapter 8 Basic Mixing in Soundtrack Pro Using the Master Bus The Master bus represents the final mix from Soundtrack Pro—what will be heard from the physical output jacks. On a signal routing basis, the Master bus is practically a mirror image of the connected hardware output device. It is as wide as either the hardware device or the number of channels used in the project, whichever number is smaller. Master Bus Details The Master bus includes envelopes for volume, transposition, and tempo. By default, only the Volume envelope is visible. For more information, see “Master Bus” on page 364. The Master bus does not have panners or meters. You can apply effects to the Master bus, but you cannot automate those effects. Effects applied to the Master bus are placed across all channels. You can bypass effects on the Master bus. For more information about bypassing effects, see “Bypassing Realtime Effects” on page 349. Adjusting the Master Volume The steps you take to remove clipping depend on the cause of the clipping. You can lower the master volume of a project by the amount the highest point in the project (as shown in the Value display) exceeds 0 dB. You can also use the Go buttons to locate where clipping occurs and use a different audio clip or lower the volume of individual tracks until clipping no longer occurs. Sometimes adjusting the gain on effects can remove occurrences of clipping as well. Listening to a Temporary Mono Mix In some situations, even where the final mix is stereo, you may want to listen to the mix in mono as well as stereo. If the final project is likely to be viewed using equipment with mono audio output (for example, many television sets have mono output), you may want to make sure the mix is suitable for mono output. Listening to a mono mix can also help identify phase issues that can occur when a stereo project is played in mono. Soundtrack Pro makes it easy to listen to a temporary mono mix of the project so you can hear how it will sound in mono. Chapter 8 Basic Mixing in Soundtrack Pro 291 To listen to a temporary mono mix: 1 Start the project playing. 2 While the project plays, press and hold the Mono Mix button, located to the right of the Monitor volume slider below the Mixer. The Mono Mix button becomes darker to indicate that it is active. When you are finished listening to the temporary mono mix, release the button to hear the project mix. In addition to listening to a temporary mono mix by holding down the Mono Mix button, you can “latch” the Mono Mix button. This keeps the mono mix active until you click the button again or switch to a different project. To latch the Mono Mix button: m Option-click the Mono Mix button. Recording Audio in the Mixer You can record audio while working in the Mixer. When you record audio in the Mixer, recording starts from the current playhead position. Although the playhead is not visible in the Mixer, you can set the playhead position using the transport controls or the Playhead Location value slider located at the bottom of the Soundtrack Pro window. For more information about recording, see Chapter 13, “Recording Audio in Soundtrack Pro,” on page 367. Recording Automation in the Mixer You can record automation for volume and pan changes in the Mixer. You record automation in the Mixer by choosing either Touch or Latch automation mode in the project controls, then changing volume or pan settings as the project plays. You can record automation either using the onscreen volume and pan controls, or using a control surface connected to your computer. For more information about working with automation, see Chapter 12, “Working with Automation,” on page 355. Mono Mix button 292 Chapter 8 Basic Mixing in Soundtrack Pro Creating Multiple Mixes You might want to create multiple mixes of a project for one of the following reasons:  To optimize the project for different playback situations  To try out different settings of the various track and master controls using the same arrangement  To try out changes to the arrangement using the same basic material You can easily create multiple mixes by giving the project a slightly different name when you save each mix, or by using different combinations of tracks, busses, and submixes for each mix. If you are saving the project and its media files together, the different versions can be saved to the same location if they all use the same media files. For information about saving projects and their media files together, see “Saving Multitrack Projects” on page 111. Things to Keep in Mind While Mixing The following are intended as guidelines or suggestions to follow when mixing your projects, not as “hard-and-fast” instructions.  Consider the importance of each element in the overall mix.  Keep related tracks close together (in the Timeline and the Mixer).  Don’t create a final mix until the picture is locked.  Listen to the mix with the best possible equipment.  Also listen to the mix as the audience will hear it.  Don’t change output/monitor levels while mixing.  Mix by what you hear, not what you see. 9 293 9 Mixing Surround Sound Soundtrack Pro gives you the tools to create sophisticated surround mixes for your projects. Surround sound uses more than two speakers to expand the spatial experience of audio playback to three dimensions. Surround systems can be found in movie theaters, home entertainment systems, video games, and a growing number of other applications. Soundtrack Pro offers an easy-to-use approach to surround panning, mixing, and automation, including a high degree of flexibility with surround sources and the ability to easily switch between stereo and surround mixes. Soundtrack Pro also includes numerous surround sound effects and surround music beds, as well as a collection of professional surround-specific effect plug-ins for shaping your surround mix. What Is 5.1 Surround? The most common surround format is a six-channel system called 5.1 surround. This format is the standard surround configuration in major motion pictures, music, and digital television. The format consists of three speakers across the front and two speakers in the rear. The .1 is a sixth channel for low-frequency effects (LFE). A typical 5.1 surround layout features left and right speakers (from a traditional stereo system) plus a center speaker, a left surround (rear) speaker, a right surround (rear) speaker, and an LFE speaker, more commonly known as the subwoofer. There are other surround standards that range from three channels to seven channels and nonstandard surround formats that use as many as ten channels. 294 Chapter 9 Mixing Surround Sound Creating a Surround Project The following steps outline a general workflow used for editing and mixing surround sound files. Step 1: Acquiring the sound As with any audio track, the first step is finding and recording the sound that you want. Soundtrack Pro is flexible in terms of what kinds of files you can use in the surround mix. Input files can be mono, stereo, or surround. While Soundtrack Pro also includes numerous surround clips for music and sound effects, the production audio for most film and video projects is typically either mono or stereo files. Step 2: Editing and arranging a multitrack project The workflow for editing audio files and arranging them in the multitrack Timeline is very similar for stereo and surround projects. For more information, see Chapter 4, “Working with Multitrack Projects,” on page 105, Chapter 5, “Working in the Timeline,” on page 127, and Chapter 6, “Editing Audio Files,” on page 191. Step 3: Mixing surround Soundtrack Pro provides a flexible toolset for creating and adjusting a surround mix. For more information, see “Surround Mixing Strategies” on page 306. Step 4: Exporting and delivering surround projects Soundtrack Pro supports a variety of workflows and formats for delivering your final surround mix. These include separate audio files for each channel or single multichannel sound files for the entire mix. Setting Up for Surround In order to hear your surround project through a surround speaker system, you need to adjust settings in Soundtrack Pro and set up the related hardware. Setting Up Soundtrack Pro for Surround In Soundtrack Pro, the difference between mixing in stereo and mixing in surround hinges on three different elements: the panner type, the submix output, and the number of physical output channels. All three of these items must be configured correctly to achieve surround playback. If one of these three conditions is not met, playback will be in stereo. (For more information about stereo mixdown, see “Stereo Mixdown” on page 297.) Use the instructions that follow to start using the surround mixing tools in Soundtrack Pro. Chapter 9 Mixing Surround Sound 295 Using the Surround Panners You use the panning controls in the track headers to set the pan position of a track or a bus. By default, the panning controls are set to stereo. You can easily switch between stereo panners and surround panners. For surround playback, you must set the appropriate tracks or busses to use the surround panner. To switch the panning controls from stereo to surround, do one of the following: m Select a track or bus in the Timeline, then choose Multitrack > Use Surround Panner. m Select a channel strip in the Mixer, then choose Multitrack > Use Surround Panner. m Control-click the stereo pan slider in a track header, then choose Use Surround Panner from the shortcut menu. m Control-click the stereo pan slider in a Mixer channel strip, then choose Use Surround Panner from the shortcut menu. The surround panner replaces the stereo panner. Surround panners Stereo panners Control-click the stereo panner, then choose Use Surround Panner from the shortcut menu. 296 Chapter 9 Mixing Surround Sound As far as tracks and busses are concerned, switching between surround mode and stereo mode is that simple. At this point, you are mixing this particular track or bus in surround. Any surround panning adjustments and automation that you apply are saved with the current project. Important: To hear these changes through your speakers, make sure you also set the submix outputs to surround and connect the physical outputs. For more information, see the next two sections, “Setting the Submix Outputs to Surround” and “Connecting Physical Outputs.” Setting the Submix Outputs to Surround In Soundtrack Pro, you route the audio from tracks and busses to physical outputs using submixes. By default, all tracks are routed to Submix 1, and Submix 1 is routed to the Stereo 1, 2 outputs. You can easily change this hardware output setting using the Output pop-up menu. To switch the hardware output setting from stereo to surround: m Choose Surround from the Output pop-up menu in the track header, then choose 1-6 from the submenu. The menu displays 1-6, indicating that the audio is now routed to the physical output jacks 1 through 6. At this point, the signal is routed to those six outputs, whether or not the hardware to support those channels is connected. Important: To hear these surround signals through loudspeakers, you must also connect the physical outputs. For more information, see “Connecting Physical Outputs,” next. Chapter 9 Mixing Surround Sound 297 Connecting Physical Outputs To hear the six discrete channels of surround sound that Soundtrack Pro can provide, you need external audio hardware that supports multiple physical outputs. At a minimum, this would include a multichannel audio interface and a 5.1-channel surround sound speaker system (totaling six speakers). For more information about audio interfaces, see “Setting Up an Audio Interface” on page 485. To connect physical outputs for monitoring surround sound: 1 Connect the audio interface to your computer. For detailed information on connecting your audio interface to your computer, see the documentation that came with the audio interface. 2 Double-click Audio MIDI Setup in the Utilities folder, then choose the audio interface from the Default Output pop-up menu. For more information, see “Setting the Audio Input and Output” on page 22. 3 Connect your 5.1-channel surround sound speakers to the appropriate outputs of your audio interface. Soundtrack Pro uses the SMPTE/ITU standard for routing output channels. For detailed information on connecting external speakers to your audio interface, see the documentation that came with the speakers. Stereo Mixdown If you have set up a project for surround mixing, including surround panners and surround channel assignments, but you do not have sufficient output jacks for surround playback, Soundtrack Pro automatically provides a surround-to-stereo mixdown of what would otherwise be sent to jacks 1-6. This stereo mixdown follows the Dolby guidelines: the Ls and Rs channels are attenuated by 3 dB and mixed into the Left and Right channels. The Center channel is also attenuated by 3 dB and mixed evenly into the Left and Right channels. The LFE channel is discarded. Audio Interface Output Speaker 1 Left 2 Right 3 Center 4 LFE 5 Left Surround (Ls) 6 Right Surround (Rs) 298 Chapter 9 Mixing Surround Sound Surround Speaker Placement There are several ways you can arrange 5.1 surround speakers for playback. You can follow the International Telecommunications Union Operational Bulletin No. 775 or the “ITU Standard” for 5.1 surround sound. Here are the basic points of this recommendation:  Place all the speakers on the same plane. In other words, if you place some speakers on the floor and mount some on the ceiling, you will defeat the psychoacoustical benefit of having surround speakers in the first place.  With the center speaker directly in front, the Left and Right speakers should be positioned 30 degrees away from center at about a 60-degree angle aiming for a spot 3 to 6 inches behind the mixer’s (or listener’s) head. Note: This angle can be reduced to 45 degrees or extended out to 60 or even 90 degrees and still provide satisfactory results.  Place the surround (rear) speakers at about 110 degrees off center (to the sides and somewhat behind the listener). To ensure one cohesive soundfield, do not position these speakers too far to the rear. Ls Left surround speaker Place to the left and slightly behind your listening position. L Left speaker Place in front and to the left. C Center speaker Place on top of or below your viewing screen. R Right speaker Place in front and to the right. Rs Right surround speaker Place to the right and slightly behind your listening position. LFE (LFE) Subwoofer Can be placed anywhere. L R LFE C Ls Rs 80° 30° 30° 80° Chapter 9 Mixing Surround Sound 299 Note: It isn’t always possible to place the speakers where they’re supposed to go due to obstacles in the room (doors, furniture, and so on). You can overcome some bad speaker placement by calibrating your system with a sound pressure meter and a calibration DVD. This way, you can make sure each speaker is providing the appropriate volume. Using Surround Panners to Create a Surround Mix This section explains how to use the surround panners in Soundtrack Pro to create a surround mix. The surround panners provide a straightforward and flexible way to control and monitor panning settings. By changing the panner type in the track header, you can easily switch any track or bus from stereo to surround, or from surround to stereo. Soundtrack Pro offers two different versions of the surround panner: the mini surround panner and the surround panner HUD. The Mini Surround Panner Use the mini surround panner to switch between stereo and surround mixing, to make simple surround adjustments, and to quickly check the pan setting for a track or a bus. To switch the panning controls from stereo to surround, do one of the following: m Select the track or bus, then choose Multitrack > Use Surround Panner. m Control-click the stereo pan slider in the track header, then choose Use Surround Panner from the shortcut menu. The surround panner replaces the stereo panner. This is the smaller of two different views of the surround panner. To use the larger Surround Panner HUD, see “The Surround Panner HUD,” next. 300 Chapter 9 Mixing Surround Sound The Surround Panner HUD The Surround Panner HUD offers finer panning adjustments, a graphic representation of the current surround setting for the selected track, and other surround controls. To display the surround panner HUD, do one of the following: m Double-click the surround panner in the track header of the track or bus you want to adjust. m Double-click the surround panner in the Mixer channel strip of the track or bus you want to adjust. The surround panner HUD appears in a floating window over the Soundtrack Pro window. The dominant feature of the Surround Panner HUD is the black circle that represents the virtual surround space. The puck, a dot inside the circle, is the primary surround pan control. Input channels are represented by color-coded, semi-circular, translucent arcs emanating from the inside of the circle’s circumference. These arcs indicate the input channel’s gain (by the height of the arc), the channel’s spread (by the width of the arc), and location. Overlapping sounds are represented by overlapping arcs, summing (combining) to white where all channels overlap. The surround pan controls include the following:  Position: The puck is the main control in the panner. To pan the audio, move the puck by clicking anywhere inside the black circle or by dragging the puck to a different position in the circle. The speaker icons around the edge of the circle represent the five main surround channels: L (left), C (center), R (right), Ls (left surround), and Rs (right surround). The closer you move the puck to one of the speaker icons, the louder the sound will be from that speaker. For more information about moving the puck to adjust the position parameter, see “Modifier Keys for Moving the Puck” on page 303. Rotation slider Puck (pan position) Width slider Collapse slider Center bias slider LFE balance slider Chapter 9 Mixing Surround Sound 301 Note: In automation envelopes, this Position parameter is expressed as Surround Pan X and Surround Pan Y.  Rotation: Use this slider to alter the angle at which each signal starts out. This slider ranges from -180 degrees to 180 degrees and affects the input signal. For example, with no other panning, the right channel emanates from a location 45 degrees to the right. With rotation at +65 degrees, the signal appears at 110 degrees—directly out of the right surround speaker. Note: This setting interacts with the position parameter when the panner mode is not fully attenuating.  Width: Use the Width slider to create a widened surround image. This slider is intended primarily for stereo sources in that it spreads the left and right inputs into adjacent channels. This creates the illusion of a widened sound stage without the hole at the center that moving the puck rearward would create. For some movie theaters, it may be necessary to use the Width slider to bleed the center signal in to the left and right speakers. At 0%, all inputs go to their respective outputs. As you drag the Width slider to the right, L and R inputs start to bleed into Ls and Rs respectively, and to a lesser extent, L and R bleed into C, C bleeds slightly into L and R, and Ls and Rs start to merge. ... to alter the angle from which each signal starts. Drag the Rotation slider... 302 Chapter 9 Mixing Surround Sound  Collapse: Typically, panners are either of a collapsing style (panning folds input signals into output speakers) or an attenuating style (panning simply turns down the gain of speakers further from the pan location). The Collapse slider goes from a fully attenuating style, through a hybrid style, to a fully collapsing style. At full attenuate (0% on the slider), no input bleeds to any other output; each channel remains at its original speaker position. The only change is to output gain. At full collapse (100% on the slider), no input gain is changed—instead, inputs have their output divided over adjacent channels. At 50%, a given input channel panned away has its input attenuated by 50% and distributed between the two adjacent channels.  Center Bias: Use this slider to determine how the center channel interacts with the left and right channels. At 0%, all sound that would have gone to the center speaker is equally distributed to the left and right speaker. At 100%, the center is used fully, just like any other speaker. This means that if you move the puck directly in front of the center speaker, all sound emanates exclusively from that speaker. If you move the puck halfway between the center channel and an adjacent channel (yet still on the perimeter of the black circle), the sound is equally and exclusively divided between those two speakers.  LFE Balance: Use this slider to balance control between LFE and the other five channels. At -100, nothing is output from the LFE speaker, even if there was LFE input, and all other channels pass through at unity gain. At its midpoint (0), all six channels passes through at unity gain to their respective speakers, meaning that LFE input passes directly to LFE output. At +100, all six signals get summed to the LFE speaker. Collapse at 0 Collapse at 50 Collapse at 95 Chapter 9 Mixing Surround Sound 303  Speaker Disable: Click a speaker icon once to disable or enable it. If you disable a speaker, its output goes to adjacent speakers. Each speaker supports a single-click on/off for that speaker’s output. Surround Panner Automation Automating surround pan settings is very similar to automating stereo pan settings: a track or bus set to use the surround panner has at least seven different panning envelopes, and a stereo track or bus has only one pan envelope. Automation for the Position parameter (the puck) is reflected in two envelopes: Surround Pan X and Surround Pan Y. These are Cartesian X & Y values referring to the puck position within the black panning circle. All other surround panning parameters are expressed with one envelope each, except for Collapse and Speaker Disable, which cannot be automated. For more information about automation, see Chapter 12, “Working with Automation,” on page 355. Modifier Keys for Moving the Puck Hold down any of the following keys as you move the puck to constrain its movement. These modifier keys offer finer control as you make adjustments to the position parameter.  Shift: Fine adjustment  Option-click: Reset control  Option-drag: Straight movement, restricted to diversity, constant angle  Command: Circular movement, restricted to angle, constant diversity  Command-Option-drag: Restricted to either X or Y movement Click a speaker to disable or enable it. A dim gray color indicates the speaker is off. 304 Chapter 9 Mixing Surround Sound Surround Metering Soundtrack Pro provides a variety of level meters to monitor output levels as you make surround panning adjustments. Surround Panner HUD Meters The Surround Panner HUD includes level meters that show volume information from the specific track or bus that you are panning. These meters can be hidden or displayed by using the disclosure triangle. Track-specific meters are a useful reference given the possible psychoacoustical “illusions” in surround mixing, such as the phantom center. Meters Tab The Meters tab displays levels for the current multitrack project. The channels displayed in the Meters tab and in the Mixer meters (described in “Mixer Meters” on page 305) depend on the audio interface connected to your computer, the current panner settings, and the current output settings in System Preferences. Chapter 9 Mixing Surround Sound 305 For more information about output settings, see “Connecting Physical Outputs” on page 297. Mixer Meters Each channel strip in the Mixer includes a levels meter capable of displaying up to all six channels. The Mixer is the only place you can view the levels for each track, bus, and submix as well as the Master bus. Level meters Reset button Peak Value and Location display 2-channel meter 6-channel meter 6-channel meter 306 Chapter 9 Mixing Surround Sound Surround Mixing Strategies This section includes guidelines and tips for mixing surround projects. Mixing Surround Files The basic steps in mixing are almost the same for stereo and surround projects:  Balancing relative volume levels between tracks  Panning tracks to create a balanced stereo spread  Adding EQ, compression, and other final processing effects  Setting the project’s final volume and eliminating clipping  Creating a sense of perspective by placing sounds in space While the creating a sense of perspective step is also a part of stereo mixing, it is what really sets surround apart from stereo. When mixing, you can enhance the video action by dynamically moving the sounds within the surround field. To give your listeners a “surrounding” audio experience, your sound must be created with that goal in mind. For example, if you want the sound of an explosion coming from behind the listener, you need to put the sound in the rear channels during mixing. Surround mixing adds not only two rear channels, but also includes the subwoofer or LFE channel, which would probably play a part in any onscreen explosion. You’ll have to spend some time planning what elements go where and how much boom you want in your soundtrack. The following are some common approaches to multichannel sound:  Use the surround channels for effects only. Create a stereo mix, then add “sweetening” sound effects in the surround channels. Sound effects and Foley recordings can be placed in stereo space or specifically located where they occur onscreen or offscreen.  Create special sounds for the rear and low-frequency channels (the rumble of an earthquake, the pounding of drums, an airplane buzzing overhead, and so on) and add them to a standard stereo mix. (To create sound for the LFE channel, you can extract low frequencies from the rest of your sound using band-pass filters.)  Position instruments, effects, and voices anywhere in the sound field. Chapter 9 Mixing Surround Sound 307 Converting a Stereo Mix to 5.1 Surround Many post-production projects require both a stereo mix and a surround mix. This section reviews some best practices for converting projects from stereo to surround. You can reverse the steps below to convert a project from surround to stereo. Important: When you switch between stereo and surround panners, panning automation (envelope) settings are not automatically copied over to the new panning mode. Volume information is automatically copied over between stereo and surround panners. The recommended workflow for making a surround version of a stereo mix is to maintain at least two separate versions of the project: a stereo version and a surround version. To create a separate copy of your stereo mix for surround mixing: 1 Choose File > Save As in your stereo project to save a separate copy. In the dialog that appears, indicate in the filename that this is the surround version. (For example, “My Great Mix_surround.”) 2 Use this copy of the project to make all the necessary surround panning adjustments. 308 Chapter 9 Mixing Surround Sound In particular, you Control-click the stereo panner in the track header (or Mixer channel strip) of each appropriate track or bus and choose Use Surround Panner from the shortcut menu. Π Tip: To save time, you can select or group all tracks or busses in the Tracks tab. When you change the panning settings of one of the tracks or busses, the panning settings on all the grouped items change as well. 3 If you previously applied any left-right panning to any tracks or busses in the stereo version of the project, do the following: a Select the tracks or busses. b Control-click the panner in the track header, then choose Replace Surround L/R with Stereo L/R from the shortcut menu. Any panning automation (envelope) information is copied from the stereo left-right pan to the surround left-right pan (specifically, to the Surround Pan X parameter) in the selected tracks and busses. These settings can be used to provide a starting point for your surround mix. Note: If you are converting a surround project to a stereo project, you can choose Replace Stereo L/R with Surround L/R from the shortcut menu to do the reverse of Step 3. Set all panners to surround panners. Chapter 9 Mixing Surround Sound 309 Placing Dialogue and Voiceover in a Surround Mix In a surround mix, dialogue usually goes directly into the center channel. This is particularly true for voiceover narration, which is best left out of the left and right channels. (This is called stereo plus center.) Soundtrack Pro allows you to place sounds exclusively in a specific channel or just outside that channel, which would allow some of the sound to leak into the other speakers. As you get more comfortable with surround mixing, you may want to experiment with alternative placements to further reinforce the voices that you place within your mix. To place dialogue and narration in the center channel: 1 If you haven’t already done so, Control-click the stereo pan slider in the track header of the dialogue track (or bus), then choose Use Surround Panner from the shortcut menu. 2 Double-click the surround panner. The Surround Panner HUD appears. 3 Drag the puck to the center speaker icon. Depending on the current Collapse slider setting, the arc at the center speaker icon either turns white to indicate exclusive output or is elongated to indicate the increased gain. Note: You can hold down the Option key as you drag the puck to constrain its movement to a straight line. 310 Chapter 9 Mixing Surround Sound Placing Stereo Music in a Surround Mix The simplest option for stereo music in a surround project is to just leave it in stereo. If you just use the stereo panner for a music track, the left and right signals remain in their respective channels. However, some surround mixes include a hint of music in the rear channels as well. With the Surround Panner HUD, you can place the right music channel somewhere between the right front and right rear position, with more emphasis on the front speaker. Do the same with the left side and listen to the mix. Make adjustments as needed. Using the Center Channel In a multichannel system, there are three ways to achieve a centrally placed sound image:  Create a “phantom center” (mix sound to the left and right equally, as with stereo). This is a common strategy, but it assumes the listener is seated exactly between the speakers. The timbre of sound is not the same as from a direct speaker because of cross-cancelation effects.  Use the center channel alone. This creates a stable center image for listeners in any location. (To prevent the audio from sounding too focused or narrow, its reverb can be spread to the left and right channels.)  Use all three front channels equally or in various proportions. This method allows for greater control of the range of spatial depth and width. The phantom center can be reinforced by additional signals in the center channel, which can be enhanced by signal spread into the left/right pair. The disadvantage is that sound from all three speakers may not blend well or may not arrive at the listener at the same time, causing side effects such as comb filtering, shifts in tone color, or smearing. To counteract these side effects, you can first process the additional signals to change their spatial character, timbre, or prominence relative to the main center signal. Using Surround Channels Subtle surround effects can greatly enhance the listener’s sense of depth compared to conventional stereo. Popular music often benefits from creative use of surround. But don’t overdo it. The film industry guideline for visual effects applies equally well to surround effects—don’t let effects distract the listeners from the story. Chapter 9 Mixing Surround Sound 311 Using Surround Effect Plug-ins Soundtrack Pro includes a collection of professional surround-specific effect plug-ins for shaping your surround mix, including Surround Compressor, Delay Designer, Space Designer, and Multichannel Gain. For a complete list of these true surround effects and a full description of each, see the Soundtrack Pro Effects Reference document, available in the Help menu. For information about using processing and realtime effect plug-ins, see Chapter 11, “Working with Audio Effects,” on page 327. Limitations of the LFE Channel Use the LFE (Low Frequency Effects) channel to enhance the low frequencies of a film or video so you get the extra boom out of an explosion, thump in a car crash, and so on in dramatic scenes involving plenty of low frequencies. The low frequency effects (LFE) channel is a separate signal with a limited frequency range (about 25 Hz to 120 Hz). It is created by the mixing engineer and delivered alongside the main channels in the mix. In soundtracks comprised entirely of music, the LFE channel is not necessary. (An exception to this rule might be the famous cannon shots in Tchaikovsky’s “1812 Overture.”) The LFE signal is also discarded in the downmix process, so that intense bass signals do not stress small stereo systems. Be sure not to include vital information (such as dialogue) in the LFE channel that would be missed in mono or stereo playback. Because LFE is separate from other channels, its ability to blend with higher frequencies can be affected by filters used to generate the LFE signal. To ensure a cohesive audio signal, keep the entire signal together in the main channel or channels. Note: If you are creating Dolby Digital Professional (AC3) output, avoid creating an LFE channel for material originally produced without one. Dolby Digital Professional’s five main channels are all full-range, and the LFE channel does not increase the frequency response. Dolby Digital Professional decoders offer bass management, directing low frequencies to a subwoofer or other suitable speakers. An LFE track may interfere with bass management. For more information about Dolby Digital Professional, see “Frequently Asked Questions about Dolby Digital Professional,” available at the Dolby Laboratories Inc. website: http://www.dolby.com. 312 Chapter 9 Mixing Surround Sound Accommodating Stereo Playback Even with the popularity of 5.1 systems, you should always address stereo reproduction. There are three basic ways to do this:  Prepare a new stereo mix from the original multitrack elements (using conventional stereo-mixing sessions).  Prepare a studio-adjusted downmix from the multichannel mix. This method takes advantage of the work that has gone into mixing the 5.1 version. It retains flexibility in the exact proportions of each channel represented in the final stereo mix.  Let the decoder derive a stereo downmix, based on preset formulas in the decoder. Downmix options and dynamic range control effects can be previewed and adjusted in the production studio, and a range of adjustments is possible. Π Tip: Always check the mix on an inexpensive surround system to evaluate how well it sounds on modest playback systems. Exporting and Delivering 5.1 Surround Projects Delivery of your finished surround mix can take many forms. Different clients have different file format requirements. In general terms, your options include two broad categories: mixdowns and project files. Mixdowns In this scenario, you would export one of the following:  Six audio files, one for each of the six surround output channels  An interleaved multichannel audio file containing all six surround output channels  A single flat mixdown file either as an exported file or one sent to Final Cut Pro or Motion Soundtrack Pro supports the following file formats for six-channel audio export (either as a set of mono files, or as an interleaved multichannel file):  AIFF  WAVE  NeXT  Sound Designer II You can also encode your surround mix directly to the Dolby Digital Professional (AC3 ) format, which is a very common compressed audio format for DVD-Video discs. For more information about exporting projects, see Chapter 16, “Exporting Multitrack Projects,” on page 395. Chapter 9 Mixing Surround Sound 313 Project Files You can also deliver either an exported AAF file or a copy of the Soundtrack Pro project file.  AAF: Like the Final Cut Pro XML Interchange Format, Advanced Authoring Format (AAF) is an industry-standard project interchange format that contains the editing decisions of nonlinear editing projects.  Soundtrack Pro project file: For the greatest flexibility, you could deliver the entire project file with its associated media. This would allow for further adjustments in Soundtrack Pro, as needed. For information on saving projects, see “Saving Multitrack Projects” on page 111 and “Distributing a Multitrack Project and Its Media Files Together” on page 419. 10 315 10 Working with Video in Soundtrack Pro You can import a video into a multitrack or audio file project, view the video as you work on your project, edit the video’s audio, and use markers to synchronize audio and video. When you import a video, the video appears in the Video tab. When you import a video into a multitrack project, a video clip also appears in a video track in the Timeline. The video’s audio appears as a clip in an audio track in the Timeline and can be moved and edited like other audio clips. You can mute, solo, and adjust the volume and pan of the video’s audio, add effects, and automate changes. You can also open the video’s audio in the File Editor and perform actions or analysis on it. When you import a video, you can set the Time Ruler units to match the timecode format of the video. Any Final Cut Pro markers contained in the video appear as markers in the Soundtrack Pro Timeline. You can also add markers in Soundtrack Pro and export them to Final Cut Pro with the video file. You can score markers to the playhead, using them to synchronize your soundtrack to the action in the video. You can work with video in Soundtrack Pro in several ways. You can add audio clips for dialogue and voiceover, music, ambience, and sound effects to the Timeline. You can make exchange files between Final Cut Pro and Soundtrack Pro as you work on both the video and the soundtrack, or bring the final video into Soundtrack Pro to finalize the project. When your soundtrack is complete, you can export it as an AIFF file or save it as part of the video. Supported Video File Formats Soundtrack Pro supports standard QuickTime-compatible file formats. You can import a QuickTime movie (.mov) video file into a Soundtrack Pro project and can import an MPEG-2 (.m2v) if you have installed the QuickTime MPEG-2 Playback Component. Video files using NTSC, PAL, HD, and other formats supported by QuickTime can be imported into Soundtrack Pro. Imported video files can be up to four hours in length. 316 Chapter 10 Working with Video in Soundtrack Pro Adding a Video to a Project You can import a video file by dragging the file from a media tab or from the Finder. You can import only one video file into a project. To import a video file into a project, do one of the following: m Drag the video file from a media tab or the Finder to the Video tab. m Drag the video file from a media tab or the Finder to the video track in the Timeline. The video is displayed in the Video tab in its correct aspect ratio, and a video clip appears in the video track (the top track in the Timeline), letting you see the duration of the video in the project. The video clip starts at the beginning of the project and cannot be moved to another point in time. Any Final Cut Pro scoring markers included in the video file appear in the Timeline with an orange handle. If the video contains audio, new audio tracks are added below the video track for each audio track in the movie, and the video’s audio tracks appear as audio clips in the new tracks. You can move, resize, and edit these audio clips like any audio clip in the Timeline, and can use the track controls to control volume and pan, mute or solo the track, and add effects or automation. When you add a QuickTime movie containing video or a Broadcast Wave (BWF) file to the File Editor, the Time ruler shows the file’s timecode format if the Time Ruler Units menu item is set to either Frame or Non-drop Frame. Drag a video file to the Video tab to import it into the project. The video’s audio appears in a new audio track. A video clip appears on the video track. The video appears in the Video tab. Chapter 10 Working with Video in Soundtrack Pro 317 Playing the Video When you play the project, the video plays in the Video tab in time with the audio in your project. You can also control playback using keyboard shortcuts. To view the video, you can make the Video tab active or detach it and move it to another location onscreen. You can also view the video using an external video output device. Controlling Video Playback Using Keyboard Shortcuts There are a number of keyboard shortcuts you can use to control playback of the video in the Video tab. To use keyboard shortcuts, the pointer cannot be in a text field.  Space bar: Plays the video from the current playhead position. This is equivalent to clicking the Play button.  Return: Sets the playhead to the beginning of the video. If the cycle region is active, pressing Return sets the playhead to the beginning of the cycle region. This is equivalent to clicking the Go to Beginning button in the transport controls.  Option-Left Arrow: Moves the playhead back (closer to the beginning) one video frame. This is equivalent to clicking the Previous Frame button.  Option-Right Arrow: Moves the playhead forward (closer to the end) one video frame. This is equivalent to clicking the Previous Frame button.  J, K, and L keys: You can use the keyboard commands (the J, K, and L keys) to speed playback up to eight times normal speed. For complete information on using these keys see “Using the J, K, and L Keys for Shuttling” on page 130. For a complete list of Soundtrack Pro keyboard shortcuts, see Appendix A, “Soundtrack Pro Keyboard Shortcuts,” on page 449. 318 Chapter 10 Working with Video in Soundtrack Pro Resizing the Video Tab You can detach the Video tab and resize it (to any size, up to filling your entire screen). To resize the Video tab: 1 Detach (undock) the Video tab by clicking the tab at the top of the video frame and dragging it from its pane. 2 Drag the resize control at the lower-right corner of the Video tab until the tab is the size you want. Using Video Output Devices You can connect an external video output device to your computer and play your project through the video output device. This can be especially useful in cases where you are using Soundtrack Pro as the final step in producing the overall project, or when you want to show the current version of the project to a client or other party while working on the project in Soundtrack Pro. When you use an external video output device, the quality of the output is as high as the device can support. If you connect an output device capable of broadcast-quality output, the video is displayed with more accurate colors than on a computer display, with true interlacing, correct pixel sizes, the correct aspect ratio, and broadcast-quality refresh rates. Some broadcast-quality video output devices receive both the video and audio from a project. When you use a video output device that supports both video and audio output, Soundtrack Pro automatically routes your audio output to this device to provide the best possible synchronization of the audio and video. Use the window’s resize control to make the video larger. Chapter 10 Working with Video in Soundtrack Pro 319 You can also play a project’s video externally using Digital Cinema Desktop. Using Digital Cinema Desktop, you can connect an Apple Cinema Display to your computer and play the video full-screen through the Cinema Display while using another monitor for editing. To play the video through a video output device, you must configure Soundtrack Pro to use the device in Soundtrack Pro Video Out Preferences. To configure Soundtrack Pro for a video output device: 1 Choose Soundtrack Pro > Preferences, then click the Video Out button. 2 In the Video Out pane, choose the device you want to use from the Video Output Device pop-up menu. The menu lists only devices that are connected to your computer. 3 Optionally, select the Use Quarter-size Frames checkbox to reduce the frames sent to the video output device. Sending quarter-size frames can result in better performance, especially for devices using FireWire DV output. 4 Click the Close button at the upper-left corner of the Preferences window to close the window. You can switch the output to the video output device on or off when the project is not playing. The video appears in the Video tab whether output to the video output device is switched on or off. To switch off output to an external video output device: m Choose View > Show > Show External Video. If you have added the Video Out button to the Toolbar, you can also click the button to switch off the device. To switch on output to an external video output device: m Choose View > Show > Show External Video. If you have added the Video Out button to the Toolbar, you can also click the button to switch on output to the device. A video output device can only be controlled by one application at a time. If you hide Soundtrack Pro or bring another application to the foreground while playing video through a video output device, Soundtrack Pro maintains control of the output device and continues playing. If you hide Soundtrack Pro or bring another application to the foreground when video is not playing through a video output device, Soundtrack Pro releases control of the output device. 320 Chapter 10 Working with Video in Soundtrack Pro Viewing Video Details You can view details of a video file, including the video file’s name, dimensions, length, frame rate, and other information. You can view details of a video file that has been added to a project or of a video file in a media tab. To view details of a video file: 1 If the Details tab is not visible, click Details to make it active. 2 Select a video file in a media tab, or select the video clip in the Timeline. The video file’s information appears in the Details tab. Chapter 10 Working with Video in Soundtrack Pro 321 Working with a Video’s Audio You can edit the audio clip of the video’s audio as with any audio clip in the project. You can move and resize the video’s audio, split and join it, or open it in the File Editor for processing or analysis. You can also change the name or icon of the track containing the video’s audio and use the controls in the track header to adjust volume and pan, mute or solo the track, change the time format, or enable the track for recording. If you remove the video from the project, the audio clip of the video’s audio is not deleted, but remains in the project. You can delete the clip separately if you want to remove it. Using the Time Display and Time Ruler with Video When you import a video file into a Soundtrack Pro project, the Time display and Time ruler adjust to show the timecode format of the video. The Time display and Time ruler can display time in seconds, frames, drop frames, or non-drop frames. You can choose the format for timecode display, and can set the video frame rate for projects not containing a video file. You can also set the default frame rate for new projects in the Project Preferences pane. To choose the units shown in the Time display and Time ruler: m Choose View > Time Ruler Units, then choose a time format from the submenu. You can adjust the The video’s audio track video’s audio using the controls in the track’s header. 322 Chapter 10 Working with Video in Soundtrack Pro To choose the video frame rate for projects not containing a video file: 1 Choose View > Time Ruler Units > Set Video Frame Rate. 2 In the dialog that appears, choose a frame rate from the Frame Rate pop-up menu. For more information on the Time ruler, see “Using the Time Ruler” on page 133. Scrubbing and Spotting with the Multipoint Video HUD The Multipoint Video HUD provides context when you are positioning audio clips and making selections in a video-based project. The window intelligently tracks the movements of your pointer as you work in the Timeline and the File Editor, and it shows multiple frames of video, each labeled with its timecode. The Time ruler units adjust to the video’s format. The Time display adjusts to the video’s timecode. Chapter 10 Working with Video in Soundtrack Pro 323 Opening and Closing the Multipoint Video HUD Use the following methods for opening and closing the Multipoint Video HUD. To open the Multipoint Video HUD: m Choose Window > HUDs > Multipoint Video (or press V). To close the Multipoint Video HUD, do one of the following: m Choose Window > HUDs > Multipoint Video (or press V). m Click the close box in the HUD. Working with the Multipoint Video HUD The following sections describe some examples of situations in which the Multipoint Video HUD can provide useful context for your sound editing tasks on a video project. Making a Selection in the Timeline or in the File Editor When you make a selection of multiple clips or a Timeslice selection, the Multipoint Video HUD displays the video frame at the start of the selection and the video frame at the end of the selection. Dragging a Clip into the Multitrack Timeline When you drag a new clip into the Timeline, the Multipoint Video HUD displays the video frame at the start of the clip and the video frame at the end of the clip. Π Tip: You can also press the V key while dragging a clip to show the Multipoint Video HUD just until you release the clip. Once you release the clip, the Multipoint Video HUD closes automatically. 324 Chapter 10 Working with Video in Soundtrack Pro Dragging a Clip Around the Multitrack Timeline When you drag an existing clip around in the Timeline, the Multipoint Video HUD displays the video frame at the start of the clip on the left, the video frame at the end of the clip on the right, and the video frame at the current pointer position in the middle. In the case of dragging multiple clips, the first frame of video would be from the leading edge of the earliest clip in time and the last frame of video would be for the trailing edge of the last clip in time. For example, if you wanted to synchronize a gunshot sound with the frame in the video when the flash from the gun is visible, you would do the following: 1 Click on the gun shot sound effect at the point where the large transient can be seen in the waveform. 2 Drag the clip in the Timeline. Press V while dragging the clip. 3 Drag the clip until you see the flash in the center frame. Resizing a Clip in the Multitrack Timeline When you resize a clip in the Timeline, the Multipoint Video HUD displays the video frame at the start of the clip and the video frame at the end of the clip. As you resize one edge of the clip, that frame updates. Nudging a Clip in the Multitrack Timeline When you use the nudge keys to nudge a clip, the Multipoint Video HUD displays the video frame at the start of the clip and the video frame at the end of the clip. Horizontally Moving an Envelope Point in the Timeline and File Editor Project View When you move an envelope point horizontally, the Multipoint Video HUD displays the video frame at the current envelope point position. If you select multiple envelope points, two or three frames are shown: one for the first envelope point, one for the last envelope point, and one for the envelope point you are dragging, if it is not the first or last point. Time Stretching in the File Editor When you use the Time Audio Stretching tool, the Multipoint Video HUD displays a single frame of video that follows the pointer location. Chapter 10 Working with Video in Soundtrack Pro 325 Dragging the Cycle Region When you modify either end of the Cycle Region, the Multipoint Video HUD displays the video frame at the start of the Cycle Region and the video frame at the end of the cycle region. You can quickly remove the Cycle Region at any time by pressing Option-X. Dragging Markers When you drag a single marker, the Multipoint Video HUD displays the video frame at the marker position. When you drag two markers, the Multipoint Video HUD displays the video frames at both marker positions. When you drag three or more markers, the Multipoint Video HUD displays three video frames: the first marker, the marker being dragged, and the last marker. Removing a Video from a Project You can remove a video if you decide you no longer want to use it in the project. To remove a video clip from a project, do one of the following: m Select the video clip in the Timeline, then choose Edit > Delete (or press the Delete key). m Control-click the video clip, then choose Remove Video from the shortcut menu. When you remove the video from a project, the audio clip of the video’s audio is not deleted, but remains in the project. You can delete the clip separately if you want to remove it. For information about using Soundtrack Pro with Final Cut Pro, including transferring a project back and forth between Soundtrack Pro and Final Cut Pro, see Chapter 17, “Using Soundtrack Pro with Other Applications,” on page 421. 11 327 11 Working with Audio Effects You can modify the sound of your project in many ways using audio effects. Soundtrack Pro includes a complete set of professional-quality audio effects you can use in your projects. You can use audio effects to add both subtle and dramatic changes to audio clips in a multitrack project or to an audio file project. Soundtrack Pro includes effects for equalization, compression, reverb, and other effects you can use to clean up audio, perform sound design, and enhance the sound of your audio. You can also use third-party Audio Units effects plug-ins in both multitrack and audio file projects. Processing Effects and Realtime Effects Soundtrack Pro gives you two ways to use audio effects in your projects: processing effects and realtime effects. Audio effects can be applied as processing effects to entire audio clips, or regions of audio clips, resulting in nondestructive actions that can be adjusted at any time. Audio effects can also be applied as realtime effects to tracks, submixes, and busses as real-time effects, enabling parameters of the effects to be automated so that they change over time. 328 Chapter 11 Working with Audio Effects Applying Processing Effects You can apply processing effects to clips and regions of clips in the multitrack Timeline and well as to audio file projects (or regions thereof) in the File Editor. The Process menu includes an Effects submenu where you choose processing effects to add to your project. Processing effects are added as actions, which you can turn on or off, reorder, and adjust in the Actions list. To apply a processing effect to a clip in the Timeline: 1 In the Timeline, select one or more clips, or portions of one or more clips. For more information about selecting clips, see “Selecting Audio Clips in the Timeline” on page 147 and “Editing with the Timeslice Tool” on page 174. 2 Choose Process > Effects and select one of the effects from the submenu. The effect’s advanced settings window appears. 3 Make adjustments in the advanced settings window. You can adjust the effect’s parameters by moving the controls in the window. Each advanced settings window may have unique controls in addition to sliders, buttons, and value fields. For detailed information on adjusting the parameters of specific effects, see the Soundtrack Pro Effects Reference document, available in the Help menu. Advanced settings windows can contain different kinds of controls. Toggle Effect Bypass button Apply button Show Presets button Preview volume slider Play button Reset button Chapter 11 Working with Audio Effects 329 4 Optionally, do any of the following:  Click the Play button to hear the effect and your adjustments to it.  Click the Reset button to reset the parameters to their default values.  Click the Toggle Effect Bypass button to hear the audio without the effect.  Click the Show Presets button to display the available presets. For more information about presets, see “Working with Effect Presets” on page 330. 5 Click Apply. A corresponding action appears in the Actions tab for the clip. For more information about working with processing effects, see “Processing Audio Files” on page 219. For information on working with actions, see “Working with Actions” on page 230. Applying Realtime Effects You can add realtime effects to entire tracks, busses, and submixes in a multitrack project or to an entire audio file project. You can automate realtime effects parameters to create changes over time. Realtime effects modify the audio as it passes through them, so you hear any changes you make, or any new audio you add, through the sound of the effect. Each realtime effect has effect parameters you can adjust to control how the effect modifies the audio. You can create effects chains on a track, bus, submix, or audio file using realtime effects. An effects chain is a series of effects that modify the audio in a set order. Using busses in the Timeline and Mixer, you can create submixes, and apply the effect to all the tracks in a submix with one set of controls. For information on working with realtime effects in both multitrack and audio file projects, see “Working with Realtime Effects” on page 343. Note: This chapter describes the various categories of effects included with Soundtrack Pro. For complete information on the details of each realtime effect, see the Soundtrack Pro Effects Reference document, available in the Help menu. Rendering Realtime Effects to Actions You can also convert any realtime effect that you have applied in the File Editor project view to an action in the Actions list, which enables you to turn these effects on or off, reorder them in the list, and save them with the audio file project. For information about rendering realtime effects to actions, see “Rendering Realtime Effects to Actions” on page 243. 330 Chapter 11 Working with Audio Effects Working with Effect Presets Many effects come with several combined parameter settings called presets. Presets are a handy way to get up and running with Soundtrack Pro effects without having to learn a lot of details about their various parameters. For example, the MatrixReverb effect (in the Mac OS category) has presets for various sizes of room, hall, and chamber settings, as well as Plate reverb and Cathedral settings. If an effect has presets, the presets appear in a Factory Presets pop-up menu in the list of effect parameters. You can show an effect’s presets, add and delete presets, apply a preset, adjust preset parameters, and create your own presets. To show effect presets from the advanced settings window: m Click the Show Presets button in the advanced settings window. The Presets drawer appears at the bottom of the advanced settings window. To add a preset: 1 Click the Add Preset (+) button. A blank, untitled preset appears in the User Preset list. 2 Click the name “Untitled” and type a name for the preset. To apply an effect preset: 1 Select the preset you want to apply from either the Factory Preset or User Preset list in the Presets drawer. 2 Click the Load Preset button. To adjust effect preset parameters: m Adjust the controls in the advanced settings window for the preset. To delete a preset: 1 Select the preset in the Presets drawer. 2 Click the Delete Preset (–) button. Chapter 11 Working with Audio Effects 331 To hide the Presets drawer: m Click the Hide Presets button in the advanced settings window. To apply a preset to an effect from the Effects tab: m In the Effect Parameters area, choose the preset from the Presets pop-up menu. Audio Effects Included with Soundtrack Pro Soundtrack Pro includes the following types of audio effects:  Dynamics: Dynamics effects let you shape the volume of your projects over time. Bundled dynamics effects include Compressor, Multipressor, Adaptive Limiter, Noise Gate, Expander, and Limiter.  Distortion: Distortion effects change the tone of the audio signal to re-create the sound of overdriven tube amplifiers or digital distortion. Bundled distortion effects include Bitcrusher, Clip Distortion, Distortion, Distortion II, Exciter, Overdrive, and Phase Distortion.  EQ and Filter: EQ (short for equalization) effects let you change the level of selected frequencies. EQ provides a powerful way of shaping the sound of your projects. Bundled EQ effects include AutoFilter, Fat EQ, High Cut and Low Cut, High Pass and Low Pass filters, Channel EQ, High and Low Shelving EQ, Linear Phase EQ, Match EQ, Parametric EQ, and Soundtrack Pro Autofilter.  Modulation: Modulation effects delay an audio signal and shift (modulate) when the delayed signal plays back relative to the original signal. Bundled modulation effects include Chorus, Ensemble, Flanger, Modulation Delay, Phaser, Scanner Vibrato, and Tremolo.  Reverb and Delay: Reverb effects can be used to simulate the sound of acoustic spaces, both realistic and unnatural. Delay effects can be used to add echoes and other recurring sounds. Bundled reverb and delay effects include PlatinumVerb, Soundtrack Pro Reverb, Stereo Delay, Tape Delay, and Space Designer, a powerful tool for sound design.  Meters and Diagnostic: You can use realtime diagnostic effects to clean up audio files in a variety of ways, including pitch, intensity, and phase problems. Bundled diagnostic effects include Correlation Meter, MultiMeter, Test Oscillator, and Tuner. These are only available as realtime effects, not processing effects.  Miscellaneous: Miscellaneous effects fall outside the other categories, providing additional ways to modify your audio. Bundled miscellaneous effects include Delay Designer, Denoiser, Direction Mixer, Enveloper, Gain, Multichannel Gain, PitchShifter II, Ringshifter, Spectral Gate, Stereo Spread, SubBass, Surround Compressor, and Vocal Transformer. 332 Chapter 11 Working with Audio Effects Dynamics Effects Dynamics effects let you adjust the dynamic range (the range between the softest and loudest sounds) of your projects. You can use dynamics effects to make sounds more focused and to optimize the sound for specific playback situations. Dynamics effects include compressors, limiters, and noise gates. Compressors Compressors work like an automatic volume control, lowering the volume whenever it rises above a certain level, called the threshold. But why would you want to reduce the dynamic level? By cutting the peak levels, the compressor lets you raise the overall volume of the signal. This gives the sound more focus by making the foreground parts stand out while preventing the background parts from becoming lost in the mix. Compression also tends to make sounds tighter or “punchier.” Because the peaks are lower, the maximum volume is reached more quickly. In addition, a compressor can make a project sound better when played back in different situations. For example, the speakers on a television set or in a car sound system typically reproduce a narrower dynamic range than does the sound system in a theater. Compressing the overall mix can help make the sound reproduce more clearly in lower-fidelity situations. Compressors have two main parameters. The threshold lets you set the amplitude above which the compressor lowers the volume. The ratio lets you control the amount by which sounds above the threshold will be lowered, as a percentage of the original signal. For example, if you set the threshold to –12 dB, and the ratio to 2:1, a sound at –7 dB (5 dB above the threshold) is reduced by 2.5 dB, and a sound at –2 dB (10 dB above the threshold) is reduced by 5 dB. Compressor plug-in Chapter 11 Working with Audio Effects 333 Compressors can also include parameters for attack and release. These parameters let you set how quickly the compressor reacts once the threshold is reached (for attack) or once the signal falls below the threshold again (for release). Use these parameters to make the compressor’s effect more subtle or more pronounced. Another parameter on some compressors is the knee (or soft knee), which lets you control how gradually the compressor transitions between no compression and the compression ratio at the threshold. Compressors are typically used on vocal tracks to make the vocals prominent in the overall mix. They can also be used on music and sound effects tracks, but are rarely used on ambience tracks. Limiters Limiters (also called peak limiters) prevent the audio signal from exceeding a maximum volume level. A compressor gradually attenuates levels above the threshold, but a limiter puts a hard limit on any signal louder than the threshold, usually at a high ratio. You use a limiter mainly to prevent clipping. Noise Gates A noise gate alters the signal in the opposite direction from a compressor. While a compressor lowers the volume of sounds above the threshold, a noise gate lowers the sounds below the threshold. Loud signals pass through unchanged, but softer signals, such as the decay of a loud instrument, are cut off. Noise gates can be used to eliminate low-level noise or hum from an audio signal. Distortion Effects Distortion effects simulate the sound of analog and digital distortion. After working to eliminate the digital distortion caused by clipping from a project, why would you add distortion as an effect? The distortion produced by overdriven vacuum tubes (which were used in amplifiers and music recording equipment before the development of digital recording technology) produces an effect which many people find pleasing, and which is integral to many styles of popular music. Analog tube distortion adds a distinctive warmth and bite to the signal. There are also distortion effects which intentionally cause clipping and digital distortion of the signal. These can be used to modify vocal, music, and other tracks to produce an intense, unnatural effect, or for creating sound effects. Distortion effects include parameters for tone, which let you shape the way in which the distortion alters the signal, and for gain, which let you control how much the distortion increases the output level of the signal. 334 Chapter 11 Working with Audio Effects EQ and Filter Effects EQ is likely the most common audio effect used in postproduction. You can use EQ to shape the sound of a project by adjusting specific frequencies or frequency ranges. Using EQ, you can create both subtle and extreme changes to the sound of your projects. Most EQ effects make use of filters. As the name suggests, a filter allows certain frequencies to “pass through” to the output while stopping or attenuating other frequencies. EQ effects include highpass, lowpass, and band pass filters. When the audio signal passes through an EQ filter, the frequencies that pass through can be raised or lowered in volume. Raising and lowering frequencies using EQ is often referred to as boosting and cutting frequencies. You can create many changes to the sound of your project by boosting and cutting various frequencies. Frequency Ranges Used with EQ Sounds can be categorized into one of three basic frequency ranges: bass, midrange, or high (also called treble). These can be further divided to include low bass, low and high midrange, and low and high highs. The following table describes some of the sounds affected by each range: Channel EQ plug-in Name Frequency range Description High High 8–20 kHz Includes cymbal sounds and highest harmonics of instruments. Boosting frequencies in this range slightly can add sparkle and presence. High 5–8 kHz This range corresponds roughly to the treble tone control on a stereo. Boosting frequencies in this range can add brightness and shine. Low High 2.5–5 kHz Includes the higher harmonics of voices and musical instruments. This range is important for adding presence. Excessive boosting in this range can sound shrill or harsh. Chapter 11 Working with Audio Effects 335 Note: The frequencies shown for each range are approximate. Any division of sound into frequency ranges is somewhat arbitrary, and is meant only to give a general indication of each range. Roll-Off Filters The simplest types of EQ effects are roll-off filters, which include lowpass, highpass, bandpass, and shelf filters. Lowpass filters affect all frequencies above a specific frequency, called the cutoff frequency. Frequencies above the cutoff are attenuated or “rolled off” gradually, usually by a fixed number of decibels per octave. Highpass filters, by contrast, affect all frequencies below their cutoff frequency. Bandpass filters exclude all frequencies close to their center frequency. You can set the center frequency, and also set the bandwidth or Q, which specifies how wide a range of frequencies around the center frequency is affected. These EQs include parameters for setting the cutoff frequency. Shelf filters add parameters to control the gain (the amount of boost or cut). You can use roll-off filters as “broad brush” effects to boost or cut a large range of frequencies. High Midrange 1.2–2.5 kHz Includes the consonants of voices and the high harmonics of musical instruments, especially brass instruments. Excessive boosting in this range can create a pinched, nasal sound. Midrange 750 Hz–1.2 kHz Includes the vowels of voices and the harmonics of musical instruments that create tone color. Low Midrange 250–750 Hz Includes the fundamentals and lower harmonics of voices and musical instruments; careful EQing of each can keep them from competing. Excessive boosting in this range can result in muddy and unclear audio; excessive cutting can produce thin-sounding audio. Bass 50–250 Hz Corresponds roughly to the bass tone control on a stereo. Includes the fundamental frequencies of voices and of musical instruments. Excessive boosting in this range can sound boomy and thick. Low Bass 50 Hz and below Also called sub bass. Very little of the sound of voices or musical instruments falls in this range. Many sound effects used in movies, such as explosions and earthquakes, fall in this range. Name Frequency range Description 336 Chapter 11 Working with Audio Effects Graphic EQs Graphic EQs give you a set of filters (often with 10 or 31 filters), each with a set center frequency and bandwidth. Using a graphic EQ, you can shape a wide variety of frequencies throughout the frequency range. Graphic EQs can be used to shape the sound of the overall project mix. Parametric EQs Parametric EQs are similar to bandpass EQs, but provide a greater amount of control, and can be used for extremely precise adjustments. With a parametric EQ, you can set the center frequency, the gain, and the bandwidth. Used carefully, a parametric EQ can help a track cut through the mix, or help a track or project sound fuller. Parametric EQs can also be used to remove specific, unwanted frequencies from a mix. Modulation Effects Modulation effects begin with a delayed signal, like time-based effects, but vary (or modulate) the delay time, typically using a low-frequency oscillator (LFO). This can be used to double a sound, making it seem stronger and “fatter,” to simulate a group of voices or instruments playing together, or to add a distinctive character to the sound. Modulation effects include chorus, phase shifters, and flangers. Chorus Chorus effects play back multiple repetitions of the delayed signal (like reverbs), but vary the delay time for each one, using an LFO. As the name implies, this effect can strengthen the sound, and create the impression that the sound is being played by many instruments or voices in unison. The slight variations in delay time created by the LFO simulate the subtle differences in timing and pitch heard when several people play together. Using chorus also adds fullness or richness to the signal, and can add movement to low or sustained sounds. Phase Shifters Phase shifters produce a characteristic “whooshing” sound by combining the original signal with a copy of the signal that is slightly out of phase with the original. This means that the amplitudes of the two signals’ sound waves reach their highest and lowest points at slightly different times. The time between the two signals is modulated, typically using an LFO. As the two signals go in and out of phase, certain frequencies, called notch frequencies, are created, which give phase shifters their distinctive sound. The main difference between chorus and phase shifting is the amount of delay time. Chorus effects typically use delay times between 20 and 30 milliseconds (ms), while phase shifters (and flangers, discussed next) typically use shorter delay times, between 1 and 10 ms. Chapter 11 Working with Audio Effects 337 Flangers Flangers work in much the same way as do phase shifters, but additionally change the pitch of the delayed signal slightly. Flanging is typically used to create a more extreme change than phase shifting, sometimes described as adding a “spacey” or “underwater” effect. All of the modulation effects include parameters for the delay rate (also called speed or frequency), which let you set the minimum delay time; depth (also called width or intensity), which you use to set how much the LFO modulates the delay time; and mix, which you use to control the ratio of the effected (wet) signal to the original (dry) signal. They can also include parameters for feedback (or regeneration), which add part of the output back into the input signal. Reverb and Delay Effects Reverbs and delays work by copying a part of the audio signal, delaying it for a brief period of time, and then playing it back with the original signal. The delayed signal can be played back multiple times, and can be modified in a variety of ways. Delay A delay effect stores the audio signal, and then plays back each repetition at a regular rate of time after the original signal. Delays can be used for doubling individual sounds (for example, making it sound as if a group of instruments is playing the same melody), to achieve echo effects (making it sound as though the sound was occurring in an immense space), and to enhance the stereo position of tracks in a mix. Delay effects are not commonly used on an overall mix except to achieve special effects (such as to create an “otherworldly” sound). Delay effects let you set the delay time, the time between the original signal and the delayed signal. Delays often provide parameters for feedback (also called regeneration), which let you set how much of the delayed signal is fed back into the delay’s input, creating more repetitions of the delay (like the number of “bounces” in an echo). Specific types of delay have other parameters: Tap tempo delays let you set the delay time by physically tapping a key or controller; stereo delays include parameters for the pan position of the output signal, which can be shifted over time using a low-frequency oscillator (called an LFO). 338 Chapter 11 Working with Audio Effects Reverb Reverberation, usually shortened to reverb, simulates the sound of acoustic environments such as rooms, concert halls, caverns, or the sound of infinite space. In any acoustic space, sounds echo off the surfaces of the space (the floor, walls, and ceiling) over and over, gradually dying out until they become inaudible. Reverb effects consist of thousands of delays, of varying lengths and intensities, that simulate these natural echoes. Reverb helps define the sense of space in which sounds take place, and can be used to simulate both realistic and fantastic acoustic environments. The first form of reverb actually used a room with hard surfaces (called an echo chamber) to add echoes to the signal. Mechanical devices, including plates and springs, were also used to add reverberation to the output of instruments and microphones. Digital sound recording has made it possible to use digital reverbs, which use complex algorithms (sets of equations) to simulate various acoustic environments with greater accuracy and flexibility. Space Designer plug-in Chapter 11 Working with Audio Effects 339 Simple reverb effects provide parameters for the decay time or reverb time, which let you set how long the reverb lasts before dying away, and the mix or level, which you use to set the ratio of the effected signal (called the wet signal) to the original (the dry signal). More sophisticated reverbs can include the following parameters:  Room type: Lets you set the type of space the reverb will simulate: a small or large room, a hall, or another type of acoustic space.  Predelay time: In an acoustic space, there is a short period of silence between a sound and the time when the initial echoes of the reverb begin. Different spaces have different amounts of predelay, which helps “tell” our ears how large the space is. Longer predelay settings also help separate the original (dry) signal from the effected (wet) signal, making it sound clearer and sometimes larger.  Early reflections: The first echoes to arrive from the surrounding surfaces in a space are determined by the size and shape of the space, and “tell” our ears what type of space it is.  Diffusion: Lets you set the number of the echoes in the reverb. Hall reverbs typically have low diffusion settings, while plate reverbs typically have high diffusion settings.  High-frequency and low-frequency reverb time: These parameters let you specify the decay of higher and lower frequencies separately. Different surfaces, such as wood floors and concrete walls, absorb high and low frequencies at different rates, and these parameters let you simulate the sound of different environments more closely.  Reverb envelope: Lets you control how much the volume of the reverb changes over time. In natural acoustic situations, the reverb echoes decay gradually over time. You can re-create this gradual decay, or gate the reverb so that it cuts off more abruptly. Meters and Diagnostic Effects Diagnostic effects help you analyze and clean up audio in a variety of ways. Each type of diagnostic effect provides a different way to “look at” an audio clip or file, and each has a unique set of parameters. These effects are available only as realtime effects in the Effects tab and the Mixer, not as processing effects. Correlation Meter The Correlation meter displays the phase relationship of a stereo signal. A correlation of +1 (plus one, the far right position) means that the left and right channels “correlate” 100% (that is, they are completely in phase). A correlation of 0 (zero, the center position) indicates the widest permissible left/right divergence, often audible as an extremely wide stereo effect. Correlation values less than zero indicate that out-of-phase material is present, which can lead to phase cancellations if the stereo signal is combined into a monaural signal. 340 Chapter 11 Working with Audio Effects MultiMeter The MultiMeter combines the functions of the Level Meter and Correlation Meter (as described above) with several other analysis tools:  A Spectrum Analyzer  A Goniometer for judging the phase coherency in the stereo sound field The control panel to the left of the display allows you to switch between the Analyzer and Goniometer and contains parameter controls for the MultiMeter. The Stereo Level and Correlation Meter are always visible. Spectrum Analyzer The Spectrum Analyzer divides the audio signal into 31 independent frequency bands. Each frequency band represents one third of an octave. The filter curves comply to IEC document 1260. You turn on the Spectrum Analyzer by clicking the Analyzer button. Turning on the Spectrum Analyzer turns off the Goniometer. The four buttons below determine what portion of the input signal the Analyzer is displaying. You can choose between Left or Right channel only. LR max shows the maximum band levels of either channel, while Mono displays the levels of the stereo signal summed to mono. The View options determine the level represented by the top line of the scale in the display (Top; range: –40 to +20 dB) and the overall dynamic range of the Spectrum Analyzer (Range; range: 20 to 80 dB). These two parameters can also be set directly in the display: By dragging directly on the bar graph, you can shift the top line of the display. Dragging directly on the dB scale allows you to compress or expand the scale’s range. The View options are useful when analyzing highly compressed material as you can identify smaller level differences more easily by moving and/or reducing the display range. There are three display respond modes: RMS Slow, RMS Fast, and Peak. RMS Slow and RMS Fast modes show the effective signal average (Root Mean Square) and offer a good representation of the perceived volume levels. Peak mode shows level peaks accurately. Goniometer The Goniometer helps you to determine the coherence of the stereo image. Using the Goniometer, you can see phase problems as trace cancellations along the center-line (M=mid/mono). Goniometers developed when early two channel oscilloscopes first appeared. Users would connect the left and right stereo channels to the X and Y inputs while rotating the display by 45 degrees, resulting in a useful visualization of the signal’s stereo phase. The signal trace slowly fades to black, imitating the glow of the tubes found in older Goniometers, and at the same time enhancing readability. Chapter 11 Working with Audio Effects 341 Clicking the Goniometer button turns on the Goniometer and turns off the Spectrum Analyzer. You can use the Auto Gain display parameter in order to obtain a higher readout on low-level passages. Auto Gain allows the display to automatically compensate for low input levels. You can set the amount of compensation with the Auto Gain parameter, or set Auto Gain by dragging directly in the display area of the Goniometer. Note: Auto Gain is a display parameter only and increases the display for better readability. The actual audio levels are not touched by this parameter. Miscellaneous Effects Miscellaneous effects don’t fall into any of the other categories. They include denoising effects, pitch shifting effects, stereo enhancers, bass enhancers, and effects used to transform the sound of vocals. Each effect gives you a different way to modify the audio, and includes a unique set of parameters. Denoiser Using the Denoiser, you can eliminate or reduce many kinds of low-level noise (noise floor) from an audio signal. The main parameters of the Denoiser are Threshold, Reduce, and Noise Type. The Threshold parameter sets how high the noise floor is for the audio signal. The recommended method for setting the Threshold is to find a passage where you hear only noise, then set the Threshold so that signals at this volume level are filtered out. The Reduce parameter sets the level to which the noise floor is reduced. You use the Noise Type parameter to set the type of noise that the Denoiser reduces. There are three choices of noise type:  Setting the Noise Type to 0 (zero) causes the Denoiser to reduce “white noise” (all frequencies reduced equally).  Setting the Noise Type to a positive value causes the Denoiser to reduce “pink noise” (harmonic noise; greater bass response).  Setting the Noise Type to a negative value causes the Denoiser to reduce “blue noise” (hiss, sibilants, tape noise). The Denoiser recognizes frequency bands with a lower volume and less complex harmonic structure, and then reduces them to the desired dB value. This method is not completely precise, and neighboring frequencies are also reduced. Using the Denoiser at too-high settings can produce the “glass-noise” effect, which is usually less desirable than the existing noise. 342 Chapter 11 Working with Audio Effects There are three smoothing parameters that you can use to minimize the “glass-noise” effect: Frequency smoothing, Time smoothing, and Level smoothing. Raising the Frequency smoothing slider results in a smoother transition of denoising to the neighboring frequencies. When the Denoiser recognizes that only noise is present in a certain frequency band, the higher the Frequency Smoothing parameter is set, the more it will also change the neighboring frequency bands to avoid glass noise. By adjusting the Time smoothing slider, you can set the amount of time the Denoiser takes to reach maximum noise reduction. By adjusting the Level smoothing slider, you can set a factor for a smoother transition between adjacent volume levels. When the Denoiser recognizes that only noise is present in a certain volume range, the higher the Transition smoothing parameter is set, the more it will also change similar level values to avoid glass noise. Stereo Spread The Stereo Spread plug-in is a useful effect for sound design or audio clean-up. It enhances the perception of stereo by extending the stereo base. Some stereo enhancing algorithms function by changing the phase of the signal, which can distort your mix and produce unpredictable results. Instead, the Stereo Spread plug-in extends the stereo base by distributing a selectable number of bands in the middle frequency range alternately left and right. This increases the perception of stereo without causing unnatural-sounding distortion of the mix. The main parameters of the Stereo Spread plug-in are Order, Upper Intensity (Upper Int.), and Lower Intensity (Lower Int.). The Order parameter determines number of frequency bands into which the signal is divided. The Upper Intensity parameter controls the intensity of the base extension of the upper frequency bands. The Lower Intensity parameter controls the intensity of the base extension of the lower frequency bands. Human beings perceive stereo placement of sounds mainly in the middle and high frequencies. If very low frequencies are distributed between the left and right speakers, the energy distribution for both speakers will be significantly worse. Therefore, it is always best to select a lower intensity setting for the lower frequency bands, and avoid setting the Lower Freq. below 300 Hz. Chapter 11 Working with Audio Effects 343 Working with Realtime Effects You can add realtime effects to a track, bus, submix, or the Master bus in a multitrack project, or to an audio file project, and then adjust the effect parameters to control the way in which the effects alter the sound of the track or project. For more information about signal flow in Soundtrack Pro and the various points in the signal flow where you can add effects, see “Basic Signal Routing in Soundtrack Pro” on page 263 and “Using Sends and Busses” on page 270. Working in the Effects Tab The Effects tab is where you add realtime effects and adjust realtime effect parameters. To open the Effects tab, do one of the following: m Choose Window > Tabs > Effects (or press Command-5). m Click the Effects tab to make it active. The Effects tab becomes active and displays the current effects settings for the track, bus, submix, or project. The upper part of the Effects tab contains lists of available effect categories. When you click an item in the Category list, the available effects in that category appear in the Effects list, where you can select and add them to the current effects chain. The lower part of the Effects tab shows the effects and sends in the current effects chain. You can show and edit effect and send parameters in the Effect Parameters area. Track Submix bus Bus 1 Effects Master bus 344 Chapter 11 Working with Audio Effects Adding Realtime Effects You can add realtime effects in the Effects tab. You can create effects chains, which are a series of effects in a specific order. You can reorder effects in an effects chain at any time, and hear the results immediately. To add a realtime effect to a track, bus, or submix in the Timeline: 1 Select a track, bus, submix, or the Master bus in the Timeline. 2 Do one of the following to open the Effects tab:  Choose Window > Tabs > Effects (or press Command-5).  Click the Effects tab to make it active. 3 In the Effects list, select a category in the Category list to display the effects for that category in the Effects list. 4 In the Effects list, do one of the following:  Double-click the effect you want to add.  Select the effect name, then click the Add Effect button.  Drag the effect to the Effect Parameters area. The effect’s advanced settings window appears, and the effect name appears in the Effect Parameters area with its checkbox selected. Note: For information about applying effects to individual audio files, see “Applying Processing Effects” on page 328. Select the effect you want to add. Click the Add Effect button, double-click the effect, or drag the effect into the Effect Parameters area to add it. Select a category to display its effects. Chapter 11 Working with Audio Effects 345 To add a realtime effect to a track, bus, or submix in the Mixer, do one of the following: m Control-click an effects slot in the channel strip of the track, bus, or submix, then choose Add Effect from the shortcut menu and an effect from one of the submenus. m Select the channel strip in the Mixer for the track, bus, or submix and follow the steps in the previous task. To add a realtime effect to an audio file project in the File Editor project view: 1 Open an audio file or audio file project in the File Editor. 2 In the Effects tab, select a category in the Category list to display the effects for that category in the Effects list. 3 In the Effect list, do one of the following:  Double-click the effect you want to add to the track.  Select the effect name, then click the Add Effect button.  Drag the effect to the Effect Parameters area. The effect’s advanced settings window appears, and the effect name appears in the Effect Parameters area with its checkbox selected. Important: Some effects, including reverb and delay, add audio that extends past the end of the file. This is called an effect tail. When you export a project mix, or export a track, bus, or submix with an effect that produces a tail, the exported file is lengthened to include the effect tail until the point at which the tail falls below –96 dB. Also, when you choose Process > Render To Action for an audio file project with a realtime effect that produces a tail, the rendered project is lengthened to include the effect tail until the point at which the tail falls below –96 dB. Adjusting Realtime Effect Parameters Once you’ve added a realtime effect, you can adjust the effect parameters to change the way the effect alters the sound of the track, bus, submix, or audio file project. Each type of effect has its own parameters, as discussed earlier. Many realtime effects have an advanced settings window. The advanced settings window appears as a floating window with related controls grouped together, and may provide an appearance that simulates a hardware effects device. Effects with an advanced settings window have an Advanced button at the top of the Effect Parameters area in the Effects tab. Note: Generally, you use the advanced settings window to make adjustments to the effect. While you can also make adjustments in the Effect Parameters area of the Effects tab, its primary purpose is to enable automation, to chain, reorder and bypass effects, and to add and adjust sends. 346 Chapter 11 Working with Audio Effects To adjust realtime effect parameters in the advanced settings window: 1 Do one of the following to open the window:  Apply the effect to a track, bus, or submix and the effect’s advanced settings window appears automatically.  In the Effects tab, click the Advanced button for the effect.  In the Mixer, Control-click the effect name, then choose Show [effect name] Advanced Settings from the shortcut menu.  In the Mixer, double-click the effect name. The effect’s advanced settings window appears. 2 Play the audio in the Timeline or the File Editor project view. Optionally, you can apply a cycle region or solo the track, bus, or submix in the Timeline. 3 Make adjustments in the advanced settings window as you play the audio. You can adjust the effect’s parameters by moving the controls in the window. Each advanced settings window may have unique controls in addition to sliders, buttons, and value fields. For detailed information on adjusting the parameters of specific effects, see the Soundtrack Pro Effects Reference document in the Help menu. 4 Optionally, do any of the following:  Click the Reset button to reset the parameters to their default values.  Click the Toggle Effect Bypass button to hear the audio without the effect.  Click the Show Presets button to display the available presets. For more information about presets, see “Working with Effect Presets” on page 330. 5 When you are finished, close the advanced settings window. The changes are applied. Toggle Effect Bypass button Advanced settings windows can contain different kinds of controls. Reset button Show Presets button Chapter 11 Working with Audio Effects 347 To adjust realtime effect parameters in the Effect Parameters area of the Effects tab: 1 Click the disclosure triangle next to the effect in the Effect Parameters area to display its parameters. 2 Adjust the effect parameter by dragging the slider, selecting the checkbox, or choosing an item from the pop-up menu. You can also adjust the parameter by entering a valid value in the field to the right of the parameter’s control. Chaining and Reordering Realtime Effects You can add more than one realtime effect to a track, bus, submix, or audio file project. Adding multiple effects to an effects chain is called chaining effects. When you add multiple effects, the effects are applied in sequence, meaning that the output of the first effect becomes the input for the next effect, and so on, for each effect in the chain. The order in which effects are applied is important, because each alters the input signal, which includes the output of previous effects in the chain. You can reorder effects and hear the difference in the way they alter the sound. Adjust a parameter by dragging its slider. You can also adjust the parameter by entering a value in the field. Click the disclosure triangle to display the effect’s parameters. 348 Chapter 11 Working with Audio Effects To add multiple effects to an effects chain, do one of the following: m Double-click the effect you want to add in the Effects list. m Select the effect in the Effects list, then click the Add Effect button. The effect appears in the Effect Parameters area below any previously added effects. You can now set the parameters of the added effect. Note: Adding more than a few effects to an effects chain can cause extreme changes to the sound of a project. This may be what you want, but in some cases can produce undesirable results. Listen to the project as you add effects to be sure you are satisfied with the results. To reorder effects in an effects chain: m In the Effect Parameters area, drag the effect up or down in the list to change its order. Select the effect you want to add, then click the Add Effect button. You can also drag the effect to the Effect Parameters area. Drag effects up or down in the list to reorder them. Chapter 11 Working with Audio Effects 349 Bypassing Realtime Effects You can turn off an effect in the Effects tab, which “bypasses” the effect in the effects chain. When you bypass an effect, the effect is not heard, but all effect parameters are retained. To hear the effect again, reselect the effect’s checkbox. This lets you hear how each effect in a chain alters the sound. To bypass an effect: m In the Effects tab, deselect the checkbox next to the effect. Adding Sends to Tracks You can add sends to a realtime effects chain. When you add a send, the send is added at the end of the current effects chain. You can move the send to another place in the effects chain, choose the bus for a send, adjust send volume and pan, and bypass a send. For more general information about sends and busses, see “Using Sends and Busses” on page 270. To add a send to a track, do one of the following: m Control-click the track in the Timeline or the Mixer, then choose Add Send from the shortcut menu. m In the Effects tab, click the Add Send button. A send appears below the last effect in the track’s effects chain. You can assign the send to a bus in the Effects tab or the Mixer. Deselect the checkbox next to the effect name to bypass the effect. 350 Chapter 11 Working with Audio Effects Choosing the Bus to Which a Send Is Routed When you add a send, the audio is routed from the send to a bus. By default, the first send you add to a track is routed to Bus 1, the second send is routed to Bus 2, and so on, if the bus exists. Once you add a send, you can choose the bus to which the send is routed. To choose the bus to which a send is routed, do one of the following: m In the Effect Parameters area of the Effects tab, choose a bus from the Send pop-up menu. m In the Mixer, control-click an effects slot in the channel strip, choose Add Send from the shortcut menu, then choose one of the available busses in the submenu. Note: If no bus exists, the menus will read “Unconnected.” You must first create a bus by choosing Multitrack > Add Bus. Adjusting Send Volume You can adjust the volume level for the audio routed through a send. To adjust send volume: 1 If the send volume slider is not visible, click the disclosure triangle for the send. 2 Drag the send volume slider left to lower the volume level, or drag it right to raise the volume level. Add Send button Send pop-up menu Chapter 11 Working with Audio Effects 351 Adjusting Send Pan Position You can adjust the pan position for the audio routed through a send. To adjust send pan position: 1 If the send pan sliders are not visible, click the disclosure triangle for the send. 2 Drag the send pan (x) slider left to pan the send to the left, or drag it right to pan the send to the right. Drag the pan (y) and pan (lfe) sliders to adjust the surround pan settings. Note: For information on surround panning, see Chapter 9, “Mixing Surround Sound,” on page 293. Reordering Sends You can reorder sends in the Effects tab or in the Mixer. To reorder a send: m In the Effect Parameters area or in the Mixer, drag the send up or down in the list to change its order. Bypassing Sends You can bypass a send. When you bypass a send, the audio is not routed to the bus for the send, and is not heard. To bypass an effect: m In the Effects tab, deselect the checkbox next to the send. Automating Realtime Effect Parameters You can automate realtime effect parameters using envelopes. When you automate an effect parameter, you can change the value of the parameter over time. You are basically “recording” effect parameter changes into parameter automation envelopes that can then be edited and re-recorded. For more information about automation, see Chapter 12, “Working with Automation,” on page 355. Automation-enable checkboxes 352 Chapter 11 Working with Audio Effects To automate a realtime effect parameter: 1 In the Effects tab, select the Auto (Automation-enable) checkbox next to the parameter’s control. 2 In the Timeline or in the File Editor project view, show the envelopes for the track, bus, submix, or audio file project. In the Timeline, you show the envelopes for the track, bus, or submix with the effect. In the File Editor, you show the envelopes for the audio file project. 3 Add and adjust envelope points in the effect’s envelope. For information on adding and adjusting envelope points, see Chapter 12, “Working with Automation,” on page 355. When you automate an effect parameter with units of time (seconds or milliseconds) or beats per minute (BPM) for values, the parameter is linked to the project tempo. If the tempo changes, the value of the parameter changes to keep the same relationship to the new tempo. Resetting Realtime Effects to Their Default Settings Every realtime effect has default parameter settings that are displayed in the Effect Parameters area when you first add the effect. You can reset an effect to its default parameter settings, or reset an individual parameter to its default setting. To reset a realtime effect to its default settings: m In the Effects tab, select the effect name in the Effect Parameters area, then click the Reset button. To reset an individual effect parameter to its default settings: m Select the parameter in the Effect Parameters area, then click the Reset button. Removing Realtime Effects You can remove a realtime effect from an effects chain. To remove an effect: m Select the effect name in the Effect Parameters area, then click the Remove Effect button on the right edge of the Effects tab (or press the Delete key). Chapter 11 Working with Audio Effects 353 Working with Processing Effects You can apply processing effects to an audio file or a selected part of a file in the File Editor. In the File Editor, you apply a processing effect by choosing the effect from the Effects submenu of the Process menu, as described in “Applying Actions” on page 230. Processing effects are applied as actions and appear in the Actions menu of the File Editor. You can reorder processing effects, turn them on or off, and perform all of the operations for actions described in “Working with Actions” on page 230. Advanced Settings for Processing Effects You adjust processing effect parameters in the advanced settings window for the processing effect. When you apply a processing effect by choosing the effect from the Process > Effects submenu, the advanced settings window for the effect appears in front of the Soundtrack Pro window. You can also show the advanced settings window if you want to adjust processing effect parameters. To show the advanced settings window for a processing effect: m Double-click the effect in the Actions list. When you open an advanced settings window for a processing effect, the window includes controls to play the project with the effect, adjust volume level, apply the effect, reset effect parameters, and cancel applying the effect. For information on using the preview controls in the advanced settings window, see “Choosing Processing Effects” on page 219. Advanced settings windows can contain different kinds of controls. Toggle Effect Bypass button Apply button Show Presets button Preview volume slider Play button Reset button 354 Chapter 11 Working with Audio Effects Automating Processing Effect Parameters For the effects in the categorized submenus at the top of the Effects submenu of the Process menu (not including Mac OS effects), you can add an envelope for an effect parameter by Control-clicking the parameter in the advanced settings window. You can add envelope points to the envelope to automate changes to the effect parameter. 12 355 12 Working with Automation Using automation, you can create changes over time to volume, pan, effects, and other controls. Automation offers a powerful way to add drama and interest to your projects. You can automate volume and pan changes to tracks, busses, and submixes and automate changes to effect and effect send parameters in multitrack projects. You can also automate volume, pan, and effects changes in audio file projects. Soundtrack Pro gives you three ways to work with automation:  You can add and adjust envelope points on envelopes in the Timeline and in the File Editor.  You can record changes over time to sliders, faders, and other controls in the Timeline, the Mixer, and the Effects tab.  You can record movements with faders on a control surface connected to your computer and mapped to Soundtrack Pro commands and functions. Working with Envelopes In the Timeline, each track, bus, and submix has a set of envelopes. The envelopes appear as horizontal lines stretching across the length of the project directly below the track, bus, or submix. You adjust an envelope by adding envelope points and moving the envelope points to new values at different points in the Timeline. For video editors accustomed to working in Final Cut Pro, envelopes provide the same type of functionality as keyframes. The difference is that you can edit envelopes at a finer level of precision than you can using keyframes, allowing extremely powerful control over automated changes. 356 Chapter 12 Working with Automation Track, Bus, and Submix Envelopes Each track and bus has envelopes for volume and pan, and each submix has a volume envelope. By default, the envelopes are hidden. When you show the envelopes, they appear in rows below the track, bus, or submix in the Timeline. When you add effects to a track, bus, or submix, you can automate the effect parameters by adding an envelope for any parameter to the envelopes for the track, bus, or submix. The envelopes are different for each type of effect. For information on adjusting effect parameters, see Chapter 11, “Working with Audio Effects,” on page 327. To show the envelopes for a track, bus, or submix: m Click the envelope disclosure triangle in the track header. Click the disclosure triangle again to hide the envelopes. Default Stereo Envelopes The default envelopes for tracks using stereo panners are Volume and Pan. The ranges of volume and pan envelopes are equivalent to the ranges of the corresponding track controls:  Volume envelopes: The range is from –96 dB to +6 dB.  Track pan envelope: The range is from 100% Left to 100% Right pan, with Centered at the midpoint, 0 (zero). Default Surround Envelopes The default envelopes for tracks using surround panners are as follows:  Volume  Surround Pan X  Surround Pan Y  Rotation  Width  Collapse  Center Bias  LFE  Left Speaker Disable  Center Speaker Disable Click the envelope disclosure triangle. The envelopes are displayed below the track, bus, or submix. Chapter 12 Working with Automation 357  Right Speaker Disable  Left Surround Speaker Disable  Right Surround Speaker Disable For a complete description of each of these surround parameters, see “The Surround Panner HUD” on page 300. Adding Envelope Points You create changes to an envelope by adding envelope points to the envelope, and moving them to different values. To add an envelope point to an envelope: m Double-click the envelope at the position where you want to add the envelope point. You may want to zoom in to work more precisely. When you add envelope points, they snap to the closest Snap To position if snapping is turned on. For information on setting the Snap To value, see “Using Snapping” on page 94. Selecting Envelope Points You can select a single envelope point or a group of adjacent or nonadjacent envelope points. To select an envelope point: m Click the envelope point. Surround envelopes Double-click an envelope to add an envelope point. 358 Chapter 12 Working with Automation To select multiple envelope points, do one of the following: m Drag from an area in the automation row before the first envelope point you want to select to an area after the last envelope point you want to select. m If the envelope points are adjacent, Shift-click the first envelope point, then the last envelope point you want to select. All envelope points in between are also selected. m Command-click each envelope point you want to select. You can select adjacent or nonadjacent envelope points by Command-clicking. To deselect a selected envelope point, do one of the following: m Command-click the selected envelope point. m Click in the automation row or somewhere else in the Timeline to deselect all selected envelope points. Moving Envelope Points Once you add an envelope point, you can drag it up or down to change its value. As you drag an envelope point up or down, its value appears to the right of the pointer. You can drag an envelope point left or right to change its position in time. You can also select and move multiple envelope points at the same time. When you move an envelope point, the position of the envelope point snaps to the closest Snap To position if snapping is turned on. For information on setting the Snap To value, see “Using Snapping” on page 94. To move an envelope point: m Select the envelope point, then drag it to a new position. Each envelope has an envelope point, at the beginning of the Timeline. You can make adjustments by moving this envelope point up or down. If no envelope points have been added, dragging the envelope’s handle adjusts the envelope for the entire project. If you add more than one envelope point to an envelope, you can move envelope points using the corresponding slider. When you move the slider, the envelope points closest to the playhead (the closest before and the closest after) move by the same amount as the slider. Drag in the envelope’s row to select multiple envelope points. Chapter 12 Working with Automation 359 Selecting and Moving Envelope Points with Clips By default, when you select or move a clip in the Timeline, the associated envelope points are not selected, and they do not move with the clip. You can set Soundtrack Pro to do the opposite: to select associated envelope points when you select a clip. In this case, if you move the clip, the envelope points move with it. To select and move clips and envelope points together: m Click the Select Envelope Points With Clips button at the top of the Timeline. To select and move clips and envelope points independently of each other: m Click the Select Only Clips button at the top of the Timeline. Note: If you have the Select Envelope Points With Clips mode turned on, and you overlap a clip with envelope points on another clip with envelope points to create a crossfade, the moved clip’s envelope points will overwrite the static clip’s envelope points. The Timeslice Tool and the Envelope Selection Mode If Soundtrack Pro is in Select Envelope Points With Clips mode, any Timeslice selection rectangle includes all envelope rows within the selection. If Soundtrack Pro is in the Select Only Clips mode, no envelope rows are included in the Timeslice selection. Note: If you change the envelope mode after you have already drawn the Timeslice marquee, the Timeslice will change to match the current setting. For more information about the Timeslice tool, see “Removing Audio Clips” on page 152. Select Envelope Points with Clips button Select Only Clips button Select Envelope Points With Clips mode Select Only Clips mode 360 Chapter 12 Working with Automation Viewing and Editing Envelope Point Details You can also view and edit the value, position, and other details for an envelope point in the Details tab. To view envelope point details: 1 Click the Details tab. 2 Select the envelope point for which you want to view details. The details for the envelope point appear in the Details tab, including its value and position. You can edit the value and position in the Details tab, change the format for the position, and copy the value of the previous or next envelope point (if one exists). To change the value of an envelope point in the Details tab: 1 With the Details tab active, select the envelope point. 2 In the Details tab, do one of the following: Click the left arrow in the Value value slider to decrease the value, or click the right arrow to increase the value.  Click the center of the value slider, then drag the slider that appears left or right to change the value.  Click the text in the value slider to select it, then type a new value. To change the position of an envelope point in the Details tab: 1 With the Details tab active, select the envelope point. 2 In the Details tab, do one of the following:  In the Position value slider, click the left arrow to move the envelope point back (toward the start of the project) or click the right arrow to move the envelope point forward (toward the end of the project).  Click the center of the Position value slider, then drag the slider that appears left or right to change the position.  Click the text in the Position value slider, then type a new value. Chapter 12 Working with Automation 361 To change the units shown in the Position value slider: m Choose the units you want to show from the pop-up menu next to the Position value slider. To copy the value of the previous envelope point: 1 With the Details tab active, select the envelope point to which you want to copy the value. 2 In the Details tab, click Copy From Previous Point. To copy the value of the next envelope point: 1 With the Details tab active, select the envelope point to which you want to copy the value. 2 In the Details tab, click Copy From Next Point. Changing the Values of Envelope Points Numerically You can also change the value of an envelope point numerically. To change the value of an envelope point numerically: 1 Control-click the envelope point, then choose Set Value from the shortcut menu. 2 Enter a new value for the envelope point in the dialog that appears. The envelope point moves to the new value. You can set the envelope point to the same value as the previous or next envelope point on the envelope from the shortcut menu. Changing the Position of Envelope Points Numerically You can change the position of an envelope point in the Timeline numerically. To change the position of an envelope point numerically: 1 Control-click the envelope point, then choose Set Position from the shortcut menu. 2 In the dialog that appears, click the left or right arrow in the value slider, click the center of the value slider and drag left or right, or double-click the value slider and type a new position. The envelope point moves to the new position. For more information about value sliders, see “About Changing Values and Timecode Entries” on page 75. 362 Chapter 12 Working with Automation Nudging Envelope Points There are several ways in which you can nudge envelope points using the arrow keys:  Hold down the Command and Option keys and press the Left or Right Arrow key to move the envelope point to the previous or next video frame.  Hold down the Command key and press the Left or Right Arrow key to move the envelope point to the previous or next gridline.  Hold down the Command key and press the Up or Down Arrow key to move the envelope point up or down by one coarse value.  Hold down the Command and Option keys and press the Up or Down Arrow key to move the envelope point up or down by one fine value. Cutting, Copying, and Pasting Envelope Points You can cut and copy selected envelope points and paste them at a different position in the automation row. To cut envelope points: m Select the envelope point, then choose Edit > Cut (or press Command-X). To copy envelope points: m Select the envelope points, then choose Edit > Copy (or press Command-C). To paste envelope points: m Set the playhead to the point where you want to paste the envelope points, then choose Edit > Paste (or press Command-V). When you paste envelope points into an automation row, the new envelope points replace any existing envelope points, and the automation takes the shape of the cut or copied envelope in the pasted area. When pasting envelope points, the following conditions apply:  Envelope points can only be pasted into an envelope of the same type as the envelope from which they were cut or copied. For example, envelope points from a volume envelope can only be pasted into a volume envelope, not a pan or tempo envelope.  Envelope points for an effect parameter can only be pasted into an envelope for exactly the same effect parameter in exactly the same type of effect. You cannot paste envelope points from one effect into another, even if they have parameters with the same name. Pasting envelope points into an envelope replaces the existing area of the envelope with the cut or copied area. Chapter 12 Working with Automation 363 Deleting Envelope Points After listening to the results of your edits, you may decide to delete some envelope points. To delete envelope points: 1 Select the envelope points. 2 Do one of the following:  Choose Edit > Delete.  Press the Delete key.  Press Command-X. When you delete envelope points, the envelope adjusts accordingly, moving evenly from the preceding envelope point to the next envelope point. If there are no other envelope points, the envelope becomes horizontal, maintaining its initial value for the entire project. Automating Effect and Send Parameters You can automate effect parameters for tracks, busses, and submixes and for audio file projects by adding envelopes for the effect parameters and then adding and adjusting envelope points. You can also automate send parameters for tracks by adding an envelope for the send parameters, then adding and adjusting envelope points. To add an envelope for an effect or send parameter: 1 Open the Effects tab and select the effect you want to automate. 2 In the Effect Parameters area, select the Auto checkbox for the parameter. Click the Auto checkbox for an effect parameter to add an envelope for the parameter. 364 Chapter 12 Working with Automation To remove an envelope for an effect parameter: m Deselect the Auto checkbox for the parameter in the Effect Parameters area of the Effects window. The range of values for an effect or send parameter envelope is the same as the range for the parameter in the Effects tab. For detailed information on adjusting effect parameters, see “Adjusting Realtime Effect Parameters” on page 345. Master Bus Each project has a Master bus that includes envelopes for volume, transposition, and tempo. By default, only the Volume envelope is visible because Transposition and Tempo are specifically for projects containing only tagged and looping clips. To show or hide the Master bus envelopes, do one of the following: m Click the Master bus disclosure triangle in the Timeline. m Choose Master Envelopes from the Show pop-up menu at the upper-right corner of the Timeline. Repeat the procedure to hide the Master bus envelopes. To show the Transpose or Tempo envelopes: m Choose Transpose or Tempo from the Show Envelopes pop-up menu in the Master bus track header. The ranges of the master envelopes are as follows:  Master transpose envelope: Ranges from –12 semitones to +12 semitones.  Master tempo envelope: Ranges from 60 bpm to 200 bpm. For more information about the Master bus, see “Using the Master Bus” on page 290. The Master bus envelopes appear below the Master bus. Chapter 12 Working with Automation 365 Recording Automation Data In addition to working with envelopes, you can record automation data in Soundtrack Pro. You can record movements you make to faders, sliders, and other onscreen controls using the pointer. You can also connect a supported control surface to your computer and record movements to controls and faders on the control surface. When you record movements to onscreen controls or control surface controls, the corresponding envelope in the Timeline (or File Editor) changes to display the recorded automation data. You can edit the envelope to fine tune the automation data after recording. Automation Modes Soundtrack Pro provides three modes for using and recording automation. The automation modes determine whether automation data is recorded, and what happens when you release the control being recording.  Read: In Read mode, existing automation data is active when you play the project, but no new automation data is recorded.  Touch: In Touch mode, movements to controls are recorded when you play the project, overwriting any existing automation data until you release the control. When you release a control in Touch mode, the control returns to the value it previously had at the point in the Timeline where you release the control. No envelope points after that point are added or changed.  Latch: In Latch mode, movements to controls are recorded when you play the project, overwriting any data from the point you start recording until you stop playing the project. When you release a control in Latch mode, the control maintains the same value at which you released it. To record automation data for movements to controls: 1 Choose either Touch or Latch from the Automation Mode pop-up menu. 2 Set the playhead to a position before the point where you want to start recording. 3 Click Play (or press the Space bar) to start the project playing. 4 While the project plays, move the control you want to record. Once you have recorded automation data, you can show the envelope for the control and add and adjust envelope points on the envelope to fine tune the automation. For information on working with envelopes, see “Working with Envelopes” on page 355. For more information on working with control surfaces, see Chapter 15, “Using Control Surfaces with Soundtrack Pro,” on page 391. 366 Chapter 12 Working with Automation Thinning Envelope Points in Recorded Automation Data Recording automation data can generate a large number of envelope points. The number of envelope points recorded can make editing envelopes difficult, and in some cases affect playback performance. You can reduce or “thin” the number of envelope points recorded from a control surface in the Project Preferences. You set the amount of thinning using the Automation Recording Sensitivity slider. The automation data is thinned when you finish recording automation. To set the amount of thinning: 1 Choose Soundtrack Pro > Preferences, then click the General button. 2 In the General pane, drag the Automation Recording Sensitivity slider to adjust the amount of thinning. When the slider is set to High, no thinning occurs. The envelope contains every movement of the control. Dragging the slider to any position other than High results in some thinning of envelope points. By default, the slider is set to a moderate amount of thinning. For more information about Soundtrack Pro project preferences, see “Project Preferences” on page 99. 13 367 13 Recording Audio in Soundtrack Pro You can record your own audio on one or more tracks in the Timeline, the Mixer, or the File Editor project view as a mono, stereo, or multichannel file. You get ready to record by setting recording preferences and checking that your audio equipment is working. For multitrack projects, you enable a track for recording or record audio in a new track. You can record a single take or record multiple takes. If you record multiple takes, you can review them after recording and choose which one to use in your project or assemble a composite take using segments of each recorded take using the Multitake Editor. Getting Ready to Record Before you start recording, make sure that any audio equipment you plan to use in your recording session (such as microphones, musical equipment, mixers, or external processors) is connected to your computer and is working. When you record, the recorded audio is saved to disk at the location set in the Recording pane of the Preferences window. Audio files, while smaller than video files of comparable duration, can be quite large (each minute of 16-bit, 44.1 kHz stereo audio requires roughly 10 MB of disk space), so you should make sure you have enough free disk space to store your recordings before you start. You can set the input device and output monitoring device for recording in the Preferences Recording pane, or change them in the Recording tab. For detailed information on Recording preferences, see “Recording Preferences” on page 100. For audio file projects, you record in the File Editor. When you record in the File Editor, the recording replaces (overwrites) any audio over which you record. If you record for a longer duration than the current length of the file, the file is lengthened to include the recorded audio. 368 Chapter 13 Recording Audio in Soundtrack Pro Recording Audio in the Timeline You record in the Timeline by enabling a track for recording, setting the playhead, then clicking Record. You can record a single take or record multiple takes by turning on cycling before you start recording. When you finish recording, your recorded audio appears in a track in the Timeline. If you record multiple takes, you can audition each take to choose which one you want to use in your project. You can also assemble composite takes by splitting and combining your recorded takes. Enabling Tracks for Recording Before you start recording, you enable the tracks you want to record to. You can record audio only to tracks, not to busses or submixes. If no track is enabled for recording, a new track is created below the existing tracks, and the take appears on the new track when you click the Record button. Note: For details on multitrack recording, see “Multitrack Recording” on page 371. To enable a track for recording: m Click the Arm for Recording button (the red letter R) in the track’s header (or Mixer channel strip). The Recording tab becomes active and shows the current recording settings. You can adjust recording settings before you start recording or between recordings. Arm for Recording button Input routing buttons Input Device pop-up menu Configure Device button Monitor pop-up menu Mute Project checkbox Track pop-up menu Input Channel pop-up menu Chapter 13 Recording Audio in Soundtrack Pro 369 Adjusting Recording Settings Before you click the Record button, you may need to configure the input device, the choice of input channels, and other device and monitor settings. To adjust recording settings: 1 In the Recording tab, choose the input device from the Input Device pop-up menu. The available choices include your computer’s Built-in Audio, plus any other installed audio interfaces. Note: You can also access the Input pop-up menus from the track header, but only if the Timeline Track Height is set to either medium or large. 2 Use the Input Channel pop-up menu to choose the channel (or set of channels). The available choices are Mono (one channel), Stereo (two channels), 3 channels, 4 channels, 5 channels, 6 channels, and Surround 5.1. Choose a recording device from the Input Device pop-up menu. Choose the channel from the Input Channel pop-up menu. 370 Chapter 13 Recording Audio in Soundtrack Pro The Recording tab adjusts the level meter display based on the channel (or set of channels) you choose. For example, for the default Stereo setting, the Recording tab displays the Left and Right level meters. If you choose the 4-channel setting, the Recording tab displays level meters 1 through 4. If you choose the Surround 5.1 setting, the Recording tab displays the standard surround level meters. 3 Confirm the channel routing in the input routing buttons below the Input Channel pop-up menu. If necessary, click any of the active input routing buttons and use the pop-up menus to route a different channel from the input device to the channel in the recorded audio file. If your audio interface allows labeled inputs, the input routing button pop-up menus display the names. 4 Optionally, you can click the Configure Device button to open the Audio MIDI Setup utility. For more information, see “Audio MIDI Setup” on page 23. 5 Use the Monitor Device pop-up menu to choose the device for monitoring the recorded audio. 6 If you want to record without hearing the existing audio clips in the project, select the Mute Project checkbox. The level meters in the Recording tab show the level of the audio signal in the input channels. Before recording, you may want to watch the level meters and set the input level to ensure a high enough signal level and to avoid clipping. Stereo 4-channel Surround Input routing buttons Chapter 13 Recording Audio in Soundtrack Pro 371 Recording a Single Take You record a single take by setting the playhead to the point where you want recording to start, then clicking the Record button. Recording starts at the playhead position, and ends when you click either the Record or Play/Pause button. To record a single take: 1 If you want to record to an existing track, enable the track for recording. 2 Set the playhead to the point where you want recording to start. You can set the playhead using any of the procedures described in “Setting the Playhead Quickly” on page 72. 3 Click the Record button in the transport controls to start recording. As you record, the level meters in the Recording tab show the levels of the input signal being recorded. If the input signal clips (rises above 0 dB), the peak indicator lights red. 4 To stop recording, do one of the following:  Click the Record button again.  Click the Pause/Play button.  Press the Space bar. You can punch in and punch out while recording a single take using the Record button. For example, you can start the project playing, then punch in at the point where you want to start recording by clicking the Record button. To punch out, click the Record button again. When you click the Record button while recording, recording stops, but the project continues playing. You can punch in and punch out multiple times while the project is playing. When you click the Pause/Play button, both recording and playback stop. Multitrack Recording You can record audio to multiple tracks simultaneously. To record to multiple tracks simultaneously: 1 Click the Arm for Recording button on each track you want to record to. 2 For each track you want to record to, choose the track from the Track pop-up menu at the top of the Recording tab and follow these steps: a In the Recording tab, choose the input device from the Input Device pop-up menu. b Use the Input Channel pop-up menu to choose the channel (or set of channels). c Confirm the channel routing in the input routing buttons below the Input Channel pop-up menu. If necessary, click any of the active input routing buttons and use the pop-up menus to route a different channel from the input device to the channel in the recorded audio file. For more information, see “Adjusting Recording Settings” on page 369. 372 Chapter 13 Recording Audio in Soundtrack Pro 3 Set the playhead to the point where you want recording to start, and click the Record button. The audio is recorded to the armed tracks. 4 To stop recording, do one of the following:  Click the Record button again.  Click the Pause/Play button.  Press the Space bar. Recording Multiple Takes You can record multiple takes in the Timeline. You can record multiple takes using the cycle region to define where each take starts and ends, or you can record for the duration of the project. When you record multiple takes, the takes are “stacked” in a single multitake clip in the Timeline. You can audition each take and create composite takes using the Multitake Editor. For information about the Multitake Editor, see Chapter 7, “Using the Multitake Editor,” on page 251. To record multiple takes: 1 If you want to record to an existing track, enable the track. 2 If cycling is turned off, click the Cycle button in the transport controls to turn it on. 3 Set the cycle region to the part of the Timeline where you want recording to start and end. For information on setting the cycle region, see “Working with the Cycle Region” on page 134. If no cycle region is set, recording starts at the beginning of the project and lasts until the end of the last clip in the project. If the project contains no clips, a single take is recorded, starting at the current playhead position. 4 Click the Record button in the transport controls to start recording. As you record, the level meters in the Recording tab show the levels of the input signal being recorded. If the input signal clips (rises above 0 dB), the peak indicator lights red. The playhead advances to the end of the cycle region, then returns to the beginning of the cycle region for the next take. You can record multiple tracks at once. Chapter 13 Recording Audio in Soundtrack Pro 373 5 To stop recording, do one of the following:  Click the Record button.  Click the Pause/Play button.  Press the Space bar. When you record multiple takes, the takes are recorded sequentially to an audio file in the recording location set in Recording preferences. The takes appear in a single multitake clip in the Timeline. Editing Multitake Clips You can do some simple multitake editing directly in the Timeline, for example, splitting the clip and choosing the take for each split segment. Note: For sophisticated editing of multitake clips, see Chapter 7, “Using the Multitake Editor,” on page 251. To choose a take in the Timeline, do one of the following: m Select the clip, choose Clip > Recording Take, then choose the take number from the submenu. m Control-click the clip, choose Take from the shortcut menu, then choose the take number from the submenu. You can split a recorded clip and choose the take for each segment of the split clip to create a composite take. You can also copy a clip onto several tracks, split the copies, and choose the take for each split copy of the clip. The current take number appears in the lower-right corner of the clip. 374 Chapter 13 Recording Audio in Soundtrack Pro Recordings Location When you record audio with Soundtrack Pro, the default location for those audio recordings is: /Users/username/Documents/Soundtrack Pro Documents/Recordings/. To change the Recordings location: m Choose Soundtrack Pro > Preferences. Click the Recording button, then click Choose to enter a new location. Note: When you save a multitrack project and select the Collect Audio Files option, a copy of every audio file the project uses (including recordings) is saved with the project file. For more information, see “Saving Multitrack Projects” on page 111. Recording Audio in the Mixer You can record audio in the Mixer in a similar way to recording audio in the Timeline. You can record a single take or record multiple takes. To record audio in the Mixer, you follow the procedures described in “Recording Audio in the Timeline” on page 368, with the following differences:  To enable a track for recording in the Mixer, click the Arm for Recording button (the red letter R) in the track’s channel strip.  Depending on the layout you are using, the playhead may not be visible as you record in the Mixer. In this case, you can set the playhead using the transport controls or the Playhead Location value slider. If you want to record multiple takes using a cycle region, you may need to set the cycle region in the Timeline before you start recording in the Mixer. Transport controls Arm for Recording button Chapter 13 Recording Audio in Soundtrack Pro 375 Recording Audio in the File Editor Project View You can record audio to an audio file project in the File Editor project view. When you record audio in the File Editor, you replace (overwrite) any existing audio in the audio file or selection you record to. You can select part of the file in the File Editor to record to. When you record to a selection, recording starts at the beginning of the selection and ends at the end of the selection. The part of the file after the end of the selection is unchanged. If no part of the file is selected, recording starts at the playhead position, and lasts until you stop recording. If your recording extends past the end of the audio file, the file is lengthened to include the recording. To record audio in the File Editor project view: 1 Open an audio file project in the File Editor project view. 2 Select the part of the project you want to record to. If no part of the audio file is selected, recording starts at the current playhead position and proceeds until you stop recording. 3 Click the Record button in the transport controls. As you record, the recorded area appears red in the waveform display. The level meters in the Recording tab show the levels of the input signal being recorded. If the input signal clips (rises above 0 dB), the peak indicator lights red. 14 377 14 Creating Podcasts in Soundtrack Pro Soundtrack Pro gives you the tools to create professional podcasts of your projects. You can quickly and easily produce audio and video podcasts directly from within Soundtrack Pro projects. And you can take video projects from Final Cut Pro and make podcasts from them using Soundtrack Pro. Podcasts are audio and video broadcasts available on the Internet. Unlike traditional radio and television shows with set schedules, podcasts can be listened to at any time in the iTunes application or on an iPod. You can even publish your podcast to iTunes and reach a potential audience of millions. Besides democratizing what used to be known as radio, the podcasting movement provides new avenues of distribution for recorded lectures and educational materials, audio tours of museums, conference meeting updates, and so on. Soundtrack Pro provides professional and prosumer podcasters the tools to create extremely high-quality podcasts. And with the podcasting workflow built right into Soundtrack Pro, audio post-production personnel can easily lay off iPod-ready versions of their sound for picture mix or edit. This way, a small audience of clients and colleagues can enjoy the convenience of listening to or watching the programs using iPod or iTunes. Podcasts fall into three broad categories:  Audio-only podcasts: At the very least, a podcast contains an audio file. For information about types of compressed audio files, see “Exporting Audio Podcasts” on page 387.  Enhanced podcasts: The audio content may have one or more associated images and web links that can be synchronized with the audio track. Also, chapter markers can be embedded that allow listeners to jump to specific sections of the content.  Video podcasts: Video podcasts typically include both video and audio content. The technical requirements for video podcasts are more specific. For information about video file formats for podcasting, see “Exporting Video Podcasts” on page 388. Podcasts are typically published in a series of episodes. Soundtrack Pro supports the creation of episodes. 378 Chapter 14 Creating Podcasts in Soundtrack Pro Podcasting Media Production Producing podcasts has a lot in common with producing any other audio or video program. Soundtrack Pro can help you with the audio production, editing, and mixing steps as well as with some other tasks unique to podcasting. There are two main ways to create podcasts:  Take a Final Cut Pro project and create a podcast from it in Soundtrack Pro.  Create a podcast from scratch in Soundtrack Pro. Both of these scenarios involve some version of the following steps: Step 1: Record the sound (and video) There are many different ways to record a podcast, ranging from one-person shows, to conference calls, to live events on location, to studio recordings. You can record multitrack and multichannel sound directly into Soundtrack Pro, or you can import pre-recorded files. Step 2: Edit and mix the sound, video, and images Soundtrack Pro gives you many specialized tools and powerful features that you can use to create high-quality audio. And the ability to exchange projects and information between Soundtrack Pro and Final Cut Pro makes video podcasting a very streamlined process. Step 3: Podcast-specific editing and authoring Podcasts range in complexity from a simple audio or video file to enhanced podcasts with chapter markers and associated web links. Besides its many sophisticated audio editing and mixing tools, Soundtrack Pro includes a dedicated podcast track for adding chapter markers, URL links, and images. Step 4: Compress the audio (and video) files Soundtrack Proincludes a robust set of export and compression options for both audio and video podcasting. For complete information about exporting from Soundtrack Pro, see Chapter 16, “Exporting Multitrack Projects,” on page 395. Step 5: Upload the compressed files Once your podcast is complete, you upload the file to your web host using a file transfer protocol (FTP) utility.You can trigger post-export actions (AppleScript documents) to do this automatically as a part of the export process. For more information, see “Using Post-Export Actions” on page 416. Chapter 14 Creating Podcasts in Soundtrack Pro 379 Using the Podcast Track and Podcast Markers You can add chapter markers, images, and web links to your podcasts using the podcast track and the Details tab in Soundtrack Pro. Note: If you want to make a simple audio or video podcast with no markers, images, or web links, skip to “Exporting Podcasts” on page 387. Displaying the Podcast Track and the Details Tab You use the podcast track in conjunction with the Details tab to add enhanced podcast features to your podcast. Any Soundtrack Pro multitrack project can include information on how to output the project as a podcast. This podcast-specific information can be viewed and edited by showing the podcast track. To display the podcast track: m Choose Show > Podcast Track from the Show pop-up menu in the upper-right corner of the Timeline. The podcast track appears near the top of the Timeline, just above the audio tracks. By default, the podcast track appears just below the video track (if you have one in your project) with a single blue podcast marker “region” that spans the entire length of the project. To make the Details tab active, do one of the following: m Choose Window > Tabs > Details (or press Command-I). m Click the Details tab. Choose Podcast Track from the Show pop-up menu. Podcast track Video track 380 Chapter 14 Creating Podcasts in Soundtrack Pro To view or enter information for a podcast marker: 1 Select a podcast marker region in the podcast track. 2 Enter or view the information in the Details tab. Podcast Marker Information in the Details Tab Use the Details tab to enter and display podcast marker information and attributes. The Details tab sets properties for the podcast marker region (e.g. what image will be shown until the next marker in an enhanced podcast) and optionally sets a chapter marker.  Name field: Enter a name for the marker.  Measure In pop-up menu: Sets the units shown in the Position value slider.  Marks a chapter checkbox: Identifies a region as a podcast chapter.  Position value slider: Sets and displays the time position of the selected marker.  URL: Enter a web link for the marker.  URL Title: Enter a name for the website listed in the URL field.  Image Source pop-up menu: Sets the displayed image for the marker. Note: The image can be a still image added to the project or a frame from a video clip, if there is a video track for the project. Select the podcast marker region. Name field Measure In pop-up menu Marks a chapter checkbox Position value slider URL field URL Title field Image Source pop-up menu Chapter 14 Creating Podcasts in Soundtrack Pro 381 Adding Markers to a Podcast Markers can provide visual interest and navigational convenience for your podcast audience. Podcast markers are frames in a podcast that can display an image or a web link synchronized to the audio in the podcast. Chapter markers are podcast markers that provide enhanced navigation. Chapter markers make it easy for listeners and viewers to skip ahead to the section they want. Chapter markers appear in the chapter list in both iTunes and QuickTime Player. To adjust markers, including their respective web links and images, see “Podcast Marker Information in the Details Tab” on page 380. Using Podcast and Chapter Markers Using the podcast track, you can add as many markers as you like. By default, the podcast track makes the first frame of the project a chapter marker. To add a marker: 1 To display the podcast track, choose Show > Podcast Track from the Show pop-up menu in the upper-right corner of the Timeline. 2 Click the Blade tool at the top of the Timeline (or press B). The pointer changes to the Blade tool. 3 Using the Blade tool, click anywhere in the podcast track. The podcast track is split, creating a new chapter marker at the point you clicked. Deleting Podcast and Chapter Markers Deleting markers is as easy as adding them. To delete a podcast marker or a chapter marker: 1 In the Podcast track, click any marker region. 2 Press Delete. The marker is removed from the podcast track. Selected podcast chapter 382 Chapter 14 Creating Podcasts in Soundtrack Pro Moving Podcast and Chapter Markers Use the Position value slider to move markers in your podcast. To move a podcast marker with the pointer: m In the podcast track, drag the edit point between any two marker regions. To move a podcast marker or a chapter marker using the Details tab: 1 In the podcast track, click any marker region. 2 In the Details tab, use the Position value slider to adjust the marker position. For information on using value sliders, see “About Changing Values and Timecode Entries” on page 75. Editing Podcast and Chapter Markers By default, all new podcast markers are chapter markers named “Untitled Chapter.” You can rename markers at any time. You can also easily change chapter markers into regular podcast markers or podcast markers into chapter markers with the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab. Note: Chapter markers are special markers that tell the playback software (iTunes and QuickTime Player) to list navigational and image marker information in the chapter list. To name a chapter or podcast marker: 1 In the podcast track, click any marker region to select it. 2 To make the Details tab active, do one of the following:  Choose Window > Tabs > Details (or press Command-I).  Click the Details tab. 3 In the Details tab, enter a name in the Name field. Drag the edit point to adjust the podcast marker. Chapter 14 Creating Podcasts in Soundtrack Pro 383 To change a chapter marker to a podcast marker: m Deselect the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab. To change a podcast marker to a chapter marker: m Select the “Marks a chapter” checkbox in the Podcast Marker section of the Details tab. To enter web link information for a marker: 1 Enter a web address in the URL field. For example: http://www.apple.com/. 2 Enter a descriptive title in the URL Title field. For example: Apple Inc. Creating Podcast Markers from Final Cut Pro Chapter Markers When you send a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you can create a podcast chapter marker for every Final Cut Pro chapter marker. To create podcast markers from Final Cut Pro chapter markers: 1 Confirm that the source Final Cut Pro sequence has chapter markers applied to it. See the Final Cut Pro User Manual for information on Final Cut Pro chapter markers. 2 Send the Final Cut Pro sequence to a Soundtrack Pro multitrack project. For information on sending Final Cut Pro sequences to a Soundtrack Pro multitrack project, see “Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences” on page 428. The Final Cut Pro sequence loads into the Soundtrack Pro Timeline, with its markers arrayed along the top of the Time ruler. 3 In Soundtrack Pro, reveal the podcast track by choosing Show > Podcast Track from the Show pop-up menu in the upper-right corner of the Timeline. The podcast track appears just below the video track. 384 Chapter 14 Creating Podcasts in Soundtrack Pro 4 Choose Mark > Create Podcast Markers from FCP Chapters. The chapter markers from the Final Cut Pro sequence are inserted in the podcast track as podcast chapter markers. The markers have the same names they did in Final Cut Pro. By default, this operation sets the Image Source pop-up menu to Video at Start of Section. For more information about the Image Source pop-up menu, see “Using the Image Source Pop-Up Menu” on page 386. Adding Images to a Podcast Your podcasts can display still images on iTunes and iPod. Using the podcast track together with the Details tab, you can add a single image for an entire podcast or create a slideshow of images that plays in sync with the audio portion of your podcast. If your project has a video track, you can use frames of the video as still images in your podcast. You can also add other still images to your podcast. Setting an Episode Image for an Entire Podcast A common podcasting practice is to insert a single, representative image for an audio podcast so that it displays (in iTunes and on iPod) during the entire episode. To set an episode image for a podcast: 1 In the Project tab, scroll down to the Metadata > Episode Image section. 2 Do one of the following:  Drag a still image from the Finder or from iPhoto to the Episode Image image well or copy an image in an image editing application and paste it into the image well.  Click Choose and, in the dialog that appears, navigate to the image file you want to add and click Open. Note: You can add any of the following image types using the Image Source pop-up menu: PDF, EPS, TIFF, JPG, GIF, PNG, PICT, BMP, ICO, and ICNS. 3 To display the podcast track, choose Show > Podcast Track from the Show pop-up menu in the upper-right corner of the Timeline. Chapter 14 Creating Podcasts in Soundtrack Pro 385 4 Confirm that the podcast track contains the single, default chapter marker region that spans the entire length of the project. 5 Click the podcast track to select it. 6 In the Image Source pop-up menu in the Details tab, select Episode Image. The image is applied to the entire podcast. If there are no subsequent markers with images, this initial image will be shown for the duration of the podcast. Note: Once you set the episode image in the Project tab, you can apply the episode image to any podcast marker region using the Image Source pop-up menu. For more information on the Image Source pop-up menu, see “Using the Image Source Pop-Up Menu” on page 386. Creating a Slideshow in a Podcast By adding multiple markers to a podcast and adding an image to each marker, you can create a slideshow that plays in sync with the audio portion of your podcast. To add a series of images to a podcast: 1 To display the podcast track, choose Show > Podcast Track from the Show pop-up menu in the upper-right corner of the Timeline. 2 Using the Blade tool, click the podcast track at each point where you want to add an image. For more information about adding markers, see “Using Podcast and Chapter Markers” on page 381. 3 Select a marker region and use the Image Source pop-up menu to apply an image. For more information on the Image Source pop-up menu, see “Using the Image Source Pop-Up Menu,” next. 4 Repeat step 3 for each marker in your slideshow. 386 Chapter 14 Creating Podcasts in Soundtrack Pro Using the Image Source Pop-Up Menu You can apply images to your podcast in a variety of ways with the Image Source pop-up menu. To apply an image to a marker region: 1 Select the marker region in the podcast track. 2 Click the Image Source pop-up menu in the Details tab. 3 Use the Image Source pop-up menu in the Details tab to choose one of the following methods for adding a still image:  Episode Image: Drag a still image from the Finder or from iPhoto to the image well or copy an image in an image editing application and paste it into the image well. Choose Episode Image again to clear the current marker image.  Video at Start of Section: If the multitrack project has a video in it, choose this option to have Soundtrack Pro insert the corresponding video frame from the same Timeline location.  Video at: Use the value slider to manually choose a video frame from the video track.  Other: Click Choose and, in the dialog that appears, navigate to the image file you want to add and click Open. Note: You can add any of the following image types using the Image Source pop-up menu: PDF, EPS, TIFF, JPG, GIF, PNG, PICT, BMP, ICO, and ICNS. Chapter 14 Creating Podcasts in Soundtrack Pro 387 To remove an image from a podcast: 1 Select the marker region in the podcast track. 2 Choose Episode Image from the Image Source pop-up menu. The image is removed and no image is displayed for that marker region. Note: Enhanced podcasts (using still images) and video podcasts are mutually exclusive. Information for enhanced and video podcasts can co-exist in your multitrack project, but you must choose one or the other when you export. See “Exporting Podcasts,” next, for more information. Exporting Podcasts After you have completed editing and mixing your project, including adding any podcast-specific enhancements such as images, chapter markers, or web links, you are ready to export your podcast. Compression is an important step in exporting any audio or video podcast file. While it is technically possible to distribute a podcast using standard (uncompressed) file formats, it is not very practical nor very common. That’s because podcast files inevitably encounter bandwidth bottlenecks as they travel to the far reaches of the Internet. So, when it comes to podcasting, small is beautiful. Exporting Audio Podcasts Almost all audio-only podcasts use one of two compressed formats: AAC or MP3. In fact, a podcast must use either the AAC or the MP3 format to be included in the iTunes Store. AAC (also known as Advanced Audio Coding codec or MPEG-4/AAC) is a newer, more efficient format. It provides more clarity than MP3 audio at the same bit rate with smaller file sizes or files of the same size at higher quality. For additional general information about exporting audio files see “Exporting a Master Mix to a Compressed Audio File” on page 399. The image for the podcast chapter has been removed. 388 Chapter 14 Creating Podcasts in Soundtrack Pro Exporting Audio Podcasts as AAC Files You can export AAC audio files directly from Soundtrack Pro by choosing File > Export and selecting AAC/Podcast File from the File Type menu. For complete information on exporting to the AAC format, see “Exporting to AAC/Podcast Files” on page 401. In step 6 of those export instructions, you are presented with the following options:  No Video: Choose this option to export an audio-only (AAC) file. The resulting podcast file will have the.m4a extension.  Enhanced (images): Choose this option to export an enhanced podcast containing audio and images. The resulting podcast file will have the .m4a extension and will include chapters and web links if you specified them in Soundtrack Pro. Note: “Enhanced (images)” is the only option that allows for still images to appear in the resulting podcast.  Video Track: This option is discussed in “Exporting Video Podcasts Directly from Soundtrack Pro,” below. Exporting Audio Podcasts as MP3 Files You can export MP3 audio files directly from Soundtrack Pro. For complete information on exporting to the MP3 format, see “Exporting to MP3 Files” on page 399. Exporting Video Podcasts While iTunes can play a wide variety of video formats, iPod only plays videos that are created to exact specifications. The specifications include AAC for the audio portion and one of two related formats (H.264 or MPEG-4) for the video portion. You want to make sure that your video podcast is encoded correctly so that it will sync to iPod without issue. Through links to its associated application, Compressor, Soundtrack Pro includes encoding presets to make video podcasts that can play on iTunes, on a video iPod, or with Apple TV. Exporting Video Podcasts Directly from Soundtrack Pro To export a podcast including both video and audio, follow the instructions in “Exporting to AAC/Podcast Files” on page 401. In step 6 of those export instructions, choose the third option: Video Track. This option results in an MPEG-4 (.m4v) file containing both video and audio. The properties of the exported podcast file are equivalent to the H.264 for iPod Video 640x480 setting that is included in the Compressor application. The resulting podcast file includes chapters and web links if you specified them in Soundtrack Pro. Chapter 14 Creating Podcasts in Soundtrack Pro 389 Using this method for exporting video podcasts offers the speed and convenience of exporting directly from Soundtrack Pro. A tradeoff of this method is you don’t have as much control over the various details of the transcoding process. For complete control over all aspects of the transcode, including the various video parameters, use Compressor (instead of this Export dialog). See “Exporting Video Podcasts Using Compressor,” next. Exporting Video Podcasts Using Compressor Compressor is the high-speed video and audio encoding tool for Final Cut Studio. You can use it to convert content so that it can be experienced on many different platforms and devices (including iTunes, Apple TV, and an iPod, among others). The Export dialog in Soundtrack Pro offers a direct link to the Compressor application. When you export using Compressor, you can use the presets included with Compressor for your exported file or use custom presets that you create in Compressor. To export a video podcast using Compressor: (For detailed information, see “Exporting a Master Mix Using Compressor” on page 410.) 1 Choose File > Export (or press Command-E). 2 Choose Master Mix from the Exported Items pop-up menu. 3 Choose Using Compressor from the File Type pop-up menu. 4 Select Encode Video. 5 In the associated pop-up menu, choose H.264 for Video Podcasting. 6 Click Export. Optionally, you could export your podcast project using the Preserve Video option (retaining the video’s original format and exporting the audio as a standard, uncompressed, AIFF file) and then import those files into Compressor for final transcoding. This method gives you the most options in terms of transcoding decisions. For more information about the Preserve Video option, see “Exporting a Master Mix Using Compressor” on page 410. Once you create customized versions of the Compressor iPod presets, they are available in the Soundtrack Pro export via Compressor options. For more information on working with Compressor presets, see the Compressor User Manual. The manual is available from the Compressor Help menu and is included in the Documentation folder installed with Soundtrack Pro. 390 Chapter 14 Creating Podcasts in Soundtrack Pro Using Post-Export Actions for Podcast Production The Soundtrack Pro Export dialog includes post-export actions that can automate parts of your podcasting workflow and save you time and effort. You can use the feature to automatically trigger your own AppleScript documents as a part of any export operation. You can link your Soundtrack Pro podcast export to custom AppleScript documents that would execute at the end of an export. For example, at the end of an overnight video podcast transcode, Soundtrack Pro could automatically trigger a custom AppleScript document that would transfer the exported podcast to a web server via scriptable FTP software and send you (or a client) an email notification. For more information about using post export-actions see “Using Post-Export Actions” on page 416. 15 391 15 Using Control Surfaces with Soundtrack Pro You can connect and use control surfaces to automate recording, mixing, and other tasks in Soundtrack Pro. Control surfaces provide a set of hardware controls that let you mix and edit your projects with greater flexibility and precision than using a mouse to move onscreen controls. You can also change multiple parameters at once using a control surface. There are a variety of control surfaces available for use with video and audio production applications. Most control surfaces include faders, knobs, and buttons similar to those found on a hardware mixing console, including channel strip controls for volume, pan, mute, solo, and track selection, and a set of transport controls. Control surfaces also typically provide buttons for selecting parameters to edit and for selecting different tracks or banks of tracks, a jog wheel for moving the playhead precisely, and other controls. When you use a control surface with Soundtrack Pro, some controls are premapped to common functions. You can map other controls to Soundtrack Pro commands and functions in the Control Surfaces Preferences pane. To use a control surface, you connect it to your computer, add it to Soundtrack Pro, map the controls you want to use to Soundtrack Pro commands, then record control surface automation data in your project. Recorded control surface automation data appears in the corresponding envelope in the Timeline. Connecting Control Surfaces Soundtrack Pro supports control surfaces that use the Mackie Control and Logic Control protocols to communicate with your computer. In order to use a control surface, you must first connect the control surface to a MIDI interface, and connect the MIDI interface to your computer, unless the control surface allows direct connection to the computer. Before connecting a MIDI interface, be sure your computer supports the MIDI interface you plan to use. Read the installation instructions included with the MIDI interface, and install the latest version of any appropriate firmware or driver software if needed. For more information, refer to the documentation that came with the control surface and with the MIDI interface. 392 Chapter 15 Using Control Surfaces with Soundtrack Pro Adding and Deleting Control Surfaces When you have connected the MIDI interface to your computer, and connected the control surface to the MIDI interface, you add the control surface in Soundtrack Pro Control Surface Preferences. To add a connected control surface: 1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button. 2 Click the Add (+) button to add the control surface. The visual representation of the control surface appears in the panel in the upper part of the window. 3 Choose the type of control surface you are adding from the Control Surface Type pop-up menu. 4 Choose the MIDI input port to use for the control surface from the Input Connection pop-up menu. 5 Choose the MIDI output port to use for the control surface from the Output Connection pop-up menu. 6 Click the Close button to dismiss the Preferences window. You can delete a control surface, if you decide you don’t want to use it any longer. To delete a control surface: 1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button. 2 Select the control surface in the Control Surfaces display area. 3 Click the Delete (–) button. Chapter 15 Using Control Surfaces with Soundtrack Pro 393 Premapped Controls When you connect a control surface, many controls are premapped to work with specific Soundtrack Pro buttons and commands. Premapped controls include the following: Mapping Commands to Control Surface Buttons Many buttons on control surfaces are not directly assigned to a specific command in Soundtrack Pro. Some buttons, such as the bank and channel buttons, are premapped but can also be mapped to other commands. You can map these buttons in the Control Surface Buttons window and save the mappings or modify them later. To map a command to a control surface button: 1 Choose Soundtrack Pro > Preferences, then click the Control Surfaces button. 2 Click the Control Surface Buttons button to show the Control Surface Buttons window. Control Soundtrack Pro button or command Master fader Master volume (physical output channels 1-2) Channel strip volume faders Track volume slider Channel strip rotary knobs Track pan slider Channel strip record-ready buttons Track Arm for Recording button Channel strip select buttons Select the track. Channel strip mute buttons Track mute button Channel strip solo buttons Track solo button Transport controls Transport controls (Move back, Move forward, Play, Stop, Record) Jog wheel Moves playhead back or forward. 394 Chapter 15 Using Control Surfaces with Soundtrack Pro 3 In the Control Surface Buttons window, drag an action from the Available Commands list (on the right) to a button in the Control Surface Buttons list (on the left) to map the command to the button. 4 Optionally, you can search for commands and control surface buttons by typing text in the Search field, located at the upper-right corner of the window. Recording Control Surface Automation Once you have connected a control surface and mapped the controls you plan to use, you can use the control surface to control volume, pan, and other functions in your Soundtrack Pro projects. Using the automation modes described in “Automation Modes” on page 365, you can record control surface movements while a project plays. To record control surface movements, follow the procedures described in “Recording Automation Data” on page 365. You can thin automation data recorded from a control surface. For information on thinning automation data, see “Thinning Envelope Points in Recorded Automation Data” on page 366. 16 395 16 Exporting Multitrack Projects Once you have created a final mix of a multitrack project, you can choose from several different ways to deliver it. You can export the project mix or export individual tracks, busses, or submixes to a wide variety of formats. You can export a project to a mono, stereo, or multichannel audio file. You can export all, or selected, tracks, busses, or submixes to either stereo or multichannel audio files, or to groups of mono files. And you can create as many mixes of your project as you like by selecting or muting tracks, busses, and submixes; adjusting controls, effects, and envelopes; and then exporting each version as a separate mix. Export file formats include the following standard audio file types: AIFF, WAVE, NeXT, Sound Designer II, MP3, AAC/Podcast, and Dolby Digital Professional (AC-3). You can also export a project to a variety of formats using Compressor, the Final Cut Studio transcoding application. Note: Dolby Digital Professional encoding is available only on computers that have Final Cut Studio installed. The Soundtrack Pro Export dialog includes a variety of post-export actions that can automatically open the exported files in a Final Cut Pro sequence or in File Editor project view, place exported files on new tracks, or export a mix to Motion, Logic, or Waveburner. You can also add your own custom Applescript actions using the Export dialog. To streamline your workflow, you can create custom export presets with any combination of exported items, file types, bit depths, sample rates, and post-export actions. You can also export your project using AAF, an industry-standard project interchange format. And you can save a multitrack project with all of the media files it uses together in the same folder. 396 Chapter 16 Exporting Multitrack Projects About the Export Dialog The Export dialog in Soundtrack Pro is a flexible tool that provides numerous alternatives for your workflow and distribution needs. To open the Export dialog for a multitrack project: m Choose File > Export.  Preset pop-up menu: Create custom export presets with any combination of exported items, file types, bit depths, sample rates, and post-export actions. For more information, see “Using Export Presets” on page 418.  Exported Items pop-up menu: Choose to export a master mix or export the component parts of your multitrack project as individual files or as groups of files. For more information about exporting a master mix, see “Exporting a Master Mix” on page 397. For more information about exporting the component parts of your multitrack project, see “Exporting Tracks, Busses, and Submixes Separately” on page 414.  File Type pop-up menu: Choose the file type for the exported audio file or files. For more information, see “Exporting a Master Mix to a Standard Audio File” on page 398 and “Exporting a Master Mix to a Compressed Audio File” on page 399.  Create multiple mono files checkbox: Select this checkbox to export a separate audio file for each output channel in your multitrack project. For more information, see “Exporting Multiple Mono Files” on page 415.  Bit Depth pop-up menu: Choose a bit depth for the exported file.  Sample Rate pop-up menu: Choose a sample rate for the exported file.  After Export pop-up menu: Choose a post-export action. For more information about post-export actions, see “Using Post-Export Actions” on page 416. Preset pop-up menu Exported Items File Type pop-up menu pop-up menu Create multiple mono files checkbox Sample Rate pop-up menu After Export pop-up menu Bit Depth pop-up menu Chapter 16 Exporting Multitrack Projects 397 Exporting and the Cycle Region You can export just a portion of your multitrack project by selecting it with the cycle region. To select a portion of a multitrack project with the cycle region, do one of the following: m Drag in the bottom half of the Time ruler from the beginning of where you want the cycle region to the end. m Position the playhead and press I to set the cycle region In point. Position the playhead and press O to set the cycle region Out point. m Press X to set the cycle region In and Out points at the boundaries of the clip that currently intersects the playhead. The clip on the uppermost selected track is used. If you want to export the entire multitrack project, be sure to first remove the cycle region. To remove the cycle region, do one of the following: m Choose Edit > Cycle Region > Remove Cycle Region (or press Option-X). m Control-click the cycle region, then choose Cycle Region from the shortcut menu and Remove Cycle Region from the submenu. For more information about using the cycle region, see “Working with the Cycle Region” on page 134. Exporting a Master Mix A master mix (or project mixdown) is a single audio file that contains all of the elements and settings in your multitrack project. When you export a master mix, all unmuted tracks, busses, and submixes that are routed to hardware output jacks are included in the exported file. You can exclude any tracks, busses, and submixes from the exported mix by muting them. For more information about routing to hardware output jacks, see “Setting Hardware Outputs” on page 265 and “Setting the Submix Outputs to Surround” on page 296. 398 Chapter 16 Exporting Multitrack Projects Exporting a Master Mix to a Standard Audio File You can export a mixdown of your project to any of the following standard (uncompressed) audio formats: AIFF, WAVE, NeXT, and SoundDesigner II. To export a master mix as a standard audio file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Use the File Type pop-up menu to choose a file type for the exported audio file. If you choose any of the last four menu items (MP3 File, AAC/Podcast File, Dolby Digital Professional (AC-3) File, or Using Compressor), the bottom portion of the Export dialog displays the options for the selected menu item. For information about these menu items, see “Exporting a Master Mix to a Compressed Audio File” on page 399. 4 You can optionally select the “Create multiple mono files” checkbox to export a separate mono audio file for each output channel in your multitrack project. For more information, see “Exporting Multiple Mono Files” on page 415. Chapter 16 Exporting Multitrack Projects 399 5 Choose a bit depth for the exported file from the Bit Depth pop-up menu. 6 Choose a sample rate for the exported file from the Sample Rate pop-up menu. The sample rate is the number of times an analog signal is measured—or sampled— per second. The higher the sample rate, the higher the quality and the larger the file size, but don’t choose a sample rate higher than the rate used in your multitrack project or you’ll waste space. 7 You can optionally use the After Export pop-up menu to choose a post-export action. For information about post-export actions, see “Using Post-Export Actions” on page 416. 8 Type a name for the exported file, and browse to the location where you want to save the file. 9 Click Export. Note: When you bounce or export a project with an effect tail (sound that extends past the end of the audio file, usually caused by reverb or another effect), the length of the tail is limited to a maximum of 30 seconds. If the tail extends beyond this amount of time, it is cut off after 30 seconds in the bounced or exported file. Exporting a Master Mix to a Compressed Audio File You can export a mixdown of your project to any of the following compressed audio formats: MP3, AAC/Podcast, and Dolby Digital Professional (AC-3). These compressed formats provide reduced file sizes and data rate reduction. Exporting to MP3 Files MP3 is a specific type of MPEG encoding known formally as MPEG audio layer 3. MP3 uses perceptual audio coding and psychoacoustic compression to remove all superfluous information (specifically the redundant and irrelevant parts of a sound signal that the human ear doesn’t hear anyway). The result is that MP3 encoding shrinks the original sound data from a CD (with a data rate of 1411.2 kilobits per one second of stereo music) by a factor of 12 (down to 112–128kbps) without sacrificing very much sound quality. Proponents of MP3 claim there is no sacrifice in sound quality, but audio professionals can usually hear the difference on good equipment. 400 Chapter 16 Exporting Multitrack Projects To export a master mix as an MP3 file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Choose MP3 File from the File Type pop-up menu. The bottom portion of the Export dialog displays the MP3 export options. Since Soundtrack Pro can tap the power of Compressor as a background process, these export options are identical to the corresponding options in the Compressor application. 4 Choose from the following MP3 export options:  Stereo Bit Rate pop-up menu: The higher the mono or stereo kilobits per second (Kbps), the higher the audio quality and the larger the file size. The most common bit rate for stereo MP3 files is between 128 Kbps and 192 Kbps. Lower bit rates are more appropriate for sound files containing voice recordings (as opposed to music). Some example settings and uses include:  32 kbps: AM radio quality, suitable for medium-quality speech  96 kbps: FM radio quality, suitable for high-quality speech or medium-quality music  128 kbps: Suitable for good-quality music  256 kbps and 320 kbps: Suitable for music that is near audio CD quality  Use Variable Bit Rate Encoding (VBR): This setting varies the number of bits used to store the music depending on the complexity of the music. This can help keep file size to a minimum. MP3 export options Chapter 16 Exporting Multitrack Projects 401  Sample Rate pop-up menu: The sample rate is the number of times an analog signal is measured—or sampled—per second. The higher the sample rate, the higher the quality and the larger the file size, but don’t choose a sample rate higher than the rate used in your multitrack project or you’ll waste space.  Channels pop-up menu: If your project is monaural or if the target playback device is mono, choose Mono. (Mono files are about half the size of stereo files.) If your project output is in stereo and the target playback device is stereo, choose Stereo.  Joint Stereo: When deselected, your MP3 files contain one track for the right stereo channel and one track for the left. In many cases, the two channels contain related information. When the Joint Stereo checkbox is selected, one channel carries the information that’s identical on both channels, and the other channel carries the unique information. At bit rates of 160 Kbps and below, this can improve the sound quality of your converted audio.  Smart Encoding Adjustments: Select this to have Compressor analyze your encoding settings and music source, and then adjust settings to maximize quality.  Filter Frequencies Below 10 Hz: Filtering inaudible frequencies results in smaller, more efficient files without perceptible loss of quality. 5 You can optionally use the After Export pop-up menu to choose a post-export action. For information about post-export actions, see “Using Post-Export Actions” on page 416. 6 Type a name for the exported file, and browse to the location where you want to save the file. 7 Click Export. Exporting to AAC/Podcast Files AAC (Advanced Audio Coding) provides audio encoding that compresses much more efficiently than older formats, such as MP3, yet delivers higher-quality results with smaller file sizes. AAC is the default audio format for theiPod and iTunes, as well as the default audio codec for the .m4v format used in all video files sold on iTunes. To export a master mix as an AAC/Podcast file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 402 Chapter 16 Exporting Multitrack Projects 3 Choose AAC/Podcast File from the File Type pop-up menu. The bottom portion of the Export dialog displays the AAC/Podcast export options. Since Soundtrack Pro can tap the power of Compressor as a background process, these export options are identical to the corresponding options in the Compressor application. The AAC/Podcast export options are divided into three separate panes: Audio, Streaming, and Podcast. 4 Choose from the following export options in the Audio pane:  Channels pop-up menu: Choose either mono or stereo for the exported media file.  Sample Rate pop-up menu: Choose from one of the following sample rates: 8, 11.025, 12, 16, 22.050, 24, 32, 44.1, or 48 kHz. You can also choose Recommended to have Soundtrack Pro automatically choose a sample rate that is suitable for the Channels and Bit Rate settings.  Quality pop-up menu: Choose one of the following for the audio quality of your output media file:  Low: This allows for fast transcoding, but at the expense of output file quality.  Medium: The audio quality is better than Low, but this takes longer to transcode.  High: This is the best audio quality setting available. Use this setting when the audio quality is important for the output media file and you don’t mind how long it takes to transcode.  Bit Rate slider and field: Move the slider to set the overall audio bit rate for an exported media file between the range of 16 Kbps (2 KB/sec.) to 256 Kbps (32 KB/ sec.), or enter a specific number in the accompanying field. AAC Audio export options Chapter 16 Exporting Multitrack Projects 403 5 Choose from the following export options in the Streaming pane:  Streaming hints enabled checkbox: Make sure that this box is selected if you want the MPEG-4 Part 2 output format streaming settings to be applied.  QuickTime Streaming Server Compatibility (pre v4.1) checkbox: Select this checkbox if you want your exported file to work with an older QuickTime Streaming Server (version 4.1 or earlier). You don’t need to select this box if you are using a newer version of QuickTime, because any streaming compatibility issues are automatically resolved.  Maximum Packet Size field: Enter a number to specify the largest file size allowable (in bytes) for a streaming packet in your output media file. The packet size you choose should be no larger than the largest packet used on any network between the streaming server and the viewer.  Maximum Packet Duration field: Enter a number to specify the longest duration allowable (in milliseconds) for a streaming packet in your output media file. The duration affects MPEG-4 Part 2 audio only. It limits the maximum amount of audio (in milliseconds) in any packet, which limits the audio dropout created by the loss of a packet. AAC Streaming export options 404 Chapter 16 Exporting Multitrack Projects 6 Select one of the following buttons in the Podcast pane:  No Video: Choose this option to export an audio-only (AAC) file.  Enhanced (images): Choose this option to export an enhanced podcast containing audio and chapter marker images. For more information, see Chapter 14, “Creating Podcasts in Soundtrack Pro,” on page 377.  Video Track: Choose this option to export an MPEG-4 (.m4v) file containing both audio and video. For complete control over the various video parameters, use Compressor (instead of this Export dialog). For more information, see “Exporting a Master Mix Using Compressor” on page 410. 7 You can optionally use the After Export pop-up menu to choose a post-export action. For information about post-export actions, see “Using Post-Export Actions” on page 416. 8 Type a name for the exported file, and browse to the location where you want to save the file. 9 Click Export. Exporting to Dolby Digital Professional (AC-3) Files Dolby Digital Professional format (also known as AC-3) is a very common compressed audio format for DVD-Video discs. AC-3 programs can deliver 5.1-channel surround as well as a variety of other surround configurations. This format is frequently used to encode stereo files to greatly reduce their file size. Note: Dolby Digital Professional (AC-3) encoding is available only on computers that also have Final Cut Studio installed. AAC Podcast export options Chapter 16 Exporting Multitrack Projects 405 To export a master mix as a Dolby Digital Professional (AC-3) file: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Choose Dolby Digital Professional (AC-3) File from the File Type pop-up menu. The bottom portion of the Export dialog displays the Dolby Digital Professional (AC-3) File export options. Since Soundtrack Pro can tap the power of Compressor as a background process, these export options are identical to the corresponding options in the Compressor application. The AC-3 File export options are divided into three separate panes: Audio, Bitstream, and Preprocessing. 4 Choose from the following export options in the Audio pane:  Target System pop-up menu: Available settings are limited to those appropriate for the selected target system. If you’re encoding for use with DVD Studio Pro, choose DVD Video. Choose DVD Audio only if you are encoding for use in a DVD Audio authoring application. Choose Generic AC-3 to remove the setting limits. AC-3 Audio export options 406 Chapter 16 Exporting Multitrack Projects  Audio Coding Mode pop-up menu: Specifies the audio channels of the encoded stream. This setting also has an Automatic button. For example, “3/2 (L, C, R, Ls, Rs)” means three front channels (left, center, right) and two rear (surround) channels. “2/0 (L, R)” is essentially a standard stereo file. The audio coding mode affects settings such as the available bandwidth and surround channel preprocessing. If you click the Automatic button (next to the Audio Coding Mode pop-up menu), Compressor makes its best guess at the intended audio coding mode, based on available source audio files. Note: In the Audio Coding Mode pop-up menu, “S” stands for a single rear “Surround” channel.  Enable Low Frequency Effects checkbox: Select this option to include the LFE channel in the encoded stream. (Not available for 1/0 mono or 2/0 stereo.)  Sample Rate pop-up menu: Specifies the sample rate. All files intended for video and audio DVD authoring must have a 48 kHz sample rate as per the DVD specification. The 32 kHz and 44.1 kHz sample rates are only available when Generic AC-3 is the target system. Choose the audio channel grouping for the encoded stream from the Audio Coding Mode pop-up menu. 3/1 channels 3/0 channels 2/2 channels 2/1 channels 2/0 channels 1/0 channels (LFE option not available) (LFE option not available) 3/2 channels L C LFE LFE LFE LFE LFE R Ls Rs L R Ls Rs L R L R S L C LFE R S L C C LFE R Chapter 16 Exporting Multitrack Projects 407  Data Rate pop-up menu: The choices depend on the coding mode and target system. The higher the rate, the better the quality. Dolby Digital Professional (AC-3) streams have a constant data rate. At 448 kbps, which is the default for 5.1 encoding, one minute of AC-3 audio takes about 3.3 MB of storage space. For stereo encoding, rates of 192 kbps and 224 kbps are typical and will produce good results.  Bit Stream Mode pop-up menu: Defines the purpose of the encoded audio material. The information is included in the finished stream and can be read by some decoding systems.  Dialog Normalization field: Specifies the average volume of the dialogue, using decibels of full scale (dBFS), in your sound files relative to full modulation. The playback device uses this information to maintain similar volume among different AC-3 streams. The goal is to make all AC-3 encoded audio files have the same listening level, regardless of the source file. It is especially important to properly use the Dialog Normalization feature if you have different audio files (with different volume levels) going on to a DVD. If you know the average level for each of them, enter that number in the Dialog Normalization field for each file. For example, if the dialogue in your project averages around -12 dB on the level meter, enter -12 in the Dialog Normalization field. Note: This normalization is between the audio streams on the DVD, not within an individual audio stream itself. You can enter values from -1 dBFS to -31 dBFS. The difference between the value you enter and 31 dBFS (which represents the normal dialogue listening level) is the amount that the source audio is attenuated.  If you enter -31 dBFS, the attenuation is 0 dB (31 dBFS–31 dBFS), and the source audio levels are not affected at all.  If you enter -27 dBFS, the attenuation is 4 dB (31 dBFS–27 dBFS).  If you enter -12 dBFS, the attenuation is 19 dB (31 dBFS–12 dBFS). The louder the source file, the smaller the value you enter, and the more the audio in the encoded file is attenuated during playback. Important: It is critical that you have set the Dialog Normalization setting correctly if you intend to use any of the Compression Preset settings. The Compression Preset settings assume that the audio, after the dialogue has been normalized, is at the normal listening level of 31 dBFS. Levels that are consistently louder than that result in distorted sound and erratic levels. If you want to ensure that the AC-3 encoder does not affect your sound levels, enter -31 for the Dialog Normalization and choose None from the Compression Preset popup menu (located in the Preprocessing pane). 408 Chapter 16 Exporting Multitrack Projects 5 Choose from the export options in the Bitstream pane. These settings are stored in the finished stream for use by the playback device. Leave them at their default values unless you have a specific technical reason for changing them.  Center Downmix and Surround Downmix pop-up menus: If your encoded audio has these channels, but the player does not, the channels are mixed into the stereo output at the specified level.  Dolby Surround Mode pop-up menu: When encoding in 2/0 (stereo) mode, specifies whether the signal uses Dolby Surround (Pro Logic).  Copyright Exists checkbox: Select this option to specify that a copyright exists for this audio.  Content is Original checkbox: Select this option to specify that this audio is from the original source and not a copy.  Include Audio Production Information: Select this checkbox and fill in the fields below to specify how the encoded audio content was mixed. Playback devices may use this information to adjust output settings.  Peak Mixing Level field: Specifies peak sound pressure level (SPL) (between 80 dB and 111 dB) in the production environment when this mix was mastered.  Room Type field: Specifies information about the mixing studio. AC-3 Bitstream export options Chapter 16 Exporting Multitrack Projects 409 6 Choose from the export options in the Preprocessing pane. Preprocessing options are applied to the audio data before encoding. With the exception of the Compression Preset setting, leave these settings at their default values unless you have a specific technical reason for changing them.  Compression Preset pop-up menu: Specifies one of the dynamic range processing modes built in to the Dolby Digital Professional (AC-3) format. The default of Film Standard Compression should only be used when you are encoding an original mix intended for cinema. In almost all cases, you should choose None. Important: It is critical that you have set the Audio tab’s Dialog Normalization setting correctly if you intend to use any of these Compression Preset settings. The Compression Preset settings assume that the audio, after the dialogue has been normalized, is at the normal listening level of 31 dBFS. Levels that are consistently louder than that result in distorted sound and erratic levels. Note: If you are building a Dolby Digital Professional 5.1 channel surround sound DVD, you will use Film Standard Compression. AC-3 Preprocessing export options Choose a compression setting from the Compression Preset pop-up menu. 410 Chapter 16 Exporting Multitrack Projects  General  Apply Digital Deemphasis checkbox: Specifies whether input audio data is pre-emphasized and needs to be de-emphasized before encoding.  LFE Channel  Low-Pass Filter checkbox: Select this option to apply a 120 Hz low-pass filter to the Low Frequency Effects (LFE) channel. Turn off this filter if the digital signal fed to the LFE’s input does not contain information above 120 Hz.  Full Bandwidth Channels  Low-Pass Filter checkbox: Select this option to turn on a low-pass filter with a cutoff near the available audio bandwidth that is applied to the main input channels. If the digital signal fed to the main input channels does not contain information above the available audio bandwidth, you can turn off this filter. Compressor automatically determines the available bandwidth.  DC Filter checkbox: Select this option to turn on a DC high-pass filter for all input channels as a simple way to remove DC offsets. Most mixed audio material is already free of DC offsets.  Surround Channels  90° Phase-Shift checkbox: Select this option to generate multichannel AC-3 streams that can be downmixed in an external 2-channel decoder to create true Dolby Surround–compatible output.  3 dB Attenuation checkbox: Select this option to apply a 3 dB cut to the surround channels of a multichannel film soundtrack being transferred to a consumer home theater format. Cinema surround channels are mixed 3 dB “hot” (higher) relative to the front channels to account for cinema amplifier gains. 7 You can optionally use the After Export pop-up menu to choose a post-export action. For information about post-export actions, see “Using Post-Export Actions” on page 416. 8 Type a name for the exported file, and browse to the location where you want to save the file. 9 Click Export. Exporting a Master Mix Using Compressor The Export dialog in Soundtrack Pro offers a direct link to the Compressor application. Compressor is the high-speed video and audio encoding tool for Final Cut Studio. It provides an efficient way to transcode between professional formats, or to convert content so that it can be experienced on many different platforms and devices (including websites, Apple TV, an iPod, CD-ROM discs, DVDs, cell phones, and so on). When you export using Compressor, you can use custom presets that you create in Compressor or the presets included with Compressor. Chapter 16 Exporting Multitrack Projects 411 To export a master mix using Compressor from within Soundtrack Pro: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose Master Mix from the Exported Items pop-up menu. Note: You can also use an export preset to export a master mix. For more information about using Soundtrack Pro export presets and the Preset pop-up menu, see “Using Export Presets” on page 418. 3 Choose Using Compressor from the File Type pop-up menu. The bottom portion of the Export dialog displays the Compressor export options. Since Soundtrack Pro can tap the power of Compressor as a background process, many of these export options are identical to the corresponding options in the Compressor application. 4 Do one of the following:  To export the video in its original format, select Preserve Video, then choose an export preset from the adjacent preset pop-up menu. In this option, the video is copied unchanged to the exported file.  To export the video in a different format, select Encode Video, then choose an export preset from the adjacent preset pop-up menu. Encoding the video transcodes it to the new export format. Transcoding the video can take longer than copying and can result in a loss of quality. In most cases, when the video format of the exported file is the same as the source video, you should preserve the video when exporting. If the video format of the exported file is different than the source video, you should encode the video when exporting. For information about using Compressor export presets, see “Using Compressor Export Presets,”next. Using Compressor export options 412 Chapter 16 Exporting Multitrack Projects 5 Optionally, for multichannel projects, click the Edit Channel Layout button to change the channel layout for the exported file. For information on exporting multichannel projects, see “Exporting Multichannel Projects with Compressor” on page 413. 6 Click Export. Using Compressor Export Presets Compressor includes a large number of export presets for a variety of target formats and playback devices. Using Existing Presets When you export a Soundtrack Pro project using Compressor, you can select an export preset in the Compressor Export Options dialog. Export presets appear in the pop-up menus to the right of the Preserve Video and Encode Video buttons. Editing or Creating Presets Click the Edit Presets button to open the Compressor application so that you can modify existing Compressor presets or create new ones. For more information on working with Compressor presets, see the Compressor User Manual. The manual is available from the Compressor Help menu and is included in the Documentation folder installed with Soundtrack Pro. Choose an export preset in the Compressor Export Options dialog. Chapter 16 Exporting Multitrack Projects 413 Exporting Multichannel Projects with Compressor When you export a multichannel project using Compressor, you can edit the channel layout. By default, Soundtrack Pro uses the SMPTE/ITU standard for routing surround output channels. If you are exporting to a file format that uses a different standard for routing output channels, use the Channel Layout interface to re-assign the channels and outputs. To edit the channel layout: 1 In the Compressor Export Options dialog, click the Edit Channel Layout button. The Channel Layout dialog appears. The Channel Layout dialog includes pop-up menus for Left, Right, Center, LFE, Left Surround, Right Surround, and Center Surround outputs. You can choose the physical output channel (labeled “Channel 1,” “Channel 2,” and so forth) for each submix. 2 Choose the physical output channel for each channel in the exported project. Audio Interface Output Speaker 1 Left 2 Right 3 Center 4 LFE 5 Left Surround (Ls) 6 Right Surround (Rs) 414 Chapter 16 Exporting Multitrack Projects Exporting Tracks, Busses, and Submixes Separately As an alternative to exporting a master mix, you can export the component parts of your multitrack project as individual files or as groups of files. These options are available for AIFF, WAVE, NeXT, and SoundDesigner II export files. Note: Muted tracks, busses, and submixes are excluded from all of the following export combinations. To export component parts of a multitrack project: m Follow the steps described in “Exporting a Master Mix to a Standard Audio File” on page 398, except in step 2, instead of choosing Master Mix, choose any of the following from the Exported Items pop-up menu:  Selected Tracks, Busses, and Submixes: Exports selected tracks, busses, and submixes only. If nothing is selected, each unmuted track, bus, and submix is exported as a separate file.  All Tracks, Busses, and Submixes: Exports each unmuted track, bus, and submix as a separate file.  All Tracks: Exports each unmuted track as a separate file.  All Busses: Exports each unmuted bus as a separate file.  All Submixes: Exports each unmuted submix as a separate file. Output File Names Output files are given the same names as the tracks, busses, or submixes being exported. For example, “Track 1” results in “Track 1.aif.” If you select the “Create multiple mono files” checkbox, the Mixer object name (for example, “Track 1”) serves as the base name to which channel codes are appended (for example, “Track 1.R.aif” and “Track 1.L.aif”). For more information, see “Exporting Multiple Mono Files,” below. Effect Tails When you export a project, track, bus, or submix that includes an effect (for example, a reverb or delay) that produces a tail that extends past the end of the project, the exported file lengthens to include the tail. You can also select part of an audio file and add an effect to a selection. When you add an effect that produces a tail to a selection, the tail is blended with the audio following the selection until the effect level falls below –96 dB. The project lengthens to include the tail if necessary. Chapter 16 Exporting Multitrack Projects 415 Exporting Multiple Mono Files Select the “Export multiple mono files” checkbox to export a separate mono audio file for each output channel in your multitrack project. Selecting this checkbox results in a separate audio file for each hardware output (jack). For example, by default, all tracks are routed to Submix 1, and Submix 1 is routed to the Stereo 1, 2 outputs. With this setup, selecting the “Export multiple mono files” checkbox exports two mono files. The letter L is appended to the filename of the left mono file, and the letter R is appended to the right mono file. If the Output pop-up menu is set to Surround >1-6, six mono files are exported, each with the corresponding code appended to its filename: L, R, C, LFE, Ls, and Rs. For more information about routing to hardware output jacks, see “Connecting Physical Outputs” on page 297 and “Setting the Submix Outputs to Surround” on page 296. 416 Chapter 16 Exporting Multitrack Projects Using Post-Export Actions The Soundtrack Pro Export dialog includes post-export actions that can automate parts of your workflow and save you time and effort. The post-export actions range from opening the exported files in a Final Cut Pro sequence to bouncing mixes to new tracks. You can also use the feature to automatically trigger your own AppleScript documents as a part of any export operation. Default Actions Soundtrack Pro includes the following list of default actions that can be chosen once the export is complete:  Send files to Final Cut Pro sequence: Opens Final Cut Pro and allows you to quickly create a new sequence, and insert the exported file in the sequence. If you originally sent the project from Final Cut Pro to Soundtrack Pro, the new sequence looks just like the original sequence but has additional audio tracks that contain your mixdown.  Send files to Audio Waveform Editor: Opens the exported file in the File Editor project view.  Send files to new tracks: Inserts the exported file into a new track in the Timeline.  Export Mix to Motion: Opens the exported file in Motion.  Export Mix to Logic: Opens the exported file in Logic.  Export Mix to Waveburner: Opens the exported file in Waveburner. To add a post-export action: 1 Follow any of the export steps described earlier in this chapter. 2 Choose a post-export action from the After Export pop-up menu. 3 Click Export. The file or files are exported and the post-export action is executed. Chapter 16 Exporting Multitrack Projects 417 Custom Actions You can save a series of actions in the File Editor as an AppleScript droplet. Those droplets will appear as actions in the After Export pop-up menu (provided you save them to the default location: /Users/username/Library/Scripts/Soundtrack Pro Scripts/). For more information about creating your own AppleScript droplets in Soundtrack Pro, see “Scripting Actions in the File Editor Project View” on page 248. You can also add your own AppleScript scripts (that you create outside of Soundtrack Pro) to this default location, and they will appear in the After Export pop-up menu. Such custom actions could include an AppleScript script to send an email notification or to automatically transfer the exported file to a web server. To add your own AppleScript scripts to the After Export pop-up menu: 1 Confirm that your AppleScript script uses the following syntax (to ensure that it works in the in the After Export pop-up menu): 2 Save your AppleScript script to the default Soundtrack Pro AppleScript location: /Users/ username/Library/Scripts/Soundtrack Pro Scripts/. For more information about writing AppleScript scripts, go to the following websites:  Apple Developers: http://developer.apple.com/applescript  General Apple Customers: http://macscripter.net Custom actions appear here. 418 Chapter 16 Exporting Multitrack Projects Using Export Presets You can streamline your workflow by saving all export settings (any combination of export objects, formats, and actions) into a collection of presets for future use. Custom export presets can include any combination of exported items, file type, bit depth, sample rates, and post-export actions. To create a new export preset: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Configure the Export dialog to reflect the export options you want to use for the exported file or files.  For standard audio file types (AIFF, WAVE, NeXT, and SoundDesigner II), the options include Exported Items, File Type, the “Create multiple mono files” checkbox, Bit Depth, Sample Rate, and post-export actions.  For compressed audio file types (MP3, AAC/Podcast, Dolby Digital Professional/AC-3), the options include the detailed settings for each of those formats, the choice of Compressor presets, and post-export actions. 3 Choose Save Preset from the Preset pop-up menu. 4 Type a name for the new preset and click OK. To apply a saved export preset: 1 Choose File > Export (or press Command-E). The Export dialog appears. 2 Choose an export preset from the Preset pop-up menu. The Export dialog displays the corresponding export options. 3 Type a name for the exported file, and browse to the location where you want to save the file. 4 Click Export. Chapter 16 Exporting Multitrack Projects 419 Exporting to AAF Advanced Authoring Format (AAF) is an industry-standard project interchange format for sharing projects and editing decisions between different video and audio editing applications. To export a project to an AAF file: 1 Choose File > Export AAF. The Save dialog appears. 2 In the Save dialog, type a name for the file and browse to the location where you want to save it. For more information on using OMF and AAF files, see “Exchanging OMF and AAF Files with Other Applications” on page 435. Saving Multitrack Projects For information on saving multitrack projects, see “Saving Multitrack Projects” on page 111. Distributing a Multitrack Project and Its Media Files Together You can save a multitrack project with all of the media files it uses together in the same folder. Saving the project and its media files together is useful when you want to move the project from one computer to another to continue working on it or to archive the project and media for later use. To save a project and its audio files together: 1 Choose File > Save As. 2 In the dialog that appears, select the Collect Audio Files checkbox. This option saves the project file and a copy of every audio file the project uses to the selected location. Note: When you check this box, the setting is retained for any subsequent saves. In other words, the File > Save menu option changes to File > Save (Collected), and any new media you add to the project will be collected the next time you save the project. Select this option to save the video file with the project. Select this option to save the project and its audio files together. 420 Chapter 16 Exporting Multitrack Projects 3 Enter a name for the saved project, navigate to the folder in which you want to save the project and its audio files, and click Save. The project file and a copy of every audio file the project uses are saved in the selected location. 4 You can optionally create a new folder for the collected project. To create a new folder for the project, click the triangle next to the Save As field to expand the Save dialog, then click New Folder. It’s a good idea to save each collected project in its own folder. 5 You can optionally select the Collect Unused Audio Files checkbox to include media files you have deleted from the project. If you do not want to include these media files, deselect this checkbox. 6 If the project includes a video, you can optionally select the Collect Video File checkbox to save the video in the selected folder. If the folder already contains any of the media files, an alert appears, asking if you want to replace the existing files. Note: Because video files are typically very large files, saving a copy of the video file may take several minutes and may require a large amount of disk space. 7 If the project includes edited audio files, you can optionally select the Save Edited Media Locally checkbox to save the project’s edited audio files in the same folder as the project. If this box is not selected, edited media is saved to the Edited Media Location defined in Soundtrack Pro preferences. To remove deleted audio files from a project, do one of the following: m In the Bin, select one of the audio files you want to remove, then choose Remove Unused from the Media pop-up menu. m In the Bin, Control-click one of the audio files you want to remove, then choose Remove Unused from the shortcut menu. 17 421 17 Using Soundtrack Pro with Other Applications You can work with media files and projects from Final Cut Pro, Motion, DVD Studio Pro, and other applications in Soundtrack Pro projects. Soundtrack Pro gives you several ways to work with files from Final Cut Pro, Motion, and DVD Studio Pro, as well as third-party applications. Using Soundtrack Pro with Final Cut Pro You can use Soundtrack Pro for every aspect of creating audio for a project, from multitrack recording to advanced audio processing and mixing. For example, you can send a clip’s media file directly from Final Cut Pro to Soundtrack Pro, modify it, and then immediately see the changes to your clip back in Final Cut Pro. You can also batch process audio files using Applescript documents created in Soundtrack Pro. However, one of the most powerful advantages of using Soundtrack Pro is the ability to send entire sequences to Soundtrack Pro and automatically conform them each time you make editorial changes to a sequence in Final Cut Pro. For information about using Conform, see Chapter 18, “Using Conform with Final Cut Pro,” on page 439. About Soundtrack Pro Audio File Projects A Soundtrack Pro audio file project allows you to edit and process an audio media file nondestructively, which means you can always alter or remove all of the actions you applied and even get back to the original state of the audio. A Soundtrack Pro audio file project is stored in a special Mac OS X format called a package (or bundle). A Mac OS X package appears to be a single file in the Finder but actually contains a collection of files, such as the original audio file, render files, and the list of actions applied to your audio file. To take advantage of nondestructive editing, you can create a Soundtrack Pro audio file project by either saving one from Soundtrack Pro or sending a clip or clips from Final Cut Pro to a Soundtrack Pro audio file project. 422 Chapter 17 Using Soundtrack Pro with Other Applications Methods for Sending Audio from Final Cut Pro to Soundtrack Pro You can take several approaches to working with your Final Cut Pro project’s audio in Soundtrack Pro. The method you choose depends on your situation:  Do you need to make specific changes to audio clips in your project? Final Cut Pro allows you to open one or more clips in the Soundtrack Pro File Editor, where you can analyze and process the audio using a variety of powerful tools.  Do you need to batch process multiple audio files? Using customizable Soundtrack Pro scripts, you can automate repetitive audio processing tasks such as removing clicks, adding fades, or normalizing levels.  Do you need a complete audio post-production solution for your movie, including sound editing, sweetening, and mixing? You can send multiple Final Cut Pro clips—or even an entire sequence—to a Soundtrack Pro multitrack project, where you can complete your final mix by adding additional tracks of sound effects, voiceover, and music. Both stereo and surround sound mixing are supported. Sending Individual Audio Clips from Final Cut Pro to Soundtrack Pro There are three methods you can use to open a clip in the Soundtrack Pro File Editor:  Send a clip item or items to Soundtrack Pro as a Soundtrack Pro audio file project: A Soundtrack Pro audio file project is created for each item. This allows you to nondestructively make changes to the audio in the Soundtrack Pro File Editor. The original clips in Final Cut Pro are automatically reconnected to the new Soundtrack Pro audio file projects. You have the option to copy the entire media file for each clip item, or you can create trimmed versions with handles.  Process a clip with a Soundtrack Pro script: The clip opens in the File Editor, the actions in the script are performed automatically, the clip is saved with the changes, and the File Editor moves to the background so you can continue working in Final Cut Pro. If your clip’s media file is a standard audio or video file, you have the option to create a new Soundtrack Pro audio file project, so as to process the file nondestructively. If you don’t take advantage of this option, the script processes the source media destructively (permanently). If your clip’s media file is already a Soundtrack Pro audio file project, the changes are nondestructive.  Open a clip’s media file destructively in the Soundtrack Pro File Editor: If you do not use a Soundtrack Pro audio file project for editing and you save the changes to the file in its native format, or in any flat audio file format (such as AIFF, WAVE, and so on), any changes you make to the audio file are destructive (permanent). Chapter 17 Using Soundtrack Pro with Other Applications 423 Sending Clips from Final Cut Pro to the Soundtrack Pro File Editor When you send an audio clip from Final Cut Pro to the Soundtrack Pro File Editor, a Soundtrack Pro audio file project is created with the file extension “.stap.” This file can be edited nondestructively. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file project, so the original media file is not affected by what you do in the File Editor. You can send single clips or multiple clips to Soundtrack Pro audio file projects. To send a single Final Cut Pro clip to the Soundtrack Pro File Editor: 1 Do one of the following:  Select the clip in either the Final Cut Pro Browser or Timeline, then choose File > Send To > Soundtrack Pro Audio File Project.  Control-click the clip in either the Final Cut Pro Browser or Timeline, then choose Send To > Soundtrack Pro Audio File Project from the shortcut menu. The Save dialog appears. 2 In the Save dialog, do the following: a Enter a name for the Soundtrack Pro audio file project. b Choose a location to save the Soundtrack Pro audio file project. c Select “Send only referenced media” to copy only the used section of the media (between the In and Out points) to the new Soundtrack Pro audio file project. This is recommended unless you intend to edit the entire source file. d To add media handles when the “Send only referenced media” option is selected, enter handle durations in the In Handle and Out Handle fields. 424 Chapter 17 Using Soundtrack Pro with Other Applications 3 Click Save. A Soundtrack Pro audio file project is created and opened in the Soundtrack Pro File Editor. The Final Cut Pro clip is reconnected to the new Soundtrack Pro audio file project instead of its original media file. 4 Modify the audio as needed. 5 Choose File > Save to save the project with the changes. A dialog appears allowing you to choose whether the Soundtrack Pro audio file project should include a copy of the original audio media file or simply refer to it. 6 Choose one of the following, then click OK.  Include Source Audio: This option copies the original audio media file into the Soundtrack Pro audio file project package. Because the audio file project has its own copy of the original media, it is self-contained and doesn’t rely on any external audio files. This option simplifies media management and makes it easier to transfer the audio file project to other computers. However, this increases the project file size and therefore requires more disk space.  Reference Source Audio: This option creates a link to the original source audio file, resulting in a smaller project file. However, to use this project file, you always need to keep track of the original source audio file. If you accidentally delete the original media file, the Soundtrack Pro audio file project can no longer play back. Choose the Reference Source Audio option only if the media is in a shared location accessible from any computer you might use to access the Soundtrack Pro audio file project. When you return to Final Cut Pro, the clip now connects to the new Soundtrack Pro audio file project. Chapter 17 Using Soundtrack Pro with Other Applications 425 To send multiple Final Cut Pro clips to Soundtrack Pro: 1 Select multiple clips in the Browser or Timeline. 2 Do one of the following:  Choose File > Send To > Soundtrack Pro Audio File Project.  Control-click the selection, then choose Send To > Soundtrack Pro Audio File Project from the shortcut menu. 3 In the Save dialog, choose a location to save the new Soundtrack Pro audio file projects. 4 To create a new folder, press Command-Shift-N, enter a name for the folder, then click Create. 5 Click OK. 6 A Soundtrack Pro audio file project is created for each clip selected in Final Cut Pro. Each Soundtrack Pro audio file project is then opened in a File Editor tab in Soundtrack Pro. Processing a Clip’s Media File with a Soundtrack Pro Script When you send a Final Cut Pro clip’s media to a Soundtrack Pro script, the following steps occur for each unique file:  With your consent, Final Cut Pro generates a Soundtrack Pro audio file project and replaces the clip’s media file with it.  The audio file project or the clip’s media file opens in the Soundtrack Pro File Editor.  The script actions are applied to the audio file project or the media file.  The audio file project or the clip’s media file is saved with the changes. If your clip’s media file is a standard audio or video file, you have the option to create a new Soundtrack Pro audio file project, so as to process the file nondestructively. If you don’t take advantage of this option, the script processes the source media destructively (permanently). If your clip’s media file is already a Soundtrack Pro audio file project, the changes are nondestructive. About Soundtrack Pro Scripts Soundtrack Pro scripts are AppleScript droplets containing Soundtrack Pro File Editor actions. Scripts can be created in Soundtrack Pro or a script editing application such as Script Editor, the AppleScript application included with Mac OS X. 426 Chapter 17 Using Soundtrack Pro with Other Applications To modify one or more clips’ media files using a Soundtrack Pro script: 1 Select the clips in the Final Cut Pro Browser or Timeline. 2 Do one of the following:  Choose File > Send To > Soundtrack Pro Script.  Control-click the selection, then choose Send To > Soundtrack Pro Script from the shortcut menu. 3 Choose the script you want to use from the submenu. Note: If you have not created custom Soundtrack Pro scripts and saved them to the default Soundtrack Pro script location, no scripts appear in the submenu. By default, a dialog appears offering to convert each clip’s media file to a Soundtrack Pro audio file project, which allows for nondestructive editing. 4 Choose one of the following options:  Yes: Creates a Soundtrack Pro audio file project for each clip and then prompts you for a location to save these project files. You can create a new folder by pressing Command-Shift-N.  No: This option edits the files destructively, making permanent changes to the original media files.  Cancel: Cancels the script operation. Soundtrack Pro opens and each clip is automatically opened, edited, saved, and closed in the File Editor. You can also repeat the last script you used to edit a clip, making it easy to edit several clips with the same set of actions. To edit a clip with the last script used: m Control-click the clip in the Final Cut Pro Browser or Timeline, then choose Send To > Last Soundtrack Pro Script from the shortcut menu. To disable the dialog that appears when you use the Send To Soundtrack Pro Script command: 1 Choose Final Cut Pro > User Preferences, then click the Editing tab. 2 Deselect the Warn on “Send to Soundtrack Pro Script” option, then click OK. Chapter 17 Using Soundtrack Pro with Other Applications 427 Opening a Final Cut Pro Clip’s Media File Directly in Soundtrack Pro You can open a Final Cut Pro clip’s media file directly in the Soundtrack Pro File Editor by choosing the Open in Editor command, or by opening the file from the Finder. Important: In either of these cases, if you make changes in the Soundtrack Pro File Editor and save those changes to the original file, your changes will be destructive and permanent. To edit nondestructively, you can save the file as a Soundtrack Pro audio file project and import that file into Final Cut Pro. To open a Final Cut Pro audio clip’s media file directly in the Soundtrack Pro File Editor: 1 Control-click the audio clip in either the Final Cut Pro Browser or Timeline, then choose Open in Editor from the shortcut menu. The audio clip’s media file opens in the Soundtrack Pro File Editor. 2 In Soundtrack Pro, modify the audio as needed. 3 Choose File > Save to save the file with the changes. The Save dialog appears. By default, the File Type pop-up menu is set to Audio File Project, which saves the changes nondestructively. If you wish to permanently modify the original file, choose the original file type and filename. Soundtrack Pro will ask if you’re sure you want to overwrite the file. Choose OK only if you’re sure that you no longer need your unedited media. 4 Click Save. 5 If you saved the file with a different filename or different file type, you must manually add the new file to your Final Cut Pro sequence. Important: Unless you save a Soundtrack Pro audio file project, this is a destructive process that permanently modifies the original file. About the Open in Editor Command To open Final Cut Pro audio clips in Soundtrack Pro using the Open in Editor command, choose Final Cut Pro > System Settings, then click the External Editors tab. Make sure that Soundtrack Pro is the application set to open audio files. This ensures that Final Cut Pro automatically opens Soundtrack Pro when you choose Open in Editor and that, when you return to Final Cut Pro, the clip is automatically reconnected to the updated media file. You can also choose Soundtrack Pro for editing video files if you work with a lot of linked video and audio clip items. For more information, see the Final Cut Pro User Manual. 428 Chapter 17 Using Soundtrack Pro with Other Applications About Soundtrack Pro Multitrack Projects Multitrack projects are similar to Final Cut Pro projects: they contain multiple audio tracks in a timeline that you can use to arrange clips in sequence. Like Final Cut Pro sequences, clips in a multitrack project refer to media files stored elsewhere, so the project file size stays small. Multitrack projects also contain a single video track for synchronizing your audio to picture. Multitrack projects have track controls for volume, pan, mute, solo, effects, and effect parameters. You can create additional audio busses and submixes for grouping signals from audio tracks together or for effect sends. Tracks, busses, and submixes can be exported to individual audio files or to a stereo or multichannel mixdown. These Soundtrack Pro features are particularly useful for creating stem mixes that you can send back to Final Cut Pro. Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences You can create a Soundtrack Pro multitrack project from a selection of Final Cut Pro clips or an entire sequence. The multitrack project opens automatically in the Soundtrack Pro Timeline, and clips appear just as they did in your Final Cut Pro sequence, complete with level and pan settings and crossfades. In Soundtrack Pro, you can arrange your clips, add effects, and create a finished mix. The final mix can be exported from Soundtrack Pro and automatically imported into Final Cut Pro in sync with your original sequence. Note: Some information from Final Cut Pro is not included in the multitrack project, such as pan settings for stereo pairs, generators, and effects applied to clips. Sending a Final Cut Pro Sequence or Clip Selection to a Soundtrack Pro Multitrack Project Creating a Soundtrack Pro multitrack project from within Final Cut Pro is a simple process. To create a multitrack project from a sequence or a group of clips: 1 Select a sequence in the Final Cut Pro Browser, or select multiple clips in the Timeline. 2 Do one of the following:  Choose File > Send To > Soundtrack Pro Multitrack Project.  Control-click the selection, then choose Send To > Soundtrack Pro Multitrack Project. Chapter 17 Using Soundtrack Pro with Other Applications 429 The Save dialog appears. 3 In the dialog that appears, select from the following options:  Open in Soundtrack Pro Multitrack Editor: Select this option to open the multitrack project in Soundtrack Pro after it is created.  Include Background Video: Select this option to render the video in your Final Cut Pro sequence. The Soundtrack Pro multitrack project will refer to this file in its video track so you can see your video while you edit. Select what kind of background video you want to export:  Fully Rendered Video (slow): Your entire sequence is rendered at full quality to a QuickTime movie file. This option is recommended if the project is to be moved to another computer.  Base Layer Video (fast): Any sequence segment that requires rendering in Safe RT mode (in other words, any segment with a red render bar) is exported without effects. These files are not portable to a different computer. For more information, see the Final Cut Pro User Manual.  Save project with latest clip metadata (recommended): Select this option to ensure an accurate change history by having Final Cut Pro automatically save the project after the send process. 4 Enter a project name or keep the default name, then click Save. A Soundtrack Pro multitrack project file is created with the file extension “.stmp.” Note: This is a small file that refers to the media files used by your Final Cut Pro sequence clips. Make sure those media files are available when the Soundtrack Pro multitrack project opens. If you selected Open in Soundtrack Pro Multitrack Editor, the multitrack project opens in the Soundtrack Pro Timeline. 430 Chapter 17 Using Soundtrack Pro with Other Applications 5 Modify the multitrack project as needed. 6 When you finish working on the project in Soundtrack Pro, choose File > Save. When you have followed the steps described above, you can send a mixdown back to Final Cut Pro. Sending a Mixdown Back to Final Cut Pro Automatically When you create a Soundtrack Pro multitrack project from within Final Cut Pro, all of the sequence clip information is stored in the multitrack project. When you export a mixdown of the multitrack project in Soundtrack Pro, you can also choose to open a new copy of the Final Cut Pro sequence that looks just like the original sequence but has additional audio tracks that contain your mixdown. Clip information is sent from Soundtrack Pro to Final Cut Pro using the Final Cut Pro XML Interchange Format. To export a mixdown and open a new copy of a Final Cut Pro sequence containing the mixdown: 1 In Soundtrack Pro, open the multitrack project you want to mix down. 2 Choose File > Export. 3 If you wish, you may choose options from the following pop-up menus:  Exported Items: Choose an entire mix, or individual tracks, busses, or submixes, or some combination thereof.  File Type: The default (AIFF File) is appropriate for Final Cut Pro use.  Bit Depth: Choose the setting appropriate for your Final Cut Pro project.  Sample Rate: Choose the setting appropriate for your Final Cut Pro project.  Preset: Optionally, you can save a preset combining all of the above settings, for future exports. 4 Choose “Send files to Final Cut Pro sequence” from the After Export pop-up menu. 5 Enter a name for the exported file and click Export. Soundtrack Pro exports mixdown files from the multitrack project and adds them to a Final Cut Pro XML file containing the original sequence. For your convenience, the audio tracks from the original sequence are moved to other tracks and are muted. Chapter 17 Using Soundtrack Pro with Other Applications 431 In Final Cut Pro, the Import XML dialog appears. 6 Use the Destination pop-up menu to choose your original project, then click OK. A copy of your original sequence (with the name you specified in step 5) appears in the Browser. 7 Double-click the new sequence in the Browser to open it in the Timeline. The sequence opens with the mixdown audio correctly synchronized to your clips in the Timeline and the original audio tracks muted. When you want to work on the project in Soundtrack Pro again, you can reopen it from the Final Cut Pro Timeline. To open a Soundtrack Pro multitrack project from a mixdown clip in Final Cut Pro: 1 In your Final Cut Pro sequence, Control-click the mixdown clip, then choose Open in Editor from the shortcut menu. Make sure that the Open in Editor command is set to open audio files in Soundtrack Pro. For details, see “About the Open in Editor Command” on page 427.A dialog appears with the following options:  Open Audio File: Opens the mixdown audio file in the Soundtrack Pro File Editor.  Open Project: Opens the Soundtrack Pro multitrack project linked to the mixdown audio file. 2 Click Open Project. The Soundtrack Pro multitrack project linked to the mixdown audio file opens in Soundtrack Pro. 432 Chapter 17 Using Soundtrack Pro with Other Applications To update a mixdown clip in your Final Cut Pro sequence: 1 Follow the steps above for opening a Soundtrack Pro multitrack project file from a mixdown clip in Final Cut Pro. 2 Once the multitrack project opens in Soundtrack Pro, make changes to the multitrack project, then choose File > Save to save the project. 3 Choose File > Export. 4 Save the mixdown file with the same name, in the same file format, and in the same location as the previous mixdown file. 5 Switch to Final Cut Pro and open the sequence containing your mixdown. The mixdown clip remains in the same location, but the media file it refers to has been replaced by your new mixdown file, so the mixdown is now updated in Final Cut Pro. Note: For information about using the Soundtrack Pro Conform feature to merge a picture edit and the sound edit of the same Final Cut Pro sequence, see Chapter 17, “Using Soundtrack Pro with Other Applications,” on page 421. Using Soundtrack Pro with DVD Studio Pro Soundtrack Pro and DVD Studio Pro offer two possible workflows for editing DVD Studio Pro audio clips.  You can import two-channel Soundtrack Pro audio file projects into DVD Studio Pro projects, which allows you to take advantage of the powerful features of the Soundtrack Pro File Editor to nondestructively modify the original audio source file. You can import and use Soundtrack Pro audio file projects in your DVD Studio Pro projects like any other audio files. When you need to make a change to an audio file project, it opens in Soundtrack Pro. Once you save the project in Soundtrack Pro, it automatically updates in DVD Studio Pro.  You can edit a DVD Studio Pro clip destructively by opening it in the Soundtrack Pro File Editor. Once you have edited and saved the file in Soundtrack Pro, it updates in DVD Studio Pro. You hear the changes in DVD Studio Pro without having to reimport the clip. Chapter 17 Using Soundtrack Pro with Other Applications 433 To make a change to a Soundtrack Pro audio file project from a DVD Studio Pro project: 1 Import a Soundtrack Pro audio file project into DVD Studio Pro. Note: If you import a Soundtrack Pro audio file project that includes more than two channels, DVD Studio Pro only uses the first two channels. 2 Do one of the following to open the audio file project in Soundtrack Pro:  Select the file in the Assets tab, then choose File > Asset > Open In Editor.  Control-click the file in the Assets tab, then choose Open In Editor from the shortcut menu. Soundtrack Pro opens with this audio file project in its File Editor. 3 Make the needed changes to the audio file project in Soundtrack Pro and save the project. 4 Switch back to DVD Studio Pro. The Asset Refresh dialog appears, letting you know that the audio file project has changed. Play the file to hear the changes in DVD Studio Pro. You can click Show Log in the dialog to see a list of elements that use this file. To edit an audio clip destructively in the File Editor: 1 In DVD Studio Pro, Control-click the clip, then choose Open With from the shortcut menu. 2 In the dialog that appears, select Soundtrack Pro and click choose. Soundtrack Pro opens and the clip appears in the File Editor. 3 Edit the clip in the File Editor. You can edit the audio file project in the File Editor using the commands and functions described in Chapter 6, “Editing Audio Files,” on page 191. You can apply actions or analyze the file and fix analyzed problems. 4 When you are finished editing the clip, choose File > Save. 5 Click Save. You can also save the clip by choosing File > Save As. If you save the clip using the Save As command, be sure the name, location, and file type in the Save As dialog are the same as for the clip’s source file. Note: You can also save the clip in Soundtrack Pro as an audio file project, which lets you use the workflow described in “Using Soundtrack Pro with DVD Studio Pro” on page 432. 434 Chapter 17 Using Soundtrack Pro with Other Applications Using Soundtrack Pro with Motion You can edit a Motion audio track nondestructively by sending it to the File Editor as an audio file project. Sending an audio track to the File Editor as an audio file project lets you exchange audio media and projects between Motion and Soundtrack Pro. When you save your changes in the File Editor, the clip is updated in Motion without having to be reimported. To edit a Motion audio track nondestructively in the File Editor, you send the clip to the File Editor as a new audio file project, edit the clip in the File Editor, then save the audio file project. After following these steps, you can make roundtrips between Motion and Soundtrack Pro so you can keep working in both applications. When you send an audio track from Motion to the File Editor, a new audio file project (with the file type .stap) is created for the track. To send an audio track from Motion to the File Editor: 1 In the Motion Audio tab or Timeline Layer list, do one of the following.  Select the audio track, then choose Edit > Send Audio to Soundtrack Pro.  Control-click the audio track, then choose Send to Soundtrack Pro from the shortcut menu. A new audio file project is created for the audio track, and a Save As dialog appears. 2 In the Save As dialog, type a name for the new project, and browse to a location to save the project. A new audio file project containing the audio track opens in the Soundtrack Pro File Editor. 3 Edit the audio file project in the File Editor. You can use the commands and functions described in Chapter 6, “Editing Audio Files,” on page 191. You can graphically edit the file, apply actions, analyze the file, and fix analyzed problems. When you are finished editing the audio file project of the audio track, you save the project in Soundtrack Pro. 4 In Soundtrack Pro, choose File > Save. When you have followed the steps described above, the clip is updated in Motion. You hear the clip with the changes you made in the File Editor, without having to reimport the clip. You can make roundtrips between Motion and Soundtrack Pro by opening the saved audio file project, making changes, then saving the project. Each time you save the project, the clip is updated in Motion. Chapter 17 Using Soundtrack Pro with Other Applications 435 Using Soundtrack Pro with Third-Party Applications You can use Soundtrack Pro to exchange media and project files with third-party applications. Exchanging OMF and AAF Files with Other Applications When you “send” a Final Cut Pro sequence to a Soundtrack Pro multitrack project, you are using the Final Cut Pro XML Interchange Format to transfer the data between the two applications. Open Media Framework (OMF) and Advanced Authoring Format (AAF) are two industry-standard project interchange formats that Soundtrack Pro can use to share projects and import the editing decisions from other (third-party) video and audio editing applications. You can also export a multitrack project from Soundtrack Pro as an AAF file. For more information on sending Final Cut Pro sequences to Soundtrack Pro multitrack projects, see “Using Soundtrack Pro with Final Cut Pro” on page 421. Importing OMF and AAF Files Follow these steps to import OMF and AAF Files into Soundtrack Pro. To import an OMF file: 1 Choose File > Import OMF. The Import OMF dialog appears. 2 Use the dialog to select the file and click Import OMF. A progress bar shows that the file is being translated and the project opens in Soundtrack Pro. To import an AAF file: 1 Choose File > Import AAF. The Import AAF dialog appears. 2 Use the dialog to select the file and click Import AAF. A progress bar shows that the file is being translated and the project opens in Soundtrack Pro. The multitrack projects created from importing OMF and AAF files include any available pan and volume information. 436 Chapter 17 Using Soundtrack Pro with Other Applications Using OMF and AAF Files The OMF and AAF formats provide a way to consolidate all of the audio files and audio edits from a third-party video or audio editing application into one portable package. The picture editor can choose to include handles (extra footage beyond the In and Out points of a clip that provides a safety margin in case you need it during the sound edit and mix). Here are some things to keep in mind when using OMF and AAF files:  OMF and AAF exports generally omit unused media to keep the overall file size low. If you want to “steal” a performance from another take, you might be out of luck with an OMF or AAF export.  OMF or AAF exported files are usually truncated. If a music piece was edited into many small clips during the picture edit, the OMF and AAF export process applies those edits permanently on the file level. Sound editors usually prefer to have one original piece of music with (nondestructive) edits referring to it.  It is always a good idea to have single-frame “sync pops” at the top and tail of the video and every single audio track to verify synchronization.  OMF and AAF files do not include video, so usually, a video file needs to be exported separately.  To exchange OMF and AAF files with ProTools, you will need DigiTranslator, the Digidesign interchange application, which is sold separately.  Volume automation and panning automation is not always included in OMF and AAF files.  OMF and AAF exports often include audio files with very long and complicated filenames.  OMF and AAF exports support a single sample rate. All the audio files in a single export must have the same sample rate.  OMF packages (that contain media) are limited to a 2 GB maximum file size. Exporting to AAF You can export Soundtrack Pro multitrack projects as AAF files. To export a project to an AAF file: 1 Choose File > Export AAF. The Save dialog appears. 2 In the Save dialog, type a name for the file and browse to the location where you want to save it, then click Save. Chapter 17 Using Soundtrack Pro with Other Applications 437 Exporting Audio Files You can open an audio file exported from Soundtrack Pro (a project mix; an exported track, bus, or submix; or an audio file project) in any application that supports audio files. If you save an audio file project as an AIFF file or a QuickTime movie, a link is included in the AIFF file or movie, letting you reopen the project in Soundtrack Pro and make changes to action settings and other edits. If you export a saved multitrack project using File > Export, a link is included in the exported file, letting you reopen the multitrack project in Soundtrack Pro and make changes. The project must have been previously saved at least once before you export the project mix. When you reopen the exported file, a dialog appears, asking if you want to open the audio file or the original project. In the dialog, click Open Project. The multitrack project opens in the Soundtrack Pro Timeline so you can continue working. When you are finished working in Soundtrack Pro, be sure to save the multitrack project before exporting a project mix so your changes are retained. 18 439 18 Using Conform with Final Cut Pro The picture editor and sound editor can work in parallel and then use Conform to easily merge the results of their work. One of the biggest hurdles faced by sound editors is dealing with picture changes. When a picture editor moves clips or changes edit durations, the sound editor receives the new edit and then must manually conform the sound mix to the new picture edit. This process is time-consuming and it’s easy to make mistakes. Worse, manually conforming a mix distracts a sound editor from the most important job at hand: completing the mix. About Conforming Manually When manually conforming a sound mix to a new picture cut, a sound editor imports the picture editor’s new audio clips into an existing multitrack project on new tracks. Next, the sound editor has to walk through the new edits one by one, comparing the old placement of clips to the new ones. Clips in the old mix must be adjusted so that they line up with new cuts in the video. Clips may also need to be deleted or added because a shot was cut or added. Using Soundtrack Pro Conform Soundtrack Pro Conform makes conforming multitrack projects much more efficient. The picture editor and sound editor can work in parallel and then use Conform to easily merge the results of their work. 440 Chapter 18 Using Conform with Final Cut Pro Here is how a picture editor and a sound editor might work together using Conform:  A Final Cut Pro sequence is sent to a Soundtrack Pro multitrack project.  Changes and edits are made in parallel to both the Final Cut Pro sequence and the Soundtrack Pro multitrack project. The Soundtrack Pro project that the sound editor uses is referred to as the “original” audio mix.  An “updated” send is performed to provide Soundtrack Pro with a new version of the project containing the edits performed in Final Cut Pro. This creates a second Soundtrack Pro multitrack project, referred to as the “updated project.”  When you initiate Conform, Soundtrack Pro analyzes both the “original” audio mix and the “updated” send from Final Cut Pro, including all possible clip moves and media changes.  Soundtrack Pro then generates a third project, referred to as the “Result” project, that has every change made with the highest confidence. You can then use the Conform interface to review/modify/approve all the changes needed to best perform the process of editing the audio mix to match the new project. To conform a Soundtrack Pro multitrack project to changes made to the source sequence in Final Cut Pro: 1 Select a sequence in the Final Cut Pro Browser. 2 Do one of the following:  Choose File > Send To > Soundtrack Pro Multitrack Project.  Control-click the selection, then choose Send To from the shortcut menu and Soundtrack Pro Multitrack Project from the submenu. The Save dialog appears. Select “Save project with latest clip metadata (recommended)” checkbox Chapter 18 Using Conform with Final Cut Pro 441 3 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended)” checkbox is selected. This ensures an accurate change history by having Final Cut Pro automatically save the project after the sequence is sent to Soundtrack Pro. If you are planning to use Conform frequently, the “Save project with latest clip metadata (recommended)” checkbox should always be selected. 4 Click Save. For more information on sending sequences to Soundtrack Pro, see “Creating Soundtrack Pro Multitrack Projects from Final Cut Pro Clips or Sequences” on page 428. 5 At this point, changes and edits are made in parallel to both the Final Cut Pro sequence and the Soundtrack Pro multitrack project:  Sound editor: Makes changes to the Soundtrack Pro multitrack project. This project is referred to as the “original” audio mix project.  Picture editor: Makes changes to the Final Cut Pro sequence. 6 In Final Cut Pro, do one of the following:  Choose File > Send To > Soundtrack Pro Multitrack Project.  Control-click the selection, then choose Send To from the shortcut menu and Soundtrack Pro Multitrack Project from the submenu. The Save dialog appears. Select “Save project with latest clip metadata (recommended)” checkbox 442 Chapter 18 Using Conform with Final Cut Pro 7 In the dialog that appears, confirm that the “Save project with latest clip metadata (recommended)” checkbox is selected, then enter a new name for the multitrack project and click Save. This creates a new Soundtrack Pro project that will be referred to as the “updated” project. 8 Make sure that both the “original” audio mix project and the “updated” project are open in Soundtrack Pro. 9 Do one of the following:  Choose File > Conform To Project.  Open the Conform tab, then click the Conform Projects button. This initiates the conform process. 10 In the dialog that appears, select the “original” audio mix project (the “sound editor version”) in the left list. Select the “updated” project (the more recent send from Final Cut Pro—the “picture editor version”) in the right list. Note: Only projects that have embedded Final Cut Pro clip metadata (projects sent from Final Cut Pro or opened via XML documents) appear in this dialog. 11 Click Continue. Soundtrack Pro analyzes the clip positions in your “original” audio mix and the clip positions in the “updated” picture edit from Final Cut Pro, and determines the best position/duration and media to use for each clip. Soundtrack Pro will attempt to conform the audio mix from the “original” project to match the video from the “updated” project. Chapter 18 Using Conform with Final Cut Pro 443 The multitrack Timeline displays the new, untitled “result” project (the results of the conform process). The Conform tab displays the Conform worklist: a list of clips that may have moved or changed. The selected clip is highlighted. Project Selector buttons Click column header to sort. Selected clip Filters to hide clips from worklist Group slider Details for selected clip Use the Show pop-up menu to display mini timelines. 444 Chapter 18 Using Conform with Final Cut Pro Reviewing and Approving the Changes in the Conform Result Project Once you have a Conform worklist, you can inspect the changes, reviewing the playback in the original, updated or result projects, and can change and accept choices for each clip individually or multiple clips or groups of clips all at once. The goal is to walk through the changes made to generate the result project and verify that all the clips have been moved into the correct positions, and that the correct choices have been made to satisfy the artistic goals for the audio mix. At any time, you are free to accept all the changes made by Soundtrack Pro and finish the conform process. Filtering Out Unchanged Clips For many clips, the Position/Duration and Media may be unchanged (the clips were the same in both versions of the project). These show up as “Not Changed” in the Conform worklist. It can be useful to filter out all the Unchanged clips, so that you can concentrate on reviewing the clips that actually moved or had media changes. To filter out unchanged clips from the Conform worklist: m Select the Hide Unchanged checkbox. Unchanged clips are removed from the worklist. Only clips that have changed remain in the worklist. Using the Project Selector Buttons Use the Project Selector buttons to select one of three projects to appear in the main multitrack Timeline. This is helpful if you want to go back to your sound edit (the “original” project) to quickly see where a clip or group of clips was, then go to the result project and preview those same clips to verify that they correctly match the picture. By default, once the Conform process starts, the multitrack Timeline will show the untitled result project, ready for you to review each clip or group of clips in the worklist. Select Hide Unchanged. Chapter 18 Using Conform with Final Cut Pro 445 To use the Project Selector buttons to display a project: m Click the Original, Updated, or Result button. The corresponding project appears in the multitrack Timeline. Grouping Clips in the Conform Work List It can be useful to group clips together in the Conform work list. You can use the Group slider to control how clips are grouped together. When you click clips or groups, the selected clips (or clips in the selected group) are highlighted in the mini timelines. To automatically form groups in the work list: m Drag the Group slider to the right. To reduce or remove groups from the work list: m Drag the Group slider to the left. If you drag the slider all the way to the left, you will remove all groups and you can work with individual clips. Dragging the slider all the way to the right will remove all groups, and you can work with individual clips. Sliding the group slider to the right will automatically form groups of clips. Click a Project Selector button to display the corresponding project in the Timeline. Groups in the Conform work list 446 Chapter 18 Using Conform with Final Cut Pro Showing Selected Clips in the Timeline If the Show Selected Clip in the Timeline button (the magnifying glass zoom button to the right of the project selector) is selected, then as clips or groups are selected in the work list, the main Timeline will scroll and zoom to show the selected group and/or clips. Approving Changes and Clips The objective of this part of the conform process is to work through all of the clips on the work list and verify that the clips are in the correct position. It can be useful to start with the clips that have the lowest confidence value. To do this, you can click the header of the Confidence column and sort in ascending order. This way, you’ll get the clips with the lowest confidence at the top. You can then click a clip and see the different options for position/duration and media. To audition and approve changes and clips in the result project: 1 Enable the “Show selected clip in the Timeline” button. For details, see “Showing Selected Clips in the Timeline,” above. 2 Click Result in the Project Selector buttons to display the result project in the main multitrack Timeline. 3 Click a clip in the work list and audition the clip in the main Timeline of the result project to verify the correct position. Show Selected Clip in the Timeline button Chapter 18 Using Conform with Final Cut Pro 447 4 In the Details section, select an option for the clip. When you select a clip with more than one position, duration, or media option, the clip will immediately move to that selected location so that you can audition that choice in the main Timeline. Note: When the clip moves, any automation that might exist on the track will move with the clip. 5 Once you are satisfied with your choice, click the Approve button. The clip is marked with a green checkmark, indicating that it has been reviewed and approved in the result project. Note: The process of reviewing and approving changes is simply a tool to help you go through the work list of clips. 6 Optionally, you can select multiple clips or select a group and then click Approve to approve all selected clips. Filtering Out Approved Clips Once you have a number of clips or groups that you have approved, you may find it useful to enable the Hide Approved filter. With this filter enabled, clips will pop off the work list as you approve them, helping you focus attention on the clips that need to be reviewed and approved. Approve button Clip options 448 Chapter 18 Using Conform with Final Cut Pro To filter out approved clips from the Conform work list: m Select the Hide Approved checkbox. Approved clips are removed from the work list. Only clips that are not approved remain in the work list. Finishing the Conform Process Once you are satisfied that all the clips in the Result project are in the correct place, you can click the Finish button to end the Conform process. You are not required to approve every single clip. In fact, the approvals do not change the outcome of the Conform process: the updated project will have all the clips set to their currently selected position/duration/media regardless of whether the selection is approved or not. The approval process is really more of a tool to help you manage your progress through the worklist. To finish the Conform process: m Click Finish. The result is an Untitled project containing the conform results. This project can be saved and edited just like any other project. Typically, you will use this result project for subsequent audio edits in Soundtrack Pro. If more changes are made in Final Cut Pro, the result project from your first conform (plus any edits you’ve made in Soundtrack Pro) can be used as the “Original” project in a subsequent conform process. It will be conformed to an even more recent send from Final Cut Pro. Approved clips Select the Hide Approved checkbox. 449 A Appendix A Soundtrack Pro Keyboard Shortcuts General and File Keyboard shortcut Function Creates a new, blank multitrack project. Creates a new audio file project. Opens the Open dialog. Saves the current project. Opens the Save As dialog to save the project with a new name. Opens the Save As dialog to save a copy of the project with a different name. Adds the selected audio file (in a media tab) to the Bin of the current multitrack project.  If the Project pane contains a single tab, closes the Soundtrack Pro window.  If the Project pane contains multiple tabs, closes the active tab.  If a particular tab is active, closes the tab. Minimizes Soundtrack Pro. Hides Soundtrack Pro. Hides all other windows. Closes all projects and quits Soundtrack Pro. N shift N O S shift S control S B W M H option H Q 450 Appendix A Soundtrack Pro Keyboard Shortcuts Layouts, Tabs, and HUDs Shows the Soundtrack Pro Preferences window. Opens the Soundtrack Pro User Manual. Keyboard shortcut Function , shift ? Keyboard shortcut Function Switches the project layout to the Standard layout. Switches the project layout to the Separate Mixer and Video layout. Activates or deactivates the left pane. Activates or deactivates the lower pane. Activates or deactivates the right pane. Activates or deactivates the Video tab. Activates the Mixer for the current multitrack project. Activates the Project pane. Activates the Browser tab. Activates the Details tab. Activates the Effects tab. Activates the Sound Palette. Moves to the previous (left) tab. Moves to the next (right) tab. Activates the Multipoint Video HUD. Activates or deactivates the video output device or Digital Cinema Desktop. F1 F2 control A control S control D 1 2 3 4 l 5 shift C shift [ shift ] V control V Appendix A Soundtrack Pro Keyboard Shortcuts 451 Navigating the Timeline Project Playback Keyboard shortcut Function Moves the playhead to the beginning of the project, or to the beginning of the cycle region if it is active. Moves the playhead to the position of the preceding marker. Moves the playhead to the position of the next marker. Moves the playhead to the position of the previous frame in the video clip. Moves the playhead to the position of the next frame in the video clip. return option M shift M option option Keyboard shortcut Function Starts playing the project. If the project is playing, stops project playback. Starts playback from the beginning of the project. Moves the playhead to the beginning of the cycle region, then to the beginning of the project. Moves the playhead to the beginning of the cycle region (if present). Moves the playhead to the beginning of the project. Moves the playhead to the end of the cycle region (if present). Moves the playhead to the end of the project. Plays in reverse. Plays in reverse faster (press J repeatedly). Stops playback. Plays forward. space space shift return return return home home home end end end J J K L 452 Appendix A Soundtrack Pro Keyboard Shortcuts Cycle Region Fast-forwards (press L repeatedly). Plays in slow motion. Plays in reverse slow motion. Starts or stops preview playback. Keyboard shortcut Function L K L J K option space Keyboard shortcut Function Activates the cycle region, or deactivates it if it is active. Creates a cycle region around the selected audio clip under the playhead or the uppermost audio clip under the playhead. Removes the cycle region. Creates a cycle region from the current selection. Sets the cycle region In point. Sets the cycle region Out point. Removes the cycle region In point. Removes the cycle region Out point. Moves the cycle region playhead to the In point. Moves the cycle region playhead to the Out point. C X option X shift A I O option I option O shift I shift O Appendix A Soundtrack Pro Keyboard Shortcuts 453 General Editing Editing Audio Clips in the Timeline Keyboard shortcut Function Undoes the last command. Redoes the last undone command. Cuts the selected item. Ripple cuts the selected item. Copies the selected item. Pastes the cut or copied item. Ripple deletes the selected item. Duplicates the selected item. Selects all items in the window. Deselects all items in the window. Ripple cuts to the next edit. Ripple deletes to the next edit. Z shift Z X shift X C V shift delete D A shift A shift option X shift option delete Keyboard shortcut Function Opens the Paste Repeat dialog so that you can paste multiple copies of the cut or copied audio clip. Turns snapping on or off. Splits selected audio clips under the playhead, or splits clips on selected tracks under the playhead. Joins the selected clips. Crossfades the selected clips across the Timeslice selection. option V N S option S F 454 Appendix A Soundtrack Pro Keyboard Shortcuts Moving Audio Clips and Envelope Points Fades in to the playhead on selected clips or tracks. Fades out from the playhead on selected clips or tracks. Trims the clip to the Timeslice selection. Slips (offsets) a clip. Spots the selected clip or File Editor selection to the playhead. Opens the Spot to Timeline dialog for spotting the selected clip or File Editor selection. Performs a ripple cut. Performs a ripple delete. Shows or hides envelope(s) for the selected track(s). Switches envelope selection mode (between the Select Only Clips mode and the Select Envelope Points With Clips mode). Keyboard shortcut Function option D option G option Z option drag shift shift X shift delete E option E Keyboard shortcut Function Moves the clip or envelope point to the previous gridline. Moves the clip or envelope point to the next gridline. Moves the clip or envelope point to the previous video frame. Moves the clip or envelope point to the next video frame. Locks or unlocks the selected clip(s). Disables or enables the selected clip(s). Moves the clip to the previous edit. Moves the clip to the next edit. option option option control B control B Appendix A Soundtrack Pro Keyboard Shortcuts 455 Viewing the Timeline Moves the clip up one track. Moves the clip down one track. Moves the selected envelope point up by a coarse value. Moves the selected envelope point down by a coarse value. Moves the selected envelope point up by a fine value. Moves the selected envelope point down by a fine value. Adds envelope points at the edges of selected clips. Keyboard shortcut Function option option option option shift E Keyboard shortcut Function Zooms out horizontally to the next zoom level. Zooms in horizontally to the next zoom level. Increases the track height to the next level. Decreases the track height to a lower level. Zooms in on the current selection. Returns to the default zoom level. Fits the project in the display size. Sets the track height to Mini. Sets the track height to Small. = shift shift option Z 0 shift Z 6 7 456 Appendix A Soundtrack Pro Keyboard Shortcuts Timeline Tools File Editor Project View Tools and Commands Sets the track height to Medium. Sets the track height to Large. Keyboard shortcut Function 8 9 Keyboard shortcut Function Selects the Selection (arrow) tool. Selects the Blade (razor) tool. Selects the Blade All tool. Selects the Timeslice tool. Selects the (Sound Palette) Lift tool. Selects the (Sound Palette) Stamp tool. Selects the Scrub tool. A B B B W U U U H Keyboard shortcut Function Selects the Selection (arrow) tool. Selects the Frequency Selection tool. Selects the Sample Edit (pencil) tool. Selects the Audio Stretching tool. Selects the Zoom tool. Selects the Scrub tool. A W P T Z H Appendix A Soundtrack Pro Keyboard Shortcuts 457 Processing and Editing Audio Files Zooms in to the sample level. Zooms in on the current selection. Fits the waveform in the display size. Sets the ambient noise print. Adds ambient noise. Replaces with ambient noise. Adjusts selection inward to zero crossing. Adjusts selection outward to zero crossing. Adjusts In point left to zero crossing. Adjusts In point right to zero crossing. Adjusts Out point left to zero crossing. Adjusts Out point right to zero crossing. Keyboard shortcut Function control Z option Z shift Z control Y Y shift Y shift I shift O [ ] shift [ shift ] Keyboard shortcut Function Creates a new file from the current selection. Creates a new file from the contents of the Clipboard. Opens the Normalize dialog for the audio file or selection. Opens the Adjust Amplitude dialog for the audio file or selection. Opens the Paste Mix dialog so that you can paste audio and mix it with the existing audio. control N shift control N L shift L shift V 458 Appendix A Soundtrack Pro Keyboard Shortcuts Tracks, Busses, and Submixes Replaces the audio file or selection with silence. Flattens audible actions, as indicated by the position of the Action Insert bar. Flattens all actions. A/B last actions. Sets the ambient noise print. Adds ambient noise. Replaces with ambient noise. Keyboard shortcut Function delete control F shift control F F1 control Y Y shift Y Keyboard shortcut Function Adds a new track to the Timeline. Adds a new bus to the Timeline. Adds a new submix to the Timeline. Removes the selected track, bus, or submix from the Timeline. Selects the track above the currently selected track. Selects the track below the currently selected track. Adds the track above to the current selection. Adds the track below to the current selection. Locks the selected track. Shows or hides envelopes for the selected items. T control T option T shift T control control shift control shift control F5 E Appendix A Soundtrack Pro Keyboard Shortcuts 459 Markers Selecting Audio Clips in the Timeline Groups the selected tracks. Enables groups. Keyboard shortcut Function G control G Keyboard shortcut Function Inserts a time marker at the current playhead position. Adds a region marker for the duration of the selection. Adds time markers at the beginning and end of the selection. Inserts a beat marker at the current playhead position. Displays the Details tab for the selected marker. M control M option control M option B option M Keyboard shortcut Function Selects all clips between the playhead and the end of the project, on selected tracks only. If no tracks are selected, selects clips across all tracks. Selects all clips on all tracks between the playhead and the end of the project. Selects all the clips between the playhead and the beginning of the project, on selected tracks only. If no tracks are selected, selects clips across all tracks. Selects all clips on all tracks between the playhead and the beginning of the project. Selects all clips on selected tracks. Selects all clips on all tracks. Creates a timeslice from the selection on selected tracks. Moves the playhead to the previous edit, and reverses the select state of any clip starting at that edit. shift end shift option end shift home shift option home shift T shift option T option A shift 460 Appendix A Soundtrack Pro Keyboard Shortcuts Video Out Recording Moves the playhead to the next edit, and reverses the select state of any clip ending at that edit. Moves the playhead to the previous edit, and reverses the select state of any clip starting at that edit, on selected track(s) only. Moves the playhead to the next edit, and reverses the select state of any clip ending at that edit, on selected track(s) only. Keyboard shortcut Function shift shift option shift option Keyboard shortcut Function Plays using the external video output device or Digital Cinema control V Desktop (set in Soundtrack Pro > Preferences). Keyboard shortcut Function Makes Take 1 the active take for the selected clip. Makes Take 2 the active take for the selected clip. Makes Take 3 the active take for the selected clip. Makes Take 4 the active take for the selected clip. Makes Take 5 the active take for the selected clip. Makes Take 6 the active take for the selected clip. Makes Take 7 the active take for the selected clip. Makes Take 8 the active take for the selected clip. Makes Take 9 the active take for the selected clip. control 1 control 2 control 3 control 4 control 5 control 6 control 7 control 8 control 9 Appendix A Soundtrack Pro Keyboard Shortcuts 461 Using Arrow Keys to Move the Playhead Working with Timeslices Keyboard shortcut Function Moves the playhead to the previous edit. Moves the playhead to the next edit. Moves the playhead to the previous edit on the selected track. Moves the playhead to the next edit on the selected track. Moves the playhead one video frame to the left. Moves the playhead one video frame to the right. Moves the playhead one gridline to the left. Moves the playhead one gridline to the right. option option option option Keyboard shortcut Function Moves the Timeslice location up one row. Moves the Timeslice location down one row. Extends the Timeslice location up one row. Extends the Timeslice location down one row. Moves the Timeslice location left one gridline. Moves the Timeslice location right one gridline. Extends the left edge one gridline. Extends the right edge one gridline. Extends the left edge to the next edit. option shift shift shift shift 462 Appendix A Soundtrack Pro Keyboard Shortcuts Extends the right edge to the next edit. Moves the Timeslice location to the previous edit. Moves the Timeslice location to the next edit. Moves the Timeslice location up a track. Moves the Timeslice location down a track. Moves the Timeslice location to the previous gridline. Moves the Timeslice location to the next gridline. Moves the Timeslice location to the previous frame. Moves the Timeslice location to the next frame. Extends the Timeslice to the previous edit. Extends the Timeslice to the next edit. Extends the Timeslice to the previous gridline. Extends the Timeslice to the next gridline. Extends the Timeslice to the previous frame. Extends the Timeslice to the next frame. Keyboard shortcut Function shift option option option option shift shift shift shift shift option shift option 463 B Appendix B Audio Fundamentals What Is Sound? All sounds are vibrations traveling through the air as sound waves. Sound waves are caused by the vibrations of objects and radiate outward from their source in all directions. A vibrating object compresses the surrounding air molecules (squeezing them closer together) and then rarefies them (pulling them farther apart). Although the fluctuations in air pressure travel outward from the object, the air molecules themselves stay in the same average position. As sound travels, it reflects off objects in its path, creating further disturbances in the surrounding air. When these changes in air pressure vibrate your eardrum, nerve signals are sent to your brain and are interpreted as sound. Fundamentals of a Sound Wave The simplest kind of sound wave is a sine wave. Pure sine waves rarely exist in the natural world, but they are a useful place to start because all other sounds can be broken down into combinations of sine waves. A sine wave clearly demonstrates the three fundamental characteristics of a sound wave: frequency, amplitude, and phase. Frequency Frequency is the rate, or number of times per second, that a sound wave cycles from positive to negative to positive again. Frequency is measured in cycles per second or hertz (Hz). Humans have a range of hearing from 20 Hz (low) to 20,000 Hz (high). Frequencies beyond this range exist, but they are inaudible to humans. 0 – + 1 ms Amplitude Time 464 Appendix B Audio Fundamentals Amplitude Amplitude (or intensity) refers to the strength of a sound wave, which the human ear interprets as volume or loudness. People can detect a very wide range of volumes, from the sound of a pin dropping in a quiet room to a loud rock concert. Because the range of human hearing is so large, audio meters use a logarithmic scale (decibels) to make the units of measurement more manageable. Phase Phase compares the timing between two similar sound waves. If two periodic sound waves of the same frequency begin at the same time, the two waves are said to be in phase. Phase is measured in degrees from 0 to 360, where 0 degrees means both sounds are exactly in sync (in phase) and 180 degrees means both sounds are exactly opposite (out of phase). When two sounds that are in phase are added together, the combination makes an even stronger result. When two sounds that are out of phase are added together, the opposing air pressures cancel each other out, resulting in little or no sound. This is known as phase cancelation. Phase cancelation can be a problem when mixing similar audio signals together, or when original and reflected sound waves interact in a reflective room. For example, when the left and right channels of a stereo mix are combined to create a mono mix, the signals may suffer from phase cancelation. In phase Separate signals Mixed signals Out of phase Appendix B Audio Fundamentals 465 Frequency Spectrum of Sounds With the exception of pure sine waves, sounds are made up of many different frequency components vibrating at the same time. The particular characteristics of a sound are the result of the unique combination of frequencies it contains. Sounds contain energy in different frequency ranges, or bands. If a sound has a lot of low-frequency energy, it has a lot of bass. The 250–4000 Hz frequency band, where humans hear best, is described as midrange. High-frequency energy beyond the midrange is called treble, and this adds crispness or brilliance to a sound. The graph below shows how the sounds of different musical instruments fall within particular frequency bands. Note: Different manufacturers and mixing engineers define the ranges of these frequency bands differently, so the numbers described above are approximate. Π Tip: The human voice produces sounds that are mostly in the 250–4000 Hz range, which likely explains why people’s ears are also the most sensitive to this range. If the dialogue in your movie is harder to hear when you add music and sound effects, try reducing the midrange frequencies of the nondialogue tracks using an equalizer filter. Reducing the midrange creates a “sonic space” in which the dialogue can be heard more easily. Time Bass Mid High Cymbal crash 20 Hz 300 Hz 4 kHz 20 kHz Violin and flute Cello Bass line Frequency 466 Appendix B Audio Fundamentals Musical sounds typically have a regular frequency, which the human ear hears as the sound’s pitch. Pitch is expressed using musical notes, such as C, E flat, and F sharp. The pitch is usually only the lowest, strongest part of the sound wave, called the fundamental frequency. Every musical sound also has higher, softer parts called overtones or harmonics, which occur at regular multiples of the fundamental frequency. The human ear doesn’t hear the harmonics as distinct pitches, but rather as the tone color (also called the timbre) of the sound, which allows the ear to distinguish one instrument or voice from another, even when both are playing the same pitch. Fundamental First harmonic Second harmonic Time Time Time Appendix B Audio Fundamentals 467 Musical sounds also typically have a volume envelope. Every note played on a musical instrument has a distinct curve of rising and falling volume over time. Sounds produced by some instruments, particularly drums and other percussion instruments, start at a high volume level but quickly decrease to a much lower level and die away to silence. Sounds produced by other instruments, for example, a violin or a trumpet, can be sustained at the same volume level and can be raised or lowered in volume while being sustained. This volume curve is called the sound’s envelope and acts like a signature to help the ear recognize what instrument is producing the sound. Measuring Sound Intensity Human ears are remarkably sensitive to vibrations in the air. The threshold of human hearing is around 20 microPascals (μP), which is an extremely small amount of atmospheric pressure. At the other extreme, the loudest sound a person can withstand without pain or ear damage is about 200,000,000 μP: for example, a loud rock concert or a nearby jet airplane taking off. Because the human ear can handle such a large range of intensities, measuring sound pressure levels on a linear scale is inconvenient. For example, if the range of human hearing were measured on a ruler, the scale would go from 1 foot (quietest) to over 3000 miles (loudest)! To make this huge range of numbers easier to work with, a logarithmic unit—the decibel—is used. Logarithms map exponential values to a linear scale. For example, by taking the base-ten logarithm of 10 (101) and 1,000,000,000 (109), this large range of numbers can be written as 1–9, which is a much more convenient scale. Percussive volume envelope Sustained volume envelope 468 Appendix B Audio Fundamentals Because the ear responds to sound pressure logarithmically, using a logarithmic scale corresponds to the way humans perceive loudness. Audio meters and sound measurement equipment are specifically designed to show audio levels in decibels. Small changes at the bottom of an audio meter may represent large changes in signal level, while small changes toward the top may represent small changes in signal level. This makes audio meters very different from linear measuring devices like rulers, thermometers, and speedometers. Each unit on an audio meter represents an exponential increase in sound pressure, but a perceived linear increase in loudness. Important: When you mix audio, you don’t need to worry about the mathematics behind logarithms and decibels. Just be aware that to hear incremental increases in sound volume, exponentially more sound pressure is required. What Is a Decibel? The decibel measures sound pressure or electrical pressure (voltage) levels. It is a logarithmic unit that describes a ratio of two intensities, such as two different sound pressures, two different voltages, and so on. A bel (named after Alexander Graham Bell) is a base-ten logarithm of the ratio between two signals. This means that for every additional bel on the scale, the signal represented is ten times stronger. For example, the sound pressure level of a loud sound can be billions of times stronger than a quiet sound. Written logarithmically, one billion (1,000,000,000 or 109) is simply 9. Decibels make the numbers much easier to work with. In practice, a bel is a bit too large to use for measuring sound, so a one-tenth unit called the decibel is used instead. The reason for using decibels instead of bels is no different from the reason for measuring shoe size in, say, centimeters instead of meters; it is a more practical unit. Number of decibels Relative increase in power 0 1 1 1.26 3 2 10 10 20 100 30 1000 50 100,000 100 10,000,000,000 Appendix B Audio Fundamentals 469 Decibel Units Audio meters are labeled with decibels. Several reference levels have been used in audio meters over the years, starting with the invention of the telephone and evolving to present day systems. Some of these units are only applicable to older equipment. Today, most professional equipment uses dBu, and most consumer equipment uses dBV. Digital meters use dBFS.  dBm: The m stands for milliwatt (mW), which is a unit for measuring electrical power. (Power is different from electrical voltage and current, though it is related to both.) This was the standard used in the early days of telephone technology and remained the professional audio standard for years.  dBu: This reference level measures voltage instead of power, using a reference level of 0.775 volts. dBu has mostly replaced dBm on professional audio equipment. The u stands for unloaded, because the electrical load in an audio circuit is no longer as relevant as it was in the early days of audio equipment.  dBV: This also uses a reference voltage like dBu, but in this case the reference level is 1 volt, which is more convenient than 0.775 volts in dBu. dBV is often used on consumer and semiprofessional devices.  dBFS: This scale is very different from the others because it is used for measuring digital audio levels. FS stands for full-scale, which is used because, unlike analog audio signals that have an optimum signal voltage, the entire range of digital values is equally acceptable when using digital audio. 0 dBFS is the highest-possible digital audio signal you can record without distortion. Unlike analog audio scales like dBV and dBu, there is no headroom past 0 dBFS. Signal-to-Noise Ratio Every electrical system produces a certain amount of low-level electrical activity called noise. The noise floor is the level of noise inherent in a system. It is nearly impossible to eliminate all the noise in an electrical system, but you don’t have to worry about the noise if you record your signals significantly higher than the noise floor. If you record audio too low, you raise the volume to hear it, which also raises the volume of the noise floor, causing a noticeable hiss. The more a signal is amplified, the louder the noise becomes. Therefore, it is important to record most audio around the nominal (ideal) level of the device, which is labeled 0 dB on an analog audio meter. The signal-to-noise ratio, typically measured in dB, is the difference between the nominal recording level and the noise floor of the device. For example, the signal-to-noise ratio of an analog tape deck may be 60 dB, which means the inherent noise in the system is 60 dB lower than the ideal recording level. 470 Appendix B Audio Fundamentals Headroom and Distortion If an audio signal is too strong, it will overdrive the audio circuit, causing the shape of the signal to distort. In analog equipment, distortion increases gradually the more the audio signal overdrives the circuit. For some audio recordings, this kind of distortion can add a unique “warmth” to the recording that is difficult to achieve with digital equipment. However, for audio post-production, the goal is to keep the signal clean and undistorted. 0 dB on an analog meter refers to the ideal recording level, but there is some allowance for stronger signals before distortion occurs. This safety margin is known as headroom, meaning that the signal can occasionally go higher than the ideal recording level without distorting. Having headroom is critical when recording, especially when the audio level is very dynamic and unpredictable. Even though you can adjust the recording level while you record, you can’t always anticipate quick, loud sounds. The extra headroom above 0 dB on the meter is there in case the audio abruptly becomes loud. Dynamic Range and Compression Dynamic range is the difference between the quietest and loudest sound in your mix. A mix that contains quiet whispers and loud screams has a large dynamic range. A recording of a constant drone such as an air conditioner or steady freeway traffic has very little amplitude variation, so it has a small dynamic range. You can actually see the dynamic range of an audio clip by looking at its waveform. For example, two waveforms are shown below. The top one is a section from a well-known piece of classical music. The bottom one is from a piece of electronic music. From the widely varied shape of the waveform, you can tell that the classical piece has the greater dynamic range. Notice that the loud and soft parts of the classical piece vary more frequently, as compared to the fairly consistent levels of the electronic music. The long, drawn-out part of the waveform at the left end of the top piece is not silence—it’s actually a long, low section of the music. Waveform from a well-known classical piece Waveform from an excerpt of electronic music Appendix B Audio Fundamentals 471 Dynamic sound has drastic volume changes. Sound can be made less dynamic by reducing, or compressing, the loudest parts of the signal to be closer to the quiet parts. Compression is a useful technique because it makes the sounds in your mix more equal. For example, a train pulling into the station, a man talking, and the quiet sounds of a cricket-filled evening are, in absolute terms, very different volumes. Because televisions and film theaters must compete with ambient noise in the real world, it is important that the quiet sounds are not lost. The goal is to make the quiet sounds (in this case, the crickets) louder so they can compete with the ambient noise in the listening environment. One approach to making the crickets louder is to simply raise the level of the entire soundtrack, but when you increase the level of the quiet sounds, the loud sounds (such as the train) get too loud and distort. Instead of raising the entire volume of your mix, you can compress the loud sounds so they are closer to the quiet sounds. Once the loud sounds are quieter (and the quiet sounds remain the same level), you can raise the overall level of the mix, bringing up the quiet sounds without distorting the loud sounds. When used sparingly, compression can help you bring up the overall level of your mix to compete with noise in the listening environment. However, if you compress a signal too far, it sounds very unnatural. For example, reducing the sound of an airplane jet engine to the sound of a quiet forest at night and then raising the volume to maximum would cause the noise in the forest to be amplified immensely. Different media and genres use different levels of compression. Radio and television commercials use compression to achieve a consistent wall of sound. If the radio or television becomes too quiet, the audience may change the channel—a risk advertisers and broadcasters don’t want to take. Films in theaters have a slightly wider dynamic range because the ambient noise level of the theater is lower, so quiet sounds can remain quiet. Stereo Audio The human ear hears sounds in stereo, and the brain uses the subtle differences in sounds entering the left and right ears to locate sounds in the environment. To recreate this sonic experience, stereo recordings require two audio channels throughout the recording and playback process. The microphones must be properly positioned to accurately capture a stereo image, and speakers must also be spaced properly to recreate a stereo image accurately. If any part of the audio reproduction pathway eliminates one of the audio channels, the stereo image will most likely be compromised. For example, if your playback system has a CD player (two audio channels) connected to only one speaker, you will not hear the intended stereo image. 472 Appendix B Audio Fundamentals Important: All stereo recordings require two channels, but two-channel recordings are not necessarily stereo. For example, if you use a single-capsule microphone to record the same signal on two tracks, you are not making a stereo recording. Identifying Two-Channel Mono Recordings When you are working with two-channel audio, it is important to be able to distinguish between true stereo recordings and two tracks used to record two independent mono channels. These are called dual mono recordings. Examples of dual mono recordings include:  Two independent microphones used to record two independent sounds, such as two different actors speaking. These microphones independently follow each actor’s voice and are never positioned in a stereo left-right configuration. In this case, the intent is not a stereo recording but two discrete mono channels of synchronized sound.  Two channels with exactly the same signal. This is no different than a mono recording, because both channels contain exactly the same information. Production audio is sometimes recorded this way, with slightly different gain settings on each channel. This way, if one channel distorts, you have a safety channel recorded at a lower level.  Two completely unrelated sounds, such as dialogue on track 1 and a timecode audio signal on track 2, or music on channel 1 and sound effects on channel 2. Conceptually, this is not much different than recording two discrete dialogue tracks in the example above. The important point to remember is that if you have a two-track recording system, each track can be used to record anything you want. If you use the two tracks to record properly positioned left and right microphones, you can make a stereo recording. Otherwise, you are simply making a two-channel mono recording. Identifying Stereo Recordings When you are trying to decide how to work with an audio clip, you need to know whether a two-channel recording was intended to be stereo or not. Usually, the person recording production sound will have labeled the tapes or audio files to indicate whether they were recorded as stereo recordings or dual-channel mono recordings. However, things don’t always go as planned, and tapes aren’t always labeled as thoroughly as they should be. As an editor, it’s important to learn how to differentiate between the two. Appendix B Audio Fundamentals 473 Here are some tips for distinguishing stereo from dual mono recordings:  Stereo recordings must have two independent tracks. If you have a tape with only one track of audio, or a one-channel audio file, your audio is mono, not stereo. Note: It is possible that a one-channel audio file is one half of a stereo pair. These are known as split stereo files, because the left and right channels are contained in independent files. Usually, these files are labeled accordingly: AudioFile.L and AudioFile.R are two audio files that make up the left and right channels of a stereo sound.  Almost all music, especially commercially available music, is mixed in stereo.  Listen to a clip using two (stereo) speakers. If each side sounds subtly different, it is probably stereo. If each side sounds absolutely the same, it may be a mono recording. If each side is completely unrelated, it is a dual mono recording. Interleaved Versus Split Stereo Audio Files Digital audio can send a stereo signal within a single stream by interleaving the digital samples during transmission and deinterleaving them on playback. The way the signal is stored is unimportant as long as the samples are properly split to left and right channels during playback. With analog technology, the signal is not nearly as flexible. Split stereo files are two independent audio files that work together, one for the left channel (AudioFile.L) and one for the right channel (AudioFile.R). This mirrors the traditional analog method of one track per channel (or in this case, one file per channel). Digital Audio Digital audio recording works by recording, or sampling, an electronic audio signal at regular intervals (of time). An analog-to-digital (A/D) converter measures and stores each sample as a numerical value that represents the audio amplitude at that particular moment. Converting the amplitude of each sample to a binary number is called quantization. The number of bits used for quantization is referred to as bit depth. Sample rate and bit depth are two of the most important factors when determining the quality of a digital audio system. 474 Appendix B Audio Fundamentals Sample Rate The sample rate is the number of times an analog signal is measured—or sampled— per second. You can also think of the sample rate as the number of electronic snapshots made of the sound wave per second. Higher sample rates result in higher sound quality because the analog waveform is more closely approximated by the discrete samples. Which sample rate you choose to work with depends on the source material you’re working with, the capabilities of your audio interface, and the final destination of your audio. For years, the digital audio sample rate standards have been 44,100 Hz (44.1 kHz) and 48 kHz. However, as technology improves, 96 kHz and even 192 kHz sample rates are becoming common. Bit Depth Unlike analog signals, which have an infinite range of volume levels, digital audio samples use binary numbers (bits) to represent the strength of each audio sample. The accuracy of each sample is determined by its bit depth. Higher bit depths mean your audio signal is more accurately represented when it is sampled. Most digital audio systems use a minimum of 16 bits per sample, which can represent 65,536 possible levels (24-bit samples can represent over 16 million possible levels). To better understand bit depth, think of each digital audio sample as a ladder with equally spaced rungs that climb from silence to full volume. Each rung on the ladder is a possible volume that a sample can represent, while the spaces between rungs are in-between volumes that a sample cannot represent. Audio sample rates When used 8 kHz–22.225 kHz These lower sample rates are used strictly for multimedia files. 32 kHz 32 kHz is generally used with 12-bit audio on DV. 44.1 kHz This sample rate is used for music CDs and some DAT recorders. 48 kHz Almost all digital video formats use this sample rate. 88.2 kHz A multiple of 44.1 kHz. This is useful for high-resolution audio that needs to be compatible with 44.1 kHz. For example, if you eventually plan to burn an audio CD, this sample rate is a good choice. 96 kHz A multiple of 48 kHz. This is becoming the professional standard for audio post-production and music recording. 192 kHz A multiple of 48 and 96 kHz, this is a very high-resolution sample rate used mostly for professional music recording and mastering. Appendix B Audio Fundamentals 475 When a sample is made, the audio level of the analog signal often falls in the spaces between rungs. In this case, the sample must be rounded to the nearest rung. The bit depth of a digital audio sample determines how closely the rungs are spaced. The more rungs available (or, the less space between rungs), the more precisely the original signal can be represented. Quantization errors occur when a digital audio sample does not exactly match the analog signal strength it is supposed to represent (in other words, the digital audio sample is slightly higher or lower than the analog signal). Quantization errors are also called rounding errors because imprecise numbers represent the original analog audio. For example, suppose an audio signal is exactly 1.15 volts, but the analog-to-digital converter rounds this to 1 volt because this is the closest bit value available. This rounding error causes noise in your digital audio signal. While quantization noise may be imperceptible, it can potentially be exacerbated by further digital processing. Always try to use the highest bit depth possible to avoid quantization errors. The diagram on the far right shows the highest bit depth, and therefore the audio samples more accurately reflect the shape of the original analog audio signal. For example, a 1-bit system (a ladder with only two rungs) can represent either silence or full volume, and nothing in between. Any audio sample that falls between these rungs must be rounded to full volume or silence. Such a system would have absolutely no subtlety, rounding smooth analog signals to a square-shaped waveform. Analog waveform Audio sample Sine Square 476 Appendix B Audio Fundamentals When the number of bits per sample is increased, each sample can more accurately represent the audio signal. To avoid rounding errors, you should always use the highest bit depth your equipment supports. Most digital video devices use 16- or 20-bit audio, so you may be limited to one of these bit depths. However, professional audio recording devices usually support 24-bit audio, which has become the industry standard. 1-bit 2-bit 4-bit 16-bit Bit depth When used 32-bit floating point This allows audio calculations, such as fader levels and effects processing, to be performed at very high resolution with a minimum of error, which preserves the quality of your digital audio. 24-bit This has become the audio industry standard for most audio recording formats. Most professional audio interfaces and computer audio editing systems can record with 24-bit precision. 20-bit Used in some video formats such as Digital Betacam and audio formats such as ADAT Type II. 16-bit DAT recorders, Tascam DA-88 and ADAT Type I multitracks, and audio CDs all use16-bit samples. Many digital video formats, such as DV, use 16-bit audio.1 8-bit In the past, 8-bit audio was often used for CD-ROM and web video. Today, 16-bit audio is usually preferred, but available bandwidth and compatibility with your target user’s system are your chief considerations when outputting audio for multimedia use. 1 Many consumer DV camcorders allow you to record four audio channels using 12-bit mode, but this is not recommended for professional work. 477 C Appendix C Working with Professional Video and Audio Equipment About Video Interfaces, Signals, and Connectors This section describes common types of video interfaces, signal formats, and connectors. Video Interfaces Final Cut Studio allows you to use a wide variety of video interfaces for capture and output. The following section shows examples of the most common types of video interfaces available. FireWire for DV You can use the built-in FireWire port on your computer to capture and output to almost any DV device, including DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD devices. In this configuration, you only need your computer and a supported DV device. H FireWire 400 (6-pin) FireWire 400 (4- or 6-pin) Computer DV VTR 478 Appendix C Working with Professional Video and Audio Equipment FireWire for Uncompressed Digital Video Interfaces such as the AJA Io connect to your computer via FireWire. However, instead of transferring compressed DV signals, the AJA Io transfers an uncompressed component 4:2:2 signal via FireWire. The AJA Io has a wide range of digital and analog connectors, as well as RS-422 device control. Important: Although this type of video interface uses FireWire, it is not used to connect DV devices. If you want to capture or output DV video, you can connect your DV device directly to the FireWire port on your computer. PCI Video Interface Card If you are using professional analog or digital formats (either standard definition or high definition) without native FireWire connectivity, you need to purchase and install a PCI video interface card to connect your video deck or camcorder to your computer. Many PCI interface cards come with a breakout box where video, audio, and perhaps even 9-pin remote connectors are located (rather than on the PCI card itself ). Interface cards are also referred to as video cards or capture cards. This is not the same as the video graphics card used to send signals to your main computer display. Note: Some broadcast-quality video output devices receive both the video and audio from a project. When you use a video output device that supports both video and audio output, Soundtrack Pro automatically routes your audio output to this device to provide the best possible synchronization of the audio and video. H Computer AJA Io Analog or digital VTR FireWire 400 (6-pin) BNC connector Appendix C Working with Professional Video and Audio Equipment 479 PCI Video Interface Card with Built-in Connectors PCI cards allow you to capture and output video with high data rates, such as uncompressed standard definition (SD) and high definition (HD) video. PCI cards are necessary for high-end applications such as compositing, online editing, and uncompressed video editing. Many PCI cards have BNC or RCA connectors mounted directly on the back of the card. In this configuration, you connect your video equipment directly to the PCI card connectors on the back of your computer. PCI Video Interface Card with Breakout Box Many PCI cards aren’t big enough to fit all of the necessary video and audio connectors. In these situations, a breakout box is connected to the PCI card via a multipin connector on a long cable, and the connectors are accessible on the breakout box instead of the back of the PCI card. A breakout box is also useful because it allows you to place the connectors somewhere more convenient than the back of your computer, such as on an equipment rack or a desktop. Computer Analog or digital VTR (PCI card with connectors) BNC connector Computer Analog or digital VTR (with PCI card) Breakout box BNC connector 480 Appendix C Working with Professional Video and Audio Equipment USB Video Interface USB video interfaces cannot support the high data rates required for professional video use, so they are not commonly used. USB video interfaces are usually used for converting analog video sources to a digital signal for capture. Video Signals and Connectors When you capture and output, the type of video signal you use to connect your equipment is a critical factor that goes into determining the quality of your video. Video camcorders, decks, and monitors can use different types of signals, depending on the environment they are intended for. Consumer equipment usually has limited video signal choices; professional equipment gives you the greatest range of options. Here are the most common video signals used on today’s video devices:  Composite  S-Video (Y/C)  Component YUV (Y´CBCR)  Component RGB  FireWire (IEEE 1394 or i.LINK)  SDI  HD-SDI  HDMI  SCART USB interface USB RCA connector Computer Analog VTR Appendix C Working with Professional Video and Audio Equipment 481 Composite Composite is the lowest common denominator of video signals. A composite signal runs all color and brightness information on a single cable, resulting in lower-quality video compared to the quality of other formats. Nearly all video devices have a composite input and output. This format uses a single RCA or BNC connector. In professional editing environments, composite video signals are most commonly used for troubleshooting, for menu outputs, and for low-quality preview monitoring. For consumer and home use, composite signals are often used to connect VCRs or DVD players to televisions. S-Video S-Video, also known as Y/C, is a higher-quality video signal used by high-end consumer video equipment. The image looks sharper and has better color than a composite video image because S-Video keeps the color and brightness information separate on two cables. Most low-cost analog-to-digital video interfaces have S-Video as their highest-quality video connector. Use care when working with S-video connectors; the four delicate pins can be bent easily. Component YUV and Component RGB Professional video equipment, such as Betacam SP decks, has component YUV (Y’CBCR) video inputs and outputs. Component YUV separates color and brightness information into three signals, which keeps the color quality more accurate than that of other systems. Component YUV is as good as analog video gets. High-end consumer devices, such as DVD players and televisions, have increasingly begun to support component YUV. Note: Another form of component video, component RGB, is not as widespread on professional equipment as component YUV. RCA connector BNC connector S-Video connector 482 Appendix C Working with Professional Video and Audio Equipment Both component YUV and RGB signals use from three to five connectors. You can use three BNC connectors, plus a fourth (typically labeled “genlock” or “house sync”) to send a timing signal. Sync can also be embedded in the Y or G part of the signal (using three connectors), a separate composite signal on a fourth connector, or separate H and V drive signals (using five connectors). See your equipment’s documentation for more information. FireWire 400 FireWire 400, also called IEEE 1394a or i.LINK, is the consumer and professional standard for formats such as DV, DVCAM, DVCPRO, DVCPRO 50, DVCPRO HD, and HDV. FireWire is an inexpensive and easy way to capture and output high-quality digital video using a variety of camcorders and decks and is capable of data rates as high as 400 Mbps. Standard FireWire cables can be up to 4.5 meters long. There are two kinds of FireWire connectors: a 4-pin connector (typically found on video equipment such as camcorders or decks) and a 6-pin connector (used for computer equipment). However, some newer video equipment uses the 6-pin connector, and some video interfaces use the 4-pin connector. See your equipment’s documentation for more information. Component Y or green YUV RGB R or red On some equipment, you can switch between RGB and YUV modes. B or blue FireWire 400 (4-pin) FireWire 400 (6-pin) Appendix C Working with Professional Video and Audio Equipment 483 FireWire 800 FireWire 800, also called IEEE 1394b, is the next generation of FireWire after IEEE 1394a, a higher-bandwidth version capable of data transfer speeds of up to 800 Mbps. FireWire 800 is also capable of supporting cable distances of up to 100 meters. In addition to the standard 9-pin-to-9-pin FireWire 800 cables, 9-pin-to-4-pin and 9-pin-to-6-pin FireWire 400 to FireWire 800 cables are also available to connect older devices to a FireWire 800 interface. Note: FireWire 800 is commonly used to connect hard disks and other data peripherals to your computer, but this connector is rarely used to connect video devices. SDI Serial Digital Interface (SDI) is the standard for high-end, uncompressed digital video formats such as D1, D5, and Digital Betacam. If you want to capture digital video from these formats at the highest possible quality, you need a video interface with an SDI input and output, as well as a high-performance disk array (a set of disk drives grouped together to read and write in parallel), to accommodate the high data rates you’ll work with. Many devices can send both video and audio data through a single SDI connection. HD-SDI High Definition Serial Digital Interface (HD-SDI) is a higher-bandwidth version of SDI designed for the extremely high data rates required by uncompressed HD video. Like SDI, HD-SDI is capable of sending both video and audio through a single connection. The following decks have HD-SDI interfaces: DVCPRO HD, D-5 HD, and HDCAM decks. Some devices provide even higher data rates by pairing two HD-SDI channels together (known as dual-link HD-SDI). Uncompressed HD RGB video and other digital cinema formats can be transmitted using dual-link HD-SDI. FireWire 800 (9-pin) BNC connector 484 Appendix C Working with Professional Video and Audio Equipment SDTI Serial Digital Transport Interface (SDTI) is based on SDI, allowing native video formats to be sent in real time within an SDI video stream. SDTI does not define a specific video signal format but instead uses the structure of SDI to carry any kind of data. This allows video facilities to use their existing SDI patchbays and routers to transfer other native video formats, or transfer any kind of data. For example, some DV decks can transfer DV via SDTI, which means native DV can be transferred long distances over existing coaxial cable instead of the usual FireWire connection. Other formats, such as HDCAM and MPEG, can also be transferred via packets within an SDTI transport stream. HDMI High-Definition Multimedia Interface (HDMI) supports both digital television and computer signals and can also include multiple digital audio channels. HDMI devices are compatible with single-link digital DVD signals via an adapter, although no audio or additional metadata can be included. Many HD display devices and digital television set-top boxes include HDMI connectors. SCART Consumer PAL equipment sometimes has a special connector called a SCART connector. A SCART connector has multiple pins that run composite, component RGB, and stereo audio in one bundle. SCART input or output can be broken up into individual connections using special adapters available from video and home electronics stores. HDMI connector SCART connector Appendix C Working with Professional Video and Audio Equipment 485 About Audio Interfaces, Signals, and Connectors This section describes common types of audio interfaces, signal formats, and connectors. Setting Up an Audio Interface By default, Soundtrack Pro uses one of the built-in audio interfaces included with your Macintosh computer, such as a stereo headphone jack or a stereo speaker output. If you need to capture audio from a professional device, you may need a separate third-party interface.You can connect a third-party audio interface to your computer, and then connect microphones and musical instruments to the audio interface for recording. You can also connect output devices, such as monitors or speakers, a mixer, or an amplifier to the third-party audio interface. Built-in Audio Interfaces The following audio interfaces are included with your Macintosh computer (though some computer models may not include all interfaces). Built-in Analog Audio You can capture and output audio using the built-in audio ports on your computer. The built-in audio interface on your computer usually uses a stereo miniplug connector. If necessary, you can buy an adapter to connect the miniplug connector to two stereo RCA or 1/4" tip-ring-sleeve (TRS) connectors, which can then be connected to your video or audio device. For basic mixing, you can connect the built-in audio output on your computer to a pair of external speakers. This gives you two output channels, which can be configured for dual mono or stereo playback. Computer Analog Audio or video device Stereo miniplug connector RCA connector (2) 486 Appendix C Working with Professional Video and Audio Equipment Built-in S/PDIF Digital Audio Some computers have built-in S/PDIF optical digital ports (sometimes called TOSLINK) that you can connect to some CD players, DAT recorders, and other digital audio devices. DV FireWire If your post-production project uses a DV codec, you can output audio via the FireWire port on your computer. This allows you to use a DV deck, DV camcorder, or DV-to-analog converter as an audio interface. In this case, you connect your FireWire cable to your DV device and then connect the audio outputs of the DV device to external speakers or a television monitor. Choosing a Third-Party Audio Interface Before you purchase a separate audio interface, consider that most third-party video interfaces may have enough audio connectors to meet your requirements. You should consider a separate audio interface when:  You are trying to capture or output more audio channels than your built-in audio interface or third-party video interface supports.  You need to capture or output in a format not supported by your existing interfaces (for example, if you need to capture audio at a sample rate of 96 kHz but your video interface only supports a sample rate of 48 kHz). Benefits of a Third-Party Audio Interface Third-party audio interfaces can provide many more features than your computer’s built-in interfaces, such as:  More than two audio channels—eight channels is common, but some interfaces have 24 or more input and output channels  Professional connectors such as XLR or 1/4" TRS  High-quality analog-to-digital and digital-to-analog converters supporting sample rates as high as 192 kHz and 24 bits per sample  Support for analog and digital audio formats  Stable, “jitter-free” digital audio clocks TOSLINK optical digital connector Computer Audio or video device Appendix C Working with Professional Video and Audio Equipment 487 Tips for Selecting a Third-Party Audio Interface When you select an audio interface, make sure it has the following:  Connectors that match your audio equipment, such as XLR, 1/4" TRS, RCA, or TOSLINK  Support for audio signal formats that your audio equipment uses, such as AES/EBU, S/PDIF, or ADAT Lightpipe  Enough audio inputs and outputs to connect your equipment  Sample rate and bit depth at least as high as your audio equipment. For example, if you have an audio device with a sample rate of 96 kHz and 24 bits, your audio interface should at least match this. Note: Soundtrack Pro supports input from digital audio interfaces up to a maximum sample rate of 96 kHz and a maximum bit depth of 24 bits. If you connect an interface that uses sample rates or bit depths outside the range supported by Soundtrack Pro, an alert message appears, telling you that data from the audio interface is not compatible with the application.  Mac OS X compatibility. When choosing an audio interface, check the manufacturer’s specifications to make sure the interface is compatible with Mac OS X.  Up-to-date driver software, if needed. If the device requires a driver, make sure an up-to-date driver is included with the device, or is available from the manufacturer. Important: If you are considering purchasing an interface, make sure it supports Mac OS X Core Audio. Soundtrack Pro supports any audio interface that is compatible with Mac OS X Core Audio. All digital audio interfaces can be susceptible to latency, a noticeable delay between the time the audio signal is produced and the time you hear it. When connecting an audio interface, you should connect the interface directly to the computer, rather than connecting it through a hub or daisy-chaining it through another device. Connecting an audio interface through a hub or an intermediary device can cause an unacceptable amount of latency, particularly with slower protocols such as USB. 488 Appendix C Working with Professional Video and Audio Equipment FireWire for Digital Audio FireWire is a professional and consumer standard for both audio and video equipment. The combination of fast data-transfer rates, high storage capacities, and plug-and-play connection makes FireWire an attractive choice for working with digital audio files. FireWire is included on all current Macintosh computers, and a number of FireWire audio interfaces are available. These third-party interfaces are not DV devices, but merely devices that use FireWire as a means of transferring digital audio data. FireWire interfaces are more convenient to switch between computers than PCI cards, and they can be used with both desktop and portable computers. A FireWire interface typically supports ten or more inputs, and at least eight outputs. Important: Although a FireWire bus supports a very high data rate, connecting too many devices, such as a DV video device, a FireWire hard disk, and a FireWire audio interface, could potentially exceed the bus speed, resulting in audio with missing samples. USB Audio Interfaces There are a wide variety of USB audio interfaces available. USB supports plug-and-play operation and the ability to connect several devices in sequence (daisy-chaining). USB is included on all current Macintosh computers. Most USB audio interfaces support two or four audio channels at one time. USB audio interfaces vary in quality considerably, so take some time to research them before you purchase one. The connectors on USB interfaces vary; some interfaces have RCA connectors and others have both XLR and 1/4" TRS connectors. Very inexpensive USB audio interfaces may only have a stereo miniplug. H Computer Breakout box FireWire 400 (6-pin) XLR connector (2) Analog or digital VTR Computer USB RCA connector (2) Audio interface Analog or digital VTR Appendix C Working with Professional Video and Audio Equipment 489 Make sure you don’t exceed the total bandwidth of the USB bus. USB 1.1 has a fairly low data rate, so be careful not to add too many USB items to the bus. Ideally, USB audio interfaces are always directly connected to your computer, not connected via a hub or to the computer’s display, keyboard, or another peripheral. If you are having audio problems with a USB interface connected to a hub, try removing USB devices and eliminating the hub from the connection. USB 2.0 audio interfaces are also available. Because USB 2.0 devices can handle high data rates (similar to FireWire 400), you can treat them similarly to FireWire audio interfaces (see “FireWire for Digital Audio” on page 488). PCI Audio Interface Cards Peripheral Connect Interface (PCI) interfaces, unlike FireWire and USB interfaces, require that you install a dedicated sound card in your computer. Of all the audio interfaces, PCI audio interfaces provide the maximum transfer speed and can support many channels with high sample rates. Many PCI audio interface cards come with a separate breakout box where the audio input and output connectors are located. PCI Audio Interface Card with Built-in Connectors Some PCI audio interface cards have audio connectors attached directly to the card. Because there is limited space on a PCI card to mount audio connectors, RCA connectors are typically used. Computer (PCI card with connectors) Audio or video device RCA connector (2) 490 Appendix C Working with Professional Video and Audio Equipment PCI Audio Interface Card with Breakout Box The majority of PCI audio interface cards have a breakout box with a large number of XLR or 1/4" TRS connectors. The breakout box is attached to the PCI card via a long cable with a multipin connector. The long cable allows you to place the breakout box in a convenient location, so you can easily connect and disconnect your video and audio devices without going behind your computer. Audio Connectors, Cables, and Signal Formats Different audio connectors and cables are suited for different purposes. They are available for professional and consumer audio equipment, at a range of prices and levels of quality. Audio connectors are often indicative of the kind of signal they transmit. However, there are enough exceptions that it’s important to know what kind of audio signal you are connecting, in addition to the connector type. An important distinction is whether an audio connector carries a balanced or an unbalanced signal. When connecting microphones and musical instruments to an audio interface or a mixer, make sure the interface has the proper input jacks for the type of connectors and cables you plan to use. Analog Audio Connectors, Cables, and Signal Formats The following is a cross-section of available industry-standard analog audio connectors, cables, and signal formats. 1/8" Mini Connectors These are very small, unbalanced audio connectors. Many computers have 1/8" mini inputs and outputs at –10 dBV line level, and many portable audio devices such as CD players, iPod digital music players, and MP3 players use these connectors for headphone outputs. Portable MiniDisc and DAT recorders often use 1/8" mini connectors for connecting microphones. Computer Breakout box (with PCI card) Analog or digital VTR XLR connector (2) Mono miniplug connector Stereo miniplug connector Appendix C Working with Professional Video and Audio Equipment 491 Note: Some Macintosh computers and portable audio recorders also use a connector that combines both a stereo miniplug and a 1/8" optical digital connection (see “S/PDIF” on page 492) in a single jack. RCA Connectors Most consumer equipment uses RCA connectors, which are unbalanced connectors that usually handle –10 dbV (consumer) line levels. RCA connectors are used on consumer audio equipment such as home stereo systems and videocassette recorders. 1/4" Audio Connectors 1/4" connectors (sometimes called phone plugs) are used on a wide variety of professional and consumer musical equipment, including musical instruments and amplifiers, speakers, and external effects devices. 1/4" Tip-Sleeve Connectors 1/4" tip-sleeve (TS) connectors with a tip and a sleeve are unbalanced connectors often used for musical instruments like electric guitars, keyboards, amplifiers, and so on. 1/4" Tip-Ring-Sleeve Connectors Professional equipment often uses 1/4" tip-ring-sleeve (TRS) audio connectors with +4 dBu line level. 1/4" TRS connectors connect to three wires in an audio cable—hot, neutral, and ground—and usually carry a balanced audio signal. In some situations, the three wires may be used to send left and right (stereo) signals, making the signals unbalanced. Note: Tip-sleeve and tip-ring-sleeve connectors look almost identical. Some audio devices (especially mixers) accept a TS connector in a TRS jack, but you should always check the equipment documentation to be sure. Remember that most 1/4" TS connectors connect to –10 dBV line level equipment, whereas 1/4" TRS connectors usually expect a +4 dBu line level. RCA connector 1/4" tip-sleeve (TS) connector 1/4" tip-ring-sleeve (TRS) connector 492 Appendix C Working with Professional Video and Audio Equipment XLR Connectors These are the most common professional audio connectors. They almost always carry a balanced signal. Many cables use an XLR connector on one end and a 1/4" TRS connector on the other. The signal may be microphone level (when using a microphone) or +4 dBu/dBm (professional) line level. Digital Audio Connectors, Cables, and Signal Formats Although digital audio signals are completely different from analog signals, the same connectors are often used for convenience. For example, an XLR connector can be used to carry an analog audio signal or an AES/EBU digital audio signal. The following is a cross-section of available industry-standard digital audio connectors, cables, and signal formats. S/PDIF Sony/Philips Digital Interface Format (S/PDIF) is a consumer-level variation of the AES/ EBU digital audio protocol. S/PDIF audio data can be transmitted several ways, including:  Via coaxial cables with an RCA connector  Via optical TOSLINK Connectors for S/PDIF signals are found on most consumer digital equipment, such as DAT recorders, CD players, DVD players, MiniDisc equipment, and some audio interfaces. TOSLINK Optical and ADAT Lightpipe TOSLINK is a connector for optical digital signals. TOSLINK is used for several digital signal formats, although most devices support only one of these formats:  S/PDIF (stereo digital)  AC-3 and DTS (5.1-channel surround)  ADAT Lightpipe (an 8-channel digital signal) XLR connector S/PIDF optical digital connector Appendix C Working with Professional Video and Audio Equipment 493 Some Macintosh computers have a single interface that combines a TOSLINK connector with an analog stereo miniplug. ADAT Lightpipe is an eight-channel digital audio format developed by Alesis. This signal format uses TOSLINK optical connectors. Eight channels are supported at sample rates of 44.1 and 48 kHz using 24 bits per sample. Higher sample rates are available by pairing channels (this format is sometimes called sample multiplexing, or S/MUX). For example, a sample rate of 192 kHz is possible, but the number of channels is reduced to two. However, not all equipment supports channel pairing and increased sample rates. AES/EBU The AES/EBU (Audio Engineering Society/European Broadcasting Union) standard for transferring digital audio typically uses XLR connectors in professional studio environments. The data protocol is essentially identical to S/PDIF. TDIF Connectors Tascam Digital Interface (TDIF) is a signal format for transferring digital audio between Tascam digital multitrack recorders or digital mixers. Connections are made via a 25-pin D-subminiature connector and data is carried on shielded cable. Eight channels are supported at sample rates of 44.1 and 48 kHz using 24 bits per sample. Higher sample rates are available by pairing channels. The TDIF standard is currently one of two major formats (the other being ADAT optical) widely used in professional products for digital transfer of more than two tracks of audio simultaneously using only one cable. TOSLINK connector XLR connector TDIF connector 494 Appendix C Working with Professional Video and Audio Equipment About Microphone, Instrument, and Line Level Audio equipment can output line level at –10 dBV (consumer level), +4 dBm/dBu (professional level), or microphone level, which is around 50 or 60 dB less than line level. When you use a microphone, the level is very low, requiring a preamplifier to raise the signal to line level before it can be recorded or processed. Most audio mixers, cameras, and professional portable recording devices have built-in preamplifiers. Instrument level is between microphone and line level, around –20 dBV or so. Guitars and keyboards usually output at instrument level. About Balanced Audio Signals Audio cables can be either balanced or unbalanced, depending on their intended use. For long cable runs, especially when using relatively low microphone levels, a three-wire balanced audio circuit reduces noise. Balanced audio cables use the principle of phase cancellation to eliminate noise while maintaining the original audio signal. Signal Differences Between Pro and Consumer Equipment Professional audio equipment typically uses higher voltage levels than consumer equipment, and it also measures audio on a different scale.  Professional analog devices measure audio using dBu (or dBm in older equipment). 0 dB on the audio meter is usually set to +4 dBu, which means optimal levels are 4 dB greater than 0 dBu (.775 V), or 1.23 V.  Consumer audio equipment measures audio using dBV. The optimal recording level on a consumer device is –10 dBV, which means the levels are 10 dB less than 0 dBV (1 V), or 0.316 V. Therefore, the difference between an optimal professional level (+4 dBu) and consumer level (–10 dBV) is not 14 dB, because they are referencing different signals. This is not necessarily a problem, but you need to be aware of these level differences when connecting consumer and professional audio equipment together. Appendix C Working with Professional Video and Audio Equipment 495 A balanced audio cable sends the same audio signal on two wires, but inverts the phase of one signal by 180 degrees. When noise is introduced into the cable, it is introduced equally to both the original and the inverted signal. When the signal arrives at its destination, the inverted signal is put back in phase and both signals are combined. This puts the original and inverted signals back in phase, but it causes the noise signals on each line to be out of phase. Original signal Inverted signal (reverse phase) Noise on line (affects both signals) Inverted signal (inverted again) 496 Appendix C Working with Professional Video and Audio Equipment Now, both audio signals are in phase, but the noise is inverted, causing the noise to be canceled. At the same time, the original signal gets a little stronger because it is sent on two wires and combined. This helps compensate for the reduction in signal strength that occurs naturally on a long cable run. Any noise introduced into the cable across its long run is almost completely eliminated by this process. Note: Unbalanced cables have no way of eliminating noise and are therefore not as robust for long-distance cable runs, microphone signals, and other professional applications. Tips for Choosing Speakers and an Amplifier Professional audio engineers have to be able to trust the sound coming from their speakers. When you mix your audio, you need audio monitors that can handle the full range of audio intensities and frequencies. Ideally, your monitors will have a flat frequency response from 20 Hz to 20,000 Hz (or 20 kHz). This means that they neither attenuate nor amplify any frequencies. Flat frequency response is important for critical listening because the speakers themselves are not “coloring” the sound. In addition to the speaker quality itself, additional factors affect your audio monitoring environment:  Size and materials of the room  Placement of the speakers within the room, such as distance from walls and angle of speakers  Listener position between speakers Combined signals (noise eliminated) Appendix C Working with Professional Video and Audio Equipment 497 Frequency Response and Dynamic Range Speaker quality varies greatly depending on their purpose as well as their price. For example, speakers in a portable stereo or television are designed to play audio that has already been mastered by a mixing engineer. Mastered audio such as audio CD, radio, television, and movie sound has a compressed dynamic range (meaning levels are fairly consistent and loud). Speakers and amplifiers that are designed for mastered audio often intentionally emphasize certain frequencies, as is done with the bass enhancement feature found on many systems. This may make an audio CD sound better, but it is not recommended for mixing production sound because you get a false impression of the audio signal. For example, if your speakers overemphasize frequencies around 2 kHz, you may compensate during mixing by reducing the intensity of audio around 2 kHz. If you then play your mix on a different set of speakers with a flat frequency response, the frequencies around 2 kHz will sound too muffled. Self-Powered Versus Passive Speakers Speakers powered by an external amplifier are called passive speakers. When you use separate amplifiers and passive speakers, a number of factors affect the overall frequency response and quality of your audio. Instead of using a separate amplifier and speakers, a simpler option is to use self-powered speakers (speakers with built-in amplifiers). These have become increasingly popular, especially for studio monitoring and video editing. Self-powered speakers deliver more consistent performance because both components are designed to work together and are housed in a single enclosure. For video editing systems, self-powered speakers are a good, easy-to-use solution. Self-powered speakers accept line level inputs, so it’s fairly easy to connect them to your audio interface. Flat Not flat 20 Hz 200Hz – dB + dB – dB + dB 1 kHz 5 kHz 20 kHz 20 Hz 200 Hz 1 kHz 5 kHz 20 kHz 498 Appendix C Working with Professional Video and Audio Equipment Amplifiers and Signal Levels for Unpowered Speakers Unpowered speakers require signals with higher voltage than consumer and professional equipment can provide directly. These levels are known as speaker level audio signals, while audio devices such as tape recorders and audio mixers usually provide line level signals. An audio amplifier boosts line level signals to speaker levels to properly drive speakers. Wide-gauge speaker cables that can handle the higher electrical strength of speaker levels are used to connect the amplifier to speakers. Connecting Professional Video Devices Regardless of what format or video interface you use, the same basic steps apply when you connect a VTR or camcorder to your computer. Connecting Professional SD Video Devices If you’re using a format other than DV, such as Betacam SP or Digital Betacam, you need to install a third-party video interface that supports the proper signal for the format you’re using. Some video interfaces can digitize analog video input and output (for analog formats like Betacam SP), while others capture video only if it is already digital. In either case, the video interface encodes the video information using a codec, which may or may not apply compression to the video data to make it smaller while stored on disk. Compression settings used by video interfaces are typically controlled by software and use a variation of the M-JPEG codec (although the name of the codec itself may not reflect this). Unlike DV video devices (which use a single FireWire cable), third-party interfaces send and receive video, audio, and device control data on separate cables. For remote device control connections on professional equipment, 9-pin (DB9) connectors are used. Appendix C Working with Professional Video and Audio Equipment 499 The following illustration shows a typical SD setup: Following are basic instructions for connecting a video device to a third-party video interface in your computer, as well as connecting remote device control. A Recommended System Using a Third-Party Video Interface To set up a system using a third-party video interface, you need the following equipment:  Your computer and display  A non-DV format video device (a camcorder or deck)  Audio and video cables for your system  A third-party capture interface installed in or connected to your computer Note: Some third-party video interfaces have a breakout box connected to the card with a special cable, which is included.  A USB-to-serial adapter or internal modem serial port adapter  An RS-422 video deck control cable  A blackburst generator, with the appropriate cables to connect it to both your third-party video interface and your video and audio devices Computer PCI card USB-to-serial adapter Video Reference video Breakout box Video Audio USB RS-422 serial Amplified speakers Audio Blackburst generator Reference video Analog or digital VTR Standard definition monitor 500 Appendix C Working with Professional Video and Audio Equipment To connect video and audio outputs from your VTR to your third-party video interface: 1 Install a supported third-party PCI video interface in your computer or connect a FireWire or USB video interface. For detailed information, see the documentation that came with your video interface and your computer. 2 If you are using a PCI card video interface that came with a breakout box, connect the breakout box to the PCI card using the cables provided. 3 Connect the video output of your VTR or camcorder to the video input of your video interface. 4 Connect the audio outputs of your VTR or camcorder to the audio inputs of your video or audio interface. 5 Connect the 9-pin remote device control cable to your deck, and to your breakout box or serial port adapter. 6 To genlock your video interface with your camcorder or deck: a Connect one of the blackburst generator’s outputs (there should be several) to the genlock or external sync input on your deck (usually you use a cable with a BNC connector). b Connect another of the blackburst generator’s outputs to the genlock or external sync connector on your video interface. 7 Plug in and turn on your blackburst generator. 8 Turn on your deck. 9 If you’re using Soundtrack Pro or Final Cut Pro to control your camcorder or deck, make sure that the device control switch on your VTR is set to Remote. For more information about VTR settings, see the documentation that came with your VTR and your video interface. For information about synchronizing Soundtrack Pro to an external video deck or audio recorder, see “Synchronizing Soundtrack Pro to External Timecode” on page 506. Note: Some broadcast-quality video output devices receive both the video and audio from a project. When you use a video output device that supports both video and audio output, Soundtrack Pro automatically routes your audio output to this device to provide the best possible synchronization of the audio and video. Appendix C Working with Professional Video and Audio Equipment 501 Connecting Professional Component Analog Video Devices The most prevalent component analog video format still in use today is Betacam SP. It is an SD video format, but because it is analog, your video interface must have analog-todigital converters to digitize the analog signal before encoding it and writing a digital media file to the computer hard disk. Unlike digital capture interfaces, analog-to-digital interfaces often allow you to adjust luma and chroma levels (using controls in the Final Cut Pro Log and Capture window) when you digitize. The steps for connecting an analog VTR to a video interface are essentially the same as for digital SD and HD devices. The main difference is that you need to make three physical connections, one for each of the three analog video components: Y, R-Y, and B-Y (also called YUV or Y´CBCR, depending on the country and the specifics of the format). For more information, see the Final Cut Pro User Manual.To connect equipment, see “Connecting Professional SD Video Devices” on page 498. Connecting Consumer Analog Video Devices If you want to digitize video from an analog consumer format, such as VHS or 8 mm video, you need a video interface that has an analog composite video input. Also, older consumer decks rarely support remote device control, which means you can’t remotely control the deck or capture timecode from these formats. If you need the ability to recapture the video accurately using timecode, it’s often easiest to dub (copy) the video to a digital format like DV, or a professional format you are using for your project. There are fairly inexpensive capture interfaces that can accept an analog composite input and convert it to a DV video signal transferred via FireWire. Some more expensive interfaces may also accept an analog component input. Connecting Non-DV Devices to a DV Converter You can use a DV converter to convert a device in a non-DV format, such as Betacam SP or Digital Betacam, to DV. This allows you to capture footage using the built-in FireWire port on your computer. However, unlike a complete DV FireWire setup, this kind of deck still requires serial (RS-422 or RS-232) remote device control. This kind of setup is used mainly for low-resolution capture and offline editing. Because Final Cut Pro can edit DV video natively, you can capture your video as if it were DV footage, edit at DV resolution, and then recapture only the necessary media files for your finished movie at full resolution using one of the third-party video interface solutions described earlier. Important: If you plan to recapture footage later, make sure timecode is captured accurately. 502 Appendix C Working with Professional Video and Audio Equipment The following illustration shows a typical non-DV-to-DV setup: To connect video and audio outputs from your VTR to your analog-to-DV or digital-to-DV converter: 1 With your DV converter turned off, connect the 6-pin connector on the FireWire cable to the FireWire port on your computer. 2 Connect the 4-pin connector on the FireWire cable to the DV converter. 3 Connect the video output of your VTR to the video input of the DV converter. 4 Connect the audio output of your VTR to the audio input of the DV converter. Note: The DV converter mentioned above could possibly be a DV VTR that can convert analog video and audio input to DV FireWire. Some decks need to be in record mode to allow this conversion. Other decks may not support this. 5 Connect the remote device control. A Recommended Non-DV-to-DV System Using Serial Device Control You need the following equipment:  Your computer and display  A non-DV format playback device, such as a Betacam SP or Digital Betacam deck  An analog-to-DV or digital SDI-to-DV converter Note: Some DV camcorders and VTRs can also act as an analog-to-DV converter.  A 4-to-6-pin FireWire cable, available at an electronics store or an Apple Authorized Reseller  A USB-to-serial adapter or internal modem serial port adapter  An RS-422 video deck control cable FireWire USB Computer Analog or digital VTR USB-to-serial adapter DV converter Standard definition monitor Video Audio RS-422 serial Audio Video Amplified speakers Appendix C Working with Professional Video and Audio Equipment 503 Connecting Professional Audio Devices The steps for connecting audio playback and recording devices are similar to the steps for connecting professional video devices. (For information on connecting professional video devices, see “Connecting Professional Video Devices” on page 498.) Many professional audio-only devices such as DAT recorders and Tascam DA-88/DA-98 multitracks also support remote device control and audio insert editing. If you plan to capture footage using separate video and audio interfaces, you may need to set up additional synchronization between your audio device and audio interface. For more information, see “Synchronizing Equipment with a Blackburst Generator” on page 504 as well as the documentation that came with your audio interface. Connecting Professional Digital Audio Devices Professional digital audio devices often use balanced XLR connectors. Each XLR carries two AES/EBU digital audio channels. Connect the digital audio outputs of your video or audio device to your audio interface (or its breakout box). If your video interface has the appropriate connectors, you can also connect the audio outputs of your device to the audio inputs on the video interface. Note: Professional analog audio devices also use XLR connectors, but the signal is incompatible with AES/EBU digital audio. Connecting Consumer Digital Audio Devices Consumer devices such as CD players, MiniDisc recorders, and some DAT recorders use either an optical or RCA (coax) connector for S/PDIF digital audio. S/PDIF carries two channels of digital audio, usually at a sample rate of 44.1 or 48 kHz and a bit depth of 16 bits. Connect the S/PDIF output of your audio device to the S/PDIF input on your audio or video interface, if available. Connecting Professional Analog Audio Professional analog audio devices use balanced XLR or 1/4” TRS connectors for each audio channel. Most audio interfaces that support multiple audio channels come with a breakout box that contains all the connectors. To connect multiple analog audio channels from a VTR or audio device to a multichannel audio interface: m Connect each audio output channel on the VTR or audio device to each audio input channel on the audio interface or corresponding breakout box, if included. 504 Appendix C Working with Professional Video and Audio Equipment Synchronizing Equipment with a Blackburst Generator With most professional editing systems, you capture video, audio, and timecode via separate cables. It’s important that when you capture, the VTR and the video and audio interfaces are synchronized via a common video timing signal. If digital audio samples and video lines and frames are not precisely synchronized, they eventually drift apart because they are captured at slightly different rates. Using a common sync source is especially important when you are independently capturing long segments of video and audio to synchronize together later. If your audio deck and capture interface are not both receiving the same timing information, the sync between the audio and video portions of clips might drift over time. A blackburst generator provides a common timing signal (or clock) to lock together the timing clocks of all devices in a system. This is sometimes referred to as external sync or house sync because every device in an entire facility can be timed to this common reference. Professional VTRs, camcorders, audio devices, and interfaces often have the ability to accept sync signals from an external device. These connectors are labeled “genlock” (short for generator lock), “external sync”, “reference input”, or “reference video”. On some equipment, the normal composite video input of a device can be used to lock to external sync. Important: To synchronize your video or audio devices and interfaces, they must all accept an external clock source (such as a blackburst generator). A Recommended Audio System Using a Third-Party Audio Interface To set up a system using a third-party audio interface, you need the following equipment:  Your computer and display  A device-controllable audio deck, such as a DAT or multitrack deck  Appropriate analog cables for your system  An audio interface Note: Some third-party PCI interface cards have a breakout box connected to the card with a special cable.  A USB-to-serial adapter or internal modem serial port adapter  A blackburst generator, with the appropriate cables to connect it to both your third-party audio interface and your audio deck. (For more information, see “Synchronizing Equipment with a Blackburst Generator,” next.)  An RS-422 video deck control cable Appendix C Working with Professional Video and Audio Equipment 505 When you genlock a deck and a video or audio capture interface, one output of the blackburst generator should be connected to the external sync input of the video or audio deck, and another output should be connected to the external sync input of your audio interface. To connect your audio deck outputs to a third-party audio interface for synchronized, genlocked audio capture: 1 Install a supported audio interface card in your computer, or connect a supported audio interface. For more information, see the documentation that came with the audio interface and your computer. 2 If you are using a PCI card audio interface that came with a breakout box, connect the breakout box to the PCI card using the included cable. 3 Connect the audio outputs of your audio device to the audio inputs of your audio interface. 4 Connect the remote device control cable. 5 To genlock your audio deck to your audio or video interface: a Connect one of the blackburst generator’s outputs (there should be several) to the genlock or external sync input on your audio deck. b Connect another of the blackburst generator’s outputs to the genlock or external sync connector on your video or audio capture interface (depending on which one you are using to capture audio). For more information, see “Synchronizing Equipment with a Blackburst Generator” on page 504. 6 Plug in and turn on your blackburst generator. 7 If you are using a blackburst generator, choose Final Cut Pro > User Preferences, and in the General tab of the User Preferences window, make sure that “Sync audio capture to video source if present” is selected. PCI card Computer Analog or digital VTR Video Reference video Reference video Breakout box Audio Blackburst generator 506 Appendix C Working with Professional Video and Audio Equipment 8 If you’re using Final Cut Pro to control your audio deck, make sure that the device control switch on the equipment is set to Remote. 9 Once your deck and video capture interface are genlocked together, you still need to calibrate the timecode capture offset (found in the Device Control Presets tab in the Audio/Video Settings window) prior to capture. For more information about calibrating timecode for capture, see the Final Cut Pro User Manual. Synchronizing Soundtrack Pro to External Timecode There may be times when you will wish to synchronize Soundtrack Pro to an external video deck or audio recorder. Soundtrack Pro can “chase” (synchronize to) timecode sent by an external video deck or other LTC sources. Note: This is not the same thing as device control, which allows you to remotely control a video or audio device for capturing and output. See the Final Cut Pro User Manual for information on device control. There are two types of signal involved in this process. LTC (Linear Time Code) is an audio signal sent by a video deck or audio recorder. This signal can’t be read directly by the computer; it must be converted to MIDI Time Code (MTC) first. MTC can send via USB to the computer, and via MIDI cables for distribution to other connected MIDI compatible devices. You will need the following equipment to synchronize Soundtrack Pro to external timecode:  A video deck or audio recorder capable of sending LTC time code  A device capable of converting LTC to MTC, such as the MotU MIDI Timepiece AV or Emagic Unitor 8 MKII  An RCA-to-1/4-inch audio cable, or a 1/4-inch-to-1/4-inch audio cable  A USB connection to the MIDI device  Possibly, a BNC-to-RCA female adapter Setting Up the LTC Source Device The LTC generator should be set up as the master sync device. All timecode settings should be set to “internal.” If available, Jog should be turned off. See the documentation for your particular video deck or audio recorder for specific instructions. Appendix C Working with Professional Video and Audio Equipment 507 Setting Up the MTC Generator Set the MTC generator to receive LTC signals:  In the case of the MIDI Timepiece, use the “Clockworks” control panel.  In the case of the Unitor 8 MkII, use the “Unitor Control” application. Setting Up Soundtrack Pro to Sync to External Timecode You can set up Soundtrack Pro to sync to external timecode. To sync Soundtrack Pro to external timecode, do the following: 1 Choose Soundtrack Pro > Preferences, then click the Synchronization button at the top of the Preferences window. 2 In the Input section, select the Sync to MIDI Time Code checkbox. 3 In the Output section, choose the frame rate for your project from the Frame Rate popup menu. 4 In the Time Code Offset section, enter your tape’s offset in the Bar 1 At field. This is typically 01:00:00;00. 5 Close the Preferences window. 6 Depending on your timecode source, choose either View > Time Ruler Units > Drop Frame or View > Time Ruler Units > Non-Drop Frame. 7 Choose View > Time Ruler Units > Set Starting Timecode. 508 Appendix C Working with Professional Video and Audio Equipment 8 In the dialog that appears, enter the SMPTE position where you would like the sequence to start. This often is the same as the tape offset. If your timecode source is drop frame, be sure to select the Drop Frame checkbox. 9 Click the MIDI Sync button in the transport controls. Soundtrack Pro will now “chase” (synchronize to) timecode sent by the tape deck or other LTC sources. MIDI Sync button 509 D Appendix D Working with Apogee Hardware in Soundtrack Pro Soundtrack Pro offers a dedicated control panel that allows you to configure selected Apogee hardware. Currently, this control panel supports the Apogee Ensemble only. Refer to the Apogee website for details on supported hardware models. To open the Apogee control panel: 1 Confirm that your Apogee unit is connected and turned on. 2 Choose Soundtrack Pro > Open Apogee Control Panel. The Apogee control panel offers two parameter types: Global and Unit.  Global parameters are relevant only if more than one Apogee device is connected to your system; they define how several devices work together.  Unit parameters configure individual hardware units. 510 Appendix D Working with Apogee Hardware in Soundtrack Pro Global Parameters The Global parameters at the top of the Apogee hardware control panel define how multiple Apogee hardware devices work together. Unit Selection The Unit Select pop-up menu defines the hardware device (when multiple units are connected). The parameters of the selected device are displayed in the Unit tabs below. Selecting the Identify Unit checkbox next to the Unit Select pop-up menu illuminates all LEDs on the corresponding hardware interface. Loop Sync Loop Sync facilitates the proper clocking of multiple units. It allows simple reconfiguration of clock signals, accommodating nonsynchronous digital inputs on all connected units. The Loop Sync Master pop-up menu determines the hardware unit that you want to use as the clock master. Once a device is designated as master, all other units are automatically locked to its word clock. Selecting the Disable Loop Sync checkbox allows you to manually adjust synchronization settings. Note: Multiple Apogee device configuration (and the way Apogee devices interact) is determined by the Apogee driver version. Refer to the information included with the Apogee driver or device for details. Appendix D Working with Apogee Hardware in Soundtrack Pro 511 Units Parameters The Units parameters configure the individual hardware units in your system. They are spread over three tabs: General, Inputs, and Outputs. General Tab The settings in this tab control a variety of features, such as the clock source, UV22HR dithering algorithm, and level meter behavior.  Clock Source pop-up menu: Sets the clock source for the chosen unit. Options are Internal, Optical, Coax, and Word Clock.  Format section: These settings determine the format of the optical input and output channels. Options are ADAT/SMUX and S/PDIF.  UV22HR pop-up menu: This specifies the target signal path for the UV22HR dithering algorithm. Options are Off, Analog In 1–2, Analog In 3–4, Analog In 5–6, Analog In 7-8, Optical In 1–2, Optical In 3–4, Optical In 5–6, Optical In 7–8, S/PDIF In, and S/PDIF Out.  Sample Rate Conversion section: The Conversion pop-up menu allows you to enable sample rate conversion for the S/PDIF Input or Output signal path. If you decide to engage sample rate conversion on the S/PDIF Out channel, you can set the destination sample rate in the Sample Rate pop-up menu (next to the Conversion pop-up menu). Sample rate options are 44.1, 48, 88.2, and 96 kHz. 512 Appendix D Working with Apogee Hardware in Soundtrack Pro  Meter Display pop-up menu: This pop-up menu determines the type of metering displayed by your units. Options are input level, output level, or no signal at all. If you select the Hold Overloads checkbox, your hardware displays overloads permanently. Clicking the Clear Overloads button (alongside the Meter Display pop-up menu) resets the overload LEDs of your meters.  CD Mode checkbox: Selecting this checkbox turns on CD mode, which sends a 44.1 kHz, 16-bit stereo signal to the S/PDIF output, regardless of the input. In effect, selecting this checkbox automatically switches the Conversion pop-up menu to S PDIF Out, the Sample Rate pop-up menu to 44.1 kHz, and the UV22HR pop-up menu to S/PDIF Out. If any of these automatically set parameters are then changed manually, the CD Mode checkbox is automatically disabled. Inputs Tab This tab is used to configure the inputs of your Apogee hardware. The tab contains four identical parameter sets for microphone inputs 1 to 4 and a parameter section for line inputs 5 to 8. Appendix D Working with Apogee Hardware in Soundtrack Pro 513 Inputs 1 to 4 Inputs 1 to 4 feature built-in pre-amps. These can be configured individually via the four identical sets of Pre-Amp parameters.  Level pop-up menu: This pop-up menu allows you to switch the respective channel between microphone and line inputs. If you choose the Line option, the +4 dBu and –10 dBV options shown in the pop-up menu below are used to set the reference level of the line input. All microphone-related settings (Gain, Group, 48V Phantom Power, and Phase Invert) will be dimmed.  Gain slider: Sets the gain level of the chosen input (only available for microphone channels).  Group pop-up menu: The gain controls of the microphone inputs can be assigned to a group. Groups allow you to link the Gain sliders of the microphone inputs. Changing the Gain slider of any microphone input assigned to a group also changes the Gain sliders of all microphone inputs in this group. Individual gain relationships (relative levels between microphone inputs)—at the time the Gain sliders were assigned to the group—are retained. Options are Group 1, Group 2, and None. The Group pop-up menu is only available to channels used as microphone inputs.  Soft Limit checkbox: Select to apply Apogee’s soft limiting to the inputs.  Phase Invert checkbox: Select this checkbox to reverse the phase of the input signal (available only if the channel is used as microphone input).  48V Phantom Power checkbox: Select to activate a 48-volt phantom power supply for inputs 1 to 4. This checkbox is available only if the channel is used as a microphone input. Line Inputs 5 to 8 The Analog Line Inputs section offers the following parameters for line inputs 5 to 8:  Level pop-up menu: Sets the input level of line inputs 5 to 8. Options are +4 dBu and –10 dBV.  Soft Limit checkbox: Select to apply Apogee’s soft limiting to the analog line inputs. 514 Appendix D Working with Apogee Hardware in Soundtrack Pro Outputs Tab This tab is used to configure the outputs of your Apogee hardware. Headphone Parameters These options configure the output signal for the headphone outputs.  Source pop-up menu: Determines which output pair is sent to the headphone outputs. Options are Analog Out 1–2, Analog Out 3–4, Analog Out 5–6, Analog Out 7–8, Optical Out 1–2, Optical Out 3–4, Optical Out 5–6, Optical Out 7–8, and S/PDIF Out.  Level slider: Sets the level of the headphone outputs. Main Parameters The Format pop-up menu allows you to choose the output channels that you wish to control with the Main Level slider. Values are Stereo, 5.1 Surround, and 7.1 Surround. Analog Line Output Level Settings Choose either the +4 dBu or –10 dBV option from the respective Channel pop-up menu to determine the reference level for each of your eight analog line outputs. Setup Buttons The bottom of the Apogee hardware control panel offers three buttons that allow you to load and save your configuration settings.  Recall Setup From Song: Loads the configuration saved with the song.  Load Setup: Opens a file selector box, allowing you to load a stored configuration.  Save Setup: Opens a file selector box, allowing you to save the current configuration. 515 E Appendix E Solutions to Common Problems and Customer Support If you run into problems while working with Soundtrack Pro, there are several resources you can use to find a solution.  This appendix: This appendix includes information about some of the most frequent issues users encounter.  Release Notes: A late-breaking news page in the Soundtrack Pro Help menu provides last-minute information that didn’t make it into the manual. Be sure to consult this help page as soon as you install or upgrade Soundtrack Pro.  AppleCare Knowledge Base: AppleCare Support maintains a database of common support issues that is updated and expanded to include new issues as they arise. This is an excellent, free resource for Soundtrack Pro users. To access the AppleCare Knowledge Base, go to the AppleCare support page at http://www.apple.com/ support.  AppleCare Support: There are a variety of support options available to Soundtrack Pro customers. For more information, see the Apple Professional Software Service & Support Guide that comes with your Soundtrack Pro documentation. 516 Appendix E Solutions to Common Problems and Customer Support Solutions to Common Problems The following tips address some common issues. Audio Files and Audio Interfaces There are several factors that can affect performance when working with digital audio files. Observing the following guidelines will help you maintain the highest possible performance when working with Soundtrack Pro projects:  Because digital audio files require intensive processing by the computer’s processor, do not perform other processor-intensive tasks while working in Soundtrack Pro.  External audio interfaces connected to your computer can be susceptible to latency, a noticeable delay between the time the audio signal is produced and the time it reaches the computer. Some hardware and software manufacturers offer guidelines for reducing the amount of latency for their equipment. Be sure to read the documentation that came with your audio interface.  If you are using a USB audio interface, make sure the audio interface is directly connected to your computer. Do not connect a USB audio interface through a USB hub, or chain it through another USB device.  If you experience unwanted noise or hiss, check the connections between your computer and any external audio devices. Refer to the documentation that came with each device for any additional instructions on dealing with noise. Eliminating Recording Latency You can use the Latency Compensation setting in the Preferences Recording pane to eliminate any latency inherent in your recording device. You calculate the latency by playing a loop and recording it at the same time, as described below: 1 Use an appropriate cable to connect the audio output port you are using to the input port for the device from which you plan to record. 2 Choose a loop with a large number of transients, such as a drum loop. 3 Set the tempo to 60 bpm (to simplify the latency calculation). 4 Click the Arm for Recording button in the header of the track to which you want to record. 5 In the Recording tab, set the Input device to the recording device. 6 Set Monitor to None and ensure that hardware monitoring on your recording device is turned off. You may also need to reduce input or output volumes of your devices in order to avoid feedback. 7 Click the Record button and let the loop play for a few seconds. Then click Stop. Appendix E Solutions to Common Problems and Customer Support 517 8 Visually compare the original track and the newly recorded track. Zoom in to identify a place where the tracks have identical waveforms but are not lined up. Set the playhead at the corresponding identical points on the two waveforms and subtract the two Beats field values. This is the latency in milliseconds. If the recorded audio is late (to the right), you enter a positive value; if it’s early (to the left), you enter a negative value. For example, if the location in beats of the selected point in the source loop is 1.2.002 and the location in beats of the corresponding point in the recording is 1.2.008, the latency is 6 milliseconds. 9 Enter the latency value in the Recording Preferences pane. 10 Mute the recorded track and test record the loop again to make sure the latency is eliminated. Calling AppleCare Support Included in your Soundtrack Pro package is documentation about the support options available from Apple. Several levels of support are available, depending on your needs. Whatever your issue, it’s a good idea to have the following information immediately available. The more of this information you have ready to give to the support agents, the faster they will be able to address your issue.  The registration number that came with Soundtrack Pro. This number is different from the software serial number that is used to activate your copy of Soundtrack Pro  Which version of Mac OS X you have installed. This information is available by choosing About This Mac from the Apple menu.  The version of Soundtrack Pro you have installed, including updates if applicable. The version number can be viewed by choosing Soundtrack Pro > About Soundtrack Pro.  The model of computer you are using  How much RAM is installed in your computer, and how much is available to Soundtrack Pro. You can find out how much RAM is installed by choosing About This Mac from the Apple menu in the Finder.  What other third-party hardware is connected to or installed in the computer, and who are the manufacturers. Include hard disks, video cards, and so on.  Any third-party plug-ins or other software installed along with Soundtrack Pro AppleCare Support can be reached online at: http://www.apple.com/support/soundtrackpro 519 F Appendix F Using Apple Loops Utility Some audio files you use in Soundtrack Pro can include metadata called tags. Tags provide information about the audio recorded in a file. Soundtrack Pro uses tags in one of two ways:  To help locate files using the Search feature in Soundtrack Pro  To provide information that Soundtrack Pro uses when matching the file’s tempo and key to the project tempo and key, for the best possible playback quality Both AIFF and WAV file formats can include tags. Libraries of audio files created for use with loop-based music software are usually tagged, and Soundtrack Pro recognizes the tags used in most popular file formats. What Is Apple Loops Utility? Apple Loops Utility is a companion application to Soundtrack Pro that you can use to view and manage tags in audio files. You can add and change tags using Apple Loops Utility; you can also tag multiple files, a process known as batch tagging. Apple Loops Utility can read both AIFF and WAV file formats. When you save changes you make to either type of file, the file is saved as an AIFF file, the default file format for Soundtrack Pro. The set of tags you can work with using Apple Loops Utility includes all of the tags in WAV files tagged for use with Sony’s ACID music application, as well as additional tags. Tagged audio files can also contain information about transients. Transients indicate where beats occur in the file, and Soundtrack Pro uses transients to play back audio files at the highest level of quality. Apple Loops Utility can detect transients present in an audio file, and you can use Apple Loops Utility to add markers for additional transients and move them to new locations. 520 Appendix F Using Apple Loops Utility The Apple Loops Utility Interface The interface consists of a window with two tabs: the Tags tab and the Transients tab. The bottom of the window includes a set of playback controls and file management buttons. Apple Loops Utility also includes an Assets drawer, located to the right of the main window, where you manage open files. Playback controls Assets drawer Tabs Main window Appendix F Using Apple Loops Utility 521 Tags Tab The Tags tab includes areas for different types of tags, and also includes a set of playback controls you can use to listen to a file open in Apple Loops Utility. Listening to a file can help you decide which tags are appropriate for the file. Property Tags  Number of Beats field: Displays the number of beats in the file.  File Type buttons: Set the file type, which can be Non-looping or Looping.  Key pop-up menu: Sets the key of the file.  Scale Type pop-up menu: Sets the file’s scale type. The choices are Major, Minor, Good for Both, and Neither.  Time Signature pop-up menu: Sets the file’s time signature. The choices are 4/4, 3/4, 5/4, 6/8, and 7/8.  Author field: Displays the name of the file’s author. You can enter a new name by typing in the field.  Copyright field: Displays the file’s copyright data, if it exists. You can enter new data by typing in the field.  Comment field: Displays any comments about the file. You can enter comments by typing in the field. 522 Appendix F Using Apple Loops Utility Search Tags These tags are used by the Search feature in Soundtrack Pro when you search for files matching specific criteria.  Collection: Displays the name of the collection the file is affiliated with, if one exists. You can enter new data by typing in the field.  Theme: Displays the name of the theme the file is affiliated with, if one exists. You can enter new data by typing in the field.  Genre pop-up menu: Displays choices for the musical genre of the file.  Instrumentation list: Displays choices for the musical instrument or instrument category recorded in the file. Selecting an instrument category in the left column displays the list of instruments in that category in the right column. File Info This area of the Tags tab includes rows with Kind, Length, Date Modified, Sample Rate, Channels, Tempo, and File Location information. This information is for viewing only, and cannot be edited in the Tags tab. Descriptors Descriptors are complementary pairs of keywords describing the mood or character of the music recorded in the file. Each pair of keywords has a row of buttons, allowing you to choose either one keyword from the pair, or neither keyword. Appendix F Using Apple Loops Utility 523 Transients Tab The Transients tab contains a large waveform display, with a Beat ruler and a horizontal scroll bar. Markers indicate the position of transients in the file. Typically, transients correspond to the peaks or most pronounced amplitude changes in a sound’s waveform. The Transients tab includes controls for the beat division and sensitivity with which Apple Loops Utility detects transients in the file. You can also listen to the file using the playback controls to help determine where transients occur. The Transients tab includes the following controls:  Transient Division pop-up menu: Sets the beat value at which Apple Loops Utility detects transients.  Sensitivity slider: Sets the degree of sensitivity at which Apple Loops Utility detects transients. Waveform of audio file Transient marker Sensitivity slider Transient Division pop-up menu 524 Appendix F Using Apple Loops Utility Assets Drawer The Assets drawer lists the files open in Apple Loops Utility. The drawer, which is open when you open Apple Loops Utility, contains a Name column with the name of each open file, and a Changes column, which indicates any files to which you have applied changes. Add File and Remove File buttons Changes column Appendix F Using Apple Loops Utility 525 Playback and File Management Controls The bottom of the Apple Loops Utility window contains a set of playback controls so that you can listen to the file in Apple Loops Utility. The playback controls do not affect the file’s tags, only the playback of the selected file.  Go to Beginning button: Starts playback from the beginning of the selected file.  Play button: Plays back the selected file.  Stop button: Stops playback of the selected file.  Key pop-up menu: Transposes the selected file to a new key for playback.  Tempo slider: Sets the playback tempo of the selected file. You can also enter a value in the field.  Volume slider: Sets the playback volume of the selected file. You can also enter a value in the field. When multiple files are selected, the playback controls are not available. You cannot play more than one file at a time. There are two additional buttons at the bottom of the window, the Assets button and the Save button.  Assets button: Shows and hides the Assets drawer.  Save button: Saves your changes to the currently selected files in the Assets drawer. Play button Stop button Assets button Go to Beginning button Tempo slider Volume slider Key pop-up menu 526 Appendix F Using Apple Loops Utility Opening Files in Apple Loops Utility You can open audio files from within Apple Loops Utility, or directly from a Soundtrack Pro project. You can have up to 2000 files open at the same time. When you open files in Apple Loops Utility, the files are displayed in the File list of the Assets drawer. To open an audio file in Apple Loops Utility, do one of the following: m Choose File > Open, then select the file in the Open dialog. m Choose File > Open Recent, then choose a file from the submenu. m Click the Add File button in the Assets drawer. m Drag files from the Finder to the Assets drawer. To open an audio file from Soundtrack Pro into Apple Loops Utility: m Control-click the file in Soundtrack Pro, then choose Open in Apple Loops Utility from the shortcut menu. To open multiple files in Apple Loops Utility, do one of the following: m Choose File > Open, then Shift-click the files in the Open dialog. m Drag the volume or folder containing the files from the Finder to the Assets drawer. You can have multiple Apple Loops Utility windows open at the same time so that you can compare different files. Each time you open an Apple Loops Utility window, an Open dialog appears, letting you choose the file or files to open in that window. You can change the open window behavior in the Apple Loops Utility Preferences window. See “Apple Loops Utility Preferences” on page 531 for more information. Appendix F Using Apple Loops Utility 527 Tagging Files in Apple Loops Utility To tag files, you select the files in the Assets drawer, and then make changes to the selected files’ tags in the Tags tab. When you change the settings in the Tags tab, the changes are applied only to the currently selected files. When you make changes to a file’s tags, a dot appears in the Changes column next to the filename to indicate that the file has been changed. You can select a file or group of files and make one or several changes, and then select another file or group of files and make different changes. Apple Loops Utility remembers all the changes you make as you work with different files. When you finish making changes, you can save changes to only the currently selected files, or save changes to all files marked in the Changes column of the Assets drawer. Note: Changing a file’s tags has no effect on the actual audio data recorded in the file. Changing the tag for the number of beats, for example, only changes the information used when Soundtrack Pro searches for files, not the actual number of beats recorded in the audio file. Similarly, changing the tag for key has no effect on the actual musical key of the audio file. To tag a single audio file: 1 Select the file in the Assets drawer. (If the drawer is closed, click the Assets button to open it.) Note: When a single file is selected, you can use the Up and Down Arrow keys to move up and down the files in the Assets drawer. You can listen to the file using the playback controls. 2 Make the changes you want to the file’s tags in the Tags tab. See “Tags Tab” on page 521 for information about the options in the Tags tab. 3 Click Save to save changes to the selected file, or click Save All to save all changes. 528 Appendix F Using Apple Loops Utility Tagging Multiple Files When multiple files are selected, only the tags that apply to all the selected files can be changed. Items in the Tags tab that do not apply to all the currently selected files are dimmed and unavailable. Each tag has a checkbox. Select the checkbox next to the tags for which you want to save changes. To tag multiple files: 1 Select the files in one of the following ways:  Shift-click to select adjacent files in the Assets drawer.  Command-click to select nonadjacent files in the Assets drawer.  Press Command-Shift-A to select all files in the Assets drawer. 2 Make the changes you want to the available tags for the selected files in the Tags tab. See “Tags Tab” on page 521 for information about the options in the Tags tab. 3 Select the checkboxes next to the tags for which you want to save changes. 4 Click Save to save changes to the selected files, or click Save All to save all changes. There are many keyboard shortcuts to simplify the task of tagging files. For a complete list of keyboard shortcuts, see “Apple Loops Utility Keyboard Shortcuts” on page 532. Working With Transients Transients are the points in an audio file where beats occur. Typically, transients occur at the widest areas of a waveform in the waveform display. During playback, Soundtrack Pro adjusts looping files using a technique called stretching to achieve the best audio quality, based on the loop’s transients. Non-looping files are not affected by stretching. When you open a file in Apple Loops Utility, it looks for transients at every 16th note position, based on the file’s tags for tempo and the number of beats. You can change the beat value at which Apple Loops Utility detects transients using the Transient Division pop-up menu. To display a file in the Transients tab: m Select the file in the Assets drawer, then click the Transients tab. The Transients window can display only one file. If multiple files are selected, no waveform is displayed in the window. The waveform display in the Transients tab displays both the transients detected by Apple Loops Utility and transients you add to the file. You can add transients and move existing transients in the Transients tab. Appendix F Using Apple Loops Utility 529 To add a new transient: m Click in the darker area above the Beat ruler in the waveform display. To move a transient marker: m Drag the marker by its handle in the area above the Beat ruler. To change the beat value of detected transients: m Choose a beat value from the Transient Division pop-up menu. Choosing a larger beat value results in fewer transients being detected. Choosing a smaller beat value results in more transients being detected, if they are present in the audio recorded in the file. Sometimes transients occur at points in the audio file other than on a beat value. You can have Apple Loops Utility detect additional transients in the file using the Sensitivity slider. When you increase the sensitivity of transient detection, Apple Loops Utility considers points of higher amplitude in the waveform as transients, regardless of whether or not they occur at a beat value. To change the sensitivity of transient detection: m Drag the Sensitivity slider to the left to decrease the sensitivity, or to the right to increase the sensitivity of transient detection. To remove a transient, do one of the following: m Click the transient’s handle in the area above the Beat ruler, then press the Delete key. m Drag the transient out of the area above the Beat ruler. 530 Appendix F Using Apple Loops Utility Saving Changes to Files When you save changes in Apple Loops Utility, you can save changes to only the currently selected files, or to all files marked in the Changes column of the Assets drawer. Any other file tags are unchanged. This is especially useful when working with a large group of files. When saving multiple files, the checkbox next to the tag must be selected if changes to that tag are to be saved. For information about tagging multiple files, see “Tagging Files in Apple Loops Utility” on page 527. To save changes to the currently selected files: m Click the Save button. Saving changes to a large number of files may take several minutes. To save all changes: m Click the Save All button in the Assets drawer. To save multiple files to the same directory: 1 Choose File > Save As. 2 Navigate to the directory where you want to save the files, then click Save. When you save multiple files using the Save As dialog, the files are saved to the selected directory, and their names are unchanged. When you save changes to files in the WAV format, by default they are converted to the AIFF format and saved in the same location as the original WAV files. The new AIFF files have the same name as the WAV files, but with the .aiff file suffix. You can change this default behavior in the Apple Loops Utility Preferences window. See the following section, “Apple Loops Utility Preferences,” for more information. Removing Files From the Assets Drawer You can remove files from the Assets drawer. To remove files: m Select the file or files in the Assets drawer, then click the Remove File button at the top of the drawer (or press the Delete key). If you remove files to which you have applied changes, a dialog appears letting you choose whether to save or discard your changes. Appendix F Using Apple Loops Utility 531 Apple Loops Utility Preferences You can set preferences for the startup behavior and default file saving behavior in the Apple Loops Utility Preferences window. Startup  Show Open Panel On Launch: When selected, an Open dialog appears each time you open Apple Loops Utility. Saving  When Converting a WAV to AIFF:  Show Conversion Alert: Shows the conversion alert dialog when you try to save a WAV file.  Close WAV and Edit AIFF: Automatically converts the WAV to an AIFF, closes the WAV file, and opens the AIFF for editing.  Keep Working in WAV: Leaves the WAV file open. 532 Appendix F Using Apple Loops Utility Apple Loops Utility Keyboard Shortcuts General and File Navigation Key command Function Creates a new, blank Apple Loops Utility window and opens the Open dialog. Opens the Open dialog, from which you open files in Apple Loops Utility. Closes the current window. Closes the selected files. Saves changes to the currently selected files. If any of the files are WAV files, a dialog appears asking if you want to continue editing the files as WAV files or save them as AIFF files. Opens the Save As dialog to save the currently selected file with a new name. Saves all open files. Selects the file above the current file in the Assets drawer. Selects the file below the current file in the Assets drawer. Selects all files in the Assets drawer. N O W shift W S shift S option S shift A Key command Function Makes the Tags tab active. Makes the Transients tab active. Makes the Assets drawer active. F1 F2 F3 Appendix F Using Apple Loops Utility 533 Key and Scale Type Tagging Key command Function Turns on keyboard tagging. Sets the key to A. Sets the key to A# (A-sharp). Sets the key to B. Sets the key to C. Sets the key to C# (C-sharp). Sets the key to D. Sets the key to D# (D-sharp). Sets the key to E. Sets the key to F. Sets the key to F# (F-sharp). Sets the key to G. Sets the key to G# (G-sharp). Sets the scale type to Major. Sets the scale type to Minor. Sets the scale type to Both. Sets the scale type to Neither. esc A shift A B C shift C D shift D E F shift F G shift G M shift M shift B N 534 Appendix F Using Apple Loops Utility Descriptor Tagging For the following descriptor keyboard shortcuts, pressing the key once selects the first (left) item, pressing the key again selects the second (right) item, and pressing the key a third time selects Neither (the center button). Key command Function Single/Ensemble Part/Fill Acoustic/Electric Dry/Processed Clean/Distorted Cheerful/Dark Relaxed/Intense Grooving/Arrhythmic Melodic/Dissonant Sets Batch Tagging to All. Sets Batch Tagging to None. 1 2 3 4 5 6 7 8 9 F5 F6 Appendix F Using Apple Loops Utility 535 Transients Key command Function Increases sensitivity. Decreases sensitivity. Increases sensitivity five times. Decreases sensitivity five times. Nudges the selected marker by one pixel to the left. Nudges the selected marker by one pixel to the right. Selects the previous marker. Selects the next marker. = - shift = shift - 537 Index Index 1/4" phone plug connectors 491 1/4" tip-ring-sleeve connectors 491 1/4" tip-sleeve connectors 491 1/8" mini connectors 490 3 dB attenuation 410 3rd-party applications 435–436 3rd-party effects 23 3rd-party interfaces audio interfaces 486, 504 uses for 25 video interfaces 498 5.1 surround sound. See surround sound 48V phantom power supply 513 90° phase-shift options 410 1394a connectors 482 1394b connectors 483 A A/B Last Two Actions command 234 AAC files 67, 79, 193, 387, 388, 404 AAC/Podcast files 398, 399, 401–404 AAF files exporting 313 using in other applications 435–436 AC# output 311 AC-3 files 312, 398, 399, 407 ACID music application 519 Action Insert bar 62, 232 actions Action Insert bar 232 Actions tab 62 adjusting selections for 231 applying 180, 230 comparing 234 deleting 235 described 43, 230 displaying 44 droplets 248, 417 editing 231 file length and 235 flattening 233 limitations of 235 podcasts 390 post-export actions 378, 390, 416–417 processing effects as 328 rendering effects as 229, 329 rendering realtime effects 243–244 reordering 232 replacing 180 resampling and 229 scripting in File Editor 248 settings 231 turning on/off 231 working with in File Editor 230–235 Actions list 62, 230, 232–233 Actions pop-up menu 62 Actions tab 44, 62 adapters 498 See also specific adapter names audio equipment 490–493 video equipment 477–484 ADAT Lightpipe connectors 493 Add Ambient Noise command 227 Add Effect button 60 Add Send button 60 Add Submix command 264 Add Take command 256 adding effects to busses 144–145 to submixes 144–145 to channel strips 284 to tracks 144–145 Adjust Amplitude command 221 ADR (automatic dialogue replacement) 252 Advanced Audio Coding. See AAC files AES/EBU connectors 493 AES/EBU digital audio channels 503 After Export pop-up menu 396, 416, 417 AIFF files 66, 79, 192, 212, 246, 312, 389, 398, 519– 535 AJA Io 478 alert preferences 98 aligning clips with markers 186 ambient noise, adding 227 amplifiers 26, 485, 496, 497 538 Index amplitude adjusting 221 described 464 measuring 467 zero crossings 205 analog audio capturing 485 connecting equipment 503 output 514 analog video composite 481 connecting equipment 498–500, 501 consumer devices 501 analog-to-digital capture cards 481 analog-to-digital converters 501 analog-to-DV converters 502 analog-to-DV systems 498–500 Analysis Results list 63, 236 Analysis tab 63 analysis tools 236–240 Analysis tab 63 fixing analyzed problems 240 parameters 238 results 238 windows 216, 217 zooming in on problems 239 Analysis Type list 63, 236 analysis types 236–237 clicks/pops 236 clipped signal 237 DC offset 237 listing 63 phase issues 237 power line hum 236 silence 237 Analyze button 63 annotation metadata 90 Apogee hardware 509–514 Apple Cinema Display 319 Apple Core Audio Format 66, 79, 192, 246 Apple Loops files searching 81 tagged information 90 tails on 230 Apple Loops Utility 80, 519–535 Apple Store 20 Apple TV 389 Apple websites 19–20 AppleCare Knowledge Base 515 AppleCare Support 515–517 AppleScript 390 AppleScript droplets 248, 417 AppleScript Script Editor 248 AppleScript websites 417 applications, using Soundtrack Pro with 435–437 Apply button 220 Apply Digital Deemphasis option 410 Apply Equalization command 228 approving Conform changes 444, 446 Arm for Recording button 41, 45, 280, 368, 374 Arrow tool 461 artifacts 481 ASIO plug-in 23 Asset Refresh dialog 433 Assets drawer 520, 524–528, 530 attack 333 attenuating sound 302 audio amplitude 467 analysis 63, 236–240 balanced signals 494 bit depth 474 channels 406 cleaning up 342 clicks 236 clipping 237, 288, 289–290, 333 compressed formats 193 copying in File Editor 206 cutting in File Editor 206 DC offset 237 decibels 468 digital audio overview 473–476 distortion 470 Dolby Digital AC-3 format 404 dynamic range 470 editing sound 294 effects. See effects fading in/out 220 frequencies 465 gain 221, 341 headroom 470 inserting noise in 222 inserting waveforms in 223 mixing sound. See mixing audio monitoring environment 26 multitake 46 normalizing 221 overloaded signal 237 pasting in File Editor 206 phase issues 237 pops 236 postproduction 334 power line hum 236 professional vs. consumer equipment 476 pullup/pulldown conversion controls 56 recording preferences 100 recording. See recording audio reducing noise in 225–226 sample rates 399, 401, 474 signal formats 487, 490–496 signal-to-noise ratio 469 silence in 221–222 Index 539 silence threshold 237 sound, described 463 sound waves 463 stereo 471–473 summing 263 synced 46 synchronization preferences 101 temporary mono mix 290–291 in video clips 321 volume. See volume audio channels multiple channel capture 503 separating 122 audio clips aligning with markers 186 in Bin hierarchy 88 changing offset of 157 channel selections 120 colors 116 combining into multichannel clips 123 conforming 432, 439 copying 151 crossfades between 158–160 cutting 151 dates 115 described 113 deselecting 148 duration of 156–157 editing 162–182 editing Final Cut Pro audio 423 editing in place 166, 195 editing source media files and 166, 195 enabling or disabling 115, 118 Final Cut Pro and 422 grouping 445 information in Bin 88 joining 173 keyboard shortcuts 453–455 locking or unlocking 115, 118 metadata 58, 115 moving 154–155 moving envelope points with 359 multiple instances of 167, 197 multitake clips 252 muting 118 name of 116 overlapping 108, 162 pasting 151–152 playback mode 188 properties 58, 114–116 redoing changes 93 removing 151, 152 replacing source audio in 189–190 resizing 156–157 selecting 147–148 snapping 94–95, 156 soloing 120 splitting 164, 170–173 spotting in Timeline 153 transposing 188 truncating 162 unchanged clips 444 undoing changes 93 zooming in/out 129–130 Audio Coding Mode pop-up menu 406 audio effects. See effects audio equipment amplifiers 26 Apogee hardware 509–514 cables 490 connecting 23–26, 503 connectors 490–492 input and output devices 24 microphone levels 494 microphones 26 mixers 26 monitors 25, 26, 496 professional vs. consumer 494 recording equipment 367 recording quality 476 selecting 487 signals and cables 490–496 speakers 27, 496 stereo mixing systems 32 surround sound 298 synchronizing 504 audio file projects about 66, 421 automating effects in 243 closing 242 creating 241 editing in File Editor 198–211 exporting. See exporting items file extensions 65 importing video into 315, 316 opening 198 opening in File Editor project view 240–241 overview 11 playing 71–78, 199 processing in File Editor 219–244 recording. See recording audio saving 244–247 soloing 199 source file editing and 196 waveform editing 193 audio files adding to multitrack projects 113–114 adding to Timeline 113–114 ambient noise in 227 amplitude 221 analyzing in File Editor 236–240 collecting and saving 111, 419 540 Index common problems 516 creating 214 Cycle Region and 200 displaying information 92–93 editing in File Editor 198–211 exporting projects to 398–413 finding 52, 78–87 formats for 79, 192 Frequency Spectrum view 214 gain of 221 graphically editing 164–165, 208–211 information in Bin 88 inserting noise in 222 length of 235 looping 79, 188 matching equalization 228 missing files 96 moving between selections 205 multichannel files 212–214 non-looping 79, 188 normalization 221 opening in Apple Loops Utility 526 opening in File Editor 198 opening in File Editor project view 240–241 opening in native format 241 phase of 221 playing in File Editor 199 podcasts 377 previewing 91–92 processing in File Editor 219–244 reconnecting 96 reducing noise in 225–226 referenced files 245 resampling 229 sample rates 107 saving 246–247 saving with projects 111, 419–420 scratch locations 112 scrubbing 200 selecting in File Editor 202–205 selecting parts of 202–204, 208 silence in 221–222 size of 22, 367 soloing 92, 199 Sound Designer files 79 source 113, 148, 189–190 storing in Bin 87–90 tagged 81 tagging with Apple Loops Utility 519–535 time stretching 210, 224 unused 420 WAV 79 audio interfaces 485 advantages 25 FireWire 29 as output devices 100, 280 third party 486 types of 485–490 USB 28 audio levels measuring 468 audio meters decibels 468, 469 Audio MIDI Setup utility 23 audio mixing compression 471 Audio pane 405 Audio Pulldown pop-up menu 99 Audio Stretching tool 210 audio tracks colors 116 locking or unlocking 119 selecting all clips on 149 selecting items forward or backward on 150 stereo recordings 473 in Timeline 39 Audio Units plug-ins 23, 327 audio-only AAC files 404 audio-only podcasts 387 See also podcasts author metadata 90 Auto Gain parameter 341 Automatic dialogue replacement (ADR) 252 automation 355–366 control surface movements 394 described 355 envelopes 355–364 modes for 365 podcasting and 390 post-export actions 416–417 processing effects 354 realtime effects 243, 351 recording automation data 365–366 recording in Mixer 291 recording sensitivity 98, 366 surround sound pan settings 303 Automation Mode pop-up menu 39, 43, 44 automation modes 106 Latch 365 Read 365 Touch 365 auxiliary busses 124, 270 B Back button 51, 54 background noise 227 background video 429 balanced audio signals 494 balanced XLR connectors 503 band-pass filters 306, 335 Index 541 bands frequency ranges 465 bandwidth 335, 489 base layer video 429 bass frequencies 226, 334, 335, 465 bass management 311 batch processing 422 batch tagging 519 Beat display 73 beats beat divisions 56, 109 beat markers 59, 183–185 displaying time 56, 109, 133 items in Bin 90 Beats-based format entering units 74 metronome 146 multitrack projects 56 playhead and 73 project format 109 scoring markers 186 snapping to notes 95 Time ruler and 133 Beats-based ruler 56 Beginning value slider 59 bels. See decibel Betacam SP 498, 501 Bin tab adding audio files from 114 deleting files 420 described 48 shortcut menus 89 storing files in 87–90 bit depth 67, 79, 99, 193 audio interfaces 487 consumer audio 503 digital audio 474 saving 246 Soundtrack Pro and 487 Bit Depth pop-up menu 396 Bit Rate slider 402 bit rates 400, 402 Bit Stream Mode pop-up menu 407 Bitstream pane 408 blackburst generators 499, 504–506 Blade and Blade All tools 164, 170, 171, 253 blue noise 341 BMP files 384 BNC connectors 479, 481, 482 boosting signals 26, 334–335 bouncing projects. See effect tails, exporting items breakout boxes 31, 478, 479, 490 brightness (sound) 26 Broadcast Wave files 79, 212, 316 Browser tab 51, 80 built-in analog audio 485 built-in digital audio 486 bundles 66, 421 busses adding 135 adjusting pan position 142 adjusting volume 142 auxiliary busses 270 changing icon for 141 channel strip controls 274 channel strips 44, 140 controls 124, 142–144 copying 141 described 124, 127 effects 144–145 envelopes for 145, 356 exporting 414 grouping 136–139 icons 40 including in submixes 263 Master bus 126 in mixing process 270–272 moving 141 muting 143 numbered 141 removing 147 renaming 141 routing signals to physical outputs 263 routing tracks to 125 selecting 136 sends routed to 350 setting height of 132 setting submixes for 264 soloing 143–144 in submixes 125 in Timeline 39 working with 135–147 Button view 52, 81, 83–85 Button View button 52, 81 buttons control surface 393–394 mapping commands to 393–394 Toolbar 70 BWF files 316 Bypass button 220 Bypass Effects button 40 bypassing effects 349, 351 sends 351 C cables 490–496 CAF files 66, 79, 192, 246 camcorder audio quality 476 542 Index camcorders connecting 24 video capture 24 Can’t Find File dialog 96 Cancel button 220 capture cards. See video cards Category list 60 Category pop-up menu 52 CD mode 512 CD players 503 center phantom 304 stereo plus center 309 Center Bias slider 302 center channel 310 Center Downmix pop-up menu 408 center frequency 335 chaining effects 347–348 channel layout, editing 413 Channel Strip pop-up menu 44 channel strips 44–45 adding to Mixer 275 changing icon for 281 copying 276 described 273 effects 284–286 enabling for recording 280 muting 280 pan position 278–279 removing 283 renaming 281 reordering 276 selecting 276 sends 286–287 setting outputs for 279–280 soloing 280 stereo level meters 282 Tracks tab 61, 138, 140 volume levels 277 working with 273–283 channels AAC/Podcast files 402 center 310 Compressor settings 412, 413 dialogue 268 Dolby Digital 406 editing multichannel files 212–214 enabling or disabling 213 export settings 401 full-bandwidth 410 input 369 items in Bin 90 LFE 306, 311, 410 mono audio 121 multichannel audio capture 503 in new files 214 numbers of 67 preferences 97, 100 recording sound for 306 reordering 229 selecting 120, 202–203, 213 stereo mixdowns 267 surround 297, 306, 310, 410 swapping 229 using in Dolby Digital programs 404 valence 256 voiceover and dialogue 309 Channels pop-up menu 401 Channels submenu 41 chapter markers 381–384 chapters in podcasts 380 chasing timecode 506 chorus effects 336 Clear Fixed button 63 clicks 236 Clicks and Pops Threshold slider 237 Clip Speed pop-up menu 58, 115 clipping 236, 237, 288, 289–290, 333 clipping indicators 289 clips. See audio clips; video clips Clock Source menu 511 closing audio file projects 242 multitrack projects 106 window panes 34 windows 67 Collapse slider 302 collecting audio files 111, 419 unused files 420 video files 111, 420 Color pop-up menu 57, 115, 217 color space 481–482 colors audio clip colors 116 track colors 116 track labels 40, 45 video clips 116 Column view 52, 81, 82–83 Column View button 52, 81 Columns pop-up menu 48 combining clips into multichannel audio 123 comments for markers 59 common sync sources 504 comp tracks 253 compacting projects 111 comparing action results in files 234 most recent actions 234 Component analog video 501 Component RGB 481–482 Component video 481–482 Index 543 Component YUV 481–482 composite tracks 253 composite video capture interfaces 501 inputs 504 signals 481 compression audio formats 193, 399 audio mixing 471 compressors 332 podcasts 387 results of 332 settings 409 sound waves and 463 Compression Preset pop-up menu 409 Compressor 410–413 export presets 412 exporting files and 398 exporting master mixes 410–413 exporting podcasts with 389 multichannel projects in 413 compressors 332–333 Computer button 51 Configure Device button 50 Conform To Project command 442 Conform tool 47, 439–448 Conform worklist 443, 445 connecting control surfaces 391 professional audio devices 503–504 surround sound physical outputs 297 connectors 490–492 1/4" phone plug 491 1/4" tip-sleeve 491 1/8" mini 490 ADAT Lightpipe 493 AES/EBU 493, 503 BNC 479, 481, 482 digital audio 492–493 FireWire 482 Genlock 482 HD-SDI 483 PCI cards 479, 489 RCA 479, 481, 485, 491 S-Video 481 SCART 484 SDI 483 TDIF 493 TOSLINK 492 TRS 485, 491 TS 491 USB-to-serial adapters 498 video equipment 477–484, 498–502 XLR 488, 490, 492, 503 consumer equipment audio devices 503 audio quality 476 compared to professional 494 connecting 501 Content is Original setting 408 contextual menus 71, 89 control surfaces 391–394 adding 392 automation modes 394 connecting 391 deleting 392 described 391 FireWire audio interface 29 mapping commands to 393–394 preferences 102 premapped controls 393 recording movements 394 support of 26 types of 391 using 391 Control Surfaces preferences 102 controls 393 Convert to Looping or Non-Looping commands 188 Convert to Mono command 228 Copy from Next Point button 59 Copy from Previous Point button 59 copying items audio clips 151 audio files for editing 167, 197 audio in File Editor 206 busses 141 channel strips 276 envelope points 361, 362 Lift and Stamp tools 179 properties 165 submixes 141 Timeslices 177 tracks 141 Copyright Exists setting 408 copyright metadata 90 Core Audio Format 66, 79, 192, 246, 487 Correlation meter 339 creation dates 58, 115 crossfade mode 108, 160 crossfades adjusting 158, 159, 160, 255 creating 108, 160 defined 160 moving 160 types of 161 customer support 515–517 Customize dialog 70 customizing keywords 85 cut edits 453 cutoff frequency 335 cutting frequencies 334 544 Index cutting items audio clips 151 audio files 206 envelope points 362 frequencies 335 peak levels 332 Timeslices 177 Cycle button 38, 78, 372 Cycle Region 72 dragging 325 exporting items and 397 keyboard shortcuts 452 linking to selections 200 cycling playback 134–135 D daisy-chaining 487 DAT devices 24, 503 Data Rate pop-up menu 407 data rates 407 dates 58, 115 dB. See decibel dBFS units 469 dBm units 469 dBu units 469 dBv units 469 DC Filter option 410 DC filters 410 DC offset 237 “dead” rooms 26 decay time 339 decibel units 469 decibels 464, 467, 468 decoders, stereo playback and 311 decompressing audio files 193 Default Fade Type pop-up menu 99 delay effects 331, 337 delay rate 337 delay time 337 deleting items actions 235 audio clips 151, 152 beat markers 185 busses 147 channel strips 283 control surfaces 392 Cycle Region 135, 397 directories from Search paths 87 effects 286 effects presets 330 envelope points 362–363 envelopes 364 files 420 groups or group items 140 images 387 layouts 69 markers 185 podcast and chapter markers 381 presets 182 realtime effects 352 scoring markers and 185 submixes 147 takes 256 time markers 185 Timeslices 177 tracks 147 transition points 255 video clips from projects 325 Denoiser effect 341 depth 337 descriptors 522, 534 destructive editing 422, 427, 433 detaching tabs 68 Details tab 57–59, 320, 360, 379 device control compared to synchronizing 506 consumer devices 501 non-DV devices 501 presets 506 diagnostic effects 331, 339–341 Dialog Normalization setting 407, 409 dialogue creating submixes 266 foreign language channels 268 in mixing process 262 normalization 407, 409 sending to busses 272 surround sound mixes 309 diffusion 339 digital audio See also audio connecting equipment 503 connectors 492–493 hard disk space 22 overview 473–476 digital audio interfaces 487 digital audio tape recorders. See DAT devices Digital Betacam format 498, 501 Digital Cinema Desktop 319 digital video 107 See also video digital-to-DV converters 502 DigiTranslator 436 directories 86–87 disabling actions 231 audio clips 118 channels 213 effects 285 groups 139 properties 181 Index 545 sends 287 speakers 303 disk space 367 displaying audio file information 92–93 effects presets 330 envelope point details 360 envelopes 146, 243 file information 88 Frequency Spectrum view 214 markers 184 Mixer in separate window 274 Mixer options 281–282 podcast tracks 379 video frames 323 Video tab in separate window 274 window elements 36 distortion 333 distortion effects 331 distortion, audio 470 distributing projects 419–420 dithering 246, 511 Dock, minimizing windows to 67 docked tabs, detaching 68 docking window tabs 36 document file management controls 56 Dolby Digital Professional format 311, 312, 399, 404–410 Dolby Laboratories website 311 Dolby Surround Mode pop-up menu 408 downmixes bitstream settings 408 LFE signals in 311 stereo playback 312 downsampling 107 drop frames 109, 321 droplets 248, 417 dry signals 337, 339 dual mono channels identifying 472 dual-link HD-SDI connectors 483 duration changing 156 items in Bin 90 markers 185 Timeslice selections 178 Duration value slider 57, 59, 115 DV codec 486 DV formats 477 DV-to-analog converter box 502 DVCAM format 477 DVCPRO 50 format 477 DVCPRO format 477 DVCPRO HD format 477 DVD Studio Pro Dolby encoding options 405 editing clips from 432 using Soundtrack Pro with 432–433 DVDs, video for 107 DVD-Video format 405 dynamic range audio 470, 497 DC offset and 237 dynamics effects and 332 external speakers 25 Spectrum Analyzer and 340 dynamics effects 331, 332–333 E early reflections 32, 339 echo chambers 338 editing items actions 231 applying actions 230 audio clips 162–182 audio clips without editing sources 167, 197 audio files in File Editor 198–211 channel layout 413 clip properties 114–116 Conform worklist 443 destructive editing 427, 432, 433 DVD Studio Pro clips 432–433 envelope points 360, 360–361 Final Cut Pro audio 423 in Frequency Spectrum view 218–219 graphically 208–211 in place editing 162, 166, 194, 195 keyboard shortcuts 453–454, 457 Motion audio tracks in File Editor 434 multichannel files 212–213 multitake clips 373 in Multitake Editor 254–255, 257–259 in multitrack projects 166, 193–197 in Multitrack Timeline and File Editor 168–169 nondestructive editing 193, 423, 434 numerically 209 podcast and chapter markers 382 reviewing and approving changes 446 samples 209 scripts and 425 source media files 113, 166, 195 time stretching 210 Timeline editing tools HUD 165 waveform editing 11, 193 waveform tools 208–211 zero crossings and 205 education users 20 Effect list 60, 145, 343, 344 effect parameters 60 Effect Parameters area 60, 145 effect tails 345, 399 546 Index effects 327–354 adding 144, 284 adding with sends and busses 270–271 applying 219, 229, 242 automating 243, 363 busses 144–145 channel strips 284–286 chorus 336 delay 331, 337 deleting 286 Denoiser effect 341 described 327 diagnostic 331, 339–341 distortion 331, 333 dynamics 331, 332–333 effects chains 344 envelopes and 356, 363 EQ 331, 334–336 filter 331, 334–336 included with Soundtrack Pro 331–342 meters 331, 339–341 miscellaneous 331, 341–342 Mixer 284–286 modulation 331, 336–337 music and effects submixes 268–269 parameters 60, 343 plug-ins 23, 311 presets 330 processing. See processing effects realtime. See realtime effects rendering to actions 229, 243 reordering 285 replacing 286 reverb 331, 338–339 settings 284–285 spotting 170 Stereo Spread plug-in 342 submixes 144–145 surround sound 306, 311 tails 110, 230, 244, 345, 414 third-party 23 time-based 337–339 tracks 144–145 turning off 285 turning on 285, 287 types of 331–342 effects chains 329, 344, 347–348 effects slots 45 Effects submenu 219–220, 328 Effects tab adding effects to channel strips 284–285 adding effects to Timeline items 144–145, 344 adjusting parameters 347 overview 60 realtime effects 242, 343 embedded timecode 153 Enable Low Frequency Effects setting 406 Enabled checkbox 58 enabling tracks for recording 280, 368 encoding analysis 401 Compressor settings 410–413 video 411 End value slider 59 end-of-project marker 110 enhanced podcasts 377, 387, 388, 404 envelope points 357–363 adding 357 changing position of 360, 361 changing values of 361 copying 361, 362 cutting 362 deleting 362–363 displaying details 360 editing 360, 360–361 information about 59 moving 108, 324, 355, 358 nudging 362 pasting 362 preferences 99 reducing number of 366 scoring markers and 186 selecting 108, 357–358 Envelope selection mode 108 envelopes 355–366 about 355–364 adding 363 automating parameters 363 automating processing effects 354 automating realtime effects 351 busses 145, 356 described 467 displaying 146, 243, 356 displaying details 360 editing points 360 effects and 356, 363 envelope selection mode 359 hiding 146 master 42, 364 moving points with clips 359 overview 355–356 percussive 467 removing 364 reverb 339 sends and 363 submixes 145, 356 surround sound position 303 sustained 467 Timeslice tool and 359 track 145, 356 track pan 356 volume 356 Index 547 envelopes disclosure triangle 41 episodes 377, 384, 386 EPS files 384 EQ (equalization) frequency ranges used with 334–335 graphic 336 Lift and Stamp tools 181 matching 228 overview 334–336 parametric 336 prints 228 EQ effects 331, 334–336 equipment See also audio equipment, video equipment connecting audio equipment 23–26 connecting video devices 498–502 consumer devices 501 example hardware setups 27–29 non-DV devices 501 professional audio equipment 503 setting up. See system setup synchronizing 504 exclusive solo 144 exponential fades 159 Export Bit Depth pop-up menu 99 Export dialog 396 Exported Items pop-up menu 396 exporting items AAC files 401–404 audio file projects 313 busses 414 components of multitrack projects 414 compressed formats 399 Compressor and 389, 410–413 Cycle Region and 397 effect tails and 414 Export dialog 396 file formats 395 file names 414 mixdowns for Final Cut Pro 430 mono audio files 415 multitrack projects 395–420 multitrack projects to Final Cut Pro 430 muted tracks and 414 podcasts 387–389 post-export actions 416–417 presets for 396, 412, 418 project mixes 397–413 submixes 414 surround sound 312, 405–410 tracks 414 updating mixdowns 432 video podcasts 388 external audio speakers 25 external monitors 27 external sync 500, 504, 505 external timecode 506 external video output devices 319 F Factory Presets pop-up menu 330 Fade In command 220 Fade Out command 220 Fade Selector 255 fade-ins and fade-outs 158, 220 Favorites list 54, 81 Favorites tab 54, 81 feedback 337 File Editor 191 analyzing audio files in 236–240 applying effects in project view 242 automating realtime effects 243 closing projects 242 copying audio in 206 creating projects 241 cutting/pasting in 206–207 Cycle Region 200 editing audio files in 198–211 editing DVD Studio Pro clips in 432 editing items with Multitrack Timeline 168–169 editing Motion audio tracks in 434 filling screen with 35 Frequency Spectrum view 214–219 Global Waveform view 249 keyboard shortcuts 457 markers in 183, 249 moving between selections 205 opening Final Cut Pro audio in 422, 423, 427 opening projects in 198, 240–241 overview 43 playing audio file projects in 199 processing audio files in 219–244 project view 43, 240–242, 246, 247, 248 realtime effects in 345 recording in 367, 375 Sample units 212 saving files in project view 246 saving projects 244–247 scripting actions in 248 scrubbing audio in 77, 200 selecting channels in 202–204 selecting parts of audio files 202–204, 208 selection details 59 soloing audio files in 199 source media files and 196 spotting sound effects 170 supported audio formats 192 tab view 43 Time Ruler units 242 548 Index Timeline controls and 247 working with actions 230–235 zooming in/out 207–208 file extensions 65 file formats. See formats File Info area 522 File list 51 file management controls 56 preferences 98 file size 90, 115, 245 File Type pop-up menu 53, 396 files See also audio files, video files audio file projects 421 bundles or packages of 66 keyboard shortcuts 449 looping 79, 173, 188 metadata 58 missing files 96 mono 228 multitrack projects 428 non-looping 79, 188 output file names 414 preferences 98 previewing 91–92 properties 58 recorded audio 112 scratch locations 112 sizes 58 source 148, 189–190 stereo 228 supported formats 79 tagged 81, 519–535 temporary render files 112 Film Standard Compression setting 409 filter effects 331, 334–336 Filter Frequencies setting 401 filtering approved clips 447 Clipboard contents 219 unchanged clips 444 Final Cut Pro creating multitrack projects from 106, 428–432 exporting multitrack projects to 430 importing video from 315 opening audio in File Editor 241, 427 podcast markers in 383 post-export actions 416 processing audio with scripts 425 saving droplets to clips in 248 scoring markers 185–187 sending mixdowns to 430 using Conform with 439–448 using Soundtrack Pro with 421–432 Final Cut Pro XML Interchange Format 430, 435 Final Cut Studio Compressor 410–413 Soundtrack Pro integration 13 workflow features 16 Finder, adding audio files from 114 finding items Bin information categories 88 with Browser tab 80 directories in Search database 86–87 with Favorites tab 81 files 78–87 keywords 52–53 missing media files 96 refining searches 83, 84 with Search tab 52–53, 81–87 Finish button 448 finishing systems 25 FireWire audio interfaces 29, 488 audio outputs 486 connectors for 482 described 482 digital audio devices 488 FireWire 400 482 FireWire 800 483 video interfaces 477 website 19 Fix All button 63 Fix button 63, 240 fixing audio problems 240 flangers 337 flat frequency response 496 flattening actions 233 audio files 229 floating window tabs 36 folders. See directories Foley recordings 306 foreign language channels 268 formats Apogee settings 511 audio 79, 192 compression and 399 export formats 395 image files 384 opening files in native format 241 saved files 246 time 109, 321, 322 uncompressed 398 video 79, 315 Forward button 51, 54 Frame Rate pop-up menu 101 frame rates 322 frames for podcast markers 380 Index 549 frequencies average frequency spectrum 228 delay rates 337 EQ and 334 filtering 401 range controls 216 reverb 339 waveforms 223 frequency bands 340, 341, 342 frequency ranges 334–335 described 463, 465 editing 218–219 effects 334 narrow 219 paste edits 219 selecting 218 frequency response 497 Frequency Scale setting 216 Frequency Selection tool 208, 219 Frequency smoothing slider 342 frequency spectrum 214–219, 228 Frequency Spectrum view 43, 191, 214–219 editing in 218–219 shortcut menu 217 Spectrum View HUD 216 switching to 215 Frequency Spectrum View button 43 Full Bandwidth Channels settings 410 fully rendered video 429 fundamental 466 G gain 221, 333, 335, 341 Gain slider 513 General preferences 97–98 General settings, Preprocessing tab 409 genlocking devices 482 audio devices 505 genlock connectors 504 professional equipment 504 video interfaces 500 genres 90 GIF files 384 glass-noise effect 342 Global parameters 510 Global Timeline view 40, 133 Global Waveform view 43, 249 Go buttons 290 Go to Beginning button 38, 77 Go to End button 38, 78 Goniometer 340 graphic EQs 336 graphics cards 478 grid lines 110, 127 Group menu 513 Group slider 445 grouping applying changes to groups 137 busses 136 clips in Conform workflow 445 creating groups 61 deleting groups or group items 140 Groups outline 139 renaming groups 140 submixes 136 tracks 136 Groups outline 61, 138, 139 H H.264 format 388 handle length 98 handles on markers 183 hard disks 22 hardware See also audio equipment, equipment outputs 265 requirements 21 sample rates 107 harmonics 334, 465, 466 HD format 79, 315 HD-SDI connectors 483 HDMI connectors 484 HDMI interface 484 headers 40–41 headphones 514 headroom 470 heads-up displays. See HUDs Height control 42 help keyboard shortcuts 450 onscreen 18 hiding approved clips 447 envelopes 146 Mixer sections 281 window elements 36 High Definition Serial Digital Interface connectors 483 high frequency ranges 334 High-Definition Multimedia Interface connectors 484 high-frequency ranges 334 high-frequency reverb 339 high-pass filters 335, 410 hinting 82, 90, 403 hiss 516 Home button 51 house sync 482, 504 hubs 487 550 Index HUDs 64 keyboard shortcuts 450 Multipoint Video HUD 322 Spectrum View HUD 216 Surround Panner HUD 300, 304 Timeline editing tools HUD 165 hum 236 hyperlink URLs 380 I i.LINK 482 ICNS files 384 ICO files 384 icons busses 40, 141 channel strips 45, 281 headers 40 outputs 40 showing in Toolbar 70 submixes 141 tracks 40, 141 IEEE 1394a 482 See also FireWire IEEE 1394b connectors 483 Image Source pop-up menu 380, 386 images changes to 47 deleting 387 podcast markers 380 in podcasts 384–387 slideshows 385 Import XML dialog 431 importing items audio formats supported 79 OMF and AAF files 435 QuickTime movies 79, 315 video formats supported 79 video from Final Cut Pro 315 video into projects 315, 316 Include Audio Production Information setting 408 Include Source Audio setting 424 increments in value sliders 75 indexed directories 86–87 Initial Timecode value slider 56 Input Channel pop-up menu 50, 369 input channels 369 Input Device pop-up menu 41, 50, 369 input devices 24 Input pop-up menu 100 input ports 487 Input Routing buttons 41, 50 input signal 372 Input synchronization settings 101 Insert command 222–224 inserting actions 232 noise 222 silence 222 submixes 264 waveforms 223 instrument levels 494 instruments 90, 334 intensity amplitude 464 depth 337 measuring 467 interchange formats 435 interface cards. See video cards interfaces. See audio interfaces, video interfaces interlaced video 27 interleaved stereo files 473 Invert command 221 iPhoto 384 iPods 377, 389 Items pop-up menu 48 iTunes 377, 389 J joining audio clips 173 Joint Stereo setting 401 JPG files 384 K key items in Bin 90 transposing clips 188 key (musical) 519, 521, 525, 533 Key pop-up menu 100 keyboard shortcuts Apple Loops Utility 532–535 Arrow tool 461 Cycle Region 452 editing 453, 457 File Editor 457 HUDs 450 layouts 450 listed 449–462 markers 458 moving clips 155 navigation 451, 455 nudging items 454 playback 78, 317, 451 playhead 131 puck position 303 recording audio 460 scrubbing audio 201 selecting items 459 shuttling through clips 130, 317 Index 551 tabs 450 Timeline 451, 455 Timeslice tool 178, 461 tracks 458 video out 460 window panes 36 keyword buttons 52, 53, 84–85 keywords 52–53, 82–85 adding 85 multiple 83, 85 Keywords list 52, 53, 82 knee parameter 333 L labels 45 Latch automation mode 106, 291, 365 latency described 487 eliminating 516 increased 30 Latency Compensation slider 100 layouts choosing 69 deleting 69 described 68 keyboard shortcuts 450 saving 68 length of files 235 Level menu 513 level meters channel strips 282, 288 effects 340 Meters tab 49 Mixer 45 peak indicators 283 recording audio and 370 Recording tab 50 surround sound 304 Level smoothing slider 342 levels audio 468 instrument levels 494 line levels 494 reverb 339 LFE (low frequency effects) balancing 302 channels 306, 311, 410 enabling 406 interference and 311 limitations 311 multichannel sound and 306 surround sound and 293 LFE Balance slider 302 LFO (low-frequency oscillator) 336–337 Lift tool 165, 179 limiters 333 line levels 494 linear fades 159 linear scale 217 Linear Time Code (LTC) 506 linking items 200 locating recorded files 374 Locked checkbox 58 locking audio clips 118 tracks 119 logarithmic fades 159 logarithmic scale 217 Logic Control protocol 26, 391 Logic post-export actions 416 Loop Sync Master menu 510 looping converting non-looping files to 188 file indicator 90 joining looping files 173 looping files 79 playback 134–135 resizing looping clips 156 low frequency effects. See LFE low-frequency oscillator (LFO) 336–337 low-frequency reverb 339 Low-Pass Filter option 410 low-pass filters 335, 410 LTC (Linear Time Code) 506 M M & E submixes 268–269 M-JPEG format 498 .m2v files 79, 315 .m4p files 404 .m4v files 388 Mac OS X Core Audio 487 Mac OS, version of 517 Mackie Control protocol 26, 391 Magnify button 63, 239 mapping commands to control surfaces 393 marker titles, viewing 184 markers aligning audio clips to Timeline with 186 beat 183–185 chapter markers 381–384 deleting 185, 381 duration 185 editing 382 Final Cut Pro 185–187 images for 380, 386 information about 59 inserting 183 keyboard shortcuts 458 moving 184, 382 552 Index naming 184, 382 podcast markers 379, 380, 381–384 region markers 185 scoring 185–187 time 183–185, 186 types of 183 URLs 380 uses for 183 using in File Editor 249 using with video 185–187 video frames and 325 working with 183–187 MAS plug-in 23 Master bus about 290 defined 126 envelopes in 364 routing signals to physical outputs 263 in Timeline 39 master envelopes 42, 364 Master Envelopes button 42, 247 master mixes 397–412 master Timeslice 176 mastering process 292 Match EQ effect 181 Matches list 52, 53, 82, 83 matching equalization 181, 228 Maximum Packet Duration field 403 Maximum Packet Size field 403 Measure in pop-up menu 57, 59, 115, 380 measures 56, 109, 133 media files missing files 96 multiple instances of clips based on 167, 197 reconnecting 96 saving with projects 111, 419–420 storing 22 Media pop-up menu 48, 51, 53, 54, 89, 92 memory 21 metadata adding 57 audio clips 115 clips 58 files 58 items in Bin 90 in Project tab 55 saving for Conform projects 441 saving projects with 429 searching for files by 81 working with tagged clips 188 Meter Display menu 512 meters diagnostic 331 effects 339–341 level meters 288–289 preferences 97 recording audio and 370 surround sound controls 304–305 Meters tab 49, 288–289, 304 microphones 26, 485, 494 MIDI Clock pop-up menu 101 MIDI Clock signal 38, 78, 101 MIDI Clock Virtual MIDI Device checkbox 101 MIDI input port 392 MIDI interface 29, 391 MIDI output port 392 MIDI Setup utility 23 MIDI Sync button 38, 78 MIDI Time Code (MTC) 38, 78, 101, 506 MIDI Time Code pop-up menu 101 MIDI Time Code Virtual MIDI Device checkbox 101 midrange frequencies 334, 335 midrange frequencies (sound) 465 mini surround panner 299 MiniDisc recorders 503 minimizing windows 67 miscellaneous effects 341–342 mix (ratio) 337, 339 mixdowns conforming 432, 439 exporting 397–413 sending to Final Cut Pro 430 surround sound output 312 surround-to-stereo 297 updating 432, 440 Mixer 261–292 channel strips in 273–283 described 261 effects in 284–286 hiding 281–282 level meters 305 mixing multitrack projects in 12 overview 44–46 peak indicators 289 realtime effects in 345 recording audio in 291, 374 recording automation in 291 resizing and rearranging windows 274 sends in 286 showing 281–282 volume levels 288 working in 261–292 Mixer Objects outline 61, 138 Mixer pop-up menu 44 mixers 26, 485 mixing audio bitstream settings 408 busses and 270–272 converting stereo to surround sound 307 creating submixes 266 custom window layouts for 274 described 261 Index 553 example 266–272 exporting mixes 397–413 final mixes 292 guidelines for 292 Master bus 290 mastering process 292 multiple mixes 292 sends and 270–272 setting output 265 signal routing in 263 Soundtrack Pro features 17 surround sound 299–306 temporary mono mixes 290–291 workflow 262 modification dates 58, 115 modulation effects 331, 336–337 Monitor Device pop-up menu 50, 370 Monitor pop-up menu 100 Monitor Volume slider 37, 44 monitors amplifiers and 26 audio 26, 496 external video monitors 27 quality 496 setting up 485 mono audio channels 121, 402 converting stereo to 228 exporting 312, 396, 401, 415 multiple mono files 396, 415 setting output 265 temporary mono mixes 290 Mono Mix button 37, 44, 291 Motion opening audio in Soundtrack Pro 241 post-export actions 416 using Soundtrack Pro with 434 mouse devices 98 .mov extension 79, 315 movies. See Quicktime movies moving items audio clips 154–156 busses 141 Conform worklist 443 Cycle Region 134 envelope points 324, 355, 358, 361 keyboard shortcuts 155, 454 markers 184 nudging clips 324 podcast and chapter markers 382 puck in surround sound 303 snapping operations 94 submixes 141 Timeslice selections 176 Toolbar buttons 70 tracks 141 video clips 324 windows 67 MP3 files 67, 79, 193, 387, 398, 399–401 MPEG-2 files 79, 315 MPEG-2 playback 79, 315 MPEG-4 files 388, 404 MPEG-4/AAC format 387 MTC (MIDI Time Code) 38, 78, 101, 506 MTC signals 101 multichannel audio channel selections 120 creating 214 creating from separate clips 123 editing 212–214 exporting 312 exporting with Compressor 413 guidelines 306 reordering channels 229 separating channels 122 MultiMeter 340–341 multiple solo 144 multiple soloing 144 multiple-take audio 46, 251, 372, 373 Multipoint Video HUD 64, 322 multitake audio 46, 251, 372, 373 Multitake Editor 251–259 about 46 adding or deleting takes 256 editing in 254–255 example workflow 257–259 illustrated 253 renaming takes 256 reordering takes 257 selecting parts of audio files 253 slipping take regions 255 multitrack audio recorders 24 multitrack projects 65 about 12, 428 adding audio files to 113–114 audio clip properties 114–116 busses in 124 closing 106 creating 105 creating from Final Cut Pro 428–432 distributing 419–420 editing 294 editing files in 193–197 editing source media files 166, 196 envelope selection mode 108 exporting. See exporting items file extensions 111 importing video into 315, 316 length of 110 missing files 96 multitake audio 251–259 opening 105 554 Index overlap mode 108 playing 71–78 properties 106–108 reconnecting media files 96 recording. See recording audio saving 111, 246 saving with media files 111, 419–420 scrubbing 77 sending mixdowns to Final Cut Pro 430 soloing files in 199 Soundtrack Pro features 16 spotting sound effects 170 submixes and 125 time format 56, 109–110 tracks in 124 Tracks tab and 138 types of 65 Multitrack Timeline editing in 168–169 moving video in 324 music displaying information about 58 displaying properties 115 instruments 485 key 90, 100 music and effects submixes 268–269 properties 57 reverb 270–271 scale 90 in surround sound mixes 310 music and effects submixes 268–269 musical intervals 188 musical sounds 466, 467 Mute button 41, 46, 143 Mute Project checkbox 50 muting audio clips 118 busses 143 channel strips 280 export settings and 414 submixes 143 tracks 143, 199 N Name field 40, 45, 59, 380 names items in Bin 90 output files 414 podcast and chapter markers 382 truncating 98 narration 309 narrow frequency ranges 219 navigation Global Timeline view 133 keyboard shortcuts 130, 451, 455 playhead 451 scroll bars 128 Timeline 128–135 transport controls 38 Zoom control 129–130 Nearby Keys button 53 nearfield monitors 32 NeXT files 66, 79, 192, 246, 312, 398 Next frame button 78 Next Selection button 39, 43, 205 noise ambient 227 Denoiser effect 341 eliminating 341, 516 glass-noise effect 342 inserting in audio 222 noise gates 333 noise prints 225, 227 pink 222 reducing 225–226, 341 white 222 zero crossing and 205 noise floor 469 Noise Generator dialog 222 nominal levels of sound 469 nondestructive editing 166, 193, 196, 423 non-drop frames 109, 321 non-DV format devices 499, 501 non-looping files 79, 188 normalization 221, 407, 409 Normalize command 221 notch frequencies 336 NTSC format 79, 315 nudging clips 324 envelope points 362 keyboard shortcuts 454 numbering in Timeline 141 O offset audio clips 157 slip offset 90 slipping take regions 255 Offset value slider 57, 115 OMF files 435–436 onscreen help 18 Open In Editor command 427 opening audio files in native format 241 files in File Editor 198 Final Cut Pro audio 422 multitrack projects 105 Index 555 project view 241 reopening projects 97 Soundtrack Pro mixes in Final Cut Pro 431 Original button 445 out-of-phase material 339 out-of-phase sounds 464 outline views 61 output devices about 24 video 318–319 Output pop-up menu 41, 46, 265, 279 output ports 487 Output synchronization settings 101 outputs. See physical outputs, submixes Overlap mode 108, 162 Overlap Mode pop-up menu 99 overlapping audio clips 162 overloaded signals 237 overtones 465, 466 P packages 66, 421 PAL format 79, 315, 484 pan envelopes 145 pan position 142, 278–279 pan slider 142 panning controls automating surround sound 303 channel strips 278–279 in headers 41 level meters and 304 mini surround panner 299 pan position 142, 278–279 sends and 351 Surround Panner HUD 300 surround sound and 45, 142, 278, 295 parallel editing 440 Parameter list 63, 236 parametric EQs 336 passive speakers 497 paste edits 219 Paste Mix command 206 Paste Repeat command 207 pasting items audio clips 151–152 audio in File Editor 206 envelope points 362 filtered results in frequency ranges 219 frequency ranges and 219 Timeslices 177 Path pop-up menu 51, 54 paths to items in Bin 90 PCI audio interface cards 489, 490 PCI video interface cards 31, 478, 479 PCM format 67, 193 PDF files 384 peak indicators 45, 50, 283, 289–290 peak information 340 peak limiters 333 Peak Mixing Level setting 408 peaks 207–208, 221, 236, 332, 523 Peaks Value and Location display 49, 289 performance 516 Peripheral Connect Interface. See PCI phantom centers 304, 310 phantom power supply 513 phase balanced audio signals and 495 correlation meter display 339 inverting 221, 513 phase cancellation 494 phase issues 236, 237 phase shifters 336 phase, sound waves and 464 phase cancellation 464 phone plug connectors 491 physical output channels 41, 125, 279, 296 physical outputs connecting 297 in mixing process 263 multitrack projects 125 surround sound 296 PICT files 384 pink noise 222, 341 pitch 465, 466 Play button 71, 77, 92, 220, 371, 372, 373 Play From Beginning button 38, 77 Play/Pause button 38 playback 71–78 audio files in File Editor 198, 199 changing mode 188 controlling 38, 55, 71–74, 134–135 cycling 134–135 keyboard shortcuts 78, 130, 317, 451 looping 134–135, 188 MPEG-2 79, 315 non-looping 188 playback modes 188 playback region 134–135 playing files without actions 234 position 77, 451 soloing audio files 199 starting 71 stereo 312 transport controls 77–78 video 317–319 playhead described 44 during recording 374 keyboard shortcuts 131, 451 location value slider 74 556 Index moving to peaks 289 moving to specific times 73 positioning with Time ruler 133 preferences 98 scoring markers to 186–187 scrubbing audio 201 setting 72–74 splitting audio clips with 164, 171, 172, 173 spotting clips to 113, 153 synchronization 166, 195 Playhead Position value slider 37, 38, 44, 74 playing projects 71–78 plug-ins Audio Units 23, 327 effects 21, 23 included with Soundtrack Pro 23 Stereo Spread 342 surround sound 311 unsupported 23 PNG files 384 podcast markers 379, 380, 381–384 Podcast pane 404 Podcast track 39, 379 podcasts 377–390 automating 390 chapter markers 381 chapters in 380 compression 387 Compressor and 389 enhanced 388 episodes 377, 384 exporting 387–389, 404 images in 384–387 importing markers from Final Cut Pro 383 post-export actions 390 slideshows in 385 uploading 378 workflow 378 pointing devices 98 pops 236 position controls 300 Position value slider 57, 59, 115, 380 positions of items in Bin 90 post-export actions 416 post-fader sends 271, 287 post-production 334, 422 power line hum 236 preamplifiers 494, 513 predelay time 339 Preemphasis slider 216 pre-fader sends 271 preferences Apple Loops Utility 531 Recording 367 Soundtrack Pro 97–103 Preferences window 97 premapped controls 393 Preprocessing pane 409–410 Preserve Video option 389, 411 Preset pop-up menu 396 presets Compressor settings 412 deleting 182, 330 effects 330, 330–331 export presets 396, 418 noise reduction 226 saving 181 Sound Palette 179, 180 thumbnails of 182 Presets drawer 220, 330 preview controls 48, 51, 53, 54, 91–92 Preview on selection button 92 previewing items 91–92 files 91–93 noise reduction changes 226 preview file information 91–93 Previous frame button 77 Previous Selection button 39, 43, 205 problems. See analyzing audio Process menu 219, 230, 328 processing audio batch processing 422 files 219–229 scripts 425 processing effects See also effects advanced settings 353 applying 353 automation 354 overview 328 presets 330–331 working with 353 processor speed 21 professional equipment analog audio 503 audio equipment 494, 503 synchronizing 504 video equipment 498 project controls 40 project files 88 project mixdowns. See mixdowns Project pane 37 Project preferences 99–100 project properties 106–110 envelope selection mode 108 length 110 overlap mode 108 sample rate 107 time format 56, 109–110 Project tab 55–57 project view 240–248 Index 557 projects controlling playback of 134–135 distributing 419–420 exporting mixes 397–413 importing QuickTime movies into 79, 315 importing video into 315, 316 information about 56 miniature view of 133 overall volume of 288–290 playing 71–78 preferences 99–100 properties 56 removing video clips from 325 saving as audio file projects 244–245 saving with media files 419–420 scrolling through 128 scrubbing 77 undoing and redoing changes 93 properties audio clips 114–116 busses 124 copying 165, 179 enabling or disabling 181 multitrack projects 106–110 property tags 521 puck 300, 303 Pullup/Pulldown pop-up menus 56 punching in and out 371 Q Q (bandwidth) 335 quality of equipment 494 Quality pop-up menu 402 quantization 473 quarter-size frames 103, 319 QuickTime movies audio files 79 file size and 245 as multichannel files 212 opening in File Editor 192 opening in Soundtrack Pro 66, 79 opening video 315 saving 246 saving video with audio 245 supported formats 315 website 19 QuickTime MPEG-2 Playback Component 79, 315 QuickTime Streaming Server Compatibility 403 R RAM 21 rarification, sound waves and 463 ratio parameter in Compressor 332 RCA connectors 479, 481, 485, 491 Read Before You Install document 21 Read mode 365 realtime effects 343–352 See also effects adding 344–345 adjusting parameters 345 advanced settings 345–346 applying 229 applying in project view 242 automation 351 bypassing 349 chaining 347–348 overview 329 parameters 351 removing 352 rendering 243–244, 329 reordering 348 resetting to defaults 352 sends and 349–351 showing 229 working with 343 recently-opened projects 105 reconnecting media files 96 Record button 38, 77, 371, 372, 373 recording audio 367–375 adjusting settings 369 Audio MIDI Setup utility 23 disk space and 367 eliminating latency 516 enabling channel strips for 280 enabling tracks for recording 368 in File Editor 375 file location 112 keyboard shortcuts 460 locations of files 374 in Mixer 291, 374 multiple takes 372–373 multitrack projects 371 multitrack recordings 371 preferences 100 preparing for 367 save location 100 sessions location 100 single takes 371 surround sound workflow 294 in Timeline 368–373 recording automation data 365, 366, 394 recording control surface automation 394 Recording pane 367 recording sessions, save location 100 Recording tab 50, 368, 372 Redo command 93 Reduce Noise command 225–226 reference input connectors 504 Reference Source Audio setting 424 referenced files 245, 246, 423 refining searches 83, 84 558 Index regeneration 337 region markers duration 185 multiple 166, 195 release parameter 333 Remove Effect button 60 Remove Unused command 420 removing. See deleting items renaming channel strips 281 groups 140 items in Timeline 141 presets 182 takes 256 Render to Action command 229, 244 rendering effects to actions 229, 243 flattening actions 233 realtime effects 329 render file location 112 saving in project view and 246 video as QuickTime movies 429 Reorder Channels command 229 reordering actions 232 Actions list 233 channel strips in Mixer 276 channels 213, 229 effects 285, 348 sends 287, 351 takes 257 Replace With Ambient Noise command 227 replacing dialogue 252 effects 286 sound with noise 227 source audio for clips 189 Resample command 229 Reset button 49, 217, 220, 289 Reset Effect button 60 resizing audio clips 156 Cycle Region 135 Timeslice selections 175 video clips 324 Video tab 318 windows 67 Result button 445 Results list 238 results projects 440, 443 reverb effects 270–271, 331, 338–339 reverb envelopes 339 reverb time, 339 reverberation 26, 338 Reverse command 221 reviewing changes 444, 446 RGB color space 481–482 ripple cuts 453 ripple deletes 453 RMS Slow and Fast modes 340 roll-off filters 335 room shape, audio and 26 room types 339, 408 Root Mean Square 340 Rotation slider 301 roundtrips 315, 430, 434 routing signals 263 RTAS plug-in 23 ruler units 109, 212, 242 Ruler Units pop-up menu 56 rulers grid lines and 110 units 109, 212, 242 S s-curve fades 159 S-Video connectors 481 S-Video signals 481 S/MUX (sample multiplexing) 493 S/PDIF connectors 492 S/PDIF digital audio 486, 503 Safe RT mode 429 Sample Edit tool 209 sample multiplexing 493 Sample Rate pop-up menu 99, 107, 229, 396, 401, 402, 406 sample rates Apogee hardware conversion 511 audio files 107 audio interfaces 487 choosing 229 consumer audio 503 described 107 digital audio 399, 401, 474 digital video 107 DVD format 406 hardware 107 importing audio files 79, 193 items in Bin 90 in multichannel files 214 multitrack projects 107 OMF and AAF files 436 saving 246 Soundtrack Pro and 67, 487 Waveform Editor 229 Sample ruler 217 sample units 212 samples editing 209 problems in 239 reversing 221 Index 559 saving items actions as AppleScript droplets 248 audio file projects 244–247 audio file projects with video 245 audio files 246–247 default locations 112 file formats supported 246 layouts 68 multitrack projects 111 multitrack projects and files 419–420 preferences 98 rendering files 246 scratch locations 112 Sound Palette presets 181 scale type 533 Scale Type pop-up menu 53 scale, musical 90 SCART connector 484 scoring markers 185, 185–187 scratch locations 98, 112 Script Editor 248 scripts actions 248 after export scripts 417 custom actions 417 processing Final Cut Pro audio 422, 425 scroll bars 40, 128 scrollwheels 98 Scrub tool 165, 200, 253 scrubbing described 200 keyboard shortcuts 201 projects 77 SD Video devices 498 SDI format 483 SDTI (Serial Digital Transport Interface) 484 Search database 86–87 Search field 88 Search Results list 53 Search tab 52–53, 81–87 search tags 522 Search Text field 53, 82 searches, keyword 52–53 searching. See finding items segments 170–173 selecting items action selections 231 all clips on tracks 149 amplifiers 496 audio clips 147–148 audio equipment 487 audio files in File Editor 202–205 busses 136 channel strips 276 channels 213 Cycle Region 397 Cycle Region links 200 displaying selections in Timeline 446 envelope points 357 envelope selection mode 359 forward or backward in tracks 150 frequency ranges 218 keyboard shortcuts 459 moving between selections 205 objects in Tracks tab 138 parts of audio files 164 portions of clips 174 speakers 496 submixes 136 takes in Multitake Editor 254 Timeslice tool and 149, 151, 164, 174, 359 tracks 136 video 323 while scrubbing 201 zero crossings and 205 Selection Length value slider 37, 39 Selection tool 147, 164, 208, 253 self-powered speakers 497 semitones 188 sending files (post-export actions) 416 sends adding to tracks 349 automating 363 busses and 124, 350 bypassing 351 channel strips 286–287 envelopes and 363 pan position 351 post-fader sends 271, 287 pre-fader sends 271 realtime effects and 349–351 reordering 287, 351 settings 287 turning on/off 287 volume level 350 working with 270–272 Separate Mixer and Video command 275 separating channels 122 separators in Toolbar 70 serial device control 502 Serial Digital Interface (SDI) 483 Serial Digital Transport Interface (SDTI) 484 Set Ambient Noise Print command 227 Set Equalization Print command 228 Set Noise Print command 225 setting up system. See system setup Setup button 53 shelf filters 335 shortcut menus 71, 89 Show pop-up menu 40, 379, 381, 383 Show/Hide Presets button 220 shuttling through clips 130 560 Index signal routing 263 signal-to-noise ratio 469 silence 222, 237 Silence command 221 Silence Threshold slider 237 sine waves 463 Single Folder Multi-mono audio files 79, 212 size of files 58, 115 slideshows in podcasts 385 slipping take regions 255 Smart Encoding Adjustments setting 401 SMPTE (Society of Motion Picture and Television Engineers) 101 Snap button 247 Snap option 94–95 Snap To button 247 Snap To pop-up menu 253 Snap To Value pop-up menu 42 Snap To values 42, 94–95 snapping clips to adjacent clips 156 envelope points 358 Multitake Editor 253 preferences 99 Snapping button 42, 253 Society of Motion Picture and Television Engineers (SMPTE) 101 soft knee 333 soft limiting 513 Solo button 41, 46, 143–144, 253 soloing audio files 92 busses 143 channel strips 280 stereo channels 120 submixes 143 tracks 143–144 types of 144 Sony/Philips Digital Interface Format (S/PDIF) 492 sound See also audio musical sounds 466, 467 recording. See recording audio sound waves 463 volume. See volume sound design 11, 327, 331, 342 Sound Designer files 66, 79, 192, 246, 312, 398 Sound Palette 179, 180 Sound Palette HUD 64 sound stage 32 sound. See audio Soundtrack Pro Conform 439–448 customer support 515–517 education users and 20 features 15–17 Final Cut Studio integration 13 interface 34 keyboard shortcuts 449–462 learning about 18, 20 onscreen help 18 plug-ins 23 preferences 97–103 resources 18 scripts 248, 417 setting up. See system setup software installation 21 system considerations 21–23 using with Apogee hardware 509–514 using with DVD Studio Pro 432–433 using with Final Cut Pro 421–432 using with Motion 434 using with other applications 437 using with third-party applications 435–437 website for 19 Soundtrack Pro User Manual 18 source media files editing 166, 196 Final Cut Pro files 424 including while saving 246 replacing 189–190 selecting 148 spaces in Toolbar 70 speakers 25, 27, 485 disabling 303 dynamic range 497 frequency response 497 passive 497 placement 32 quality 496 self-powered 497 surround sound 298 Spectrum Analyzer 340, 340 Spectrum View HUD 216–217 Spectrum view. See Frequency Spectrum view speed (delay rate) 337 Split menu item 170, 172, 173 split stereo files 473 Split tool. See Blade tool splitting audio clips 164, 170–173 podcast tracks 381 takes 253, 254 spotting clips 113, 322 Stamp tool 165, 179 standing waves 26 .stap file extension 65, 244 starting timecode 99 startup preferences 97 stem mixes. See submixes Index 561 stereo audio 471–473 channel selections 120 channels 402 converting to mono 228 converting to surround sound 307 creating stereo mixes 267 data rate 407 delays 337 enhancing 342 envelopes 356 equipment setup 32 music in surround sound mixes 310 separating channels 122 setting output 265 soloing channels 120 spread 342 stereo image 32 stereo mixdowns 267 stereo playback 312 stereo plus center 309 surround-to-stereo mixdown 297 swapping channels 229 switching to surround sound 295 Stereo Bit Rate pop-up menu 400 stereo delays 337 stereo images 32 stereo mixdowns 267 stereo plus center 309 Stereo Spread plug-in 342 still images 380, 384–387 .stmp extension 65, 105, 111 storage space 22 streaming hints 403 streaming packets 403 Streaming pane 403 Stretch tool. See Audio Stretching tool, time stretching stretching technique 528 sub bass 335 Submix pop-up menu 41, 46 submixes adding 136, 264 adjusting volume 142 changing icon for 141 channel strips 44, 140, 274, 279–280 controls 125, 142–146 copying 141 creating 266 defined 263 described 127 effects 144–145 envelopes 145, 356 exporting 414 grouping 136, 139 icons 40 independence of 265 intermediate submixes 272 moving 141 music and effects submixes 268–269 muting 143 numbered 141 output 279–280 output file names 414 overview 125–126 properties 125 removing 147 renaming 141 routing signals to physical outputs 263 selecting outputs 136 setting for tracks and busses 264 setting height of 132 soloing 143–144 stem mixes 428 stereo mixes 267 surround sound projects 296 in Timeline 39 workflow for 263 working with 135–147 subwoofers 293 summing audio 263 surround channels 306, 310, 410 Surround Downmix pop-up menu 408 Surround Panner HUD 300 surround panners 295 surround sound about 293 automating 303 center channel 310 connecting physical outputs 297 converting stereo to 307 data rates 407 dialogue and voiceovers 309 effect plug-ins 311 envelopes 356 exporting 312, 404–410 level meters 282 LFE channel 311 metering 304–305 mixdowns 312 Mixer meters 305 mixing projects 299–303, 306 music and effects mixes 269 panning controls 278 project workflow 294 puck shortcuts 303 setting output 265 speakers 298 stereo music in 310 stereo playback 312 submix outputs 296 surround channels 310 Surround Panner HUD 300 562 Index surround panners 295 surround-to-stereo mixdown 297 system setup 294 surround-to-stereo mixdown 297 Swap Channels command 229 switching between looping and non-looping mode 188 between surround and stereo audio 296 between Waveform view and Frequency Spectrum view 215 Sync To MIDI Clock settings 101 Sync To MIDI Time Code settings 101 synchronization automatic dialogue replacement 252 blackburst generators and 504 external timecode and 506 markers and 186 OMF and AAF files 436 podcast images 384 preferences 101 slide shows 385 synced audio in Multitake Editor 46 Synchronization preferences 101 system requirements 21 system setup 21–29 Apogee hardware 514 connecting audio equipment 23–26 control interface 29 example hardware setups 27–29 FireWire audio interface 29 overview 21 powered speakers 27 software installation 21 surround sound projects 294 system considerations 21–23 USB audio interface 28 video output devices 30 T tabs described 37 detaching/reattaching 68 keyboard shortcuts 450 reordering 68 tagged audio clips 188 tagged audio files 81, 519–535 tags 519, 521, 522 Tags tab 520, 521–522 tags. See metadata tails, effect 110, 230, 244, 345, 399, 414 takes 253 See also recording audio adding 256 deleting 256 items in Bin 90 multitake clips 373 in Multitake Editor 253 multitake recordings 372 recording 371 renaming 256 reordering 257 selecting 254 slipping regions 255 splitting 254 Tap tempo delays 337 Target System pop-up menu 405 TDIF connectors 493 templates, temporary 179 tempo 90, 186–187, 519 Tempo envelope 364 Tempo value slider 100 temporary files 112 temporary mono mix 290–291 temporary templates 179 text searching for 82, 84 showing in Toolbar 71 thinning envelope points 366 third-party applications 435–437 third-party effects 23 third-party interfaces audio interfaces 486, 504 uses for 25 video interfaces 498 threshold 226, 332 thumbnails 182 TIFF files 384 timbre 466 Time Code Offset synchronization settings 101 Time display 40, 43, 73–74, 321 time format described 321 projects 133 setting 56, 109–110 tracks 146 time markers 59, 183–185, 186 Time ruler 40, 133, 321 Time Ruler units 242, 315 Time Signature pop-up menu 53 time signatures 53, 90, 100 Time smoothing slider 342 Time Stretch command 224 Time Stretch sheet 224 time stretching audio files 210, 224 video and 324 Time-based effects 337–339 Time-based format aligning clips in 109 entering units 73, 133 project format 109 Index 563 snapping options 94 tracks and 146 Time-based ruler 56 timecode aligning audio clips to 133, 186 embedded 153 external 506 format 321 items in Bin 90 MIDI Timecode 38 moving clips to specific 155 spotting clips to 153 starting timecode 99 synchronizing to 506 time markers and 185 Time ruler units and 109, 315, 321 Time-based format 73 Timecode HUD 64 value sliders 76 Timecode HUD 64 timecode value sliders 76 Timeline adding audio files to 113–114 Conform projects in 445 controls 40, 42, 247 cutting, copying, and pasting items in 151 Cycle Region 134 deselecting items in 148 displaying selected clips in 446 displaying with Mixer 275 editing audio clips in 12, 162–166 editing in place 166, 195 editing tools 39, 164–165 editing tools HUD 165 fades and crossfades in 158–161 filling screen with 35 Global view 133 headers 40–41 keyboard shortcuts 130, 451, 453, 454, 455 lifting and stamping properties 179 markers 183–187 moving audio clips in 154–155 Multitrack Timeline 162–166, 168–169 navigating in 128–135 offsets in 157 outline view 61 overview 39–40 preferences 98 in Project pane 37 recording audio in 368–373 resizing clips in 156 scrubbing projects in 77 selecting clips in 147–151 setting track height in 132 snapping clips in 156 spotting clips in 153 Timeslice tool 174 track controls 40–41 Tracks tab and 138–140 video display in 323 working in 127–132 zooming in/out 129–130 Timescale pop-up menu 99 Timeslice tool about 164, 174–178 changing selection area 177–178 cutting, copying, or pasting selections 177 Cycle Region and 200 deleting contents of selection 177 envelope selection and 359 extending selections 149 keyboard shortcuts 178, 461 master Timeslices 176 selecting to right or left 151 tip-ring-sleeve connectors 485, 491 tip-sleeve connectors 491 tone 226, 333 tone color 466 Tone Control slider 226 Toolbar 37, 38, 69–71 TOSLINK connectors 486, 492 Touch automation mode 106, 291, 365 Track area 40 track envelopes 356 Track Height control 132, 247 Track Height pop-up menu 99 track pan envelopes 356 Track pop-up menu 50 tracks adding 135 adding sends to 349 channel strip controls 274 channel strips 44, 140 color labels 40, 45 colors 116 combining with sends and busses 272 comp tracks 253 controls 40–41, 124, 142–144 copying 141 described 127 effects 144–145 enabling for recording 280, 368 envelopes 145, 356 exporting 414 grouping 136–137 height 99, 132, 247, 253 icons 40, 141 keyboard shortcuts 458 LFE tracks 311 Motion 434 moving 141 564 Index moving audio clips between 154 multitrack projects 428 muting 143, 199 names 90 numbered 141 overview 124 pan envelopes 356 pan positions 142–143, 278 podcast tracks 379 preferences 99 removing 147 renaming 141 routing signals to physical outputs 263 routing to busses 125 selecting 136 selecting all clips on 149 selecting items forward or backward 150 setting submixes for 264 soloing 143–144 splitting 381 splitting takes 254 in submixes 125, 263 time format 146 in Timeline 39 video tracks 316 volume 142 working with 135–147 Tracks tab 61, 138–140 transcoding options 389 transients 519, 523, 528–529, 535 Transients tab 520, 523, 528 transition points 255 transport controls 37, 38, 44, 55, 77–78, 317 Transpose envelope 364 Transpose pop-up menu 58, 115 transposing keys 188 treble 226, 334 troubleshooting 240, 515–517 TRS connectors 485, 491 truncate mode 108, 162 truncating OMF or AAF files 436 TS connectors 491 two-channel audio 472 Type buttons 59 U unbalanced audio cables 496 unbalanced signals 494 uncompressed audio formats 398 uncompressed digital video 478 Undo command 93 Unit Select menu 510 Units parameters 511 Universal Serial Bus. See USB unlocking audio clips 118 tracks 119 unused files 111, 420, 436 Updated button 445 updating mixdowns 432, 440 multitrack documents 246 uploading podcasts 378 upsampling 107 URLs for markers 380 USB audio interface 28, 487, 488, 516 USB devices 516 USB hubs 498, 516 USB video interface 480 USB-to-serial adapters 498 User Manual 18 User Preset list 330 UV22HR dithering algorithm 511 V Value display 290 value sliders 75 Value value slider 59 VBR (Variable Bit Rate encoding) 400 video 315–325 background video 429 base layer 429 clips.See video clips Conform tool and 47 displaying start and end frames 323 for DVDs 107 encoding 411 equipment.See video equipment files.See video files frame rates 99, 322 fully rendered 429 importing into projects 315, 316 inserting in podcasts 386 interfaces.See video interfaces keyboard shortcuts 317 markers 185–187 moving clips 324 moving markers 325 Multipoint Video HUD 322 output devices 318–319 playback of 317–319 pullup/pulldown conversion controls 56 quality of 481 removing from projects 325 resizing clips 324 saving as reference movies 245 scrubbing 77, 322 signals 480–484 spotting 322 Index 565 supported formats 79, 315 Time display and 321 time format 321 Time ruler and 321 time stretching and 324 timecode format 109, 321 transport controls 317 viewing area 55 working with 315–325 working with audio in 321 video cards analog-to-digital 481 connecting 478 connecting analog equipment to 498–500 video interface cards 478 video clips in Bin hierarchy 88 colors 116 deselecting 148 importing into projects 316 information in Bin 88 removing from projects 325 timecode position 185, 186 viewing details of 320 video connectors 480–484 video decks 501 video equipment analog 501 breakout boxes 31 connecting devices 498–502 consumer devices 501 described 24 external video output 30 input and output devices 24 monitors 27 PCI cards 31 professional equipment 498 synchronizing 504 video signals 480–484 video files in Bin hierarchy 88 collecting 111, 420 podcasts 377 reconnecting 96 size of 420 viewing details about 320 Video Frames per Second pop-up menu 99 video interfaces advantages 25 choosing 477–480 PCI cards 31, 478 video monitors 27 video out external video devices 30 keyboard shortcuts 460 preferences 103 video out devices 319 Video Out preferences 103 video output devices 30, 318–319 video podcasts 387, 388, 389, 404 Video Pulldown pop-up menu 99 Video Scale pop-up menu 55 Video tab 55, 274, 316, 318 video tape recorders. See VTRs video tracks displaying imported video 316 selecting all clips on 149 in Timeline 39 videotape recorders. See VTRs viewing area 55 virtual MIDI devices 101 voiceovers 309 voices 323, 465 volume busses 142 channel strips 277 level meters 282 master project volume 290 noise levels 223 normalizing 407 overall 288–290 sends 350 submixes 142 tracks 142 volume envelopes 145, 356 volume fader 45 volume slider 41, 92, 142, 220 VST plug-in 23 VTRs (video tape recorders) analog 501 connecting 24, 500 multiple analog channels 503 non-DV devices 502 W WAV files 66, 79, 192, 212, 246, 312, 398 Wave Generator dialog 223 Waveburner 416 Waveform Editor. See File Editor Waveform view 191, 215 Waveform view button 43 waveforms clip offset and 157 displaying 43 dynamic range 470 editing 11, 66, 193 editing tools 43, 208–211 frequency of 223 inserting in audio 223 length of 224 sample units 212 566 Index Time Ruler units 242 types of 223 zooming in/out 207, 211 websites Apple homepage 19 Apple Service and Support 19 Apple Store 20 Apple websites 20 AppleCare Support 517 Dolby Laboratories 311 FireWire 19 podcast markers and 380 QuickTime 19 Soundtrack Pro 19 wet signals 337, 339 white noise 222, 341 width (depth) 337 Width slider 301 windows analysis windows 216, 217 closing 67 custom mixing layouts 274 floating or docking tabs 36 keyboard shortcuts 36, 450 minimizing to Dock 67 moving 67 rearranging tabs 36 resizing 67 toggling elements in 34 Video tab as 318 workflows custom window layouts 274 DVD Studio Pro and 432–433 Final Cut Studio features 16 mixing process 262 Multitake Editor 257–259 podcasts 378 Soundtrack Pro Conform 439–448 surround sound projects 294 workspace, setting up 67–71 X XLR connectors 488, 490, 492, 503 XML files 430 XML Interchange Format 430, 435 Y Y/C connectors 481 Y´CbCr color space (YUV) 481–482 Z zero crossings 205 Zoom control 42, 129–130, 207 Zoom slider 253 Zoom tool 211 zooming in/out File Editor 207–208 on analyzed problems 239 with scroll wheel 129–130, 207 waveform display 211 with Zoom control 129–130 Xserve Apple Xserve Diagnostics User’s Guide For Version 3X102 K Apple, Inc. © 2007 Apple Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. The Apple logo is a trademark of Apple, Inc., registered in the U.S. and other countries. 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. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Apple 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, AirPort, AppleTalk, Exposé, Final Cut Pro, FireWire, iCal, iDVD, iMovie, iPhoto, iPod, iTunes, Mac, Macintosh, the Mac logo, Mac OS, PowerBook, QuickTime, Sherlock, SuperDrive, and Xserve are trademarks of Apple Inc., registered in the U.S. and other countries. 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Use of this copyright protection technology must be authorized by Macrovision Corporation and is intended for home and other limited viewing uses only unless otherwise authorized by Macrovision Corporation. Reverse engineering or disassembly is prohibited. Apparatus Claims of U.S. Patent Nos. 4,631,603, 4,577,216, 4,819,098 and 4,907,093 licensed for limited viewing uses only. Simultaneously published in the United States and Canada. 019-0844/2007-07-16 3 1 Contents Chapter 1 4 Overview and Requirements 5 Overview of AXD Configurations 6 Requirements Chapter 2 8 Setup and Installation 8 Setting Up a NetBoot Server 9 Setting Up a Storage Device for AXD Tool Installation 11 Installing AXD EFI Tools 12 Installing AXD Mac OS X Tools Chapter 3 14 Loading AXD Tools 14 Changing the Startup Disk in System Preferences 15 Changing the Startup Disk Using the Command-Line Interface 16 Changing the Startup Disk Using Apple Remote Desktop 16 Changing the Startup Disk Temporarily at Startup 17 Loading an AXD EFI Tools NetBoot Image Using the Xserve’s Front Panel 19 Disabling the Firmware Password Chapter 4 20 Using AXD Tools 20 Setting AXD to Host, Client, or Local Mode 22 Using AXD EFI Tools 24 Using AXD Mac OS X Tools Appendix 29 AXD Tools Test Reference 29 Comparison of Available Tests 30 AXD EFI Tools Tests 35 AXD Mac OS X Tests 1 4 1 Overview and Requirements Apple Xserve Diagnostics tests your Intel-based Xserve for hardware issues. Apple Xserve Diagnostics (AXD) runs a customizable set of tests to help you diagnose issues with the following:  Boot ROM  Ethernet controller  Fan  Hard drive  Memory  Power supply  Processor  Sensor  USB ports  Video controller You can run AXD in Extensible Firmware Interface (EFI), which is referred to as AXD EFI tools , or in Mac OS X or Mac OS X Server, which is referred to as AXD Mac OS X tools . By running AXD EFI tools, you can diagnose hardware issues that prevent Mac OS X Server from successfully loading. You can also run tests without interference from Mac OS X Server and test more than 2.5 gigabytes (GB) of memory. However, AXD Mac OS X tools provides an enhanced interface and has more extensive sensor, fan, hard drive, and video controller tests. For a detailed comparison and description of all available tests, see the appendix, “AXD Tools Test Reference” on page 29. You can test the Xserve itself by running AXD tools on it. You can also run it on a computer that has a network connection to the Xserve and remotely control the Xserve. Chapter 1 Overview and Requirements 5 Note: This guide describes how to use AXD version 3X102. If you’re using a different version of AXD, the instructions in this guide might not work. AXD version 3X102 is included in Mac OS X Server Administration Tools version 10.4.10 and later. You can find out which version of AXD tools you’re running by opening AXD Mac OS X tools and choosing AXD > About Apple Xserve Diagnostics. Overview of AXD Configurations You can install and run AXD in a variety of ways, so it’s important that you choose the method that best suits your needs. There are several AXD configuration options with distinct considerations: Option Considerations Host a NetBoot server Advantages:  Don’t need to install AXD on an internal volume on the Xserve or on a portable storage device  Can test multiple Xserves using the same AXD install image  Allows you to use AXD EFI tools  You can load AXD tools without an input device connected to the Xserve (if you have access to the Xserve’s front panel) Disadvantages:  Requires a server to host NetBoot service and the AXD install image  Xserve must be on the same subnet as the NetBoot server Install AXD EFI tools on an internal volume Advantages:  Allows you to use AXD EFI tools  Don’t need physical access to Xserve to run AXD remotely Disadvantages:  Requires a volume on the Xserve that has 15 megabytes (MB) free and that doesn’t have Mac OS X or Mac OS X Server installed Install AXD EFI tools on a portable storage device Advantages:  Allows you to use AXD EFI tools  You can use the same portable storage device to test multiple Xserves Disadvantages:  Requires a volume on the Xserve that has 15 MB free and that doesn’t have Mac OS X or Mac OS X Server installed  Portable storage device must be physically connected to the Xserve 6 Chapter 1 Overview and Requirements Requirements Before you can run AXD, you must meet general, storage device, and local and remote requirements. If you want to host AXD on a NetBoot server, additional requirements must be met by the NetBoot server. General Requirements To run AXD, you must have the following:  An Intel-based Xserve with Mac OS X Server version 10.4.10 or later installed  The Mac OS X Server Install discs and Administration Tools disc included with Mac OS X Server version 10.4.10 or later Storage Device Requirements Depending on whether you want to run AXD EFI tools, AXD Mac OS X tools, or both, you need empty volumes either on the Xserve or on a portable storage device. If you want to run AXD Mac OS X tools, the storage device must use the GUID Partition Table partition scheme. If you’re running only AXD EFI tools on the storage device, you don’t need to use the GUID Partition Table partition scheme. Install AXD Mac OS X tools on an internal volume Advantages:  Allows you to use AXD Mac OS X tools  Don’t need physical access to Xserve to run AXD remotely (if you have Apple Remote Desktop) Disadvantages:  Requires an empty volume on the Xserve with 6 GB free  Must install Mac OS X Server on the empty volume Install AXD Mac OS X tools on a portable storage device Advantages:  Allows you to use AXD Mac OS X tools  You can use the same portable storage device to test multiple Xserves Disadvantages:  Requires an empty volume on the portable storage device with 6 GB free  Must install Mac OS X Server on the empty volume  Portable storage device must be physically connected to the Xserve Option Considerations Chapter 1 Overview and Requirements 7 You can run both AXD tools by having two empty volumes on the same Xserve or portable storage device. You need at least one of the following: Local and Remote Requirements To run AXD on your local Xserve, you’ll need to attach a keyboard, mouse, and display. To run AXD remotely, you must have the following:  A Macintosh computer with Mac OS X version 10.4.4 or later installed. Mac OS X version 10.4.10 or later is recommended. This computer is referred to as the host computer .  A network connection or a direct Ethernet connection from the host computer to the Xserve. The Xserve is referred to as the client Xserve .  If the client Xserve is going to run AXD EFI tools and use a network connection, the network connection must use a built-in Ethernet port, and not an Ethernet adapter card.  The Xserve must have AXD installed either on an internal volume or on a connected portable storage device; or it must be able to run AXD from a NetBoot server.  The host computer must run AXD Mac OS X tools. The client Xserve can run AXD EFI tools or AXD Mac OS X tools.  If the client Xserve is running AXD Mac OS X tools, you must be able to log in as the root account. The root account is a system administrator who has complete access to the Xserve. If you want to run AXD entirely remotely (for situations where the Xserve is physically inaccessible or if you want to save AXD EFI tools test results), in addition to meeting the network requirements, the Xserve must be able to load Mac OS X Server. NetBoot Server Requirements To host a NetBoot server, your NetBoot server must:  Have Mac OS X Server version 10.4.4 or later installed. Mac OS X version 10.4.10 or later is recommended.  Be on the same subnet as the Xserve being tested.  Have 15 MB of hard drive space available for an AXD NetBoot image. Goal Requirement Run AXD EFI tools A volume on the Xserve that has at least 15 MB free, but doesn’t have Mac OS X or Mac OS X Server installed Run AXD Mac OS X tools An empty volume on the Xserve with at least 6 GB free Test multiple Xserves and run AXD EFI tools A USB drive or other portable storage device with a volume that has at least 15 MB free, but doesn’t have Mac OS X or Mac OS X Server installed Test multiple Xserves and run AXD Mac OS X tools A USB drive or other portable storage device that has an empty volume with at least 6 GB free 2 8 2 Setup and Installation Before you can run AXD, you must set up your testing environment and install AXD. Make sure you meet AXD requirements before attempting setup and installation. For more information, see “Requirements” on page 6. Setting Up a NetBoot Server Before you set up a NetBoot server, make sure you have an available server that meets the requirements described in “NetBoot Server Requirements” on page 7. After you set up a NetBoot server, you install the AXD NetBoot image. Because the AXD NetBoot image is a special image, you can’t use System Image Utility to delete the image. For information about deleting the AXD NetBoot image, see the next section, “Deleting the AXD NetBoot Image.” To set up a NetBoot server: 1 Open Server Admin (located in /Applications/Server). 2 If the server that will host NetBoot isn’t listed, click Add Server in the toolbar. Enter the IP address of the server in the Address field, enter the user name and password of the server administrator in the User Name and Password fields, and then click Connect. 3 Click the disclosure triangle for the server that will host NetBoot. 4 Select NetBoot, click Settings, and then click General. 5 In the network interface list, select the Enable checkboxes for the interfaces that you want to serve the AXD NetBoot images over. If multiple network interfaces are listed, it’s likely that only one of the interfaces is on the same subnet as your Xserve. If you’re not sure which interface is on the same subnet, open Network Utility (located in /Applications/Utilities) on your NetBoot server and your Xserve. In the Info pane, choose different network interfaces on the NetBoot server and your Xserve and compare the IP Address fields. Usually, computers are on Chapter 2 Setup and Installation 9 the same subnet if their IP addresses start with same few numbers (for example, they both start with 192.168.2). 6 In the volume list, select the Images and Client Data checkboxes for the volume that will store the AXD NetBoot image. The volume must have at least 15 MB free. 7 Click Save. 8 In the Finder, navigate to the AppleXserveDiagnostics folder in your Mac OS X Server Administration Tools disc, and then open AppleXserveDiagnosticsNetBoot.pkg. 9 Follow the onscreen instructions to install the AXD NetBoot package. 10 In Server Admin, select NetBoot, and then click Images. 11 If the AXD NetBoot image has the same index (listed in the Index column) as another image, deselect the Enable checkbox for the conflicting image. 12 Click the Start Service button in the toolbar. Deleting the AXD NetBoot Image You can’t use System Image Utility to delete the AXD NetBoot image. Instead, you must delete the AXD NetBoot image in the NetBoot image folder, which is located at: /Volumes/volumename/Library/NetBoot/NetBootSP# Replace volumename with the name of the volume that you’re installing the AXD NetBoot image onto. The number (#) varies depending on if you’re using several NetBoot volumes. If you’re using only one NetBoot volume, the AXD NetBoot image is located in NetBootSP0. If you’re using several NetBoot volumes, the AXD NetBoot image can be located in another folder (for example, NetBootSP1, NetBootSP4, or NetBootSP11). To delete the AXD NetBoot image: m Open the Finder and delete AXD.nbi from the NetBoot image folder. Setting Up a Storage Device for AXD Tool Installation To set up an internal volume or portable storage device for AXD tool installation, you must have at least 15 MB of available space for AXD EFI tools or at least 6 GB of storage capacity for AXD Mac OS X tools. These requirements are described in detail in “Storage Device Requirements” on page 6. If you’re installing AXD Mac OS X tools on one of the volumes, the storage device should use the GUID Partition Table partition scheme. To view the storage device’s partition scheme, open Disk Utility, and select the storage device. Make sure you select the storage device and not a volume within the storage device. At the bottom of the Disk Utility window, Partition Scheme should say GUID Partition Table. 10 Chapter 2 Setup and Installation Note: Some portable storage devices aren’t fast enough to use as startup volumes. If you insert your portable storage device and a dialog appears asking you to eject a CDROM, this signifies that your drive isn’t fast enough. If your drive isn’t fast enough to use as a startup volume, it can’t be used for AXD tools. You can’t use these instructions on any storage devices that are currently in use. If you want to create empty volumes on the storage device that’s currently running Mac OS X Server, you’ll need to load Disk Utility from the Mac OS X installation disc or load Disk Utility while your Xserve is connected to another computer and is in target disk mode. Both of these methods erase the contents of your Xserve’s hard drive and require you to reinstall and reconfigure Mac OS X Server. To create empty storage device volumes and correctly format them: 1 Open Disk Utility (located in /Applications/Utilities). Make sure you open Disk Utility on a computer with Mac OS X or Mac OS X Server version 10.4.10 or later installed. 2 Select the storage device that you want to set up. Make sure you select a storage device, and not volumes within the storage device. Volumes within a storage device are indented one level. 3 Click the Partition tab. 4 Review the partition sizes and adjust them to meet AXD tools storage requirements. 5 If you’re going to install AXD Mac OS X tools on a volume in the storage device, click Options, select GUID Partition Table, and click OK. 6 Click Partition. WARNING: The following instructions will erase all data on your storage device. Back up critical data before performing the following instructions. To do this Do this Display a partition’s size Click the partition and review the Size field. Set the size of the partition Edit the Size field. Prevent a partition from being automatically adjusted when you edit other partitions Click the lock icon in the partition. Create more partitions Click Split. Delete partitions Click Delete. Name a partition Select it and enter a name in the Name field. Because this name is used when selecting which volume to start up Mac OS X in, choose a name that identifies the volume as being used for AXD tools. Chapter 2 Setup and Installation 11 Installing AXD EFI Tools Before you install AXD EFI tools, make sure that your storage device has a volume that has at least 15 MB available, but doesn’t have Mac OS X or Mac OS X Server installed. For more information, see “Setting Up a Storage Device for AXD Tool Installation” on page 9. To perform these instructions, you’ll need the Mac OS X Server Administration Tools disc included with Mac OS X Server version 10.4.10 or later. You can also download the latest Mac OS X Server Administration Tools disc image from www.apple.com/support/. If you’re performing this task to install AXD EFI tools on an internal volume on the Xserve, you’ll need administrator access to the Xserve. If you’re performing this task to install AXD EFI tools on a portable storage device, you can use any computer that you have administrator access to. If you want to connect a host computer directly to the Xserve, and the host computer doesn’t provide DHCP service on the port used to directly connect to the Xserve, you’ll need to create a file on the Xserve that assigns an IP address to the Xserve. However, if the host computer provides DHCP service, don’t make this file. For information about how to find out if a computer is providing DHCP service, see Network Services Administration, at: www.apple.com/server/documentation To install AXD EFI tools: 1 Insert the Mac OS X Server Administration Tools disc. If you have a disc image of the Mac OS X Server Administration Tools disc, double-click the .dmg file to mount the disc image. 2 Open AppleXserveDiagnosticsEFI.pkg (located on the disc, at /AppleXserveDiagnostics). 3 Follow the onscreen instructions, and at the Select Destination step, choose a volume with at least 15 MB of space available, and that doesn’t have Mac OS X or Mac OS X Server installed. 4 If you’re prompted to authenticate, authenticate as a user with admin privileges. 5 If you want to connect a host computer directly to the Xserve and the host computer doesn’t provide DHCP service on the port used to directly connect to the Xserve, do the following: a Open TextEdit (located in /Applications). b In the body of a new file, enter an IP address that’s not in use by the host computer. For example, enter: 123.123.123.123 If TextEdit doesn’t open with a new blank file, choose File > New. c Choose Format > Make Plain Text. 12 Chapter 2 Setup and Installation d Choose File > Save As. e Name the file axd_set_ip_address, and then change the location of the file to the volume with AXD EFI tools installed. f Select “If no extension is provided, use ‘.txt’,” and then click Save. Installing AXD Mac OS X Tools Before you install AXD Mac OS X tools, make sure that your storage device uses the GUID Partition Table partition scheme and that it has an empty volume with 6 GB of available space. For more information, see “Setting Up a Storage Device for AXD Tool Installation” on page 9. To perform these instructions, you’ll need the Mac OS X Server Administration Tools disc included with Mac OS X Server version 10.4.10 or later. You can also download the latest Mac OS X Server Administration Tools disc image from www.apple.com/support/. If you’re performing this task to install AXD Mac OS X tools on an internal volume on the Xserve, you’ll need admin access to the Xserve. If you’re performing this task to install AXD Mac OS X tools on a portable storage device, you can use any computer that you have admin access to. Installing AXD Mac OS X tools involves three major steps:  Install Mac OS X Server with minimal options selected  Copy AXD Mac OS X tools from the Mac OS X Server Administration Tools disc to /Applications  Configure Mac OS X Server By dedicating a minimal installation of Mac OS X Server for use with AXD Mac OS X tools, you reduce the risk of server processes interrupting AXD testing. To install AXD Mac OS X tools: 1 Insert the Mac OS X Server Install disc. 2 Open the Install Mac OS X Server application, click Restart, and authenticate, if requested. The computer restarts and loads the Mac OS X Server Installer. 3 Continue through the Installer until you reach the Select Destination step. 4 Select a volume that’s at least 6 GB. If the volume isn’t empty, click Options, select “Erase and Install,” and then click OK. Click Continue. 5 In Installation Type, click Customize, deselect all checkboxes, and then click Install. If the volume is very close to 6 GB in size, the Installer might automatically load the Customize list. Chapter 2 Setup and Installation 13 When the Installer finishes installing Mac OS X Server, it restarts the computer and Server Assistant opens. 6 Enter information in Server Assistant as requested. Don’t enable any services. When you finish entering information in Server Assistant, Mac OS X Server loads. 7 Log in with the user name “root” and with the password of the user you created in Server Assistant. You must set up and run AXD Mac OS X tools as root. Otherwise, you won’t be able to test the Xserve you’ve installed AXD Mac OS X tools on. 8 Insert the Mac OS X Server Administration Tools disc. If you have a disc image of the Mac OS X Server Administration Tools disc, double-click the .dmg file to mount the disc image. 9 Open the Finder and drag the AXD.app file from /AppleXserveDiagnostics on the Mac OS X Server Administration Tools disc to your /Applications folder. 10 If you’re setting up a client Xserve, open the Finder, select your /Applications folder, click the Gear button, and choose New Folder. Name the folder AXDClient. Client Xserves are remotely controlled by host computers. 11 Open System Preferences (located in /Applications). Change the following options in System Preferences panes: If you can’t change settings in System Preferences, click the lock button and authenticate. After installing the AXD Mac OS X tools, you must log in as root to run AXD tools to test your own Xserve. If you don’t log in as root, AXD Mac OS X tools enters host mode and waits for a connection to a client Xserve to control. System Preferences pane Recommended configuration Accounts Select the root account, and click Login Items. Click Add (+), select /Applications/AXD.app, and click Add. CDs & DVDs In all pop-up menus, choose Ignore. Dashboard & Exposé In all pop-up menus, choose “–.” Desktop & Screen Saver In the Screen Saver pane, drag the “Start screen saver” slider to Never. Energy Saver In the Sleep pane, drag both sliders to Never, and deselect “Put hard disk(s) to sleep when possible.” Software Update In the Update Software Pane, deselect “Check for updates.” 3 14 3 Loading AXD Tools Before you load AXD tools, make sure you’ve properly installed and configured the tools. For more information, see Chapter 2, “Setup and Installation,” on page 8. If you want to remotely test a client Xserve, you’ll need to first load AXD tools on the host computer, and then load the AXD tools on the client Xserve. To load AXD tools, set the startup volume of the Xserve to the volume or disk image containing the AXD tools. If Mac OS X Server loads on your Xserve, you can change the startup disk in Startup Disk System Preferences. Otherwise, you can temporarily change the startup disk by pressing and holding one of several keys when starting up the Xserve: Startup Disk System Preferences can load only AXD Mac OS X tools. Pressing the Option key at startup can load AXD EFI tools and AXD Mac OS X tools. The Xserve becomes unavailable whenever you use AXD. Before starting tests, alert your users that the server will be unavailable. Changing the Startup Disk in System Preferences If your Xserve can load Mac OS X Server, you can use System Preferences to change the startup disk. The list of startup volumes includes internal volumes and connected portable storage device volumes. Goal Press and hold this key at Xserve startup Choose the AXD tools volume before loading Mac OS X Option Load the AXD EFI tools located on the Mac OS X Server Administration Tools disc D (make sure the Mac OS X Server Administration Tools disc is inserted) Load the AXD EFI tools disk image from a NetBoot server F1 or a specific combination of the Xserve’s front panel buttons Chapter 3 Loading AXD Tools 15 When you change the startup disk in System Preferences, you can’t select a startup disk with AXD EFI tools installed. To change the startup disk to the volume with AXD EFI tools installed, change the startup disk at startup. For more information, see “Changing the Startup Disk Temporarily at Startup” on page 16. To change the startup disk in System Preferences: 1 Open System Preferences on the Xserve, and then select Startup Disk. 2 If the lock icon is locked, click it, and then authenticate as a system administrator. 3 Select the startup disk with the AXD tools and click Restart. After you’re done using AXD tools, change the startup disk back to the volume you were previously using. Changing the Startup Disk Using the Command-Line Interface If your Xserve can load Mac OS X Server, you can use the command-line interface to change its startup disk. You can use the command-line to start up from internal volumes and connected portable storage device volumes. You can also change the startup disk of a remote server using the command-line interface. Remote login must be enabled on the remote server (enabled by default). You can enable remote login in the Sharing pane of System Preferences. When you change the startup disk using the command-line interface, you can’t select a startup disk with AXD EFI tools installed. To change the startup disk to the volume with AXD EFI tools installed, change the startup disk at startup. For more information, see “Changing the Startup Disk Temporarily at Startup” on page 16. You’ll need to be able authenticate as the root account to change the startup disk in the command-line interface. Note: The Terminal commands described in this task are case-sensitive and must be entered as described. To change the startup disk using the command-line interface: 1 Open Terminal (located in /Applications/Utilities). 2 If you want to connect to a remote server, enter the following in the Terminal window, and authenticate when requested: ssh username@serveraddress Replace username with the short name of a user who can authenticate as the root account on the server. Replace serveraddress with the URL, IP address, or host name of the server. 3 Enter the following, and authenticate as the root account when requested: 16 Chapter 3 Loading AXD Tools sudo bless -folder “/Volumes/volumename/System/Library/CoreServices” - setBoot Replace volumename with the name of the volume you want to start up from. When you’re done using AXD tools, change the startup disk back to the volume you were using previously. Changing the Startup Disk Using Apple Remote Desktop If you have Apple Remote Desktop, you can change the startup disk of remote computers to an internal volume or connected portable storage device volume. For information about using Apple Remote Desktop to set a computer’s startup disk, see Apple Remote Desktop Administrator’s Guide, located at: www.apple.com/server/documentation Changing the Startup Disk Temporarily at Startup If your Xserve has issues loading Mac OS X Server or doesn’t have Mac OS X Server installed, you can temporarily change the startup disk by pressing and holding a key while the Xserve is starting up. This method requires that you have a keyboard and mouse attached to the Xserve and that you can restart the Xserve. If you don’t have a keyboard and mouse attached to the Xserve, use the instructions in the next section, “Loading an AXD EFI Tools NetBoot Image Using the Xserve’s Front Panel.” If a firmware password is set, you can’t temporarily change the startup disk by pressing and holding the D or F1 keys. You can temporarily change the startup disk by pressing and holding the Option key but you must authenticate with the firmware password. For information about disabling the firmware password, see “Disabling the Firmware Password” on page 19. To temporarily change the startup disk at startup: 1 Restart the Xserve. 2 While the Xserve is restarting, press and hold the Option key until a list of volumes appears. If you’re asked to authenticate, enter the firmware password and click the Continue (right-arrow) button. If you have the Mac OS X Server Administration Tools disc inserted, you can start up using AXD EFI tools located on the disc by pressing and holding the D key instead of the Option key. If you want to load an AXD tools NetBoot image hosted on a NetBoot server, press and hold the F1 key instead of the Option key. Chapter 3 Loading AXD Tools 17 Both of these alternatives immediately load AXD EFI tools and bypass the list of volumes described in the next step. 3 If you loaded the list of volumes instead of immediately loading AXD tools, select the volume with AXD tools, and then click the arrow button to load it. The AXD EFI tools volume is listed as AXD EFI 3X102. After you’re done using AXD EFI tools, when you restart the Xserve, it starts up using its original startup volume. Loading an AXD EFI Tools NetBoot Image Using the Xserve’s Front Panel You can use the Xserve’s front panel buttons to load an AXD EFI tools disk image hosted by a NetBoot server. This technique is useful for situations where your Xserve:  Doesn’t have a monitor or keyboard attached  Doesn’t respond to keyboard input  Doesn’t have Mac OS X Server installed The Xserve must be on the same subnet as the NetBoot server hosting the AXD EFI tools disk image. If the Xserve’s EFI requires a password, you won’t be able to load a NetBoot image using the front panel. You’ll need to disable the firmware password before you can use the front panel. To disable the password, you must be able to load Mac OS X Server on the Xserve. To use the Xserve’s front panel to load an AXD EFI tools NetBoot image: 1 Turn off the Xserve. 2 Press and hold the system identifier button and press the on/standby button. 3 Continue holding the system identifier button until the top row of lights move right to left. Release the system identifier button. System identifier button On/standby button Top row of lights blink right to left, then left to right. 18 Chapter 3 Loading AXD Tools If the two rows of lights on the front panel blink once and the Xserve resumes its startup sequence, an firmware password is enabled. You’ll need to disable the password. For information about disabling the firmware password, see the next section, “Disabling the Firmware Password.” 4 When you release the system identifier button, the rightmost light in the bottom row should turn on. 5 Press the system identifier button again. The lights in the bottom row should now be moving right to left. 6 Press the button repeatedly until the leftmost light in the bottom row turns on. 7 When the leftmost light is on, press and hold the system identifier button until all the lights in the top row are on. Release the system identifier button. When you release the button, the Xserve loads the AXD EFI tools NetBoot disk image. After you’ve run AXD EFI tools, the Xserve starts up using its original startup volume when you restart. Both rows of lights blink once. Disable the firmware password. Bottom, rightmost light comes on. Bottom row of lights blink right to left. Bottom, leftmost light comes on. Top row of lights come on. Chapter 3 Loading AXD Tools 19 Disabling the Firmware Password If a firmware password is enabled, you can’t:  Load an AXD EFI tools NetBoot image using the Xserve’s front panel  Temporarily change the startup volume by pressing and holding F1 or D at startup If a firmware password is enabled and you try to temporarily change the startup volume by pressing and holding Option at startup, you must authenticate. To disable the firmware password: 1 Insert the Mac OS X Server Install disc. 2 Open Firmware Password Utility application (located in the Mac OS X Server Install disc in /Applications/Utilities). 3 In Firmware Password Utility, click Change. 4 Deselect “Require password to change firmware settings,” and click OK. Authenticate when asked. 5 Close Firmware Password Utility. 4 20 4 Using AXD Tools Before you can use AXD tools, make sure you’ve properly loaded the tools. For more information, see Chapter 3, “Loading AXD Tools,” on page 14. AXD Mac OS X tools and AXD EFI tools have different interfaces and functionality. This chapter describes how to use both AXD tools. Setting AXD to Host, Client, or Local Mode When AXD tools starts, AXD tools can enter one of three modes depending on whether:  You’re opening AXD EFI tools or AXD Mac OS X tools  Any of the computers on the same subnet are host computers  A host computer is directly connected  You’re logged in as root  You’re running AXD Mac OS X tools on a computer that isn’t an Intel-based Xserve The following table describes the three modes: Mode Description Automatically enters mode if Host The computer searches for Xserves that are on the same subnet and start AXD tools in remote mode. When one is found, the host computer controls the client Xserve’s AXD tools. You run AXD Mac OS X tools and either:  The computer isn’t an Intel-based Xserve.  You’re not logged in as root. Client The Xserve can be controlled by a host computer. You’re running AXD EFI tools and a host computer is on the same subnet or is directly connected. Local The Xserve runs all tests locally. You’re running AXD EFI tools and a host computer isn’t on the same subnet and isn’t directly connected. Chapter 4 Using AXD Tools 21 If you’re logged in as root on an Intel-based Xserve, and then you run AXD Mac OS X tools, you can choose which mode to enter. Remotely Testing a Client Xserve If you want to test a client Xserve, you must first load AXD tools on the host computer, set it to connect to a client Xserve, and then load the AXD tools on the client Xserve and set it to be a client of a remote host. The host computer must run AXD Mac OS X tools. The client Xserve can run AXD EFI tools or AXD Mac OS X tools. The available tests are based on which AXD tools the client Xserve is running. When you load AXD EFI tools, the Xserve first looks for a host computer. If it finds a host computer, the Xserve enters client mode. If it doesn’t find a host computer, the Xserve enters local mode. When you load AXD Mac OS X tools, the Xserve automatically becomes a host computer if either of the following are true:  You logged in to Mac OS X with an account that isn’t root.  You are running AXD Mac OS X tools on a computer that isn’t an Intel-based Xserve. If AXD Mac OS X tools doesn’t automatically become a host computer, it asks if it should connect to a client Xserve, be a client of a remote host, or run tests locally. To remotely test a client Xserve: 1 On the host computer, open AXD Mac OS X tools (located in /Applications). 2 If the host computer is an Intel-based Xserve and you’re logged in as root, when AXD opens, a dialog asks you to choose which mode to enter. Choose “Connect to remote Xserve” and click OK. If your computer isn’t an Intel-based Xserve, the dialog doesn’t appear, and AXD automatically enters host mode. 3 On the client Xserve, change the startup disk to a volume with AXD tools and restart it. You can also temporarily change the startup disk to either a volume with AXD tools on it or to an AXD tools NetBoot disk image when you start up the Xserve. For more information about how to change or temporarily change the startup volume, see Chapter 3, “Loading AXD Tools,” on page 14. 4 If you’re loading AXD Mac OS X tools, log in as root, and if AXD doesn’t open automatically, open AXD (located in /Applications). Choose “Client of a remote host,” and click OK. 5 If you’re loading AXD EFI tools, the Xserve automatically enters client mode. 22 Chapter 4 Using AXD Tools There are several ways to determine whether the host computer and client Xserve have established a successful connection:  The IP address field in the AXD window on the host computer should match the IP address assigned to the client Xserve.  The name of the AXD window on the host computer is “AXD remote log,” not “AXD local log.”  The log area of the client Xserve uses more of the AXD window. The Shut Down, Restart, and a few other buttons are removed. Testing the Local Xserve Using AXD EFI Tools To test the local Xserve, make sure none of the computers on the same subnet as the Xserve have loaded AXD Mac OS X tools in host mode. If a computer on the same subnet loaded AXD Mac OS X tools in host mode, the Xserve automatically enters client mode. To test the local Xserve using AXD EFI tools: m Restart the Xserve and press and hold a key, or use the Xserve’s front panel buttons to load the volume or NetBoot disk image with AXD EFI tools. For more information about how to temporarily change the startup volume while starting the computer, see Chapter 3, “Loading AXD Tools,” on page 14. When the AXD EFI tools loads and doesn’t find a host computer, it enters local mode. Testing the Local Xserve Using AXD Mac OS X Tools To test the local Xserve, you must log in as root. If you don’t log in as root, AXD Mac OS X tools automatically enters host mode. To test the local Xserve using AXD Mac OS X tools: 1 Change the startup disk of the Xserve to a volume with AXD Mac OS X tools, restart it, and log in as root. 2 If AXD Mac OS X tools doesn’t open automatically, open it (located in /Applications). 3 When AXD opens, choose “Local” from the dialog that appears and click OK. Using AXD EFI Tools For information about AXD EFI tools, see the following topics:  “Customizing AXD EFI Test Settings” on page 23  “Clearing the Test Log” on page 23  “Viewing the Hardware Profile” on page 23  “Shutting Down or Restarting the Xserve” on page 24 Chapter 4 Using AXD Tools 23 Customizing AXD EFI Test Settings You can customize AXD test settings in several ways by choosing which tests are run, whether to loop tests, and whether to stop or continue testing when an error occurs. To customize AXD EFI tools test settings: 1 In AXD EFI tools, select the test settings you want. 2 To run the test, click Test. Clearing the Test Log The test log contains all test messages that have occurred during the current AXD session. If you quit AXD, the log is cleared. To clear the test log without quitting AXD, click Clear Test Data. Viewing the Hardware Profile The hardware profile lists all hardware components in the Xserve. You can view the hardware profile by choosing Hardware Profile > Display Hardware Profile. To do this Do this Choose which tests are run In the Test Selections pane, do the following:  To select a test, select the checkbox next to the test.  To select a specific test within a category of tests, click the disclosure triangle next to the category, and then select individual tests.  To select all tests, click Select All.  To remove all tests, click Deselect All. Loop all selected tests In the Controls pane, do the following:  To loop all selected tests a specific number of times, select “Loop # times” and replace # with the number of times to loop.  To run all tests once, select “Loop # times” and replace # with the number 1.  To loop all tests for a specific amount of time, select “Loop for # hours and # minutes” and replace # with number of hours and minutes to loop. When the specified time is reached, the current loop must complete before the tests stop. For example, if one loop of your test set takes 2 hours to complete, and your specified time is 3 hours, AXD stops testing in 4 hours. (Instead of stopping at 3, it waits for the current test set loop to complete before stopping.) Change what to do when an error occurs In the Controls pane, do the following:  To stop testing when the first error occurs, select Stop On Error.  To continue testing when errors occur, choose Continue On Error. 24 Chapter 4 Using AXD Tools Shutting Down or Restarting the Xserve You can shut down or restart the Xserve in AXD EFI tools. To shut down or restart the Xserve, click Shut Down or Restart. Using AXD Mac OS X Tools For information about using AXD Mac OS X Tools, see the following topics:  “Customizing AXD Mac OS X Test Settings” on page 24  “Working With Test Groups” on page 25  “Viewing Logs” on page 26  “Shutting Down or Restarting the Xserve” on page 28  “Quitting AXD Mac OS X Tools While a Test is Running” on page 28 Customizing AXD Mac OS X Test Settings You can customize AXD test settings in several ways by choosing which tests are run, whether to loop tests, and whether to stop or continue testing when an error occurs. To customize AXD Mac OS X tools test settings: 1 In AXD Mac OS X tools, select the test settings you want. 2 To save your customized test settings for future use, in the Test Group pop-up menu, choose Save Current Group. Enter a name for the group and click OK. To do this Do this Choose which tests are run In the Test Selections list, do the following:  To select a test, select the checkbox next to the test.  To select a specific test within a category of tests, click the disclosure triangle next to the category, and then select individual tests.  To select all tests, click the Select All (+) button.  To remove all tests, click the Deselect All (–) button. Loop all selected tests Select “Loop tests by,” and then do the following:  To loop all selected tests a specific number of times, select Count and enter a number of times to loop.  To loop all selected tests for a specific amount of time, select Time and enter the number of hours and minutes to loop. When the specified time is reached, the current loop must complete before the tests stop. For example, if one loop of your test set takes 2 hours to complete and your specified time is 3 hours, AXD stops testing in 4 hours. (Instead of stopping at 3, it waits for the current test set loop to complete before stopping.) Change what to do when an error occurs In the On Error pop-up menu, do the following:  To stop testing when the first error occurs, choose Stop.  To continue testing when errors occur, choose Continue. Chapter 4 Using AXD Tools 25 For more information, see the next section, “Working With Test Groups.” 3 To run the test, click Start Testing. Working With Test Groups You can create test groups based on your customized test settings. These are similar to templates because they allow you to reuse your test settings without having to change each setting individually. After choosing a test group, you can still change its settings. There are two sets of test groups, which change based on the type of AXD tools run by the Xserve. If you’re testing a client Xserve that’s running AXD EFI tools, the test groups are different than if you’re testing an Xserve running AXD Mac OS X tools. When you create or delete a test group, that test group is created or deleted in the set of test groups you’re currently using. For example, if you create a test group for Xserves running AXD Mac OS X tools, it doesn’t become available for Xserves running AXD EFI tools. There are several test groups included with AXD. These test groups stop when an error occurs and aren’t looped. You can also export a test group to a file. By exporting a test group, you can use that file to re-create that test group on other AXD installations. For example, if you install AXD Mac OS X tools on several Xserves, you can copy the test group file to each of those Xserves, making identical tests available without having to manually create a new test group. To work with test groups: m In AXD Mac OS X tools, choose the options you want. Tool used Test group Test selections AXD Mac OS X tools Default All memory, USB port, fan, hard drive, sensor, and power supply tests. Ethernet MAC Address verification and ROM checksum verification. AXD Mac OS X tools Quick Test All sensor tests. AXD EFI tools Default All memory, boot ROM, processor, fan, video controller, sensor, Ethernet controller, hard drive, and power supply tests. AXD EFI tools Quick Test Extended memory test P007 and all sensor. To do this Do this Use a test group In the Test Group pop-up menu, choose a test group. Create a new test group In the Test Group pop-up menu, choose Save Current Group. Enter a name for the group and click OK. Delete a test group In the Test Group pop-up menu, choose a test group. Choose Edit > Delete Test Group. 26 Chapter 4 Using AXD Tools Viewing Logs You can view the following types of logs in AXD Mac OS X tools: You can also view logs stored on other volumes. This can help you diagnose issues that you run into while you’re not using AXD. When you view logs in AXD Mac OS X tools, AXD shows you whether it’s able to load the log with a colored circle next to the log name. To view logs: 1 Open AXD Mac OS X tools. 2 If tests are currently running, wait for them to complete or stop them. If tests are running, you can view only the test log. 3 Do any the following: Export a test group Choose File > Export Test Group, choose a location, name the test group, and click Save. Import a test group Choose File > Open, select an .axdconfig file, and click Open. To do this Do this Log type Description Test All messages from tests run in the current AXD Mac OS X tools session Hardware Info Listing and description of all installed hardware System All of the logs that are also available in System Profiler (located in /Applications/Utilities) Color Status No circle You haven’t loaded the log during this AXD session, or the log hasn’t been created yet. Yellow The log didn’t load. This usually occurs when there isn’t any data in the log. Green The log loaded. To do this Do this Choose a different volume to view logs on Choose Logs > View Different System’s Logs, choose a volume from the “Volume to gather system logs from” pop-up menu, and click OK. View logs in the current or chosen volume Choose a log from the “View log” pop-up menu. Search for specific text within the log Enter text in the search field. When you press Return, matching text is highlighted in the log area. Chapter 4 Using AXD Tools 27 Setting Log Preferences You can set up log preferences so that the AXD test logs are automatically saved to a file at a location you choose. AXD test logs are created every time you start a new AXD session. When AXD Mac OS X tools saves a log, it overwrites any existing log of the same name. Log preferences can automatically customize the name of the log file so that the log files aren’t overwritten. If you don’t use any of the naming options, the log is saved as: AXD_mode_autosave_log.txt If you are testing locally, mode is replaced by “local.” If you are testing remotely, mode is replaced by “remote.” If you use all of the naming options, the log is saved as: AXD_mode_autosave_log_date_ethernetaddress uniquename.txt The appended values use this format: The unique name will be appended only if a file of the same name exists. A log for the local Xserve with all naming options enabled (using the example values) is saved as: AXD_local_autosave_log_19_Jun_2007_01_23_45_67_89_ab - 1.txt To set log preferences: 1 In AXD Mac OS X tools, choose AXD > Preferences. 2 To automatically save test logs, select “Auto-save test log.” If you don’t select this option, you can’t perform the steps that follow. 3 To choose the location of the automatically saved log, click “Choose auto-save location,” select a location, and then click Open. Clear logs Choose Logs > Clear current Log or choose Logs > Clear All Logs. The name of the currently viewed log replaces current. Refresh logs Choose Logs > Refresh Current Log or choose Logs > Refresh All Information Logs. To do this Do this Value Format Example date DD_Mon_Year 15_Jul_2007 ethernetaddress ##_##_##_##_##_## 01_23_45_67_89_ab uniquename - # - 1 28 Chapter 4 Using AXD Tools 4 Configure the test log naming options. Shutting Down or Restarting the Xserve If you’re running AXD Mac OS X tools on the local Xserve, or on a host computer, you can shut down or restart the Xserve. However, if the Xserve is in client mode, you can’t shut down or restart the Xserve locally. To shut down or restart the Xserve, click Shut Down or Restart. Quitting AXD Mac OS X Tools While a Test is Running If you try to quit AXD Mac OS X tools while a test is running, you won’t be able to print or save any logs from the current AXD session. Make sure you print or save any critical logs before quitting. Instead of quitting in the middle of a test, you can stop the current test, print or save logs, and then quit. To do this Do this Ensure newly created log files don’t overwrite old log files Select “Use unique name.” Append the Ethernet address of the Xserve that’s being tested Select “Append Ethernet Address.” Append the run time and date of the session’s first tests Select “Append time and date.” 29 Appendix AXD Tools Test Reference This reference describes all the tests available in AXD and provides estimates for how long the tests take to complete. The types of tests available depend on if you’re using AXD EFI tools or AXD Mac OS X tools. Comparison of Available Tests The following table compares the tests available by component, depending on if you’re using AXD EFI tools or AXD Mac OS X tools. For more information about the specific tests available for each component, see “AXD EFI Tools Tests” on page 30 and “AXD Mac OS X Tests” on page 35. A % signifies that a test is available, while a blank entry signifies that there are no available tests: Component tested Available in AXD EFI tools Available in AXD Mac OS X tools Notes Boot ROM % Ethernet controller % % Different tests are available depending on the tool. Fan % % Different tests are available depending on the tool. Hard drive % % Different tests are available depending on the tool. Memory (simple) % Tests only the first 2.5 GB of memory. Memory (multicore) % % Tests the first 2.5 GB of memory but using all available CPU cores. Memory (extended) % Tests all memory. Memory (SMBIOS) % % Tests if memory has been mapped out correctly. 30 Appendix AXD Tools Test Reference AXD EFI Tools Tests These tests are available if your Xserve is running AXD EFI tools. Boot ROM Tests Ethernet Controller Tests Fan Tests Memory (ECC) % Tests for memory ECC errors. This test clears the error count, so it should be run first (before running any other memory tests). Power supply % % Sensor % % AXD Mac OS X tools has an additional sensor test. USB port % % Video controller % % AXD Mac OS X tools have more tests than AXD EFI tools. Component tested Available in AXD EFI tools Available in AXD Mac OS X tools Notes Test Estimated completion time Description Boot ROM Checksum 1 second Verifies the Boot ROM checksum Boot ROM FW GUID MAC Addr Checksum 1 second Verifies the Boot ROM FireWire GUID MAC address checksum Test Estimated completion time Description MAC Address Verification 1 second Verifies MAC address isn’t all FFs or 00s PCI-E 4 LinkWidth Verification 1 second Verifies PCI link width is 4 Test Estimated completion time Description Quick Motor 1 second Verifies that the fan motor can be turned on. Reads the set point of the motor and verifies that the motor is spinning within 20% of the set speed. Appendix AXD Tools Test Reference 31 Hard Drive Tests Memory (Simple) Tests Simple memory tests test the first 2.5 GB of memory. To test all memory, run extended memory tests. Even though simple memory tests don’t test all memory, run these tests to detect intermittent memory issues. In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are grouped under Memory tests. Note: The time required to complete memory tests correlates to the size of memory being tested. These estimates are based on testing 1 GB of memory. Long Motor 15 seconds Verifies that the fan motor can reach speeds of within 10% of its high and low limits in 15 seconds. While the test is running, all fans that aren’t being tested are left under system control. Long Motor Fans Full 15 seconds Verifies that the fan motor can reach speeds of within 10% of its high and low limits in 15 seconds. While the test is running, all fans that aren’t being tested are set to their maximum speed. After the test completes, the system regains control of the fan speed. Test Estimated completion time Description Test Estimated completion time Description Full Read 30 minutes for an 80 GB drive; 4 hours for a 750 GB drive Performs a DMA full-read scan at 1250 RPM. This checks the entire hard drive for slow-read failures. Test Estimated completion time Description Address as Data 5 seconds Tests memory using the memory address as data Patterns 25 seconds Tests memory using different data patterns Marching Ones and Zeros 15 seconds Tests memory by walking 1s and 0s up and down memory Knaizuk Hartmann 10 seconds Tests memory using this algorithm MOD3 30 seconds Tests memory using this algorithm Van de Goor’s March U 2 minutes Tests memory using this algorithm Random Values 15 seconds Uses pseudo-random values 32 Appendix AXD Tools Test Reference Memory (Multicore) Tests Multicore memory tests test the first 2.5 GB of memory using all available CPU cores. In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are grouped under Memory tests. Note: The time required to complete memory tests correlates to the size of memory being tested. These estimates are based on testing 1 GB of memory. Memory (Extended) Tests Extended memory tests test all available memory. Block Checkerboard 32 10 seconds Alternates 32-bit words with all 1s and all 0s, and then with all 0s and all 1s Bit Checkerboard 32 10 seconds Alternates bits with all 1s and all 0s, and then with all 0s and all 1s Sequential Byte Block 32 14 minutes Fills all bytes sequentially with patterns starting at 0x00 and ending at 0xFF Walking One 32 5 minutes Walks 1s up and down memory Walking Zero 32 5 minutes Walks 0s up and down memory Walking Spread Bit 32 5 minutes Walks 0b01 up and then walks 0b10 down memory Walking Bit Flip 32 5 minutes Alternates words with walking 1 and walking 0, and then alternates with walking 0 and walking 1 Test Estimated completion time Description Test Estimated completion time Description MP Block Checkerboard 32 5 seconds Alternates 32-bit words with all 1s and all 0s, and then with all 0s and all 1s MP Bit Checkerboard 32 5 seconds Alternates bits with all 1s and all 0s, and then with all 0s and all 1s MP Sequential Byte Block 32 8 minutes Fills all bytes sequentially with patterns starting at 0x00 and ending at 0xFF MP Walking One 32 2 minutes Walks 1s up and down memory MP Walking Zero 32 2 minutes Walks 0s up and down memory MP Walking Spread Bit 32 2 minutes Walks 0b01 up and then walks 0b10 down memory MP Walking Bit Flip 32 2 minutes Alternates words with walking 1 and walking 0, and then alternates words with walking 0 and walking 1 Appendix AXD Tools Test Reference 33 In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are grouped under Memory tests. Note: The time required to complete memory tests correlates to the size of memory being tested. These estimates are based on testing 1 GB of memory Memory (SMBIOS) Tests SMBIOS tests check to see if bad memory was detected and mapped out at Xserve startup. When the Xserve tests memory at start up, it automatically maps out bad memory. Mac OS X doesn’t see this mapped out memory, so the non-SMBIOS memory tests don’t test it. The SMBIOS test reports these mapped out DIMMS. In AXD EFI tools, all memory tests (simple, multicore, extended, and SMBIOS) are grouped under Memory tests. Because memory is mapped only once, you should run this test once and not loop it. Test Estimated completion time Description Extended Memory Test P00F 5 seconds Tests memory using pattern 0. This fails if an error occurs. Extended Memory Test P01F 5 seconds Tests memory using pattern 1. This fails if an error occurs. Extended Memory Test P02F 5 seconds Tests memory using pattern 2. This fails if an error occurs. Extended Memory Test P03F 5 seconds Tests memory using pattern 3. This fails if an error occurs. Extended Memory Test P04F 5 seconds Tests memory using pattern 4. This fails if an error occurs. Extended Memory Test P05F 5 seconds Tests memory using pattern 5. This fails if an error occurs. Extended Memory Test P06F 5 seconds Tests memory using pattern 6. This fails if an error occurs. Extended Memory Test P07F 5 seconds Tests memory using pattern 7. This fails if an error occurs. Test Estimated completion time Description SMBIOS Self-Test 1 second Checks the SMBIOS tables for 32-bit errors (type 18) and 64-bit errors (type 33). Also verifies that the mapped-in DIMM size is appropriate for the slot it’s inserted into. If there’s a size mismatch, an error occurs. 34 Appendix AXD Tools Test Reference Power Supply Tests Processor Tests Sensor Tests USB Tests Connect USB devices before running USB tests. Video Controller Tests Test Estimated completion time Description Good Bit 1 second Checks if the power supply’s good bit is set. If it’s not set, this could indicate that the power supply isn’t seated well, is bad, or that there’s no AC connected. Quick 5 seconds This is available only if you have more than one power supply. This turns off the redundant power supplies so that only one power supply is used. Test Estimated completion time Description L1 Cache Test 1 second Verifies that the L1 cache is good on all processor cores Test Estimated completion time Description Sensor Reads 1 second Verifies that the sensor reads are within the preset sensor limits Test Estimated completion time Description Presence 1 second Verifies that a USB device is connected Test Estimated completion time Description PCI-E 8 LinkWidth Verification 1 second Verifies PCI link width is 8 Framebuffer Address as Data 2 minutes Tests the framebuffer using framebuffer addresses as data Appendix AXD Tools Test Reference 35 AXD Mac OS X Tests These tests are available if your Xserve is running AXD Mac OS X tools. Ethernet Controller Tests Data loop tests can add to network traffic. Consider disconnecting from the network before running the data loop tests. Hard Drive Tests Memory (Simple) Tests Simple memory tests test the first 2.5 GB of memory. All multicore memory tests listed in AXD EFI tools are run. Even though simple memory tests don’t test all memory, run these tests to detect intermittent memory issues. Note: The time required to complete memory tests correlates to the size of memory being tested. These estimates are based on testing 1 GB of memory. Test Estimated completion time Description MAC Address Verification 1 second Verifies MAC address is not all FFs or 00s Ethernet ROM Checksum 1 second Verifies Ethernet ROM checksum is valid MAC Data Loop 1 minute Verifies that there’s no data mismatch between sent and received data while looping within the MAC (a sublayer of the datalink layer in the ISO network reference model) PHY Data Loop 1 minute Verifies that there’s no data mismatch between sent and received data while looping within the physical transport medium (PHY) Test Estimated completion time Description Threaded Surface Scan 30 minutes for an 80 GB drive; 4 hours for a 750 GB drive Scans the entire surface of a hard drive Test Estimated completion time Description Simple Test 12 minutes Runs all multicore memory tests listed in AXD EFI tools 36 Appendix AXD Tools Test Reference Memory (SMBIOS) Tests SMBIOS tests check to see if memory has been mapped out correctly. When the Xserve tests memory at startup, it automatically maps out bad memory. Mac OS X doesn’t see this mapped out memory, so the non-SMBIOS memory tests don’t test it. The SMBIOS test reports these mapped out DIMMS. Because memory is mapped only once, you should run this test once and not loop it. Memory (ECC) Tests When an ECC error occurs, memory catches the problem and and fixes it. When you run other memory tests, the tests don’t realize an error has occurred. The ECC tests detect these memory fixes and report them. After you run ECC tests, the results are reset, so running the ECC tests again might result in success even though the previous test resulted in failure. The ECC memory test should be run before running any other memory tests, catching any ECC errors generated by the system memory tests that were run at startup. After you run other memory tests, you should also run the ECC tests once more to see if the memory tests have trigged any ECC errors. Fan Tests Test Estimated completion time Description SMBIOS Self-Test 1 second Checks the SMBIOS tables for 32-bit errors (type 18) and 64-bit errors (type 33). Also verifies that the mapped-in DIMM size is appropriate for the slot it’s inserted into. If there’s a size mismatch, an error occurs. Test Estimated completion time Description ECC Error Count 1 second Reports the number of ECC errors, and then resets the count Test Estimated completion time Description Verify Motor +/– 10%, 10 Reads High, 20 Low 2 minutes Verifies the minimum and maximum fan speeds. Sets the minimum and maximum builds within 10% of the threshold and then does 10 consecutive reads at the maximum and 20 at the minimum. Verify Motor Automatically +/ – 15% 2 minutes Verifies the minimum and maximum fan speeds. Sets the minimum and maximum builds within 15% of the threshold. Appendix AXD Tools Test Reference 37 Power Supply Tests Sensor Tests USB Tests Connect USB devices before running USB tests. Video Controller Tests To run these tests, a display must be attached to any graphics cards being tested. The displays can’t be asleep. For example, if you have two graphics cards, they both need displays attached and both displays must not be asleep. Test Estimated completion time Description Good Bit 1 second Checks if the power supply’s good bit is set. If it’s not set, this could indicate that the power supply isn’t seated well, is bad, or that there’s no AC connected. Quick 5 seconds This is available only if you have more than one power supply. This turns off the redundant power supplies so that only one is run on. Test Estimated completion time Description Sensor Reads 1 second Verifies that the sensor reads are within the preset sensor limits Test Estimated completion time Description Presence 1 second Verifies that a USB device is connected Test Estimated completion time Description OpenGL Point 10 seconds Verifies video controller using a 2D point test OpenGL Line 10 seconds Verifies video controller using a 2D line test OpenGL Triangle 10 seconds Verifies video controller using a 2D triangle test OpenGL Quad 10 seconds Verifies video controller using a 2D quadrilateral test OpenGL Quad with Texture 10 seconds Verifies video controller using a 2D textured quadrilateral test OpenGL Rectangle 10 seconds Verifies video controller using a 2D rectangle test OpenGL Cube 10 seconds Verifies video controller using a 3D cube test 38 Appendix AXD Tools Test Reference iPod mini User’s Guide 2 Contents 3 Quick Start 5 What You Need to Get Started 8 Four Steps to Playing Music on iPod mini 12 Using iPod mini 12 Using iPod mini Controls 18 Connecting and Disconnecting iPod mini 22 Organizing and Transferring Your Music 32 Adjusting iPod mini Settings 36 Using the Extra Features of Your iPod mini 42 Charging the iPod mini Battery 45 iPod mini Accessories 49 Tips and Troubleshooting 56 Learning More, Service, and Support 58 Safety and Cleaning 3 1 Quick Start Congratulations on purchasing your iPod mini. Read this section to get started using iPod mini quickly. iPod mini works with the iTunes music software included on the iPod CD. Use iTunes to import songs from your CD or digital music collection to your computer, or use the iTunes Music Store (available in some countries only) to purchase songs and download them to your computer. Then organize the songs and transfer them to iPod mini. 4 Quick Start Learning to Use iPod mini Read this chapter to set up iPod mini and get started playing music quickly. To learn more about playing music on iPod mini and using some of its other features, see “Using iPod mini” on page 12. iPod Tutorial For an interactive tutorial on transferring music to and playing music on iPod (available in some countries only), go to www.apple.com/support/ipod. iPod mini Features iPod mini is a music player and much more. With iPod mini, you can: • Store thousands of songs from your CD or digital music collection, for listening on the go • Listen to audiobooks purchased from the iTunes Music Store or audible.com • Listen to podcasts, downloadable radio-style shows delivered over the Internet • Arrange your music in On-The-Go playlists • Store files and other data, using iPod mini as an external hard disk • Change equalizer settings to make music sound better • Store and synchronize contact, calendar, and to-do list information from your computer • Store text notes • Set an alarm • Play games, and more Quick Start 5 What You Need to Get Started To use iPod mini with a Macintosh, you must have: • A Macintosh with: • Built-in high-power USB 2.0 • Or built in FireWire and the optional iPod Dock Connector to FireWire Cable Note: The iPod Dock Connector to FireWire Cable is available for purchase at www.ipod.com/store. • Mac OS X v10.2.8, or Mac OS X v10.3.4 or later • iTunes 4.7 or later (included on the iPod CD) To be sure you have the latest version of iTunes, go to www.apple.com/itunes. • iPod mini software (included on the iPod CD) High-power USB 2.0 port 6-pin FireWire 400 port 6 Quick Start To use iPod mini with a Windows PC, you must have: • A Windows PC with: • Built-in high-power USB 2.0 (or a high-power USB 2.0 card installed) • Or built-in FireWire (or a FireWire card installed) and the optional iPod Dock Connector to FireWire Cable For more information about compatible FireWire and USB cards, go to www.apple.com/ipod. Note: The iPod Dock Connector to FireWire Cable is available for purchase at www.ipod.com/store. • Windows 2000 with Service Pack 4 or later, or Windows XP Home or Professional • iTunes 4.7 or later (included on the iPod CD) To be sure you have the latest version of iTunes, go to www.apple.com/itunes. • iPod mini software (included on the iPod CD) High-power USB 2.0 port 6-pin FireWire 400 port (IEEE 1394) Quick Start 7 Your iPod mini includes the following components: iPod mini Belt Clip Apple Earphones iPod Dock Connector to USB 2.0 Cable 8 Quick Start Four Steps to Playing Music on iPod mini To set up iPod mini, you install software from the iPod CD, and import songs from your music CD collection or purchase songs from the iTunes Music Store (available in some countries only). Then you transfer the songs to iPod mini as the battery charges, then start listening to music. Step 1: Install the Software Insert the iPod CD into your computer and install iTunes and the iPod mini software. Step 2: Import Music to Your Computer Complete this step if you haven’t already transferred music to your computer. You can import music from your audio CDs, or if you have an Internet connection, you can buy music online and download it to your computer using the iTunes Music Store. You can browse over a million songs and listen to a 30-second preview of any song. The iTunes Music Store is available in some countries only. To import music to your computer from an audio CD: 1 Insert a CD into your computer. iTunes opens automatically and the CD is selected in the iTunes Source list. 2 Uncheck songs you don’t want to transfer, then click Import. 3 Repeat for any other CDs with songs you’d like to import. To buy music online: 1 Open iTunes and click Music Store in the Source list. 2 Click the Account button and follow the onscreen instructions to set up an account or enter your existing Apple Account or America Online (AOL) account information (this option is available in some countries only). Quick Start 9 Step 3: Connect iPod mini to Charge the Battery and Transfer Music Connect iPod mini to a high-power USB 2.0 port on your computer using the included iPod Dock Connector to USB 2.0 Cable. When you connect iPod mini to your computer, iTunes opens. Follow the simple onscreen instructions to transfer songs and playlists to iPod mini. To charge the battery: When iPod mini is connected to your computer, the battery charges. Before disconnecting iPod mini the first time, let the battery charge for at least an hour. If you are connecting to a high-power USB 2.0 port, use the iPod Dock Connector to USB 2.0 Cable. If you are connecting to a FireWire 400 port, use an iPod Dock Connector to FireWire Cable (available separately). 10 Quick Start Important: Be sure to connect iPod mini to a high-power USB 2.0 port directly on your computer, or to a powered USB 2.0 hub that’s connected to your computer. iPod mini won’t work if it’s connected to a low-power USB 2.0 port, such as those sometimes found on keyboards or other peripherals. If the battery icon in the upper-right corner of the iPod mini screen shows a lightning bolt, iPod mini is connected to a high-power USB 2.0 port and the battery is charging (see page 42 for more information). If you’re using a portable or laptop computer with a high-power USB 2.0 port, connect the computer to a power outlet before connecting iPod mini for best results. If your computer doesn’t have a high-power USB 2.0 port, but has a 6-pin FireWire 400 (IEEE 1394) port, you can connect iPod mini using the optional iPod Dock Connector to FireWire Cable, available at www.ipod.com/store. If your Windows PC doesn’t have a high-power USB 2.0 port or a 6-pin FireWire 400 (IEEE 1394) port, you can purchase and install a USB 2.0 card or a FireWire card. For more information on cables and compatible USB and FireWire cards, go to www.apple.com/ipod. Quick Start 11 Step 4: Play Music When the song transfer is complete and you’re ready to disconnect iPod mini, squeeze both sides of the Dock connector to disconnect the cable from iPod mini. Then use the Click Wheel and Select button (in the center of iPod mini) to browse for a song. Press the Play or Select button and enjoy! To Learn More Read the next chapter to learn more about using the Click Wheel and the other iPod mini controls, transferring music to and managing music on iPod mini, using other features of iPod mini, charging the battery, and using iPod mini accessories. 12 1 Using iPod mini Read this section to learn about using iPod mini controls, transferring music, charging the battery, and using the extra features of your iPod mini. Using iPod mini Controls Press any button to turn on iPod mini. The main menu appears. Use the Click Wheel and Select button to navigate through onscreen menus, play songs, change settings, and view information. Move your thumb lightly around the Click Wheel to highlight a menu item. Press the Select button to select the item. Press Menu on the Click Wheel to go back to the previous menu. Using iPod mini 13 Hold switch Menu button Previous/Rewind button Click Wheel Apple Earphones Dock connector port Select button Next/Fast-forward button Play/Pause button iPod Remote port Headphones port 14 Using iPod mini iPod mini Controls Reset iPod mini (For use during troubleshooting) Toggle the Hold switch (set it to Hold, then turn it off again). Then press the Menu and Select buttons simultaneously for about 6 seconds, until the Apple logo appears. Turn on iPod mini Press any button. Turn off iPod mini Press and hold Play/Pause. Turn the backlight on or off Press and hold Menu or select Backlight from the main menu. Select a menu item Scroll to the item and press the Select button. Go back to the previous menu Press Menu. Browse for a song Select Music from the main menu. Play a song Highlight the song and press the Select or Play/Pause button. iPod mini must be disconnected from your computer to play songs. Play all the songs in a list Highlight the list title (an album title, or the title of a playlist, for example) and press Play/Pause. Change the volume From the Now Playing screen, use the Click Wheel. You can also use the optional iPod Remote (available at www.ipod.com/store) from any screen. Pause a song Press Play/Pause when no song or list is highlighted. Disable the iPod mini buttons (So you don’t press them accidentally) Set the Hold switch to Hold (an orange bar appears). Using iPod mini 15 Play songs in random order From the main menu, select Shuffle Songs. Skip to any point in a song From the Now Playing screen, press the Select button to show the scrubber bar. Then scroll to any point in the song. Skip to the next song Press Next/Fast-forward. Start a song over Press Previous/Rewind. Play the previous song Press Previous/Rewind twice. Fast-forward Press and hold Next/Fast-forward. Rewind Press and hold Previous/Rewind. Add a song to the On-The-Go playlist Highlight a song, then press and hold the Select button until the song title flashes. Rate a song From the Now Playing screen, press the Select button twice. Then use the Click Wheel to choose a rating. iPod mini Controls 16 Using iPod mini Disabling iPod mini Buttons Using the Hold Switch If you’re carrying iPod mini in your pocket and you don’t want to press the buttons or turn it on accidentally, you can make the buttons inactive. n Set the Hold switch to Hold. Slide the switch toward the center (so you can see the orange stripe) to disable the controls. Using iPod mini 17 Making Playlists on iPod mini You can set iPod mini to play the songs you want in the order you want. When you create a list of songs on your iPod mini, the songs appear in an On-The-Go playlist. To create an On-The-Go playlist: 1 Highlight a song and press and hold the Select button until the song title flashes. 2 Repeat step 1 for other songs you want to add. 3 Select Music > Playlists > On-The-Go to view your list of songs. You can also queue entire lists of songs at once. For example, to queue an album, highlight the album title and press and hold the Select button until the album title flashes. To play songs in the On-The-Go playlist: n Select Music > Playlists > On-The-Go and select a song. To remove a song from the On-The-Go playlist: n Highlight a song in the playlist, and hold down the Select button until the song title flashes. To clear the entire On-The-Go playlist: n Select Music > Playlists > On-The-Go > Clear Playlist. To save On-The-Go playlists on your iPod mini: n Select Music > Playlists > On-The-Go > Save Playlist > Save Playlist. The first playlist is saved as “New Playlist 1” in the Playlists menu. The On-The-Go playlist is cleared. You can save as many On-The-Go playlists as you like. 18 Using iPod mini To transfer On-The-Go playlists to your computer: n If iPod mini is set to transfer songs automatically (see page 26), and you create an On-The-Go playlist, the playlist automatically transfers to iTunes when you connect iPod mini. You see the new On-The-Go playlist in the iTunes Source list. Rating Songs You can assign a rating to a song (from 1 to 5 stars) to indicate how much you like it. You can use song ratings to help you create playlists automatically in iTunes (see “About Smart Playlists” on page 26). To rate a song: 1 Start playing the song. 2 From the Now Playing screen, press the Select button twice. 3 Use the Click Wheel to select a rating. Connecting and Disconnecting iPod mini You connect iPod mini to your computer to transfer and manage music, and, in most cases, to charge the battery. To connect iPod mini to your computer: n Plug the included iPod Dock Connector to USB 2.0 Cable in to a high-power USB 2.0 port on your computer, then connect the other end to iPod mini. n Or, if you have an iPod mini Dock (see page 21), connect the cable to a high-power USB 2.0 port on your computer and connect the other end to the Dock. Then put iPod mini in the Dock. Using iPod mini 19 Note: If your computer doesn’t have a USB 2.0 port but has a FireWire 400 (IEEE 1394) port, you can use an iPod Dock Connector to FireWire Cable (available for purchase at www.ipod.com/store). By default, iPod mini imports songs automatically when you connect it to your computer. When this automatic transfer is done, you can disconnect iPod mini. If you connect iPod mini to a different computer and it is set to transfer songs automatically, iTunes prompts you before transferring any music. Disconnecting iPod mini You shouldn’t disconnect iPod mini while music is being transferred. You can easily see if it’s OK to disconnect iPod mini by looking at the screen. If you set iPod mini to transfer songs manually (see page 27) or enable iPod mini for use as a hard disk (see page 36), you must eject iPod mini before disconnecting it. If you see the main menu or a large battery icon, you can disconnect iPod mini from your computer. If you see this message, you must eject iPod mini before disconnecting it from your computer. 20 Using iPod mini To eject iPod mini: n Select iPod mini in the iTunes Source list and click the Eject button. If you’re using a Mac, you can also eject iPod mini by dragging the iPod mini icon on the desktop to the Trash. If you’re using a Windows PC, you can eject iPod mini by clicking the Safely Remove Hardware icon in the Windows system tray and selecting your iPod mini. To disconnect iPod mini: • If iPod mini is connected to an iPod cable, squeeze both sides of the Dock connector to disconnect the cable from iPod mini. • If iPod mini is in the Dock, simply remove it. Important: Don’t disconnect iPod mini if you see the “Do not disconnect” message. You could damage files on iPod mini. If you see this message, you must eject iPod mini before disconnecting it. Eject button Using iPod mini 21 Connecting iPod mini Using the iPod mini Dock (Available Separately) The iPod mini Dock holds iPod mini upright as it charges or transfers music. Connect the Dock to your computer using the iPod Dock Connector to USB 2.0 Cable, then put iPod mini in the Dock. Using the iPod mini Dock, you can play music from iPod mini over external powered speakers or a home stereo. You need an audio cable with a standard 3.5 millimeter stereo miniplug (many external speakers have this type of cable attached). 22 Using iPod mini To play music from iPod mini using the Dock: 1 Place iPod mini in the Dock. 2 Connect the speakers or stereo to the Dock Line Out port using an audio cable with a 3.5 millimeter stereo miniplug. 3 Use the iPod mini controls to play a song. When the Dock is connected to an external audio source, use the volume controls on the external source to change the volume. Organizing and Transferring Your Music For instructions for getting started playing music on iPod mini, see “Four Steps to Playing Music on iPod mini” on page 8. Read on for more information about organizing and transferring your music. Line Out port iPod connector Using iPod mini 23 About iTunes iTunes is the software application you use to manage the music on your computer and transfer music to iPod mini. When you connect iPod mini to your computer, iTunes opens automatically. Here are some of the things you can do with iTunes: • Purchase and download songs and audiobooks from the iTunes Music Store • Listen to CDs and digital music • Add music from CDs to your music library, so you don’t need to have the CD in the drive to play music • Make your own CDs (if your computer has a CD burner) • Publish your playlists to the iTunes Music Store • Listen to podcasts, downloadable radio-style shows delivered over the Internet • Create dynamic “Party Shuffle” playlists • Listen to Internet radio stations This guide explains how to transfer songs to iPod mini using iTunes and manage songs on iPod mini. For information about using the other features of iTunes, open iTunes and choose Help > iTunes and Music Store Help. 24 Using iPod mini About the iTunes Music Store Using iTunes, you can preview, purchase, and download your favorite songs from the iTunes Music Store (available in some countries only). There are over a million available for purchase. You can use an Apple Account to purchase songs from the music store, or if you have an America Online (AOL) account, you can use that (this option is available in some countries only). To browse for and purchase music: 1 Open iTunes and click Music Store in the Source list. 2 Click the Account button and follow the onscreen instructions to set up an account or enter your existing Apple Account or AOL account information. You can only have music from five different Music Store accounts on one iPod mini. For more information about the iTunes Music Store, open iTunes and choose Help > iTunes and Music Store Help. Audio File Formats Supported by iPod mini • AAC (M4A, M4B, M4P) (up to 320 Kbps) • Apple Lossless (a high-quality compressed format, available using iTunes 4.5 or later) • MP3 (up to 320 Kbps) • MP3 Variable Bit Rate (VBR) • WAV • AA (audible.com spoken word, formats 2, 3, and 4) • AIFF Using iPod mini 25 A song encoded using Apple Lossless format has full CD-quality sound, but takes up only about half the amount of space as a song encoded using AIFF or WAV format. The same song encoded in AAC or MP3 format takes up even less space. When you import music from a CD using iTunes, it is converted to AAC format by default. If you are using a Windows PC, you can convert nonprotected WMA files to AAC or MP3 format. This can be useful if you have a library of music encoded in WMA format. For more information, open iTunes and choose Help > iTunes and Music Store Help. iPod mini does not support WMA, MPEG Layer 1, MPEG Layer 2 audio files, or audible.com format 1. About Playlists Using iTunes, you can organize songs into playlists. For example, you can create a playlist with songs to listen to while exercising or with songs for a particular mood. You can create as many playlists as you like using any of the songs in your computer’s music library. Putting a song in a playlist doesn’t remove it from the library. When you connect and update iPod mini, the playlists are transferred to iPod mini. To browse through playlists, select Music > Playlists on iPod mini. 26 Using iPod mini About Smart Playlists Using iTunes, you can automatically create customized Smart Playlists from the songs in your library. You can create a Smart Playlist that includes only certain genres of music, songs by certain artists, or songs that match particular criteria. For example, you could create a playlist that’s no more than 3 gigabytes (GB) in size and includes only songs you have rated 3 stars or higher (see “Rating Songs” on page 18). After you create a Smart Playlist, any songs on iPod mini that meet the Smart Playlist’s criteria are automatically added to the Smart Playlist. Creating Playlists on Your Computer To create a playlist: n In iTunes, click the Add (+) button and type a name for the playlist, then drag songs from the library or another playlist to the new playlist. To create a Smart Playlist: n In iTunes, choose File > New Smart Playlist and choose the criteria for your playlist. Any songs from your library that match the criteria you choose are automatically added to the playlist. Transferring Songs and Playlists to iPod mini Automatically By default, iPod mini updates automatically when you connect it to your computer. iTunes updates the iPod mini music library to match the songs and playlists in your computer’s music library, transferring new songs to iPod mini and deleting songs from iPod mini that aren’t in your music library. You can set iPod mini to transfer only certain songs in your iTunes music library. This is useful if you have more music on your computer than will fit on your iPod mini. Using iPod mini 27 To update iPod mini with only certain songs: 1 In iTunes, check the boxes next to songs you want to transfer (by default, all songs are checked). 2 Select iPod mini in the iTunes Source list and click the Options button. 3 Select “Only update checked songs.” To set iPod mini to update only selected playlists: 1 In iTunes, select iPod mini in the Source list and click the Options button. 2 Select “Automatically update selected playlists only.” Transferring Songs and Playlists to iPod mini Manually You can set iPod mini to transfer songs manually, so you can transfer individual songs and playlists. When iPod mini is set to transfer songs manually, iTunes won’t update it automatically when you connect it to your computer. Options button 28 Using iPod mini To set iPod mini to transfer songs manually: 1 In iTunes, select iPod mini in the Source list and click the Options button. 2 Select “Manually manage songs and playlists.” To transfer a song or playlist to iPod mini manually: n In iTunes, drag a song or playlist to iPod mini in the Source list. Deleting Songs and Playlists From iPod mini Manually If you have set iPod mini to transfer songs manually (see above), you can delete songs and playlists from iPod mini individually. Songs deleted from iPod mini manually are not deleted from the iTunes library. To delete a song or playlist from iPod mini: 1 Select iPod mini in the iTunes Source list. 2 Select a song or playlist and press the Delete key on the keyboard. If you delete a playlist, the songs in the playlist remain on iPod mini. Modifying Playlists on iPod mini If you have set iPod mini to transfer songs manually (see above), you can create new playlists on iPod mini, and add songs to or delete songs from playlists already on iPod mini. Options button Using iPod mini 29 To create a new playlist on iPod mini: 1 Select iPod mini in the iTunes Source list and click the Add (+) button. 2 Drag songs to the new playlist. To modify a playlist on iPod mini: n Drag a song to a playlist on iPod mini to add the song. Select a song in a playlist and press the Delete key on your keyboard to delete the song. Listening to Spoken Word Audio You can purchase and download spoken word audiobooks from the iTunes Music Store (available in some countries only) or from audible.com and listen to them on your iPod mini. You can use iTunes to transfer audiobooks to your iPod mini the same way you transfer songs. If you stop listening to an audiobook on iPod mini and go back to it later, the audiobook begins playing from where you left off. Unless you’re playing songs from within playlists, iPod mini skips audiobooks when set to shuffle. Setting the Reading Speed You can play audiobooks at speeds faster or slower than normal. To set the playing speed of an audiobook: n Select Settings > Audiobooks and select a speed. Setting the reading speed only affects audiobooks purchased from the iTunes Music Store or audible.com. 30 Using iPod mini Listening to Podcasts With iTunes 4.9, iPod mini supports listening to podcasts. Podcasts are downloadable radio-style shows delivered over the Internet. You can subscribe to podcasts, download them using the iTunes Music Store, transfer them to your iPod mini, and listen to them at your convenience. Podcasts are organized by shows, episodes within shows, and chapters within episodes. If you stop listening to a podcast and go back to it later, the podcast begins playing from where you left off. To listen to a podcast: 1 Select Music > Podcasts, and then select a show. 2 Select an episode to play it. The Now Playing screen displays the show, episode, and date information, along with elapsed and remaining time. Press the Select button to see more information about the podcast. For more information on podcasts, in iTunes, choose Help > iTunes and Music Store Help, and search for “podcasting.” Using iPod mini 31 Updating Podcasts You can transfer podcasts to your iPod mini, or you can set iPod mini to automatically transfer all updated podcasts or selected podcasts. To update podcasts: 1 In iTunes, select iPod mini in the Source list and click the Options button. 2 Click Podcasts and select one of the following options: Seeing How Many Songs Are on iPod mini To see how many songs are stored on iPod mini, how much disk space is left, and other information, select Settings > About in the iPod mini main menu. To Do This Update all podcasts automatically Select “Automatically update all podcasts.” iTunes updates the iPod podcast library to match the podcasts in your computer's podcast library. Update selected podcasts automatically Select “Automatically update selected podcasts only” and select the checkboxes next to the podcasts you want to update. iTunes transfers updates of your selected podcasts from the podcast library on your computer to the iPod mini podcast library. Update podcasts yourself Select “Do not update podcasts.” In iTunes, drag the latest episodes of shows from your podcast library to your iPod mini. 32 Using iPod mini Adjusting iPod mini Settings You can change settings directly on iPod mini in the Settings menu. Setting iPod mini to Shuffle Songs You can set iPod mini to play songs or albums in random order. To shuffle and begin playing all your songs: n Select Shuffle Songs from the iPod mini main menu. iPod mini begins playing songs from your entire music library in random order, skipping audiobooks and podcasts. To set iPod mini to shuffle songs or albums every time you play a song: 1 Select Settings from the iPod mini main menu. 2 Set Shuffle to Songs or to Albums. When you set iPod mini to shuffle songs by selecting Settings > Shuffle, iPod mini shuffles songs within the list (album or playlist, for example) from which the songs are playing. When you set iPod mini to shuffle albums, it plays all the songs on the first album in the order in which they appear. iPod mini then randomly selects another album in the list and plays those songs in order. Setting iPod mini to Repeat Songs You can set iPod mini to repeat a song over and over, or to repeat a sequence of songs. iPod mini repeats songs within the list from which the songs are playing. Using iPod mini 33 To set iPod mini to repeat songs: n Select Settings from the iPod mini main menu. • To repeat all songs in the list, set Repeat to All. • To repeat one song over and over, set Repeat to One. Setting the Click Wheel Sound When you scroll through menu items, you can hear a clicking sound through the iPod mini internal speaker to let you know the Click Wheel is working. You can set the Click Wheel sound to play through the headphones instead, or you can turn it off. To set how iPod mini plays the Click Wheel sound: n Select Settings from the iPod mini main menu. • To set the Click Wheel sound to play through the headphones, set Clicker to Headphones. • To turn off the Click Wheel sound, set Clicker to Off. • To set the Click Wheel sound to play through the iPod mini internal speaker, set Clicker to Speaker. • To set the Click Wheel sound to play through both the iPod mini internal speaker and the headphones, set Clicker to Both. Setting Songs to Play at the Same Relative Volume Level iTunes can automatically adjust the volume of songs, so they play at the same relative volume level, so one song doesn’t seem unusually louder or softer than the next. You can set iPod mini to use the iTunes volume settings. 34 Using iPod mini To set iTunes to adjust all songs to play at the same relative sound level: 1 In iTunes, choose iTunes > Preferences if you are using a Mac, or choose Edit > Preferences if you are using a Windows PC. 2 Click Effects and select Sound Check. To set iPod mini to use the iTunes volume settings: n Select Settings > Sound Check. If you have not activated Sound Check in iTunes, setting it on iPod mini has no effect. Using the iPod mini Equalizer You can use equalizer presets to change iPod mini sound to suit a particular music genre or style. For example, to make rock music sound better, set the equalizer to Rock. n Select Settings > EQ and select an equalizer preset. If you have assigned an equalizer preset to a song in iTunes and the iPod mini equalizer is set to Off, then the song plays using the iTunes setting. See iTunes and Music Store Help for more information. Setting the Backlight Timer You can set the backlight to turn on for a certain amount of time when you press a button or use the Click Wheel. n Select Settings > Backlight Timer and select the time you want. Even if you don’t set the backlight timer, you can turn on the backlight at any time by pressing and holding the Menu button on iPod mini or selecting Backlight from the main menu. After a few seconds, the backlight turns off. Using iPod mini 35 Adding or Removing Items From the Main Menu You can add often-used items to the iPod mini main menu. For example, you can add a “Songs” item to the main menu, so you don’t have to select Music before you select Songs. To add or remove items from the main menu: n Select Settings > Main Menu. Setting and Viewing Date and Time To set the date and time: n Select Settings > Date & Time. To view the date and time: n Select Extras > Clock. To set iPod mini to display the time in the title bar: n Select Settings > Date & Time. If you set iPod mini to display the time in the title bar, you can see the time from any iPod mini menu screen. Setting the Language iPod mini can be set to use different languages. n Select Settings > Language and select a language. 36 Using iPod mini Using the Extra Features of Your iPod mini Using iPod mini as an External Hard Disk You can use iPod mini as a hard disk, to store and transfer data files. To enable iPod mini as a hard disk: 1 In iTunes, select iPod mini in the Source list and click the Options button. 2 Select “Enable disk use.” When you use iPod mini as a hard disk, the iPod mini disk icon appears on the desktop on the Mac, or as the next available drive letter in Windows Explorer on a Windows PC. Note: Selecting “Manually manage songs and playlists” in the Options window also enables iPod mini to be used as a hard disk. Note: To transfer music files to iPod mini, you must use iTunes. Songs transferred via iTunes do not appear on iPod mini in the Macintosh Finder or Windows Explorer. Likewise, if you copy music files to iPod mini in the Macintosh Finder or Windows Explorer, you won’t be able to play them on iPod mini. Preventing iTunes From Opening Automatically If you use iPod mini primarily as a hard disk, you may want to keep iTunes from opening automatically when you connect iPod mini to your computer. Options button Using iPod mini 37 To prevent iTunes from opening automatically when you connect iPod mini to your computer: 1 In iTunes, select iPod mini in the Source list. 2 Click the Options button and deselect “Open iTunes when attached.” Setting the Sleep Timer You can set iPod mini to turn off automatically after a specific period of time. n Select Extras > Clock > Sleep Timer and select the time you want. When you set the sleep timer, a clock icon and the number of minutes left until iPod mini turns off appear in the Now Playing screen on iPod mini. Setting the Alarm You can use iPod mini as an alarm clock. To set an alarm: 1 Select Extras > Clock > Alarm Clock. 2 Set Alarm to On. 3 Select a sound. If you select Beep, the alarm will be audible through the internal speaker. If you select a playlist, you’ll need to connect iPod mini to speakers or headphones to hear the alarm. Options button 38 Using iPod mini Importing Addresses, Phone Numbers, Calendar Events, and To-Do Lists Your iPod mini can store contacts, calendar events, and to-do lists for viewing on the go. If you are running any version of Mac OS X earlier than 10.4, you use a Mac and iSync to update your information. Synchronizing information using iSync requires iSync 1.1 or later, and iCal 1.0.1 or later. To import all information using a Mac and iSync (using Mac OS X v10.3.9 or earlier): 1 Connect iPod mini to your computer. 2 Open iSync and choose Devices > Add Device. You only need to do this step the first time you use iSync with your iPod mini. 3 Select iPod mini and click Sync Now. iSync transfers information from iCal and Mac OS X Address Book to your iPod mini. The next time you want to sync iPod mini, you can simply open iSync and click Sync Now. You can also choose to have iPod mini sync automatically when you connect it. Note: iSync transfers information from your computer to iPod mini. You can’t use iSync to transfer information from your iPod mini to your computer. If you are using Mac OS X v10.4 or later, you can use iTunes to synchronize your Address Book contacts and iCal calendar information. Using iPod mini 39 To import contact or calendar information (using Mac OS X v10.4 or later): 1 Connect iPod to your computer. 2 In iTunes, select iPod in the Source list and click the Options button. To update contacts, click Contacts, click “Synchronize Address Book contacts,” and select an option. Options button To Do This Update all contacts automatically Select “Synchronize all contacts.” When you click OK, iTunes updates iPod mini with the Address Book contact information on your Mac. Update selected groups of contacts automatically Select “Synchronize selected groups only” and select the checkboxes next to the groups you want to update. When you click OK, iTunes updates iPod mini with contact information from your selected Address Book groups. 40 Using iPod mini To update calendars, click Calendars, click “Synchronize iCal calendars,” and select an option: If you are using Windows, or you don’t want to use iSync to import your contacts or calendar information, you can transfer information to iPod mini manually. iPod mini must be enabled as a hard disk (see “Using iPod mini as an External Hard Disk” on page 36). To import contact information manually: 1 Connect iPod mini and open your favorite email or contacts application. Importing contacts works with Palm Desktop, Microsoft Outlook, Microsoft Entourage, and Eudora, among others. 2 Drag contacts from the application’s address book to the iPod mini Contacts folder. To import appointments and other calendar events manually: 1 Export calendar events from any calendar application that uses the standard iCalendar format (filenames end in .ics) or vCal format (filenames end in .vcs). To Do This Update all calendars automatically Select “Synchronize all calendars.” When you click OK, iTunes updates iPod mini with the iCal information on your Mac. Update selected calendars automatically Select “Synchronize selected calendars only” and select the checkboxes next to the calendars you want to update. When you click OK, iTunes updates iPod mini with information from your selected iCal calendars. Using iPod mini 41 2 Drag the files to the Calendars folder on iPod mini. Note: You can only transfer to-do lists to iPod mini using iSync and iCal. To view contacts on iPod mini: n Select Extras > Contacts. To view calendar events: n Select Extras > Calendar. To view to-do lists: n Select Extras > Calendar > To Do. Storing and Reading Notes and Other Information You can store and read text notes on iPod mini. iPod mini must be enabled as a hard disk (see page 36). 1 Save a document in any word-processing application as a text (.txt) file. 2 Place the file in the Notes folder on iPod mini. To view notes: n Select Extras > Notes. Playing Games iPod mini has a number of games. To play a game: n Select Extras > Games and select a game. 42 Using iPod mini Charging the iPod mini Battery iPod mini has an internal, nonremovable battery. If iPod mini isn’t used for a while, the battery may need to be charged. The iPod mini battery is 80-percent charged in about an hour, and fully charged in about four hours. If you charge iPod mini while transferring files or playing music, it may take longer. For more information about charging times under various conditions and configurations, go to www.apple.com/support/ipod. You can charge the iPod mini battery in two ways: • Connect iPod mini to your computer. • Use the optional iPod USB Power Adapter. To charge the battery using your computer: n Connect iPod mini to a high-power USB 2.0 port on your computer. The computer must be turned on and not in sleep mode (some models of Macintosh can charge iPod mini while in sleep mode). If the battery icon in the upper-right corner of the iPod mini screen shows a lightning bolt, the battery is charging. If you don’t see the lightning bolt, iPod mini may not be connected to a high-power USB 2.0 port. Try another USB port on your computer. Using iPod mini 43 If you can’t charge using a USB port on your computer, you can charge the battery using the optional iPod USB Power Adapter. To charge the battery using the optional iPod USB Power Adapter: 1 Connect the AC plug adapter to the power adapter (this may already be assembled). 2 Connect the iPod Dock Connector to USB 2.0 Cable to the power adapter, and plug the other end of the cable in to iPod mini. 3 Plug the power adapter in to a working electrical outlet. The iPod USB Power Adapter is available for purchase at www.ipod.com/store. Warning Make sure the power adapter is fully assembled before plugging it in to an electrical outlet. AC plug adapter iPod USB Power Adapter iPod Dock Connector to USB 2.0 Cable 44 Using iPod mini Battery States When iPod mini is not connected to a power source, a battery icon in the top-right corner of the iPod mini screen shows about how much charge is left. If iPod mini is connected to a power source, the battery icon animates to show that the battery is charging. If you connect iPod mini to a power source and the battery icon does not animate, the battery is fully charged. You can disconnect and use iPod mini before it is fully charged. Note: Rechargeable batteries have a limited number of charge cycles and may eventually need to be replaced. Battery life and number of charge cycles vary by use and settings. For more information, go to www.apple.com/batteries. Battery about halfway charged Battery charging Battery fully charged (if not animated) Using iPod mini 45 iPod mini Accessories iPod mini comes with some accessories, and many other accessories are available at www.ipod.com/store. iPod mini Belt Clip iPod mini comes with a handy belt clip. To use the belt clip, snap iPod mini into the casing, then attach the clip to your belt, purse strap, backpack, or a lanyard. Do not attach the clip directly to clothing. The belt clip may slip off. Snap the iPod mini into the belt clip. Do not slide the iPod mini into the belt clip; the rubber friction fitting may lose effectiveness over time. 46 Using iPod mini iPod Remote (Available Separately) To use the iPod Remote, connect it to the iPod Remote port, then connect the Apple Earphones (or another set of headphones) to the remote. Use the buttons on the remote just as you would use the iPod mini buttons. Use the remote’s Hold switch to disable the remote’s buttons. If you see an orange bar, the remote is set to Hold. The iPod mini Hold switch and the iPod Remote Hold switch do not affect one another. Using iPod mini 47 Apple Earphones iPod mini comes with a pair of high-quality earbud headphones. To use the earbud headphones: n Plug them in to the Headphones port, then place the earbud in your ear as shown. Warning Listening to music at high volume over extended periods of time can damage your hearing. The earphones cord is adjustable. Earphone covers 48 Using iPod mini Available Accessories To purchase iPod mini accessories, go to www.ipod.com/store. Available accessories include: • iPod mini Dock • iPod mini Armband • iPod USB Power Adapter • iPod Remote + Earphones • iPod In-Ear Headphones • iPod Dock Connector to FireWire Cable • iPod Stereo Connection Kit • World Travel Adapter Kit • Third-party accessories such as speakers, headsets, car stereo adapters, power adapters, and more 49 1 Tips and Troubleshooting Most problems with iPod mini can be solved quickly by following the advice in this chapter. Resetting iPod mini Most problems with iPod mini can be solved by resetting it. To reset iPod mini: 1 Toggle the Hold switch on and off (set it to Hold, then turn it off again). 2 Press and hold the Select and Menu buttons for at least 6 seconds, until the Apple logo appears. If iPod mini doesn’t have a charge, you must connect it to your computer, then reset it. If Your iPod mini Won’t Turn On or Respond • Make sure the Hold switch is off. • If you’re using the iPod Remote, make sure the remote’s Hold switch is off. • If that doesn’t work, turn your computer on and connect iPod mini. Your iPod mini battery may need to be recharged. • If that doesn’t work, your iPod mini may need to be reset (see above). • If that doesn’t work, you may need to restore iPod mini software. See “iPod mini Software Update and Restore” on page 54. 50 Tips and Troubleshooting If You Want to Disconnect iPod mini, but the Screen Says “Do Not Disconnect” • If iPod mini is transferring music, wait for the transfer to complete. • Select iPod mini in the iTunes Source list and click the Eject button. • If iPod mini disappears from the iTunes Source list, but you still see the “Do Not Disconnect” message on the iPod mini screen, go ahead and disconnect iPod mini. • If iPod mini doesn’t disappear from the iTunes Source list, drag the iPod mini icon from the desktop to the Trash (if you’re using a Mac) or click the Safely Remove Hardware icon in the system tray and select your iPod mini (if you’re using a Windows PC). If you still see the “Do Not Disconnect” message, restart your computer and eject iPod mini again. If Your iPod mini Isn’t Playing Music • Make sure the Hold switch is off. • If you’re using the iPod Remote, make sure the remote’s Hold switch is off. • Make sure the headphones connector is pushed in all the way. • Make sure the volume is adjusted properly. • If that doesn’t work, push the Play/Pause button. Your iPod mini may be paused. • If you’re using the iPod mini Dock, be sure the iPod mini is seated firmly in the Dock and make sure all cables are connected properly. • If you are using the Dock Line Out port, make sure your external speakers or stereo are turned on and working properly. Tips and Troubleshooting 51 If You Connect iPod mini to Your Computer and Nothing Happens • Open iTunes manually. See if iPod mini appears in the iTunes Source list. • Make sure you have installed the software from the iPod CD. • Make sure you have the required computer and software. See “What You Need to Get Started” on page 5. • Your iPod mini may need to be reset (see page 49). • Check the cable connections. Unplug the cable at both ends and make sure no foreign objects are in the USB or FireWire ports. Then plug the cable back in securely. Use only Apple iPod cables. Be sure the connectors on the cables are oriented correctly. They can only be inserted one way. • If your iPod mini is exceptionally low on power and you connect it to a USB 2.0 port, it may charge for up to 30 minutes before you can use it. Leave iPod mini connected at least until the battery icon animates. • If you’re connecting iPod mini to a portable or laptop computer using the iPod Dock Connector to USB 2.0 Cable, connect the computer to a power outlet before connecting iPod mini. • If that doesn’t work, restart your computer. • If that doesn’t work, you may need to restore iPod mini software. See “iPod mini Software Update and Restore” on page 54. 52 Tips and Troubleshooting If You See a Folder With an Exclamation Point on the iPod mini Display • iPod mini may need to be reset (see page 49). • If that doesn’t work, the battery may need to be recharged. Turn on your computer and connect iPod mini. If you still see the folder, reset iPod mini again. • If that doesn’t work, you may need to update or restore iPod mini with the latest software. Be sure you have installed the software from the iPod CD, or go to www.apple.com/ipod to get the latest software. Then follow the instructions on page 55 to update or restore iPod mini. If You Connect iPod mini to a USB Port and It Doesn’t Work Correctly • You must use a USB 2.0 port or a FireWire port to connect iPod mini. USB 1.1 is not supported and is significantly slower than FireWire and USB 2.0. If your Windows PC doesn’t have a FireWire port or USB 2.0 port, you can purchase and install a Windowscertified USB 2.0 card and install it. For more information, go to www.apple.com/ipod. • If you’re using a Mac or a Windows PC that doesn’t have a high-power USB 2.0 port but has a 6-pin FireWire port, you can connect iPod mini to a FireWire port using the optional iPod Dock Connector to FireWire Cable, available at www.ipod.com/store. • To charge the battery, you must connect iPod mini to a high-power USB 2.0 port on your computer. Connecting iPod mini to a USB port on your keyboard will not charge the battery. Tips and Troubleshooting 53 • If your iPod mini is exceptionally low on power and you connect it to a USB 2.0 port, it may charge for up to 30 minutes before you can use it. Leave iPod mini connected at least until the battery icon animates. • If you’re connecting iPod mini to a portable or laptop computer using the iPod Dock Connector to USB 2.0 Cable, connect the computer to a power outlet before connecting iPod mini. If the Screen Is Too Light or Too Dark 1 Select Settings > Contrast. 2 Use the Click Wheel to adjust the contrast. If you accidentally set the screen contrast too light or too dark, you can reset it to the default by pressing and holding the Menu button for about 4 seconds. If You Accidentally Set iPod mini to Use a Language You Don’t Understand You can reset the language. 1 Push Menu repeatedly until the main menu appears. 2 Select the third menu item (Settings). 3 Select the last menu item (Reset All Settings). 4 Select the second menu item (Reset) and select a language. Other iPod mini settings, such as song repeat, are also reset. Note: If you have added or removed items from the iPod mini main menu (see page 35), the Settings menu may be in a different place. 54 Tips and Troubleshooting If Your Optional iPod Remote Isn’t Working • Make sure the remote’s Hold switch is off. • Make sure the remote is plugged firmly in to iPod mini, and that the headphones are plugged firmly in to the remote. The iPod Remote can be purchased separately at www.ipod.com/store. If You Want to Use Your iPod mini With a Mac and a Windows PC If you are using your iPod mini with a Mac and you want to use it with a Windows PC (or vice versa), you must restore the iPod mini software for use with the other computer using iPod mini Software Update (see “iPod mini Software Update and Restore” below). Restoring the iPod mini software erases all data from iPod mini, including all songs. You cannot switch from using iPod mini with a Mac to using it with a Windows PC (or vice versa) without erasing all data on iPod mini. iPod mini Software Update and Restore Apple periodically updates iPod mini software to improve performance or add features. It is recommended that you update your iPod mini to use the latest software. You can choose either to update or to restore the iPod mini software. • If you choose to update, the software is updated, but your settings and songs are not affected. • If you choose to restore, all data is erased from your iPod mini, including songs, files, contacts, photos, calendar information, and any other data. All iPod mini settings are restored to their original state. Tips and Troubleshooting 55 To update or restore iPod mini with the latest software: 1 Go to www.apple.com/support/ipod and download the latest iPod mini Update. 2 Double-click the software install file and follow the onscreen instructions to install the iPod mini Update. 3 Connect iPod mini to your computer and open iTunes. The iPod mini Update application opens. If you’re using a Windows PC and the iPod mini Update application doesn’t open automatically, you can find the updater by choosing Start > All Programs > iPod mini. 4 Follow the onscreen instructions to update or restore iPod mini software. If you use the iPod mini Update application and it doesn’t see that iPod mini is connected to your computer, reset iPod mini (see page 49). If you want to restore iPod mini software and you don’t have an Internet connection, you can use the iPod mini Update that was installed on your computer when you installed the software from the iPod CD. To restore iPod mini software using the updater that came on your iPod CD: • If you have a Mac, you can find the updater in Applications/Utilities/iPod Software Updater. • If you have a Windows PC, you can find the updater by choosing Start > All Programs > iPod. 56 1 Learning More, Service, and Support There is more information about using iPod mini in onscreen help, and on the web. Onscreen Help for Other iPod Applications • To learn more about using iTunes, open iTunes and choose Help > iTunes and Music Store Help. • To learn more about using iSync (on Mac OS X), open iSync and choose Help > iSync Help. • To learn more about using iCal (on Mac OS X), open iCal and choose Help > iCal Help. Online Resources For the latest information on iPod mini, go to www.apple.com/ipodmini. For an online iPod tutorial, iPod mini service and support information, and the latest Apple software downloads, go to www.apple.com/support/ipod. To register iPod mini (if you didn’t do it when you installed software from the iPod CD), go to www.apple.com/register. For an online iTunes tutorial (available in some areas only), go to www.apple.com/support/itunes. Learning More, Service, and Support 57 Obtaining Warranty Service If the product appears to be damaged or does not function properly, please follow the advice in this booklet, the onscreen help, and the online resources. If the unit still does not function, go to www.apple.com/support for instructions on how to obtain warranty service. Finding the Serial Number of Your iPod mini The serial number is printed on the back of your iPod mini. You can also find it by selecting Settings > About. 58 1 Safety and Cleaning Read on to learn about using iPod mini safely and cleaning iPod mini. Cleaning Follow these general rules when cleaning the outside of your iPod mini and its components: • Make sure your iPod mini is unplugged. • Use a damp, soft, lint-free cloth. Avoid getting moisture in openings. • Don’t use aerosol sprays, solvents, alcohol, or abrasives. About Handling Your iPod mini may be damaged by improper storage or handling. Be careful not to drop your iPod mini when playing or transporting the device. Important Safety Instructions When setting up and using your iPod mini, remember the following: • Keep these instructions handy for reference by you and others. • Follow all instructions and warnings dealing with your iPod mini. Safety and Cleaning 59 Avoid Hearing Damage Do Not Use While Driving Important: Use of headphones while operating a vehicle is not recommended and is illegal in some areas. Be careful and attentive while driving. Stop listening to your iPod mini if you find it disruptive or distracting while operating any type of vehicle or performing any other activity that requires your full attention. Connectors and Ports Never force a connector into a port. If the connector and port do not join with reasonable ease, they probably don’t match. Make sure that the connector matches the port and that you have positioned the connector correctly in relation to the port. About Operating and Storage Temperatures • Operate your iPod mini in a place where the temperature is always between 0º and 35º C (32º to 95º F). Warning Electrical equipment may be hazardous if misused. Operation of this product, or similar products, must always be supervised by an adult. Do not allow children access to the interior of any electrical product and do not permit them to handle any cables. Warning Permanent hearing loss may occur if earbuds or headphones are used at high volume. You can adapt over time to a higher volume of sound, which may sound normal but can be damaging to your hearing. Set your iPod mini volume to a safe level before that happens. If you experience ringing in your ears, reduce the volume or discontinue use of your iPod mini. 60 Safety and Cleaning • Store your iPod mini in a place where the temperature is always between –20º and 45º C (–4º to 113º F). Don’t leave iPod mini in your car, since temperatures in parked cars can exceed this range. • iPod mini play time may temporarily shorten in low-temperature conditions. • When you’re using your iPod mini or charging the battery, it is normal for the bottom of the case to get warm. The bottom of the iPod mini case functions as a cooling surface that transfers heat from inside the unit to the cooler air outside. Avoid Wet Locations • Keep your iPod mini away from sources of liquids, such as drinks, washbasins, bathtubs, shower stalls, and so on. • Protect your iPod mini from direct sunlight and rain or other moisture. • Take care not to spill any food or liquid on iPod mini. If you do, unplug iPod mini before cleaning up the spill. In case of a spill, you may have to send your equipment to Apple for service. See “Learning More, Service, and Support” on page 56. Do Not Make Repairs Yourself For service, see “Learning More, Service, and Support” on page 56. Warning To reduce the chance of shock or injury, do not use your iPod mini in or near water or wet locations. Warning Do not attempt to open your iPod mini, disassemble it, or remove the battery. You run the risk of electric shock and voiding the limited warranty. No userserviceable parts are inside. 61 Communications Regulation Information FCC Compliance Statement This device complies with part 15 of the FCC rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation. See instructions if interference to radio or television reception is suspected. Radio and Television Interference This computer equipment generates, uses, and can radiate radio-frequency energy. If it is not installed and used properly—that is, in strict accordance with Apple’s instructions—it may cause interference with radio and television reception. This equipment has been tested and found to comply with the limits for a Class B digital device in accordance with the specifications in Part 15 of FCC rules. These specifications are designed to provide reasonable protection against such interference in a residential installation. However, there is no guarantee that interference will not occur in a particular installation. You can determine whether your computer system is causing interference by turning it off. If the interference stops, it was probably caused by the computer or one of the peripheral devices. If your computer system does cause interference to radio or television reception, try to correct the interference by using one or more of the following measures: • Turn the television or radio antenna until the interference stops. • Move the computer to one side or the other of the television or radio. • Move the computer farther away from the television or radio. • Plug the computer in to an outlet that is on a different circuit from the television or radio. (That is, make certain the computer and the television or radio are on circuits controlled by different circuit breakers or fuses.) If necessary, consult an Apple-authorized service provider or Apple. See the service and support information that came with your Apple product. Or, consult an experienced radio/television technician for additional suggestions. 62 Important: Changes or modifications to this product not authorized by Apple Computer, Inc. could void the EMC compliance and negate your authority to operate the product. This product was tested for EMC compliance under conditions that included the use of Apple peripheral devices and Apple shielded cables and connectors between system components. It is important that you use Apple peripheral devices and shielded cables and connectors between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. You can obtain Apple peripheral devices and the proper shielded cables and connectors through an Apple Authorized Reseller. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Responsible party (contact for FCC matters only): Apple Computer, Inc. Product Compliance, 1 Infinite Loop M/S 26-A, Cupertino, CA 95014-2084, 408-974-2000. Industry Canada Statement This Class B device meets all requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. VCCI Class B Statement European Community Complies with European Directives 72/23/EEC and 89/336/EEC. Apple and the Environment At Apple, we recognize our responsibility to minimize the environmental impacts of our operations and products. For more information, go to www.apple.com/environment/ summary.html. Battery Your iPod mini contains a battery. If you have problems with battery life, be sure to update iPod mini with the latest software. If you still have problems, go to www.applecom/support. Dispose of iPod mini according to your local environmental laws and guidelines. Taiwan: Deutschland: Dieses Gerät enthält Batterien. Bitte nicht in den Hausmüll werfen. Entsorgen Sie dieses Gerätes am Ende seines Lebenszyklus entsprechend der maßgeblichen gesetzlichen Regelungen. Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. © 2005 Apple Computer, Inc. All rights reserved. Apple, the Apple logo, FireWire, iCal, iPod, iTunes, Mac, Macintosh, and Mac OS are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Finder and the FireWire logo are trademarks of Apple Computer, Inc. iTunes Music Store is a service mark of Apple Computer, Inc., registered in the U.S. and other countries. Final Cut Pro X Guide de l’utilisateur KK Apple Inc. Copyright © 2013 Apple Inc. Tous droits réservés. Vos droits sur le logiciel sont régis par le contrat de licence du logiciel annexé. Les propriétaires ou utilisateurs autorisés d’une copie valide du logiciel Final Cut Pro ont le droit de reproduire cette publication afin d’apprendre à utiliser le logiciel en question. En revanche, il est interdit de reproduire ou de transmettre cette publication, même partiellement, à des fins commerciales telles que la vente de copies ou la prestation de services d’assistance payants. Le logo Apple est une marque d’Apple Computer 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 (Maj + Option + K) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tous les efforts nécessaires ont été mis en oeuvre pour que les informations contenues dans ce manuel soient les plus exactes possibles. Apple n’est pas responsable des erreurs survenues lors de l’impression ou de la copie. Remarque : Apple mettant fréquemment à disposition de nouvelles versions et des mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations présentes dans ce manuel peuvent présenter de légères différences avec ce qui apparaît sur votre écran. Apple 1 Infinite Loop Cupertino, CA 95014 408-996-1010 www.apple.com/fr Apple, le logo Apple, Aperture, Apple TV, Final Cut, Final Cut Pro, Finder, FireWire, GarageBand, iLife, iMovie, iPad, iPhone, iPhoto, iPod, iSight, iTunes, iWork, Keynote, Logic, Mac, Mac OS, OS X, QuickTime et Xsan sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. Multi-Touch est une marque d’Apple Inc. Adobe et Photoshop sont des marques ou des marques déposées d’Adobe Systems Incorporated aux États-Unis et/ou dans d’autres pays. Intel, Intel Core et Xeon sont des marques d’Intel Corp. déposées aux États-Unis et dans d’autres pays. iOS est une marque commerciale ou une marque de Cisco, déposée aux États-Unis et dans d’autres pays et utilisée sous licence. Thunderbolt et le logo Thunderbolt sont des marques d’Intel Corporation déposées aux États-Unis et dans d’autres pays. Le logo YouTube est une marque de Google Inc. Photos de production du film « Koffee House Mayhem » utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Koffee House Mayhem » © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jeanpaulbonjour.com Photos de production de l’Audi R8 : circuit fermé avec des pilotes portant un équipement de sécurité. Ne pas reproduire sur la voie publique ; toujours respecter le code de la route local. Les marques d’Audi sont utilisées avec l’autorisation d’Audi of America, Inc. Les autres noms de sociétés ou de produits mentionnés ici sont des marques de leurs détenteurs respectifs. Toute mention de produits de tierce partie n’est qu’à titre informatif et ne constitue ni une approbation, ni une recommandation. Apple se dégage de toute responsabilité en ce qui concerne les performances ou l’usage de ces produits. F019-2532 Table des matières 3 10 Chapitre 1 : Nouveautés de Final Cut Pro ? 10 Nouveautés de Final Cut Pro 10.0.6 12 Nouveautés de Final Cut Pro 10.0.3 13 Nouveautés de Final Cut Pro 10.0.1 14 Chapitre 2 : Notions élémentaires Final Cut Pro 14 Qu’est-ce que Final Cut Pro ? 15 Vue d’ensemble des flux de production Final Cut Pro X. 16 Vue d’ensemble de l’interface Final Cut Pro X. 18 Fichiers de média et plans 19 Événements et projets 21 Chapitre 3 : Importation de média 21 Présentation de l’importation 22 S’il s’agit de votre première importation 22 Importation à partir des caméras connectées 22 Importation à partir des caméras à système de fichiers 26 Importation de plans étendus 29 Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch 31 Importation à partir d’un appareil photo numérique 31 Importation à partir des caméras à bande 33 Si votre caméra ou dispositif n’est pas reconnu 34 Importation à partir d’autres applications 34 Importation à partir de Motion 35 Importation à partir d’iMovie 35 Importation à partir d’iPhoto et d’Aperture 36 Importation à partir d’iTunes 37 Importation à partir de dispositifs 37 Importation à partir d’un disque dur 40 Accès aux médias sur une archive ou une image disque 41 Organisation des fichiers lors de l’importation 42 Importation pendant l’enregistrement 43 À propos des cartes mémoire et des câbles 45 Formats de média pris en charge 46 Importation et réglage de fichiers vidéo REDCODE RAW 49 Chapitre 4 : Analyser les données 49 Présentation de l’analyse des données 49 Options d’analyse des vidéos et des images fixes 50 Options d’analyse audio 51 Analyser vos données 53 Afficher les mots-clés d’analyse sur les plans Table des matières 4 55 Chapitre 5 : Organisation de votre média 55 Présentation des événements et des plans 56 Organisation des événements 56 Création d’un événement 56 Attribution d’un nouveau nom à un événement 56 Fusion ou scission d’événements 57 Copie et déplacement de plans entre les événements 58 Copie ou déplacement d’événements 60 Tri des événements 61 Suppression de plans ou d’événements 61 Organisation des plans 61 Affichage et tri des plans 66 Modification du nom des plans 67 Classement des plans comme Favoris ou Rejetés 69 Ajout de mots-clés aux plans 72 Ajout ou modification de notes de plan 73 Organisation des plans en fonction des rôles 73 Recherche de plans dans le navigateur d’événements 76 Enregistrement des recherches sous forme de collections intelligentes 77 Organisation des mots-clés et des collections intelligentes 78 Chapitre 6 : Lecture et survol du média 78 Présentation de la lecture et du survol 79 Lecture du média 81 Survol du média 83 Lecture et survol du média dans le visualiseur d’événements 84 Lecture sur un deuxième écran 85 Lecture sur un moniteur externe 86 À propos du rendu en arrière-plan 87 Chapitre 7 : Création et gestion de projets 87 Création d’un projet 88 Preview et ouverture d’un projet 89 Modification du nom et des propriétés d’un projet 92 Organisation des projets dans la bibliothèque de projets 96 Enregistrement des projets 97 Chapitre 8 : Montage de votre projet 97 Présentation du montage 97 Sélection de plans et de plages 97 À propos des sélections et des pellicules de film 98 Sélection d’un ou plusieurs plans 100 Sélection d’une plage 103 Gestion de plusieurs sélections de plage dans des plans d’événement 106 Ajout et suppression de plans 106 Présentation de l’ajout de plans 107 Glissement de plans vers la timeline 107 Ajout de plans à votre projet 108 Insertion de plans dans votre projet 110 Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés 115 Écrasement de certaines parties de votre projet Table des matières 5 116 Remplacement d’un plan par un autre dans votre projet 118 Ajout et montage d’images fixes 120 Création d’images figées 121 Ajout de plans en mode vidéo uniquement ou audio uniquement 122 Suppression de plans du projet 123 Isolement, désactivation et activation de plans 124 Recherche d’un plan source d’un plan de la timeline 124 Disposition des plans dans la timeline 130 Coupe et trim des plans 130 Présentation du trim 130 Coupe de plans à l’aide de l’outil Lame de rasoir 132 Extension ou raccourcissement d’un plan 138 Réalisation de montages Roll à l’aide de l’outil Trim 140 Réalisation de montages par coulissage à l’aide de l’outil Trim 143 Réalisation de montages par glissement à l’aide de l’outil Trim 145 Affichage détaillé des commentaires sur le trimming 145 Affichage et navigation 145 Zoom et défilement dans la timeline 147 Ajustement des réglages de la timeline 150 Navigation au sein de votre projet 151 Navigation à l’aide du timecode 152 Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches 156 Utilisation de marqueurs 156 Présentation des marqueurs 156 Ajout et suppression de marqueurs 158 Modification, déplacement et accès à des marqueurs 160 Gestion des marqueurs de chapitre et de leur vignette 161 Correction des problèmes de tremblement excessif et d’obturateur roulant 164 Chapitre 9 : Montage audio 164 Présentation de l’audio 165 Notions élémentaires sur le montage audio 165 À propos des formes d’onde audio 165 À propos des canaux audio et des composants audio 166 Différentes manières d’afficher des clips audio 169 Affichage des formes d’onde audio au niveau de l’échantillon audio 170 Affichage et correction des niveaux audio 172 Isolement et désactivation des clips audio 173 Ajout de l’audio 173 Ajout de la musique et du son 173 Enregistrement de l’audio 175 Modification de clips audio ou de composants audio 175 Vue d’ensemble du montage audio 176 Configuration des canaux audio 179 Ajustement du volume 181 Application d’un fondu entrant ou sortant à l’audio 184 Balance audio 187 Exemples de montage audio multicanal 193 Utilisation de rôles pour organiser des plans et exporter des fichiers audio 194 Ajout et ajustement d’effets audio 194 Ajout d’effets audio 196 Ajustement des effets audio 200 Ajustement des effets audio à l’aide d’images clés 207 Outils et techniques audio 207 Amélioration de l’audio 209 Synchronisation automatique de l’audio et de la vidéo 211 Correspondance des réglages d’égalisation audio 211 Conservation de la tonalité lors de la resynchronisation des plans 212 Chapitre 10 : Ajout de transitions, de titres, d’effets et de générateurs 212 Présentation des transitions, des titres, des effets et des générateurs 213 Ajout et réglage de transitions 213 Présentation des transitions 213 Création des transitions 214 Définition des valeurs par défaut de transition 215 Ajout de transitions au projet 217 Suppression de transitions du projet 217 Ajustement des transitions sur la timeline 219 Ajustement des transitions dans l’inspecteur de transition et dans le visualiseur 220 Ajustement des transitions avec plusieurs images 221 Création de versions de transitions spécialisées dans Motion 222 Ajout et réglage de titres 222 Présentation des titres 222 Ajout de titres au projet 223 Réglage des titres 227 Suppression de titres du projet 227 Recherche et remplacement de texte dans un projet 228 Ajustement d’effets intégrés 228 Présentation des effets intégrés 228 Redimensionnement, déplacement et rotation de plans 229 Trim de plans 231 Rognage de plans 232 Panoramique et zoom des plans avec l'effet Ken Burns 233 Inclinaison de la perspective d’un plan 235 Manipulation d’effets intégrés 240 Ajout et réglage des effets de plans 240 Présentation des effets de plans 240 Ajout d’effets au projet 241 Réglage d’effets dans Final Cut Pro 243 Modification de l’ordre des effets 244 Copie d’effets et d’attributs entre des plans 245 Désactivation ou suppression d’un effet d’un plan 246 Création de versions d’effets vidéo spécialisées dans Motion 246 Ajout de générateurs 246 Présentation des générateurs 247 Utilisation d’un repère d’emplacement 248 Usage d’un compteur de timecode 248 Utilisation d’une forme 249 Utilisation d’un arrière-plan 250 Création de versions de générateurs spécialisées dans Motion 250 À propos des thèmes Table des matières 6 251 Usage des commandes à l’écran 251 Présentation des commandes à l’écran 251 Affichage ou masquage des commandes à l’écran 252 Exemples de commandes à l’écran 256 Utilisation de l’éditeur d’animation vidéo 256 Présentation de l’animation vidéo 256 Ajustement d’effets vidéo à l’aide d’images clés 262 Ajustement des courbes d’effet à l’aide des poignées de fondu ou d’une animation avec des images clés 266 Chapitre 11 : Montage avancé 266 Regroupement des plans et des plans composés 266 Présentation des plans composés 268 Création et division de plans composés 272 Gestion des plans composés 274 Ajout de scénarios 277 Ajustement des montages à l’aide de l’éditeur de précision 280 Création de montages scindés 284 Réalisation de montages à trois points 284 Présentation du montage à trois points 286 Exemples de montage à trois points 291 Essai de plans à l’aide des auditions 291 Présentation des auditions 292 Création d’auditions pour essayer des plans 293 Ajout et suppression de plans dans les auditions 295 Utilisation d’auditions pour essayer des plans dans votre projet 298 Resynchronisation de plans pour créer des effets de vitesse 298 Présentation de la resynchronisation de plans 298 Modification de la vitesse du plan 303 Inversion ou rembobinage des plans 304 Création de ralentis instantanés 305 Création d’un segment de suspension 306 Restauration de la vitesse normale des plans resynchronisés 306 Adaptation des tailles d’images et des fréquences d’images 310 Utilisation de rôles pour gérer des plans 310 Présentation des rôles 311 Affichage et réattribution de rôles 314 Création de sous-rôles et de rôles personnalisés 316 Affichage des plans en fonction du rôle dans la timeline 319 Utilisation de rôles pour exporter des stems 319 Utilisation de fichiers XML pour transférer des projets et des événements 320 Montage de plans multicam 320 Présentation du montage multicam 321 Flux de production de montage multicam 322 Importation de média pour un montage multicam 323 Attribution du nom des caméras et des angles multicam 324 Création de plans multicam dans le navigateur d’événements 329 Coupe et passage d’un angle à l’autre dans le visualiseur d’angle 337 Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles 344 Montage de plans multicam sur la timeline et l’inspecteur 346 Conseils et astuces applicables aux montages multicam Table des matières 7 348 Chapitre 12 : Incrustation et compositing 348 Incrustation 348 Présentation de l’incrustation 348 Utilisation des incrustations chromatiques 359 Utilisation des incrustations en luminance 364 Finalisation de l’incrustation 367 Compositing 367 Présentation du compositing 367 Utilisation des canaux alpha 369 Utilisation des réglages de compositing 371 Chapitre 13 : Étalonnage 371 Présentation de l’étalonnage 372 Analyse et balance automatique des couleurs 372 Présentation de la balance des couleurs 372 Analyse de la balance des couleurs d’un plan 373 Équilibrage des couleurs d’un plan 374 Correspondance automatique des couleurs entre les plans 375 Ajustement manuel des couleurs 375 Présentation de l’étalonnage manuel 375 Étalonnage sur toute l’image 378 Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur 380 Ciblage de zones spécifiques à l’aide de masques de forme 383 Ajout de masques de formes à un masque de couleur 384 Application de plusieurs étalonnages 385 Ajout d’une transition entre des étalonnages 385 Enregistrement et application de préréglages d’étalonnage 386 Activation et désactivation des ajustements iMovie 386 Mesure de niveaux vidéo 386 Présentation des instruments vidéo 387 Utilisation des instruments vidéo 388 Options d’affichage de l’oscilloscope 390 Options d’affichage du vecteurscope 391 Options d’affichage de l’histogramme 394 Chapitre 14 : Partage de votre projet 394 Présentation du partage de projets 395 Partage de projets, de plans et de plages 400 Modification des attributs de partage 403 Exportation d’un projet par le biais de Compressor 404 État des projets partagés 404 Présentation de l’état de projets partagés 405 Accès, annonce et affichage de l’emplacement des projets partagés 406 Suppression de projets partagés 407 Chapitre 15 : Gestion des fichiers de média 407 Présentation de la gestion de média 407 Emplacement de vos fichiers de média et de projet 409 Gestion de vos fichiers de média 409 Affichage des informations relatives à un plan 410 Reconnexion de plans à des fichiers de média Table des matières 8 415 Transcodage des fichiers de média 418 Affichage des tâches d’arrière-plan 419 Suppression des fichiers de rendu pour libérer de l’espace disque 419 Gestion de vos fichiers d’événements et de projets 419 Avant de déplacer ou de copier des événements et des projets 420 Consolidation des fichiers de média d’un projet 421 Sauvegarde des projets, des événements et de votre bibliothèque de projets 424 Montage de votre projet sur un ordinateur différent 428 Utilisation d’emplacements SAN pour des événements et des projets 429 Création et gestion des archives de caméra 432 Solutions aux problèmes communs des gestions des médias 432 Icônes d’avertissement 434 Problèmes courants relatifs à la gestion des médias 436 Chapitre 16 : Préférences et métadonnées 436 Présentation des préférences et des métadonnées 436 Préférences Final Cut Pro 436 Modification des réglages de préférences 437 Modification des préférences 438 Préférences de lecture 440 Préférences d’importation 441 Préférences de destinations 447 Utilisation de destinations 451 Utilisation de métadonnées 451 Affichage et modification des métadonnées de plans 453 Modification de présentations de métadonnées 455 Modification de noms de plans par lot 458 Chapitre 17 : Raccourcis clavier et gestes 458 Présentation des raccourcis clavier et des gestes Multi-Touch 458 Raccourcis clavier 473 Gestes Multi-Touch 474 Personnalisation des raccourcis clavier 474 Affichage des raccourcis clavier dans l’éditeur de commandes 477 Modification des raccourcis clavier dans l’éditeur de commandes 478 Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes 480 Glossaire Table des matières 9 1 10 Nouveautés de Final Cut Pro 10.0.6 Final Cut Pro 10.0.6 prévoie de nombreuses fonctionnalités nouvelles et améliorations qui sont abordées plus en détail ci-dessous. Montage audio multicanal avancé Final Cut Pro regroupe automatiquement les canaux audio en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez désormais développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Vous avez la possibilité de modifier des composants audio de plusieurs façons parmi lesquelles : •• régler le volume ou le panoramique ; •• désactiver ou supprimer des plages dans un composant audio pour supprimer rapidement les sons indésirables ; •• appliquer et régler des effets audio ; •• ajouter ou supprimer des composants audio d’un plan multicam. Pour en savoir plus, consultez Vue d’ensemble du montage audio à la page 175. Partage et exportation rationalisés Le partage de votre travail une fois terminé s’avère plus simple et flexible dans Final Cut Pro 10.0.6. Les destinations, des séries de réglages d'exportation préconfigurés, vous permettent de publier rapidement un projet ou un plan sur un site web de partage, de les exporter pour les consulter sur un iPad ou un iPhone, ou de les graver sur un disque. Final Cut Pro est fourni avec une palette de destinations que vous pouvez modifier. Vous pouvez également en créer. Le flux de production simplifié et rationalisé comprend les améliorations suivantes : •• des menus simplifiés et consolidés que vous pouvez remplir de destinations personnalisées ; •• des lots de destinations réutilisables qui permettent de partager plusieurs sorties et emplacements à la fois ; •• le partage automatique des métadonnées de projet et de plan, avec la possibilité de personnaliser les métadonnées partagées ; •• la prise en charge de multiples comptes sur des sites web de partage de vidéo tels que YouTube ; •• un partage et une exportation plus rapides en s’appuyant sur le traitement en arrière-plan et sur le processeur graphique ; •• Partage d'une plage sélectionnée dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements. Pour en savoir plus, consultez Présentation du partage de projets à la page 394. Nouveautés de Final Cut Pro ? Chapitre 1 Nouveautés de Final Cut Pro ? 11 Importation unifiée D’emploi plus simple, la nouvelle fenêtre unifiée Importation des médias offre un même emplacement pour tous vos besoins en importation. Final Cut Pro 10.0.6 propose des zones dédiées pour les caméras et les appareils branchés, à système de fichiers comme à bande, ainsi qu’une nouvelle section Favoris, où il vous est possible d’ajouter les dossiers fréquemment utilisés pour l’importation de fichiers à partir de votre disque dur ou d’un lecteur externe. Parmi les autres nouvelles fonctionnalités d’importation, l’on retrouve aussi la présentation par liste pour pouvoir consulter plusieurs colonnes de métadonnées, la sélection de plusieurs plages dans des plans précis à partir de caméras à système de fichiers, ainsi que des outils de gestion des archives complets. Pour en savoir plus, consultez Présentation de l’importation à la page 21. Double visualiseur Le visualiseur d’événements représente un affichage vidéo distinct à côté du visualiseur principal de façon à pouvoir comparer les plans et faire ainsi correspondre les animations et les couleurs. En ouvrant le visualiseur d’événements et le visualiseur, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline, chacun avec un instrument vidéo propre. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83. Prise en charge native de REDCODE RAW (R3D) Final Cut Pro 10.0.6 assure la prise en charge native des fichiers REDCODE RAW (R3D). Vous pouvez à présent importer directement des fichiers RED, réaliser des ajustements de réglages RAW non destructifs et enregistrer ces ajustements sous forme de métadonnées, le tout depuis Final Cut Pro. Cela vous permet de tirer parti de tout l’éventail dynamique des options qu’offrent les fichiers sources REDCODE RAW. Pour en savoir plus, consultez Importation et réglage de fichiers vidéo REDCODE RAW à la page 46. Sélections de plage améliorées Les points de départ et d’arrivée des plans dans le navigateur d’événements restent désormais en place lorsque vous cliquez ailleurs. Vous pouvez également effectuer des sélections de plage multiples dans un ou plusieurs plans. Pour en savoir plus, consultez Sélection d’une plage à la page 100 et Gestion de plusieurs sélections de plage dans des plans d’événement à la page 103. Autres fonctionnalités utiles •• Les marqueurs de chapitre et vignettes de marqueurs de chapitre vous permettent de préparer des chapitres et leur image d’affiche représentative directement depuis Final Cut Pro pour la sortie sur DVD, sur disque Blu-ray, vers iTunes, QuickTime Player et vers les dispositifs Apple. •• La nouvelle fenêtre Coller les attributs offre un moyen puissant de transférer des effets précis et autres réglages entre des plans. •• Il vous est à présent possible, rapidement et en toute simplicité, d’ajouter des images figées à l’aide d’un simple raccourci clavier. •• L’ajout de titre est considérablement amélioré, notamment par la prise en charge de la nouvelle fonctionnalité des marqueurs de titre dans Motion. Chapitre 1 Nouveautés de Final Cut Pro ? 12 •• Les points de connexion adaptables améliorent le contrôle manuel sur les plans connectés au cours de vos manipulations de coulissement, de glissement ou de déplacement de plans dans le scénario principal. •• La nouvelle architecture des plans composés simplifie leur réutilisation dans plusieurs projets et offre de meilleures performances. •• Vous pouvez désormais importer et exporter des fichiers MXF à l'aide de modules de tierce partie. Pour retrouver la liste des fichiers multimédias pris en charge, consultez Formats de média pris en charge à la page 45. •• Final Cut Pro 10.0.6 offre une prise en charge des données anamorphosées améliorée. Nouveautés de Final Cut Pro 10.0.3 Final Cut Pro 10.0.3 prévoie des nouvelles fonctionnalités et des améliorations importantes qui sont abordées plus en détail ci-dessous. Montage multicam Il vous est à présent possible d’exploiter des plans multicam pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. L’utilisation de plans multicam dans Final Cut Pro assure un processus polyvalent et fluide. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. Vous pouvez créer des plans multicam issus de sources de média diverses et modifier des plans existants lors du montage. Pour en savoir plus, consultez Présentation du montage multicam à la page 320. Sortie A/V Vous avez à présent la possibilité de relier votre ordinateur à un moniteur externe pour la sortie vidéo et audio (A/V). En plus de pouvoir vérifier à quoi la vidéo et l’audio ressemblent sur un moniteur broadcast NTSC/PAL ou HD, cette fonctionnalité vous permet également de tester la sortie sur des dispositifs plus sophistiqués, tels que des vecteurscopes et des oscilloscopes. La sortie A/V n’est disponible que sous OS X Lion 10.7.2 ou ultérieur et nécessite une interface vidéo matérielle et logicielle de tierce partie compatible. Les appareils DV FireWire ne sont pas pris en charge. Pour en savoir plus, contactez le fabricant de l’équipement ou accédez à la page web des ressources Final Cut Pro X à l’adresse http://www.apple.com/fr/finalcutpro/resources. Pour en savoir plus, consultez Lecture sur un moniteur externe à la page 85. Reconnexion manuelle de plans à des fichiers de média Vous avez désormais la possibilité de reconnecter manuellement des plans d’événements et des plans de projet à des fichiers de média. La reconnexion manuelle vous permet un contrôle supérieur sur votre flux de production de postproduction. Pour en savoir plus, consultez Reconnexion de plans à des fichiers de média à la page 410. Autres fonctionnalités utiles •• Les fichiers graphiques multicouches, tels que les fichiers au format Adobe Photoshop (PSD), peuvent à présent être montés de sorte que chaque couche se présente sous la forme d’un plan connecté dans la timeline. •• Des commandes pour l’incrustation avancée ont été ajoutées. •• Les commandes pour l’animation avec des images clés ont été améliorées dans les éditeurs d’animation vidéo et audio. Chapitre 1 Nouveautés de Final Cut Pro ? 13 Nouveautés de Final Cut Pro 10.0.1 Final Cut Pro 10.0.1 bénéficie de nombreuses améliorations, modifications et fonctions inédites. Les fonctions les plus significatives sont présentées ci-dessous. Rôles Les nouvelles étiquettes de métadonnées correspondant aux rôles vous permettent d’organiser les plans dans vos événements et vos projets, de contrôler l’apparence de la timeline et d’exporter des fichiers vidéo ou audio séparés (également appelés stems multimédia) destinés au mixage audio, à la postproduction ou aux réseaux de diffusion. Vous pouvez ainsi exporter des rôles sous forme de stems multimédias dans un fichier QuickTime multipiste combiné ou dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Présentation des rôles à la page 310 et Préférences de destinations à la page 441. Emplacements de stockage en réseau (SAN) Vous pouvez désormais ajouter des volumes de réseau comme emplacements de stockage d’événements et de projets. Supprimer des emplacements SAN dans Final Cut Pro permet aux autres utilisateurs du réseau de travailler sur les événements et projets stockés sur ces emplacements. Pour en savoir plus, consultez Utilisation d’emplacements SAN pour des événements et des projets à la page 428. Importation et exportation de fichiers XML Final Cut Pro prend désormais en charge l’importation et l’exportation de fichiers XML, afin que vous puissiez échanger vos données de projet et d’événement avec d’autres systèmes et applications tierces ne reconnaissant pas les projets et événements Final Cut Pro. Pour en savoir plus, consultez Utilisation de fichiers XML pour transférer des projets et des événements à la page 319. 2 14 Qu’est-ce que Final Cut Pro ? Final Cut Pro X constitue une application révolutionnaire conçue pour la création, le montage et la production de vidéo d’une qualité optimale. Final Cut Pro associe un montage numérique offrant d’excellentes prestations et une prise en charge native de pratiquement tous les formats vidéo à l’aide de fonctionnalités simples d’emploi et puissantes, vous permettant ainsi de vous concentrer sur le récit de l’histoire. Dans Final Cut Pro, vous pouvez : •• monter du métrage, allant de la vidéo en définition standard sans compression à de la vidéo HDV en passant par le format DVCPRO HD et la vidéo haute définition non compressée, ainsi que les formats AVC-Intra, AVCHD et XDCAM HD ; •• reproduire et effectuer le survol de média indépendamment de sa résolution pouvant aller jusqu’à 1920 x 1080, 2K, 4K mais aussi 5K ; mais aussi lire de la vidéo en plein écran ou sur un deuxième écran ; •• disposer des plans en toute simplicité au moyen de la timeline magnétique qui replace instantanément les plans autour de celui que vous faites glisser, afin d’éviter les vides, les collisions et les problèmes de synchronisation ; •• monter rapidement à l’aide du jeu complet d’outils de montage et de coupe professionnels, ainsi que régler plus finement vos modifications avec l’éditeur de précision incorporé ; •• analyser votre vidéo dans Final Cut Pro et procéder à la correction non destructive de problèmes courants, tels que les tremblements de caméra, le bourdonnement excessif ou un son saturé (tonalité), mais aussi laisser Final Cut Pro détecter la présence de personnes ou du type de plan et appliquer automatiquement des mots-clés, par exemple Une personne ou Plan élargi ; Notions élémentaires Final Cut Pro Chapitre 2 Notions élémentaires Final Cut Pro 15 •• organiser votre média à l’aide de collections de mots-clés pour regrouper automatiquement les plans d’après des mots-clés, et de collections intelligentes pour regrouper automatiquement les plans en s’appuyant sur des critères de votre choix ; •• tester des plans de votre projet en utilisant des auditions, des ensembles de prises, d’effets ou de traitements textuels alternatifs, puis de choisir le plan le mieux adapté au montage ; •• créer des plans composés pour regrouper des combinaisons particulières de plans et en imbriquer à d’autres ; •• utiliser des plans connectés et des scénarios pour ajouter des plans de coupe, des titres superposés et des effets sonores à votre projet – les plans connectés et les scénarios restant ainsi toujours synchronisés ; •• ajouter des effets spéciaux à la vidéo, à l’audio et à des photos, et les ajuster grâce à des images clés et des commandes à l’écran, mais aussi adapter la vitesse des plans pour créer des effets d’animation rapide ou lente ; •• adapter la balance et la correspondance des couleurs automatiquement ou faire appel aux outils d’étalonnage pour contrôler précisément l’apparence d’un plan quelconque de votre projet ; •• publier votre projet directement vers des sites web comme YouTube et Facebook ou l’envoyer à iTunes en vue de sa synchronisation avec des dispositifs Apple tels que l’iPhone, l’iPad et l’Apple TV. Vue d’ensemble des flux de production Final Cut Pro X. Pour donner un aperçu des possibilités qui vous sont offertes, le processus général pour monter un film dans Final Cut Pro est décrit ci-dessous. Toutes les étapes ne sont pas nécessaires et d’autres non répertoriées sont en outre possibles. Le flux de production n’est pas obligatoirement séquentiel. Vous pouvez par exemple suivre l’intégralité des effets de montage et d’ajout, puis importer du média complémentaire dans votre projet. Importation de votre média dans Final Cut Pro Pour utiliser Final Cut Pro, vous devez transférer votre média (vidéo, audio et images fixes) de votre dispositif d’enregistrement sur votre ordinateur ou sur un disque externe. Il vous est possible d’importer du média à partir de nombreux types de caméras et autres matériels, ou d’autres applications telles qu’iMovie. Organisation de votre média Final Cut Pro organise automatiquement votre média sous forme d’événements après son importation. Un événement s’apparente à un dossier contenant l’intégralité du média enregistré à une certaine date. Dans Final Cut Pro, votre média apparaît sous forme de plans connectés aux fichiers de média stockés sur disque. Vous pouvez réorganiser vos plans en créant ou en réattribuant un nom aux événements, puis en déplaçant les plans entre les événements. Par exemple, vous pouvez créer un événement pour l’intégralité du plan de média pour un client donné. Au cours du passage en revue de votre métrage, vous avez la possibilité d’attribuer en toute simplicité un classement, Favori ou Rejeté, aux plans. Ces évaluations simplifient le processus dans la mesure où vous n’avez alors plus qu’à vous concentrer sur le métrage approprié. Final Cut Pro propose également d’autres moyens d’organisation pratiques, tels que les collections de mots-clés et les collections intelligentes. Chapitre 2 Notions élémentaires Final Cut Pro 16 Création d’un projet et ajout de plans Votre projet représente le film que vous créez par le biais de plans tirés de vos événements et des navigateurs multimédias de Final Cut Pro. Créez tout d’abord votre film en ajoutant des plans sur la timeline. Tous vos montages s’effectuent dans le projet ; vos fichiers de média d’origine sont conservés (ce que l’on entend par montage non destructif). Arrangement et modification de plans Votre film peut dès lors commencer à prendre forme. Pour assembler un montage brut, réorganisez et effectuez le trim des plans présents sur la timeline. Vous pouvez aussi essayer différents plans à l’aide d’auditions. Utilisez des plans connectés et des scénarios pour ajouter des plans de coupe, des titres, de la musique de fond et des effets sonores à votre projet. Créez des plans composés pour regrouper des combinaisons particulières de plans et en imbriquer à d’autres. Vous pouvez simplifier un projet qui s’avère complexe en créant un plan composé distinct pour chaque section principale. Ajout d’effets et de transitions Ajoutez des effets spéciaux issus d’un éventail ample d’effets vidéo et audio dans les navigateurs multimédias de Final Cut Pro. Apportez à votre film des titres et un générique, et appliquez des transitions vidéo ou audio. Adaptez les réglages de vitesse des plans pour créer des effets d’accélération ou de ralenti. Pour peaufiner votre projet, affinez les coupes et les transitions à l’aide de l’éditeur de précision, animez des effets vidéo et audio avec des images clés, étalonnez l’image et élaborez des images animées composites. Partage d’un film Une fois votre projet terminé, vous avez la possibilité de le publier directement depuis Final Cut Pro sur le Web ou l’envoyer à iTunes, un iPhone, un iPad, un iPod ou une Apple TV. Vous pouvez aussi graver un disque pour le distribuer. Vue d’ensemble de l’interface Final Cut Pro X. La fenêtre de Final Cut Pro se divise en trois zones principales : Visualiseur : lisez des plans et des projets.Navigateur d’événements : accédez à tous les médias source importés.Timeline magnétique : réalisez le montage de votre film dans cette zone. Chapitre 2 Notions élémentaires Final Cut Pro 17 Organisation de média dans la bibliothèque d’événements et dans le navigateur d’événements L’intégralité de votre média importé est accessible dans la bibliothèque d’événements. (Un événement s’apparente à un dossier renfermant des plans.) Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, ses plans apparaissent dans le navigateur d’événements à droite. Navigateur d’événements : affichez et organisez les plans dans l’événement sélectionné.Bibliothèque d’événements : sélectionnez un événement pour afficher les médias qu’il contient sur la droite. Il vous est possible de réorganiser votre média comme bon vous semble à tout moment ; la bibliothèque d’événements et le navigateur d’événements vous permettent de gérer, d’attribuer un classement, de trier et d’associer des mots-clés à votre média importé. Pour en savoir plus, consultez Présentation des événements et des plans à la page 55. Reproduction de plans et de projets dans le visualiseur Le visualiseur constitue le point où vous reproduisez votre vidéo, notamment les plans et les projets jusqu’à une résolution 1920 x 1080, 2K, 4K mais aussi 5K. Vous pouvez effectuer la lecture d’événements, de projets ou de plans précis en plein écran ou sur un deuxième écran. En ouvrant le visualiseur d’événements, correspondant à l’affichage vidéo à part qui peut s’afficher à côté du visualiseur principal, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline. Pour obtenir des informations sur les manières de reproduire les données, reportez-vous à la section Lecture du média à la page 79. Lecture sans distinction de résolution : lisez des fichiers vidéo jusqu’à 5K.Lecture en plein écran : lisez vos vidéos en plein écran ou sur un second moniteur.Commandes à l’écran : ajustez les effets tels que Transformation, Rognage et Distorsion.Double visualiseur : affichez côte à côte les plans d’événement et les plans du projet. Chapitre 2 Notions élémentaires Final Cut Pro 18 Vous pouvez en outre faire appel aux commandes à l’écran superposées à la vidéo dans le visualiseur pour adapter les réglages de sorte à tirer parti d’un large éventail d’effets et de transitions. Montage de votre projet dans la timeline magnétique La partie inférieure de la fenêtre de Final Cut Pro reprend la timeline où vous pouvez créer votre film en ajoutant et en arrangeant les plans, mais aussi en y effectuant tous vos montages. La timeline de Final Cut Pro replace « magnétiquement » les plans autour de ceux que vous déplacez . Les vides laissés par les plans que vous déplacez par glissement sont automatiquement comblés par les plans avoisinants. Un projet Final Cut Pro héberge l’intégralité des informations pour votre film final, notamment vos décisions de montage, et relie ces renseignements à tous les plans source et aux événements. Pour en savoir plus sur le montage d’un projet, consultez Présentation de l’ajout de plans à la page 106 et Disposition des plans dans la timeline à la page 124. Barre d’outils : effectuez les tâches courantes en cliquant sur un bouton.Plans connectés : ajoutez des titres et des plans de coupe. Tout reste synchronisé dans la timeline magnétique.Plans audio : ajoutez de la musique et des effets sonores sous forme de plans connectés.Scénario principal : ajoutez et organisez des plans pour créer votre séquence. Fichiers de média et plans Après avoir importé le média dans Final Cut Pro, les plans représentant les fichiers de média source apparaissent dans le navigateur d’événements. Un événement volumineux peut inclure de nombreux plans. Les fichiers de média constituent la matière première avec laquelle vous créez votre projet. Un fichier de média représente un fichier vidéo, audio ou graphique stocké sur le disque dur, qui contient le métrage transféré d’un caméscope, d’un équipement d’enregistrement ou créé au départ sur votre ordinateur. Les fichiers de média peuvent contenir plusieurs composants vidéo et audio. Comme les fichiers de données (plus particulièrement les fichiers vidéo) ont tendance à occuper beaucoup d’espace, les projets exploitant un métrage conséquent requièrent un ou plusieurs disques durs de grande capacité. Chapitre 2 Notions élémentaires Final Cut Pro 19 Les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Les plans dans un projet pointent simplement sur des fichiers de média source se trouvant sur votre disque dur. Si vous modifiez un plan, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan dans le projet. Cette méthode est connue sous le nom de montage non destructif, car l’ensemble des modifications et des effets appliqués aux plans dans Final Cut Pro n’a aucun effet sur les données elles-mêmes. Les parties élaguées ou effacées des plans ne sont supprimées que de votre projet et non des plans source qui s’affichent dans votre bibliothèque d’événements ou des fichiers multimédias source stockés sur votre disque dur. Projet 2Jouet1Fichiers de média sur votre disque durProjet 3Projet 1Jouet1.movJouet1Jouet1Jouet1Plans de l’événement Événements et projets Dans Final Cut Pro X, vous pouvez utiliser des événements pour recueillir et organiser le média. Les événements s’apparentent à des dossiers qui contiennent le média non modifié et importé d’une caméra ou de toute autre source. Les projets vous permettent de modifier et de structurer des films pour les partager avec votre public. Un projet représente un enregistrement du travail que vous effectuez dans la timeline mais aussi les décisions que vous prenez pour réaliser vos montages. Lorsque vous ajoutez un plan d’un événement dans un projet donné, vous établissez en fait un lien entre le plan d’événement source et le plan correspondant dans le projet (et, par extension, entre l’événement et le projet). Cependant, l’événement comme le plan source ne sont en fait pas contenus au sein du projet. Vous pouvez utiliser le plan d’événement en question dans d’autres projets et votre projet peut exploiter des plans issus d’autres événements. Chapitre 2 Notions élémentaires Final Cut Pro 20 L’illustration ci-dessous reprend la relation entre les événements et les projets : Final Cut Pro X effectue le suivi des liens entre les plans du projet et leur plan d’événement source, bien que les projets et les événements restent indépendants. ProjetProjetÉvénementsÉvénementsÉvénementsÉvénements 3 21 Présentation de l’importation L’importation de médias dans Final Cut Pro constitue la première étape vers la création de votre film. Final Cut Pro vous permet les opérations suivantes : •• Importation d’une caméra ou d’un dispositif (sans bande) enregistrant dans des fichiers •• Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch •• Importation à partir d’un caméscope ou d’un dispositif à bande •• Importation à partir d’iMovie •• Importation à partir d’iPhoto et d’Aperture •• Importation à partir d’iTunes •• Importation à partir d’un disque dur •• Importation à partir d’une archive de caméra Lors de l’importation, vous devez assigner votre média à un événement. Vous pouvez également transcoder votre média et l’analyser pour y rechercher différents problèmes, tels que la balance des couleurs, la présence de personnes et le type de plan, ou encore régler des problèmes audio. Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro attribue l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Pour en savoir plus, consultez Affichage et réattribution de rôles à la page 311. Si vous voulez rapidement sauvegarder votre média (plutôt que suivre le processus plus lent d’importation), vous pouvez créer une archive. Importation de média Chapitre 3 Importation de média 22 S’il s’agit de votre première importation La première fois que vous ouvrez Final Cut Pro, l’application ne contient aucun média, aucun projet et un seul événement. Les boutons apparaissent dans le navigateur d’événements pour vous aider à importer rapidement des événements à partir d’iMovie, du média depuis votre disque dur ou un périphérique de stockage externe connecté, ou directement depuis une caméra branchée sur votre ordinateur. Importation de média dans un événement vide mm Pour importer des événements d’iMovie : cliquez sur le bouton « Importer des événements iMovie » et suivez les instructions pour l’importation d’événements iMovie. mm Pour importer des fichiers à partir d’une caméra ou d’un disque dur : cliquez sur le bouton Média et suivez les instructions pour l’importation de fichiers à partir d’une caméra à système de fichiers, pour l’d’un disque durd’une caméra à bande ou d’une archive de caméra. Importation à partir des caméras connectées Importation à partir des caméras à système de fichiers Les caméscopes et caméras produisant des fichiers permettent d’enregistrer de la vidéo, du son et des images fixes. Ces types de dispositifs qui enregistrent sur des supports de stockage à mémoire flash, des disques durs, etc., se branchent généralement sur l’ordinateur par le biais d’un câble USB. Certains matériels utilisent des cartes mémoire amovibles que vous pouvez ensuite insérer dans votre ordinateur. Si votre dispositif produisant des fichiers inclut une fonctionnalité pour étendre des plans, vous pouvez importer l’intégralité du média sous la forme d’un plan étendu. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/finalcutpro/cameras/. Importation d’un caméscope, d’une caméra ou de tout autre matériel enregistrant dans des fichiers 1 Procédez de l’une des manières suivantes : •• Connectez votre caméscope, votre caméra ou tout autre appareil à votre ordinateur à l’aide du câble fourni avec le matériel en question, puis allumez-le. Chapitre 3 Importation de média 23 Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. (Le nom de ce mode de transfert varie selon le modèle de votre matériel.) Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope. Remarque : Si vous connectez un caméscope DVD à votre Mac, il se peut que l’application Lecteur DVD s’ouvre. Si cela se produit, il vous suffit de fermer l’application. •• Retirez la carte mémoire du caméscope ou de l’appareil, puis insérez-la dans le logement pour carte de votre Mac (si celui-ci en possède un) ou dans un lecteur de carte externe. Pour en savoir plus sur les cartes mémoires, reportez-vous à la section À propos des cartes mémoire et des câbles à la page 43. 2 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 3 Au besoin, sélectionnez votre caméscope, caméra ou dispositif dans la section Caméras de gauche. La fenêtre Importation des médias affiche alors l’intégralité du média présent sur votre matériel. Dans cette fenêtre, vous pouvez effectuer le preview du média soit en lançant sa lecture à l’aide des commandes de lecture, soit en en effectuant le survol en déplaçant horizontalement le pointeur sur une pellicule. Modifiez l’apparence des plans à l’aide de ces commandes. Le média sur le support s’affiche à cet endroit. Commandes de lecture Remarque : La plupart des caméras numériques modernes sont en mesure d’enregistrer indifféremment des images fixes ou de la vidéo. Dans de nombreux cas, les plans vidéo et les images fixes de ces caméras apparaissent côte-à-côte dans la fenêtre Importation des médias. Chapitre 3 Importation de média 24 4 Procédez de l’une des façons suivantes : •• Pour changer d’appareil à partir duquel importer : cliquez sur l’appareil voulu dans la section Caméras. •• Pour changer la façon dont les plans apparaissent : cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la fenêtre Importation des médias. •• Pour passer de la présentation en pellicule à la présentation par liste : cliquez sur les boutons Présentation par liste et Présentation en pellicule en bas de la fenêtre Importation des médias. (Caméras à système de fichiers et archives de caméra uniquement.) Remarque : Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés. •• Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. Pour en savoir plus sur la présentation par liste, consultez Importation à partir d’un disque dur à la page 37. •• Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris : faites-les glisser de la présentation par liste. Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel. •• Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ». •• Pour ajouter un dossier à la présentation en liste en le faisant glisser : faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste. 5 Procédez de l’une des manières suivantes : •• Pour importer tous les plans : cliquez sur Tout importer. •• Pour importer uniquement certains plans : sélectionnez chaque plan à importer en cliquant sur chaque plan tout en maintenant la touche Commande, puis cliquez sur Importer la sélection (le bouton Importer change de nom). Conseil : Pour sélectionner plusieurs plans regroupés, vous pouvez les encadrer en faisant glisser le pointeur de sorte à former le rectangle de sélection. •• Pour importer certaines parties de plans : faites glisser le curseur à l’intérieur de la pellicule pour sélectionner la plage d’images de votre choix, puis cliquez sur Importer la sélection. Vous pouvez également sélectionner plusieurs plages dans chaque plan. Pour en savoir plus, consultez Sélection d’une plage à la page 100. Conseil : Vous pouvez également sélectionner un plan, appuyez sur la barre d’espace pour le lire et appuyez sur la touche I pour définir un point de départ ou sur la touche O pour définir un point d’arrivée. 6 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements : •• Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. Chapitre 3 Importation de média 25 •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 7 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 8 Cliquez sur Importer. Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 9 Lorsque des tâches en arrière-plan sont terminées, débranchez le caméscope, la caméra ou l’appareil. Vous pouvez créer une archive à partir de votre caméra ou équipement à système de fichiers ou à bande. Pour en savoir plus, consultez Création et gestion des archives de caméra à la page 429. Réimportation d’un plan Deux cas de figure permettent d’assurer une réimportation correcte d’un plan : •• Si le plan ne s’est pas entièrement importé : si vous annulez l’opération ou fermez Final Cut Pro avant la fin de l’importation, une icône représentant une caméra apparaît dans le coin inférieur gauche du plan. Cette icône indique que Final Cut Pro exploite le média présent sur la caméra pour effectuer la lecture (plutôt qu’utiliser le fichier QuickTime créé au cours de l’importation). Icône de caméra Pour reproduire un plan présentant une icône de caméra, Final Cut Pro recherche le média soit sur une caméra connectée, soit dans une archive de caméra accessible. (Consultez Accès aux médias sur une archive ou une image disque à la page 40 pour en savoir plus.) Si Final Cut Pro ne parvient pas à localiser le média dans l’un de ces emplacements, le plan est alors déconnecté et une icône d’avertissement indique qu’une caméra est absente. •• Si le fichier de média source du plan est indisponible : s’il a été déplacé ou supprimé, ou si le volume sur lequel il se trouve est déconnecté de l’ordinateur, une icône représentant un fichier manquant apparaît sur le plan. Pour rétablir le plan, vous pouvez le réimporter. Reportez-vous à Icônes d’avertissement à la page 432 pour en savoir plus sur les icônes d’avertissement. Chapitre 3 Importation de média 26 Lorsque vous réimportez un plan, Final Cut Pro se connecte automatiquement à la caméra ou à l’archive de caméra nécessaire. Il n’y a alors aucun besoin d’effectuer le montage manuel d’une archive de caméra avant de réaliser la réimportation. 1 Procédez de l’une des manières suivantes : •• Branchez la caméra contenant le plan sur votre ordinateur, puis allumez-la. Ceci permet de connecter le plan, même si celui-ci dénote toujours une icône de caméra dans le coin inférieur gauche. •• Insérez dans l’ordinateur ou un lecteur de carte connecté la carte mémoire incluant le plan. Consultez À propos des cartes mémoire et des câbles à la page 43 pour en savoir plus. •• Assurez-vous que l’archive de caméra contient bien le plan stocké dans l’une des archives de caméra Final Cut Pro. Consultez Création et gestion des archives de caméra à la page 429 pour en savoir plus. 2 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Pour réimporter un plan : Sélectionnez le plan dans le navigateur d’événements. •• Pour réimporter tous les plans dans un événement : Sélectionnez l’événement dans la bibliothèque d’événements. 3 Choisissez Fichier > Importer > Réimporter de l’archive/caméra. Le ou les plans sont alors réimportés. Importation de plans étendus Certains caméscopes ou dispositifs produisant des fichiers et disposant de plusieurs logements pour carte mémoire peuvent enregistrer un plan sur plusieurs cartes mémoire. Le plan ainsi créé est appelé un plan étendu. Un bon moyen pour importer un plan étendu dans Final Cut Pro consiste à connecter votre caméra ou votre lecteur de cartes à votre ordinateur et à créer une archive de caméra pour chaque carte mémoire. Vous pouvez stocker les archives de caméra sur votre ordinateur ou sur un dispositif de stockage externe, jusqu’à ce que vous soyez prêt à importer le plan étendu. (Même si vous importez le plan étendu immédiatement, il peut être utile de créer l’archive de caméra afin d’avoir une sauvegarde des plans qui composent le plan étendu.) Ensuite, lorsque vous êtes prêts pour l’importation, vous pouvez monter toutes les archives de caméra et importer le plan étendu. Création d’une archive de caméra pour chaque carte mémoire 1 Connectez votre caméscope ou votre caméra à l’ordinateur et allumez l’appareil, ou branchez votre lecteur de cartes sur l’ordinateur et insérez la carte dans le lecteur. Si vous envisagez d’enregistrer les archives de caméra sur un périphérique de stockage externe, branchez également celui-ci. 2 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. La fenêtre Importation des médias apparaît. 3 Sélectionnez une carte mémoire à archiver dans la liste des caméras à gauche. Chapitre 3 Importation de média 27 4 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre. 5 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive. 6 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK. Remarque : Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. 7 Répétez les étapes 3 à 6 pour créer des archives de caméra pour chacune des cartes mémoire contenant une partie du plan étendu. Les archives de caméra apparaissent dans la liste Archives d’appareil de la fenêtre Importation des médias. Consultez Création et gestion des archives de caméra à la page 429 pour en savoir plus sur la création d’archives de caméra. Importation d’un plan étendu 1 Si les archives de votre caméra sont stockées sur un périphérique de stockage externe, assurez-vous que celui-ci est connecté à votre ordinateur. 2 Choisissez Fichier > Importer depuis la caméra. La fenêtre Importation des médias apparaît, affichant toutes les archives de caméra présentes sur votre ordinateur (et sur tous les périphériques de stockage externes connectés) dans la section Archives de caméra située à gauche. 3 Sélectionnez chacune des archives de caméra qui composent le plan étendu. Final Cut Pro monte l’intégralité des archives de caméra. Si toutes les sections du plan étendu sont disponibles, toutes les archives de caméra montées affichent un plan de la même durée. Une icône indiquant que le plan étendu est terminé s'affiche sur le plan. Ces archives de caméra contiennent toutes les sections du plan étendu.Ce plan représente le plan étendu entier.Cette icône indique que toutes les sections du plan étendu sont disponibles. Chapitre 3 Importation de média 28 Si des archives de caméra viennent à manquer, une icône apparaît sur le plan étendu pour indiquer quelle partie du plan étendu est disponible, à savoir le début, le milieu ou la fin. Vous pouvez sélectionner chaque archive de caméra pour connaître leurs icônes. Indique que toutes les sections du plan étendu sont disponibles.Indique que la section de fin du plan étendu est disponible.Indique que la section de début du plan étendu est disponible.Indique que la section du milieu du plan étendu est disponible. 4 Cliquez sur Tout importer pour importer le plan étendu. Important : Si les archives de caméra qui composent le plan étendu ne sont pas toutes disponibles, vous pouvez importer chaque archive séparément. Chaque section du plan étendu est importée dans Final Cut Pro sous la forme d’un plan séparé. 5 Choisissez comment vous comptez organiser le média importé dans la bibliothèque d’événements : •• Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 6 Si vous comptez organiser votre média, le transcoder, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 7 Cliquez sur Importer. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 8 Pour commencer à manipuler vos plans, fermez la fenêtre Importation des médias afin de pouvoir accéder au navigateur d’événements. Chapitre 3 Importation de média 29 Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch L’importation de média depuis un iPhone, iPad ou iPod touch est similaire à l’importation de fichiers à partir d’un caméscope, d’une caméra ou autre matériel. Importation à partir d’un iPhone, d’un iPad ou d’un iPod touch 1 Connectez votre iPhone, iPad ou iPod touch à votre ordinateur à l’aide du câble Dock Connector vers USB livré avec l’appareil en question. (Si une autre application s’ouvre, fermez celle-ci.) Allumez ensuite le dispositif et déverrouillez-le. 2 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. La fenêtre Importation des médias apparaît. 3 Au besoin, sélectionnez votre iPhone, iPad ou iPod touch dans la section Caméras de gauche. La fenêtre Importation des médias affiche alors l’intégralité du média présent sur votre matériel. Dans cette fenêtre, vous pouvez effectuer le preview du média soit en lançant sa lecture à l’aide des commandes de lecture, soit en en effectuant le survol en déplaçant horizontalement le pointeur sur une pellicule. Vous avez également la possibilité d’effectuer l’une des opérations suivantes : •• Pour changer d’appareil à partir duquel importer : cliquez sur l’appareil voulu dans la section Caméras. •• Pour changer la façon dont les plans apparaissent : cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la fenêtre Importation des médias. •• Pour passer de la présentation en pellicule à la présentation par liste : cliquez sur les boutons Présentation par liste et Présentation en pellicule en bas de la fenêtre Importation des médias. (Caméras à système de fichiers et archives de caméra uniquement.) Remarque : Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés. •• Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. Pour en savoir plus sur la présentation par liste, consultez Importation à partir d’un disque dur à la page 37. •• Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris : faites-les glisser de la présentation par liste. Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel. •• Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ». Chapitre 3 Importation de média 30 •• Pour ajouter un dossier à la présentation en liste en le faisant glisser : faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste. 4 Procédez de l’une des manières suivantes : •• Pour importer tous les plans : cliquez sur Tout importer. •• Pour importer uniquement certains plans : sélectionnez chaque plan à importer en cliquant sur chaque plan tout en maintenant la touche Commande, puis cliquez sur Importer la sélection (le bouton Importer change de nom). Conseil : Pour sélectionner plusieurs plans regroupés, vous pouvez les encadrer en faisant glisser le pointeur de sorte à former le rectangle de sélection. •• Pour importer certaines parties de plans : faites glisser le curseur à l’intérieur de la pellicule pour sélectionner la plage d’images de votre choix, puis cliquez sur Importer la sélection. Vous pouvez également sélectionner plusieurs plages dans chaque plan. Pour en savoir plus, consultez Sélection d’une plage à la page 100. Conseil : Vous pouvez également sélectionner un plan, appuyez sur la barre d’espace pour le lire et appuyez sur la touche I pour définir un point de départ ou sur la touche O pour définir un point d’arrivée. 5 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements : •• Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 6 Si vous comptez créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. Chapitre 3 Importation de média 31 7 Cliquez sur Importer. Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 8 Lorsque des tâches en arrière-plan sont terminées, débranchez l’iPhone, iPad ou iPod touch. Importation à partir d’un appareil photo numérique Il est possible d’importer de la vidéo et des images fixes à partir d’un appareil photo numérique. La procédure ci-dessous explique comment importer de la vidéo et des images fixes directement dans Final Cut Pro. Vous pouvez également importer vos photos dans Aperture ou dans iPhoto et y accéder à travers le navigateur de photos de Final Cut Pro. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/finalcutpro/cameras/. Importation de plans d’images fixes et de plans vidéo à partir d’un appareil photo numérique 1 Branchez votre caméra sur votre ordinateur à l’aide du câble fournie avec celle-ci et allumez-la. Si votre caméra n’apparaît pas à gauche de la fenêtre Importation des médias (dans la section Caméras ou Appareils), retirez la carte mémoire de la caméra, puis insérez-la dans le logement pour carte de votre Mac (si celui-ci en possède un) ou dans un lecteur de carte externe. 2 Dans le Finder, localisez le dossier DCIM dans l’arborescence de la caméra, puis les fichiers d’images et de vidéos. Ces fichiers peuvent se trouver dans le dossier DCIM ou dans un dossier situé à un ou deux niveaux inférieurs. La structure des fichiers varie selon les modèles et les fabricants. 3 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Sélectionnez Fichier > Importer > Média (ou appuyez sur Commande + I), puis suivez les instructions de Importation à partir d’un disque dur à la page 37. •• Faites glisser les fichiers du Finder sur un événement ou sur la timeline de Final Cut Pro. Les fichiers sont alors importés en utilisant les réglages d’importation que vous avez définis dans les préférences Importation. Consultez Importation à partir d’un disque dur à la page 37. Une fois l’importation terminée, il se peut que vous disposiez de fichiers audio utilisables pour remplacer la piste audio de certaines vidéos. Pour ce faire, vous pouvez automatiquement synchroniser les plans vidéo et audio. Importation à partir des caméras à bande Vous pouvez importer des médias à partir d’un caméscope ou d’un dispositif à bande. Pour déterminer quels plans vous devez importer (plutôt que de tous les importer), vous pouvez les visualiser dans Final Cut Pro avant de les importer. Final Cut Pro prend en charge l'importation de contenu à bande des format multimédias suivants : DV (y compris DVCAM, DVCPRO et DVCPRO50), DVCPRO HD et HDV. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/ finalcutpro/cameras/. Chapitre 3 Importation de média 32 Importation de médias à partir d’un caméscope ou d’un dispositif à bande 1 Connectez le caméscope à votre ordinateur par le biais du câble FireWire fourni avec votre caméscope et configurez votre matériel, le cas échéant, pour le contrôler à distance par FireWire. Remarque : Pour de meilleurs résultats lors de l’importation à partir d’un caméscope à bande, il est recommandé d’importer la vidéo à l’aide du même caméscope que celui utilisé pour l’enregistrement. 2 Allumez le caméscope et mettez-le en mode magnétoscope (VTR ou VCR). (Le nom de ce mode peut varier selon votre modèle de caméra. Pour en savoir plus, consultez la documentation fournie avec votre caméscope.) 3 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. La fenêtre Importation des médias apparaît. 4 Si plusieurs matériels sont connectés à votre ordinateur, choisissez dans la liste des caméras située à gauche celui à partir duquel vous voulez importer. La fenêtre Importation des médias affiche l’image de la position active de la bande. 5 Utilisez les commandes de lecture (ou les touches J, K et L) pour placer la bande sur le point à partir duquel vous voulez commencer l’importation, puis cliquez sur Importer. 6 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements : •• Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Chapitre 3 Importation de média 33 Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 7 Si vous comptez transcoder votre média, l’organiser ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 8 Cliquez sur Importer. Final Cut Pro lance immédiatement l’importation à partir de la position sur la bande. L’application poursuit l’importation (et enregistre les fichiers de média résultants dans l’événement que vous avez spécifié) jusqu’à ce que l’un des cas de figure suivants se produise : •• la fin de la bande soit atteinte ; •• Le disque dur vers lequel vous effectuez l’importation est plein. •• Vous pouvez interrompre la session d’importation en cliquant sur Arrêter l’importation ou Fermer (pour fermer la fenêtre Importation des médias). La vidéo est lue pendant son importation. L’importation de la vidéo prend autant de temps que sa visualisation à vitesse normale. 9 Lorsque la section de la vidéo que vous voulez importer a été importée, cliquez sur Arrêter l’importation. Utilisez ensuite les commandes d’importation pour placer votre vidéo à un point à partir duquel vous voulez recommencer l’importation, puis répétez les étapes 5 à 7. Si vous avez sélectionné des options à l’étape 6, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 10 Une fois l’importation effectuée, cliquez sur Fermer pour fermer la fenêtre Importation des médias. Vous pouvez en outre créer une archive à partir de votre dispositif à bande, en enregistrant le contenu de la bande du début à la fin et en enregistrant les plans capturés sous forme d’archive. Pour en savoir plus, consultez Création et gestion des archives de caméra à la page 429. Si votre caméra ou dispositif n’est pas reconnu Si vous avez connecté votre caméra ou caméscope à votre ordinateur mais que la fenêtre Importation des médias ne s’ouvre pas ou que Final Cut Pro ne contrôle pas votre dispositif, vous pouvez tenter plusieurs opérations pour établir la connexion. Vérifiez votre équipement et votre ordinateur. 1 Assurez-vous que vous utilisez votre équipement dans sa configuration adéquate : •• Votre caméscope ou caméra doit être compatible avec Final Cut Pro. Pour obtenir la liste des appareils compatibles avec Final Cut Pro X, consultez la page web http://help.apple.com/ finalcutpro/cameras/. •• Votre appareil doit être correctement connecté à votre ordinateur. •• Votre caméscope doit être placé en mode de sortie adéquat. Sur certains caméscopes, ce mode est appelé le mode magnétoscope (ou encore VTR ou VCR), mais tous les caméscopes n’utilisent pas la même terminologie, c’est pourquoi il est nécessaire de consulter la documentation fournie avec votre matériel. Sur certains caméscopes, vous devez régler la sortie sur mode DV ou HDV, selon que le contenu est standard (DV) ou haute définition (HDV). Chapitre 3 Importation de média 34 •• Si vous connectez un caméscope à bande à votre ordinateur, vous devez utiliser un câble FireWire (aussi appelé IEEE 1394 ou i.LINK), et non pas un câble USB. Consultez À propos des cartes mémoire et des câbles à la page 43 pour en savoir plus. •• Si vous importez des plans vidéo à partir d’un appareil photo ou d’un autre dispositif à mémoire flash, assurez-vous que le format de fichier de votre vidéo est MPEG-2, MPEG-4 ou AVCHD, ces formats étant tous compatibles avec Final Cut Pro. •• Si votre appareil photo n’est pas pris en charge par Final Cut Pro, essayez d’importer les données sous forme de fichiers à l’aide d’un logement pour carte de votre Mac ou d’un lecteur de carte externe. Consultez Importation à partir d’un disque dur à la page 37 pour en savoir plus. •• Si vous avez activé la permutation rapide d’utilisateur, assurez-vous que personne n’essaie d’utiliser simultanément le caméscope depuis un autre compte. 2 Si vous n’arrivez toujours pas à importer le média après avoir vérifié les éléments ci-dessus, essayez les opérations suivantes : •• Éteignez puis rallumez l’appareil. •• Déconnectez le câble de l’appareil et de l’ordinateur, puis rebranchez-le. •• Quittez puis rouvrez Final Cut Pro. •• Redémarrez votre ordinateur. •• Essayez d’utiliser un autre câble. •• Essayez d’utiliser un autre ordinateur sur lequel Final Cut Pro est installé. •• Si vous utilisez un caméscope produisant des fichiers, utilisez le Finder pour copier le volume monté sur un disque local. Ouvrez ensuite les fichiers dans Final Cut Pro de la même façon que vous ouvrez une archive. Remarque : Lorsque des images s’affichent en rouge avec un triangle d’avertissement jaune dans la timeline ou dans l’événement, Final Cut Pro vous signale en fait qu’une partie de votre projet ou de votre événement est manquante. Pour en savoir plus, consultez Icônes d’avertissement à la page 432. Importation à partir d’autres applications Importation à partir de Motion Vous pouvez créer et modifier des effets vidéo, des titres, des transitions et des générateurs dans Motion 5 pour les exploiter dans Final Cut Pro. Si vous enregistrez un modèle dans Motion, celui-ci est alors « publié » et mis à disposition dans son navigateur multimédia respectif dans Final Cut Pro. Reportez-vous aux informations relatives aux modèles Final Cut Pro X dans l’Aide Motion à l’adresse http://help.apple.com/motion/. Pour en savoir plus, consultez les sections suivantes : •• Création de versions de transitions spécialisées dans Motion à la page 221 •• Création de versions d’effets vidéo spécialisées dans Motion à la page 246 •• Création de versions de générateurs spécialisées dans Motion à la page 250 Chapitre 3 Importation de média 35 Importation à partir d’iMovie Il vous est possible d’importer l’un de vos projets iMovie et votre bibliothèque d’événements iMovie dans Final Cut Pro. Remarque : pour importer un projet de bande-annonce iMovie, vous devez au préalable le convertir en projet iMovie standard. Pour en savoir plus, choisissez Aide dans iMovie ‘11 et lancez une recherche sur les termes « Convertir une bande-annonce en projet ». Important : les projets et plans iMovie tirés de la bibliothèque d’événements d’iMovie ne sont pas analysés automatiquement lors de l’importation car ils conservent leurs résultats d’analyse d’origine d’iMovie. Vous pouvez passer outre l’analyse iMovie en analysant vos plans dans Final Cut Pro après l’importation. Pour en savoir plus, consultez Analyser vos données à la page 51. Importer un projet iMovie 1 Dans Final Cut Pro, choisissez Fichier > Importer > Projet iMovie, puis localisez votre projet iMovie, généralement situé dans le dossier Vidéos de votre disque dur. 2 Cliquez sur Importer. Le projet s’ouvre dans la timeline et tous les événements associés apparaissent dans la bibliothèque d’événements. Importation de votre bibliothèque d’événements iMovie 1 Dans Final Cut Pro, choisissez Fichier > Importer > Bibliothèque d’événements iMovie. 2 Lisez le message qui apparaît et cliquez sur OK. Les événements de votre bibliothèque d’événements iMovie apparaissent dans la bibliothèque d’événements de Final Cut Pro. Importation à partir d’iPhoto et d’Aperture Lorsque vous faites glisser des photos et des vidéos d’iPhoto et d’Aperture dans Final Cut Pro, elles sont importées en adoptant les réglages d’importation que vous avez définis dans les préférences Importation. Pour en savoir plus, consultez Importation à partir d’un disque dur à la page 37. Importation de photos et de vidéos à partir d’iPhoto ou d’Aperture 1 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Choisissez Fenêtre > Navigateur multimédia > Photos. •• Dans la barre d’outils, cliquez sur le bouton Photos. Chapitre 3 Importation de média 36 2 Si nécessaire, accédez à la section iPhoto ou Aperture du navigateur de photos. 3 Pour utiliser une ou plusieurs photos ou vidéos dans votre projet, faites-les glisser depuis le navigateur de photos et déposez-les sur une icône d’événement dans la bibliothèque d’événements ou sur un projet dans la timeline. Pour sélectionner plusieurs plans, vous pouvez cliquer dessus tout en maintenant la touche Commande enfoncée ou tracer un rectangle de sélection les englobant tous. Vous pouvez également faire glisser des photos et des vidéos depuis iPhoto ou Aperture et les déposer directement sur un événement dans la bibliothèque d’événements ou un projet dans la timeline, sans passer par le navigateur de photos. Importation à partir d’iTunes Vous pouvez importer dans Final Cut Pro de la musique et du son provenant de votre bibliothèque iTunes. Importation de musique et de son à partir d’iTunes 1 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Choisissez Fenêtre > Navigateur multimédia > Musique et son. •• Cliquez sur le bouton Musique et son dans la barre d’outils. 2 Dans le navigateur de musique et son, choisissez iTunes dans le menu local situé en haut. Conseil : Si le dossier que vous recherchez n’est pas visible, vous pouvez l’ajouter à la liste de sources en le faisant glisser depuis le Finder ou le bureau jusque dans le navigateur de musique et son. 3 Dans la liste qui s’affiche, recherchez le son ou la musique que vous désirez : •• Pour rechercher un élément : saisissez votre texte dans le champ de recherche. Pour filtrer votre recherche, cliquez sur le bouton Filtre et choisissez le filtre souhaité. •• Pour obtenir un aperçu d’un élément : double-cliquez sur l’élément ou sélectionnez-le et cliquez sur le bouton Lecture . •• Pour sélectionner plusieurs éléments : cliquez sur chaque élément tout en maintenant la touche Commande enfoncée. Chapitre 3 Importation de média 37 4 Faites glisser le ou les fichiers de son vers la timeline. Remarque : Pour de meilleures performances en lecture et à l’importation, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV et conserve les fichiers MP3 originaux pour une utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de données originaux et des fichiers de données transcodés, consultez la section Emplacement de vos fichiers de média et de projet à la page 407. Importation à partir de dispositifs Importation à partir d’un disque dur Vous pouvez importer des données (vidéo, audio, images et fichiers graphiques) depuis le disque dur de votre ordinateur, un périphérique de stockage externe connecté, une carte mémoire insérée dans le logement pour carte de votre ordinateur ou un lecteur de carte, ou un volume réseau attaché. Vous pouvez importer des données en utilisant la fenêtre Importation des médias ou en faisant glisser des fichiers depuis le Finder. Lorsque vous faites glisser des médias du Finder dans Final Cut Pro, ceux-ci sont importés d’après les réglages d’organisation, de transcodage et d’analyse que vous avez définis dans les préférences de Final Cut Pro. Si vous ne voulez pas utiliser la fenêtre Importation des médias pour gérer votre importation, et si vous voulez toujours utiliser les mêmes réglages d’organisation, de transcodage et d’analyse, l’importation par glisser-déposer des fichiers dans Final Cut Pro s’avère être une bonne solution. Consultez Préférences d’importation à la page 440 pour en savoir plus sur les préférences d’importation. Remarque : Certains appareils basés sur les fichiers autorisent la copie, via le Finder, des données enregistrées (en respectant leur structure de répertoire originale) dans un dossier de votre ordinateur. Pour importer du média copié de cette façon, consultez Accès aux médias sur une archive ou une image disque à la page 40. Importation de média d’un disque dur à partir de la fenêtre Importation des médias 1 Si le média à importer se trouve sur un périphérique de stockage externe ou une carte mémoire, branchez l’appareil sur votre ordinateur et mettez-le sous tension. 2 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 3 Dans la section Appareils de gauche de la fenêtre Importation des médias, sélectionnez le disque dur de votre ordinateur, le périphérique de stockage externe branché ou la carte mémoire duquel ou de laquelle importer le média. 4 Utilisez la présentation par liste située en bas de la fenêtre pour accéder à un fichier ou à un dossier, puis sélectionnez-le. (Lorsque vous importez à partir d’un disque dur, les pellicules ne sont alors visibles que pour les différents plans sélectionnés.) Chapitre 3 Importation de média 38 Conseil : Cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers ou dossiers Ajoutez les dossiers d’importation favoris.Accédez aux fichiers et dossiers.Lancez la lecture du plan sélectionné.Survolez le plan sélectionné.Cliquez sur l’en-tête d’une colonne pour trier les éléments en fonction de la catégorie correspondante. 5 Procédez de l’une des façons suivantes : •• Pour effectuer le preview du plan sélectionné : lancez sa lecture à l’aide des commandes de lecture ou effectuez-en le survol en déplaçant horizontalement le pointeur sur la pellicule. •• Pour changer de disque dur à partir duquel importer : sélectionnez le disque dur dans la section Appareils ou sélectionnez l’emplacement dans la section Favoris. •• Pour trier des plans dans la présentation en liste d’après des données, par exemple d’après la durée, la date de création, le classement, un mot-clé, etc. : cliquez sur les en-têtes de colonnes en haut de la présentation par liste. •• Pour ajouter des dossiers de média fréquemment utilisé à la section Favoris : faites glisser un dossier de la liste de droite sur la section Favoris située à gauche. Pour supprimer un dossier de la section Favoris, cliquez sur le dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez « Supprimer de la barre latérale » dans le menu contextuel. •• Pour fermer automatiquement la fenêtre Importation des médias au début de l’importation : cochez la case « Fermer la fenêtre après le début de l’importation ». •• Pour ajouter un dossier à la présentation en liste en le faisant glisser : faites glisser le dossier du Finder sur la présentation par liste, puis parcourez son contenu en présentation par liste. 6 Lorsque vous êtes prêt à importer, cliquez sur Importer la sélection. 7 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements : •• Pour ajouter les plans importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. Chapitre 3 Importation de média 39 8 Pour que Final Cut Pro copie vos fichiers de médias et les ajoute au dossier des événements que vous avez spécifié, cochez la case. 9 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 10 Cliquez sur Importer. Par défaut, la fenêtre Importation des médias se ferme lorsque vous cliquez sur Importer. Vous pouvez commencer à travailler sur vos plans dans le navigateur d’événements. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro commence à transcoder et optimiser les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches d’importation et autres tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. Si vous avez importé du média à partir d’un périphérique externe et que vous avez indiqué à Final Cut Pro de copier les fichiers de média dans le dossier Final Cut Events (plutôt que de simplement faire référence à leur emplacement d’origine), vous pouvez débrancher l’appareil une fois les tâches en arrière-plan terminées. Remarque : Pour en savoir plus sur la restauration d’événements et de projets à partir de copies de sauvegarde, consultez Sauvegarde des projets, des événements et de votre bibliothèque de projets à la page 421. Importation de média par glissement depuis le Finder Procédez de l’une des manières suivantes : mm Sélectionnez un fichier, cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers ou sélectionnez un dossier de fichiers et faites-les glisser du Finder sur l’événement. Le ou les plans apparaissent dans l’événement. mm Sélectionnez et faites glisser un fichier, cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers, ou sélectionnez et faites glisser un dossier de fichiers du Finder sur une collection de mots-clés. Le ou les plans apparaissent dans l’événement et le mot-clé est automatiquement ajouté aux plans en question. Important : Si la préférence d’importation « Importer des dossiers sous forme de collections de mots-clés » est cochée, une collection de mot-clé est alors créée pour chaque nom de dossier et les fichiers dans le dossier se voient attribués ce mot-clé. mm Sélectionnez, ou cliquez tout en maintenant la touche Commande enfoncée pour sélectionner plusieurs fichiers, et faites glisser le ou les fichiers sur la timeline d’un projet. Le ou les plans apparaissent dans celle-ci et dans le dossier des événements (Events) par défaut du projet. Le fichier ou les fichiers sont importés en utilisant vos réglages d’importation par défaut. Chapitre 3 Importation de média 40 Accès aux médias sur une archive ou une image disque Si vous avez créé une archive de caméra, il vous est possible d’utiliser le média stocké dans l’archive de deux manières : •• Vous pouvez connecter l’archive de caméra de sorte à mettre son média à disposition de Final Cut Pro. Bien que toutes les archives soient toujours répertoriées dans la fenêtre Importation des médias, il vous est impossible d’utiliser un quelconque média dans une archive tant que celle-ci n’est pas connectée. •• Vous pouvez importer des médias à partir de l’archive ou d’image disque archivés au préalable à l’aide de la fenêtre « Lister et transférer » de Final Cut Pro 7 ou antérieur. Ce faisant, des copies des médias sont créées sur votre disque local. Remarque : Certains appareils basés sur les fichiers autorisent la copie, via le Finder, des données enregistrées (en respectant leur structure de répertoire originale) dans un dossier de votre ordinateur. Pour importer des médias copiés de cette façon, suivez les instructions reprises ci-dessous. Importation de données à partir d’une archive ou d’une image disque 1 Pour ouvrir la fenêtre Importation des médias, procédez de l’une des manières suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 2 Procédez de l’une des manières suivantes : •• Pour monter une archive de caméra : Dans la section Archives d’appareil située à gauche dans la fenêtre Importation des médias, sélectionnez une archive de caméra pour vous y connecter. Remarque : Pour déconnecter l’archive de caméra, cliquez sur l’icône d’éjection. Archive de caméra •• Pour monter une image disque : Dans la section Appareils de gauche de la fenêtre Importation des médias, sélectionnez le disque dur de votre ordinateur, le périphérique de stockage externe branché ou la carte mémoire duquel ou de laquelle importer le média. Utilisez ensuite la liste située en bas de la fenêtre pour accéder à l’image disque voulue, puis sélectionnez-la. L’archive (ou l’images disque) est alors connectée à Final Cut Pro et son média s’affiche dans la fenêtre Importation des médias. 3 Pour importer le média, consultez la section Importation à partir des caméras à système de fichiers à la page 22“. Chapitre 3 Importation de média 41 Organisation des fichiers lors de l’importation Vous avez le choix du mode d’organisation de votre média au moment où vous l’importez dans Final Cut Pro. •• Copier les fichiers dans le dossier Final Cut Events : cette option duplique les fichiers de médias et place la copie dans le dossier Final Cut Events sur votre ordinateur. Si vous importez un média depuis un autre disque ou volume, ou si vous voulez conserver une copie de tous les fichiers de média qui ont été importés dans Final Cut Pro au même emplacement (à savoir dans le dossier Final Cut Events), cochez cette case. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. •• Importer des dossiers sous forme de collections de mots-clés : lorsque vous possédez des dossiers de fichiers dont les noms de dossiers sont explicites, sélectionner cette option permet de créer un mot-clé pour chaque nom de dossier et d’appliquer ce mot-clé à tous les fichiers du dossier pendant l’importation. De plus, une collection de mots-clés est créée pour chaque mot-clé. À l’issue de l’importation, ces plans incluent les mots-clés « B-roll » et « Callaways »À l’issue de l’importation, ces plans incluent les mots-clés « Interviews » et « Callaways » Organisation de fichiers pendant l’importation 1 Pour importer un fichier, choisissez Fichier > Importer > Fichiers, puis accédez au fichier à importer. 2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements : •• Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 3 Sélectionnez l’une des cases d’organisation ou les deux (abordées ci-dessus). 4 Si vous comptez transcoder votre média, l’organiser ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. Chapitre 3 Importation de média 42 5 Cliquez sur Importer. Final Cut Pro importe votre média en arrière-plan. Si vous avez sélectionné des options à l’étape précédente, Final Cut Pro transcode et optimise alors les fichiers à l’issue du processus d’importation. Vous pouvez voir la progression des tâches en arrière-plan dans la fenêtre Tâches d’arrière-plan. 6 Pour commencer à manipuler vos plans, fermez la fenêtre Importation des médias afin de pouvoir accéder au navigateur d’événements. Copie de l’intégralité des fichiers de média externes utilisés par un événement dans son dossier d’événement 1 Sélectionnez l’événement dans la bibliothèque d’événements. 2 Choisissez Fichier > Organiser les fichiers d’événements. 3 Dans la fenêtre qui s’affiche, cliquez sur Continuer. Final Cut Pro duplique les fichiers de médias et place la copie dans le dossier Final Cut Events sur votre ordinateur. Importation pendant l’enregistrement Vous pouvez enregistrer une vidéo directement dans Final Cut Pro à l'aide d'une caméra intégrée à votre ordinateur ou d'une caméra externe iSight. Enregistrement de vidéo et d’audio en direct dans Final Cut Pro 1 Procédez de l’une des manières suivantes : •• Pour enregistrer à l’aide de la caméra intégrée : cliquez sur le bouton Importer des médias dans la barre d’outils. •• Pour réaliser l'enregistrement à l'aide d'une caméra externe iSight : connectez la caméra iSight à votre ordinateur avec un câble FireWire et cliquez sur le bouton Importation de média dans la barre d'outils. 2 Dans la liste des caméras située dans la partie gauche de la fenêtre Importation des médias, sélectionnez la caméra à partir de laquelle vous souhaitez effectuer l’importation. Une image vidéo en direct provenant de la caméra apparaît alors dans la fenêtre Importation des médias. Chapitre 3 Importation de média 43 3 Cliquez sur Importer. La fenêtre Réglages de l’événement s’affiche. 4 Choisissez comment vous comptez organiser le média importé dans la bibliothèque d’événements : •• Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, Mariage de Paul et Sandra) dans le champ de texte, puis choisissez le disque sur lequel vous voulez stocker l’événement dans le menu local « Enregistrer dans ». Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 5 Si vous comptez organiser votre média, le créer du média optimisé ou proxy, analyser la vidéo ou analyser l’audio, cochez les cases correspondantes. Si vous ne configurez pas Final Cut Pro de sorte à analyser votre média pendant l’importation, vous pouvez analyser les plans ultérieurement (le cas échéant) depuis le navigateur d’événements. 6 Une fois prêt pour l’enregistrement, cliquez sur Importer. La caméra lance l’enregistrement sans délai. 7 Lorsque vous voulez arrêter l’enregistrement, cliquez sur Arrêter l’importation. Un plan vidéo est ainsi créé. Vous pouvez cliquer sur Importer pour recommencer l’enregistrement. Vous avez la possibilité de répéter cette procédure autant de fois que nécessaire. Conseil : Il est également possible d'enregistrer des vidéos depuis des caméscopes connectés par câble FireWire à l'aide de QuickTime X. Pour en savoir plus, consultez l'aide de QuickTime Player. À propos des cartes mémoire et des câbles Pour importer du média de votre dispositif d’enregistrement vers votre ordinateur, vous devez retirer la carte mémoire de votre matériel et l’insérer soit directement dans votre ordinateur, soit dans un lecteur de carte mémoire. Vous pouvez également connecter votre matériel directement à l’ordinateur à l’aide du câble qui convient. Cela vous permet ensuite d’importer les images sur la carte mémoire ou sur l’appareil via la fenêtre Importation des médias. Pour en savoir plus, consultez Importation à partir d’un disque dur à la page 37 et Importation à partir des caméras à système de fichiers à la page 22. •• Cartes mémoire : de nombreux caméscopes et matériels produisant des fichiers enregistrent leur média sur une carte mémoire amovible. Vous pouvez connecter un lecteur de cartes à votre ordinateur et l’utiliser pour transférer le contenu de votre carte mémoire à votre ordinateur. Certains ordinateurs Mac intègrent un logement pour carte SD (Secure Digital) ou SDXC (SD eXtended Capacity) qui leur permet de lire et d’écrire des données directement sur le support SD inséré dans ce logement. Si votre Mac est doté d’un logement de carte mémoire, vous pouvez retirer la carte de l’appareil photo, l’insérer dans votre Mac, puis importer les fichiers. Pour en savoir plus, accédez au site http://support.apple.com/kb/ht3553?viewlocale=fr_FR. Chapitre 3 Importation de média 44 Vous pouvez également connecter votre dispositif à l’ordinateur à l’aide d’un câble FireWire ou USB. Le type de câble dont vous avez besoin varie selon le type de matériel que vous utilisez : •• Matériel USB : vous utilisez un câble USB pour les caméscopes produisant des fichiers, pour les appareils photo numériques qui enregistrent des vidéos, ainsi que pour l’iPhone, l’iPad et l’iPod touch. Le câble USB doit comporter au moins un connecteur qui se branche sur votre Mac (dans la partie supérieure de l’illustration ci-dessous). Il se peut que l’autre extrémité du câble USB, qui se branche sur votre matériel d’enregistrement, se présente différemment (dans la partie inférieure de l’illustration ci-dessous). •• Matériel FireWire : pour la plupart des caméscopes qui enregistrent sur bande, vous devez utiliser un câble FireWire doté d’un connecteur 6 broches à brancher sur votre Mac d’une part (partie supérieure de l’illustration ci-dessous) et d’un connecteur à 4 broches à brancher sur votre caméscope d’autre part (partie inférieure de l’illustration ci-dessous). Il se peut que vous disposiez d’un câble FireWire 800 avec une extrémité différente qui se branche sur votre caméscope ou votre ordinateur. •• Matériel Thunderbolt : les dispositifs qui utilisent la technologie d’entrée/sortie Thunderbolt présentent un connecteur qui se branche sur le port MiniDisplay de votre Mac et ressemble au connecteur ci-dessous. Si aucun câble n’est fourni avec votre dispositif et si vous n’êtes pas sûr du type de matériel que vous possédez, vous pouvez vérifier le logo situé près des ports de câble sur votre périphérique pour voir s’ils correspondent aux logos USB ou FireWire ci-dessus. Dans le cas contraire, consultez la documentation fournie avec votre matériel. Remarque : Tous les ordinateurs Mac ne sont pas dotés d’un port FireWire. Vérifiez la configuration de votre système pour confirmer que votre Mac prend en charge les câbles FireWire avant de tenter de connecter un caméscope DV ou HDV standard. Pour vérifier si votre appareil est compatible avec Final Cut Pro, consultez la page web décrivant les appareils pris en charge par Final Cut Pro X à l’adresse http://help.apple.com/ finalcutpro/cameras/. Chapitre 3 Importation de média 45 Formats de média pris en charge Vous pouvez importer et utiliser les formats vidéo, audio et d’images fixes suivants dans Final Cut Pro : Formats vidéo •• Codec Apple Animation Codec •• Codec Apple Intermediate Codec •• Apple ProRes (toutes les versions) •• AVC-Intra •• AVCHD (notamment AVCCAM, AVCHD Lite et NXCAM) •• DV (DVCAM, DVCPRO et DVCPRO50 inclus) •• DVCPRO HD •• H.264 •• HDV •• iFrame •• Motion JPEG (OpenDML uniquement) •• MPEG IMX (D-10) •• REDCODE RAW (R3D) •• Sans compression 10 bits 4:2:2 •• Sans compression 8 bits 4:2:2 •• XAVC •• XDCAM HD/EX/HD422 •• Formats QuickTime Formats audio •• AAC •• AIFF •• BWF •• CAF •• MP3 •• MP4 •• WAV Formats d’images fixes •• BMP •• GIF •• JPEG •• PNG •• PSD (statique et avec calques) •• RAW •• TGA •• TIFF Chapitre 3 Importation de média 46 Formats de conteneur •• 3GP •• AVI •• MP4 •• MXF •• QuickTime Importation et réglage de fichiers vidéo REDCODE RAW Vous avez la possibilité d’importer et de travailler sur des fichiers REDCODE RAW (R3D) dans Final Cut Pro. Les fichiers vidéo au format Raw suppose quelques étapes supplémentaires avant et après l’importation. Après avoir importé les fichiers R3D RAW, vous pouvez apporter des réglages de l’étalonnage non destructifs directement depuis Final Cut Pro. Importation de fichiers REDCODE RAW (R3D) 1 Installez le module approprié. Afin que Final Cut Pro puisse reconnaître les fichiers R3D RAW, vous devez télécharger et installer le module correspondant. Pour en savoir plus, rendez-vous à l’adresse http://www.red.com/. 2 Importez le média. Important : Lorsque vous importez le média, assurez-vous de désélectionner « Créer un média optimisé » et « Créer un média proxy », car toute tâche de transcodage réalisée durant l'importation sera mise de côté si vous ajustez les réglages RAW dans la prochaine étape. Pour en savoir plus sur l'importation de médias, consultez Importation à partir des caméras à système de fichiers à la page 22 et Importation à partir d’un disque dur à la page 37. Pour en savoir plus sur le transcodage des médias, consultez la section Transcodage des fichiers de média à la page 415. Remarque : Si vous importez des fichiers depuis une caméra RED ONE, il est recommandé d'importer uniquement les fichiers R3D RAW. Les caméras RED ONE génèrent de manière générale une série de maximum quatre fichiers de séquence de référence QuickTime (.mov) pour chaque fichier R3D RAW. Si vous sélectionnez le fichier R3D et les séquences de référence lors de la procédure d'importation, Final Cut Pro importe uniquement le fichier R3D. Si vous avez besoin d'importer une séquence de référence, sélectionnez uniquement la séquence, pas le fichier R3D. 3 Adaptez les réglages RAW (à travers Final Cut Pro ou une application externe telle que REDCINE-X PRO). Vous avez la possibilité d’appliquer un étalonnage non destructif sur « une lumière » à des plans R3D RAW, immédiatement après l’importation, pour apporter à votre métrage une apparence plus finie en vue de son montage et de son passage en revue. Si vous disposez d’un service de production professionnel avec des besoins en étalonnage sophistiqués, vous pouvez passer en revue ces réglages RAW lors de l’étape de finalisation. Pour en savoir plus, consultez « Ajustement des réglages RED RAW » ci-après. Chapitre 3 Importation de média 47 4 Vous avez la possibilité de générer du média optimisé ou proxy à partir de fichiers R3D RAW. Pour en savoir plus, consultez « Transcodage des plans après l’importation » dans Transcodage des fichiers de média à la page 415. Remarque : Dans ce cas, assurez-vous de bien configurer les préférences Final Cut Pro en conséquence. Pour en savoir plus, consultez Préférences de lecture à la page 438. 5 Ajoutez les plans R3D RAW à votre projet et montez-les comme vous le feriez pour tout autre plan. Ajustement des réglages RED RAW Vous pouvez ajuster les fichiers REDCODE RAW (R3D) à l'aide de la fenêtre Réglages RED RAW. Les métadonnées relatives aux fichiers REDCODE RAW (R3D) sont stockées à deux emplacements particuliers : •• Réglages internes (intégrés) : il s’agit des informations de métadonnées enregistrées par la caméra et incorporées au fichier R3D RAW. Ces réglages sont conservés avec le fichier. Ils peuvent être remplacés par des réglages dans le fichier .RMD externe, mais ne sont jamais écrasés. Vous pouvez annuler ces réglages de caméra en supprimant tout fichier RMD ou en sélectionnant « Réglages d'origine de la caméra » dans le menu Revenir à de la fenêtre Réglages RED RAW. •• Fichier RMD externe : il s’agit du fichier de métadonnées externe portant l’extension .RMD. Ce fichier est créé par Final Cut Pro, REDCINE-X PRO ou autre application similaire. Si vous ajustez les réglages RED RAW dans Final Cut Pro et qu’un fichier .RMD existe, celui-ci est remplacé lors de l'enregistrement des modifications. Les réglages de caméra intégrés sont conservés tels quels. 1 Installez le module approprié. Afin que Final Cut Pro puisse reconnaître les fichiers R3D RAW, vous devez télécharger et installer le module correspondant. Pour en savoir plus, rendez-vous à l’adresse http://www.red.com/. 2 Dans le navigateur d’événements ou la timeline, sélectionnez le ou les plans que vous souhaitez régler. Remarque : Les plans composés ne peuvent pas être ajustés. 3 Procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). •• Dans la barre d’outils, cliquez sur le bouton Inspecteur. 4 Cliquez sur le bouton d’informations dans la partie supérieure de la fenêtre qui apparaît. 5 Dans l'inspecteur d'informations, cliquez sur le bouton « Modifier les réglages RED RAW ». Si le bouton « Modifier les réglages RED RAW » ne s'affiche pas, choisissez « Afficher l'état du fichier » dans le menu local Actions situé dans la partie inférieure de l'inspecteur d'informations. Chapitre 3 Importation de média 48 6 Ajuster les réglages dans la fenêtre Réglages RED RAW. Vos modifications sont enregistrées sans perte dans un fichier de métadonnées externe portant l’extension .RMD qui remplace le précédent s'il en existe un. Contrairement aux effets vidéo qui s’appliquent à un plan, ces réglages sont associés au fichier (à travers le fichier de métadonnées .RMD). Toute modification que vous apportez à ces réglages s’applique à toutes les copies du ou des plans sélectionnés. Remarque : Final Cut Pro prend en charge la carte RED ROCKET, une carte PCI qui offre des performances particulièrement accrues. Pour en savoir plus sur les fichiers REDCODE RAW (R3D) et la carte RED ROCKET, consultez le site web http://www.red.com. 4 49 Présentation de l’analyse des données Final Cut Pro vous offre la possibilité d’analyser vos données de média et de corriger automatiquement les problèmes courants trouvés dans vos vidéos, vos images fixes et vos fichiers audio. Par exemple, vous pouvez stabiliser des vidéos tremblantes, ajuster la balance des couleurs et supprimer des bourdonnements ou des tonalités saturées. Vous pouvez également analyser des plans pour identifier leur contenu. L’analyse permet de détecter le nombre de personnes présentes dans un plan et d’identifier s’il s’agit d’un gros plan, d’un plan moyen ou d’un plan élargi. Cela peut être utile lorsque vous devez trouver rapidement un certain type de plan en visionnant du métrage ou en éditant un projet. Pour obtenir la liste complète des options d'analyse audio et vidéo, consultez Options d’analyse des vidéos et des images fixes à la page 49 et Options d’analyse audio à la page 50. Vous pouvez analyser le média pendant ou après son importation dans Final Cut Pro. Final Cut Pro peut également être configuré de façon à analyser automatiquement les plans que vous faites glisser sur la timeline de Final Cut Pro depuis le Finder. Après certains types d'analyse, des mots-clés sont automatiquement ajoutés aux plans ou aux plages de plans pour décrire les résultats de l'analyse. Par exemple, le mot-clé Tremblement excessif est assigné aux plages de plans contenant des vidéos tremblantes. Dans le navigateur d'événements, les plans possédant des mots-clés d'analyse sont indiqués avec une ligne violette dans la partie supérieure. (Les plans auxquels des mots-clés ont été ajoutés manuellement sont indiqués par une ligne bleue dans la partie supérieure. Pour en savoir plus, consultez Ajout de mots-clés aux plans à la page 69.) Options d’analyse des vidéos et des images fixes Final Cut Pro offre des options d’analyse automatique des vidéos et des images fixes pour découvrir et corriger des vidéos tremblantes, ajuster la balance des couleurs dans des vidéos ainsi que trouver des personnes et définir les angles de prises de vue dans les vidéos et les images fixes. Vous pouvez analyser les vidéos lors de leur importation ou analyser des plans vidéo dans le navigateur d’événements après l'importation. Les mots-clés sont automatiquement ajoutés aux plans ou aux plages de plans en fonction des résultats de l'analyse. Final Cut Pro propose les options d’analyse de vidéo et d’images fixes suivantes : •• Analyser pour la stabilisation et l’obturateur roulant : analyse les plans vidéo et associent le mot-clé d'analyse Tremblement excessif aux plans ou aux plages de plans qui présentent un tremblement ou un obturateur roulant excessif, ou les deux. Si un plan comporte le mot-clé Tremblement excessif, ce problème peut être résolu après avoir ajouté le plan à la timeline en activant les corrections Stabilisation et Obturateur roulant. Consultez Correction des problèmes de tremblement excessif et d’obturateur roulant à la page 161. Si un plan ne comporte aucun problème de stabilisation, le mot clé Prise stabilisée lui est ajoutée. Analyser les données Chapitre 4 Analyser les données 50 Remarque : Si vous effectuez une analyse pour résoudre des problèmes de stabilisation, il est recommandé de cocher la case « Créer des collections intelligentes après l’analyse ». L’activation de cette fonctionnalité vous permet de localiser facilement les plans auxquels le mot-clé Tremblement excessif est appliqué. Important : L’analyse pour la stabilisation et l’obturateur roulant est disponible uniquement après importation. Pour en savoir plus, consultez Analyser vos données à la page 51. •• Analyser la balance des couleurs : analyse les plans vidéo pour détecter la balance des couleurs et le contraste. La balance des couleurs s’ajuste automatiquement lorsque vous ajoutez le plan à la timeline. Vous pouvez activer ou désactiver l’ajustement automatique des couleurs à tout moment. •• Supprimer le pulldown : analyse les plans vidéo et supprime les modèles de pulldown. Important : Cette option est disponible uniquement pour l’importation depuis une caméra ou un autre appareil à bande. •• Rechercher les personnes : analyse les plans vidéo et les images fixes pour définir le nombre de personnes présentes et les types de plans. Une fois l’analyse effectuée, les mots-clés suivants sont ajoutés aux plans ou aux plages de plans : Une personne, Deux personnes, Groupe, Gros plan, Plan moyen ou Plan élargi. Remarque : Si vous effectuez une analyse pour rechercher les personnes, il est recommandé de cocher la case « Créer des collections intelligentes après l’analyse ». L’activation de cette fonctionnalité vous permet de localiser facilement les plans auxquels le mot-clé Rechercher les personnes est appliqué. •• Consolider les résultats de recherche de personnes : consolide tous les mots-clés résultant de l’analyse de recherche de personnes en un seul mot-clé de type de plan et un seul mot-clé de personne pour chaque segment de deux minutes de la vidéo. Le mot-clé de type de prise est celui du type de prise le plus large et le mot-clé de personne choisi est celui représentant le plus grand nombre de personnes. Par exemple, si un segment vidéo contient les mots-clés Medium Shot, Wide Shot, One Person et Group, les mots-clés d'analyse sont réduits à Wide Shot et Group durant la consolidation. •• Créer des collections intelligentes après l’analyse : crée une collection intelligente pour chaque mot-clé appliqué lors de l’analyse de plans vidéo pour rechercher des problèmes de stabilisation ou de l’analyse de plans vidéo ou d’images fixes pour rechercher des personnes. Les collections intelligentes sont classées par ordre alphabétique dans un dossier de personnes à l'intérieur de l'événement dans la bibliothèque d'événements. Lorsque vous faites glisser un fichier de média du Finder sur un événement Final Cut Pro ou sur la timeline, l’importation démarre automatiquement sans afficher de fenêtre contenant les options d’importation. Vous pouvez régler les options d’importation automatique dans la fenêtre des préférences d’importation de Final Cut Pro. Options d’analyse audio Final Cut Pro offre des options d'analyse automatique pour résoudre des problèmes audio courants, analyser et regrouper des canaux audio et supprimer les canaux muets. Vous pouvez analyser les données audio lors de leur importation ou analyser des plans vidéo présentant des problèmes audio dans le navigateur d’événements ou la timeline. Chapitre 4 Analyser les données 51 Final Cut Pro propose les options d’analyse d’audio suivantes : •• Analyser et résoudre les problèmes audio : analyse l’audio à la recherche de bourdonnement, de bruits et de tonalités. Final Cut Pro résout automatiquement les problèmes graves (marqués en rouge) et signale les problèmes moins importants (signalés en jaune). Pour en savoir plus, consultez Amélioration de l’audio à la page 207. •• Scinder l’audio mono et grouper l’audio stéréo : les canaux audio sont analysés et groupés en mono dual ou stéréo, selon les résultats de l’analyse. Les canaux audio corrigés automatiquement sont signalés comme étant sélectionnés automatiquement. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176. •• Supprimer les canaux silencieux : les canaux audio sont analysés et ceux laissés silencieux sont automatiquement supprimés. Les plans desquels des canaux sont supprimés sont signalés comme étant sélectionnés automatiquement. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176. Lorsque vous faites glisser un fichier de média du Finder sur un événement ou sur la timeline de Final Cut Pro, l’importation démarre automatiquement sans afficher de fenêtre contenant les options d’importation. Vous pouvez régler les options d’importation automatique dans la fenêtre des préférences d’importation de Final Cut Pro. Analyser vos données Vous pouvez analyser les plans pendant l’importation, après l’importation dans le navigateur d’événements, ou configurer Final Cut Pro pour qu’il analyse automatiquement les plans lorsque vous les faites glisser sur un événement ou sur la timeline de Final Cut Pro. Remarque : L’analyse pour la stabilisation et l’obturateur roulant est disponible uniquement après importation. Analyse des plans lors de l’importation 1 Procédez de l’une des manières suivantes : •• Pour importer un fichier à partir d’un caméscope ou d’une caméra compatible, d’un iPad, d’un iPhone, d’un iPod ou de tout autre appareil : connectez l’appareil à votre ordinateur, activez-le et choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer. •• Pour importer un fichier à partir d’un caméscope à bande : Connectez le caméscope à votre ordinateur, allumez-le et réglez-le sur le mode VTR ou VCR. Puis, sélectionnez Fichier > Importer > Média (ou appuyez sur Commande + I), et cliquez sur le bouton Importer. •• Pour importer un fichier à partir d’une carte mémoire : Insérez la carte mémoire dans le logement prévu à cet effet de votre Mac ou dans un lecteur de carte connecté à votre ordinateur et choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer. •• Pour importer un fichier situé sur votre disque dur ou sur un périphérique de stockage connecté à votre ordinateur : Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez les fichiers que vous souhaitez importer, puis cliquez sur le bouton Importer. •• Pour importer des fichiers à partir d’une archive : Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). Dans la fenêtre qui s'affiche, sélectionnez ensuite une archive de caméra dans la liste de gauche, cliquez sur Ouvrir une archive et sélectionnez les fichiers que vous souhaitez importer et cliquez enfin sur le bouton Importer. Chapitre 4 Analyser les données 52 2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans la bibliothèque d’événements : •• Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez l’événement dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, « Mariage de Pierre et Sandra ») dans le champ de texte. Utilisez le menu local « Enregistrer dans » pour choisir le disque sur lequel vous voulez stocker l’événement. Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 3 Sélectionnez la ou les options d’analyse vidéo et audio que vous souhaitez appliquer. Pour obtenir les descriptions des options d'analyse audio et vidéo, consultez Options d’analyse des vidéos et des images fixes à la page 49 et Options d’analyse audio à la page 50. Final Cut Pro analyse alors les fichiers en arrière-plan, une fois l’importation terminée. 4 Cliquez sur Importer. L’importation peut prendre quelques minutes, selon les options sélectionnées à l’étape 3. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Analyse des plans après importation 1 Dans le navigateur d'événements, cliquez sur un ou plusieurs plans tout en maintenant la touche Contrôle enfoncée, puis choisissez « Analyser et corriger » dans le menu contextuel. Conseil : Pour trouver rapidement un plan utilisé dans la timeline, cliquez sur le plan en maintenant la touche Contrôle enfoncée et choisissez « Afficher dans le navigateur d'événements » dans le menu contextuel. 2 Dans la fenêtre qui s’affiche, sélectionnez plusieurs ou toutes les options relatives à l’analyse vidéo et à l’analyse audio que vous souhaitez appliquer, puis cliquez sur OK. La procédure de transcodage peut prendre un certain temps, en fonction des options d’analyse sélectionnées. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Analyse automatique des fichiers multimédias lorsqu'ils sont déplacés vers un événement ou vers la timeline 1 Choisissez Final Cut Pro > Préférences. 2 Dans la fenêtre Préférences, cliquez sur Importer et sélectionnez chaque option relatives à l’analyse vidéo et à l’analyse audio que vous souhaitez appliquer. Lorsque vous avez terminé, fermez la fenêtre Préférences. 3 Pour importer un ou plusieurs fichiers, sélectionnez un fichier (ou cliquez sur plusieurs fichiers en maintenant la touche Commande enfoncée) dans le Finder et faites-le glisser sur un événement ou sur la timeline. Chapitre 4 Analyser les données 53 Afficher les mots-clés d’analyse sur les plans Si vous analysez du média pour chercher des séquences tremblantes ou des personnes, des mots-clés d'analyse tels que Tremblement excessif, Une personne ou Gros plan sont ajoutés aux plans correspondants. Les plans ou les plages de plan avec les mots-clés d'analyse sont marqués d'une ligne violette dans le navigateur d'événements. Une ligne violette indique que le plan possède un ou plusieurs mots-clés d’analyse. Vous pouvez afficher les mots-clés d’analyse d'un plan à plusieurs emplacements dans Final Cut Pro. Affichage des mots-clés dans la fenêtre Informations du skimmer 1 Choisissez Présentation > Afficher les infos du skimmer (ou appuyez sur Contrôle + Y). 2 Survolez le plan dans le navigateur d’événements. Les mots-clés, y compris les mots-clés d'analyse, sont affichés dans la fenêtre Informations du skimmer lorsque le pointeur est placé sur le plan. Pour désactiver Informations de skimmer, choisissez Présentation > Masquer les informations de skimmer (ou appuyez sur Contrôle + Y). Affichage des mots-clés en présentation par liste dans le navigateur d’événements 1 Cliquez sur le bouton Présentation par liste. Chapitre 4 Analyser les données 54 2 Pour afficher les mots-clés d’un plan, cliquez sur le triangle d’affichage en regard de celui-ci. Les mots-clés d’analyse sont répertoriés en regard de la roue dentée violette. Affichage du contenu d’une collection intelligente Si vous choisissez de créer des collections intelligentes après l’analyse, les plans auxquels des mots-clés sont associés sont regroupés automatiquement en collections intelligentes au sein de l'événement dans la bibliothèque d'événements. Une collection intelligente est créée pour chaque mot-clé d'analyse et placée dans un dossier de personnes ou de stabilisation, en fonction du type d'analyse. mm Dans la bibliothèque d'événements, sélectionnez une collection intelligente de mots-clés à l'intérieur d'un dossier de personnes ou de stabilisation dans un événement. Les plans contenant ce mot-clé d'analyse s’affichent dans le navigateur d’événements. Par exemple, si vous sélectionnez la collection intelligente Medium Shot, tous les plans de l'événement possédant ce mot-clé s'affichent dans le navigateur d'événements. Collection intelligente Medium ShotCes plans incluent le mot-clé d’analyse Medium Shot (coupe moyenne). 5 55 Présentation des événements et des plans Lorsque vous importez du contenu vidéo, audio ou des images fixes ou que vous les enregistrez directement dans Final Cut Pro, les fichiers de média source (votre métrage brut) s’affichent comme plans dans un ou plusieurs événements de la bibliothèque d’événements. Un événement correspond à un dossier qui peut contenir des dizaines, des centaines, voire des milliers de plans vidéo, de clips audio et d’images fixes. Chaque événement de la bibliothèque d’événements correspond à un dossier de votre disque dur qui contient les fichiers de média originaux, tout fichier de rendu relatif à votre média et un fichier de base de données comprenant le suivi de l’emplacement de l’ensemble des éléments. Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, le média qu’il contient s’affiche sous forme de plans dans le navigateur d’événements. Il vous suffit de sélectionner des plans ou des sections de plan dans le navigateur d’événements pour commencer à travailler dessus. Vous pouvez trier les plans dans le navigateur d’événements par date de création, par date d’importation, par bande, par scène, par durée de plan ou par type de fichier. Sélectionnez un événement dans la bibliothèque d’événements.Le navigateur d’événements affiche les plans dans l’événement sélectionné. Lorsque vous importez du contenu vidéo dans un nouvel événement, vous devez attribuer un nom à ce dernier. En donnant des noms explicites à vos événements (par exemple, « Mariage des Dupont 2011 »), vous organisez vos données de manière à les retrouver facilement. Par défaut, Final Cut Pro présente les événements dans la bibliothèque d’événements en les triant selon leur date d’enregistrement. Vous pouvez organiser la bibliothèque d’événements différemment ou la masquer pour bénéficier d’un espace de travail plus étendu. La bibliothèque d’événements contient également les collections de mots-clés et les collections intelligentes qui vous permettent d’organiser efficacement vos projets de montage vidéo à l’aide de mots-clés et de filtres de recherche. Organisation de votre média Chapitre 5 Organisation de votre média 56 Organisation des événements Création d’un événement Après l’importation de vos fichiers de média source dans Final Cut Pro, il se peut que vous ayez besoin de créer des événements supplémentaires pour organiser votre média. Par exemple, après avoir importé une prise du média pour un client donné, le cas peut se présenter où vous devez scinder le média en plusieurs événements en fonction de l’endroit ou du moment de la journée de la prise. Création d’un événement dans la bibliothèque d’événements 1 Si la bibliothèque d’événements n’est pas affichée, cliquez sur le bouton Bibliothèque d’événements dans le coin inférieur gauche du navigateur d’événements. 2 Choisissez Fichier > Nouvel événement (ou appuyez sur Option + N). Un nouvel événement s’affiche dans la bibliothèque d’événements 3 Saisissez un nom pour l’événement, puis appuyez sur Entrée. 4 Déplacer les plans à partir d’autres événements vers le nouvel événement, si nécessaire. Attribution d’un nouveau nom à un événement Modification du nom d’un événement Au cours de l’élaboration de votre projet, il se peut que vous deviez renommer un événement pour mieux refléter les plans qu’il contient. 1 Dans la bibliothèque d’événements, sélectionnez l’événement dont vous souhaitez modifier le nom. 2 Procédez de l’une des manières suivantes : •• Cliquez sur le nom de l’événement et saisissez un nouveau nom. •• Appuyez sur Retour et saisissez un nouveau nom. Important : La modification du nom d’un événement se répercute sur le dossier de l’événement situé sur le disque dur où est enregistré votre média source. Fusion ou scission d’événements Vous pouvez fusionner (combiner) plusieurs événements dans la bibliothèque d’événements (par exemple, si le média qu’ils contiennent est étroitement lié). Vous pouvez également scinder un événement en plusieurs si vous considérez que l’événement devient trop difficile à gérer. Chapitre 5 Organisation de votre média 57 Fusion de plusieurs événements 1 Dans la bibliothèque d’événements, procédez de l’une des manières suivantes : •• Faites glisser les événements que vous souhaitez combiner sur un nouvel événement. •• Sélectionnez les événements que vous souhaitez combiner, puis choisissez Fichier > Fusionner les événements. 2 Dans la fenêtre Fusionner les événements qui s’affiche, attribuez un nom à l’événement. 3 Choisissez le disque sur lequel vous souhaitez stocker les fichiers de média source de l’événement dans le menu local Emplacement, puis cliquez sur OK. Final Cut Pro fusionne les événements sélectionnés en un seul événement dans la bibliothèque d’événements. Les fichiers de média source de tous les plans sont déplacés dans le dossier fusionné de l’événement sur le disque dur et stockés à l’emplacement défini dans le menu local. Scission d’un événement en plusieurs 1 Créez les nouveaux événements nécessaires. 2 Déplacez les plans que vous souhaitez séparer de l’événement original vers les nouveaux événements. Les fichiers de média source de tous les plans sont déplacés vers les dossiers d’événement sur le disque correspondant aux nouveaux événements créés dans la bibliothèque d’événements. Important : Si vous déconnectez le disque où sont enregistrés les événements fusionnés ou scindés, vous ne pouvez plus accédez aux événements ou à leurs fichiers de média source depuis Final Cut Pro. Copie et déplacement de plans entre les événements Vous pouvez copier et déplacer des plans d’un événement à l’autre. Lorsque vous copiez un plan d’un événement à l’autre, le fichier correspondant est alors dupliqué sur le disque. Dans le cas du déplacement, le fichier correspondant est déplacé du dossier du premier événement à l’autre sur le disque. Remarque : Lorsque vous importez des médias dans Final Cut Pro, vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous copiez ou déplacez les plans entre des événements, Final Cut Pro copie ou déplace uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir copié ou déplacé les plans, vous souhaitez remplacer les fichiers de référence correspondants par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. Pour plus d’informations sur les fichiers et plans, consultez Fichiers de média et plans à la page 18. Chapitre 5 Organisation de votre média 58 Copie de plans d’un événement à l’autre 1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans que vous souhaitez copier. 2 Dans le navigateur d’événements, sélectionnez le ou les plans que vous souhaitez copier. 3 Procédez de l’une des manières suivantes : •• Si les deux événements sont situés sur le même disque dur : Faites glisser les plans en gardant la touche Option enfoncée d'un événement à l'autre en commençant par faire glisser l'élément, puis par appuyer sur la touche Option. •• Si les événements sont situés sur des disques durs différents : faites glisser les plans d’un événement à l’autre. Déplacement de plans d’un événement à l’autre 1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans que vous souhaitez déplacer. 2 Dans le navigateur d’événements, sélectionnez le ou les plans que vous souhaitez déplacer. 3 Procédez de l’une des manières suivantes : •• Si les deux événements sont situés sur le même disque dur : faites glisser les plans d’un événement à l’autre. •• Si les événements sont situés sur des disques durs différents : faites glisser les plans d’un événement à l’autre tout en maintenant la touche Commande enfoncée. Il se peut que l’événement vers lequel vous avez copié ou déplacé les plans ait été réorganisé dans la bibliothèque d’événements. Il apparaît sous l’année durant laquelle le plan le plus récent qu’il contient a été enregistré. La copie ou le déplacement d’un plan volumineux appartenant à un événement situé sur un disque dur vers un événement conservé sur un autre disque dur peut prendre quelques minutes puisque les fichiers de média source sont copiés ou déplacés d’un disque à l’autre. Copie ou déplacement d’événements Vous pouvez facilement copier ou déplacer un événement d’un ordinateur à un disque dur ou d’un disque dur à un autre. Cela peut s’avérer utile si vous souhaitez travailler sur votre événement depuis un autre ordinateur sur lequel est installé Final Cut Pro ou libérer de l’espace sur le disque dur de votre ordinateur. Copie d’un événement 1 Assurez-vous qu’un disque dur externe est connecté à votre ordinateur. 2 choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements. L’icône et le nom du disque connecté s’affichent dans la bibliothèque d’événements. 3 Sélectionnez un événement dans le navigateur d’événements. 4 Procédez de l’une des manières suivantes : •• Choisissez Édition > Dupliquer l’événement (ou appuyez simultanément sur les touches Commande + D). Chapitre 5 Organisation de votre média 59 •• Faites glisser l’événement sur l’icône du disque dur externe. 5 Dans la fenêtre Dupliquer l’événement, attribuez un nom au nouvel événement. 6 Pour stocker vos fichiers sur un second emplacement, définissez-le dans le menu local Emplacement. 7 Cliquez sur OK. Final Cut Pro réalise une copie de l’événement à l’emplacement spécifié. Le programme effectue également des copies des fichiers de média source et les conserve dans un nouveau dossier d’événement. Souvenez-vous que la copie d’un événement contenant des fichiers de média source volumineux peut nécessiter plusieurs minutes. Déplacement d’un événement 1 Assurez-vous qu’un disque dur externe est connecté à votre ordinateur. 2 choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements. L’icône et le nom du disque connecté s’affichent dans la bibliothèque d’événements. 3 Sélectionnez un événement dans le navigateur d’événements. 4 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Déplacer l’événement. •• Faites glisser l’événement sur l’icône du disque dur externe tout en maintenant la touche Commande enfoncée. 5 Pour stocker vos fichiers sur un second emplacement, définissez-le dans le menu local Emplacement. 6 Cliquez sur OK. Final Cut Pro déplace l’événement à l’emplacement spécifié. Il déplace également le dossier Final Cut Events contenant les fichiers de média source. Souvenez-vous que le déplacement d’un événement contenant des fichiers de média source volumineux peut nécessiter plusieurs minutes. Important : Si vous déconnectez le disque contenant l’événement déplacé, vous ne pouvez plus accéder à l’événement ou aux fichiers de média source dans Final Cut Pro. Chapitre 5 Organisation de votre média 60 Tri des événements Dans la bibliothèque d’événements, vous pouvez afficher vos événements de différentes manières, y compris selon le disque sur lequel ils sont stockés ou leur date d’enregistrement. Tri des événements en fonction de leur emplacement ou de leur date de stockage mm Pour afficher les événements en fonction du disque sur lequel ils sont stockés : choisissez « Regrouper les événements par disque » dans le menu local Action sous la bibliothèque d’événements. mm Pour afficher les événements en fonction de la date de leur enregistrement : choisissez « Grouper les événements par date » dans le menu local Action et choisissez une option dans le sous-menu. Affichage des plages de date d’un événement Final Cut Pro peut afficher les plages de dates des fichiers de média source contenus dans chaque événement. mm Choisissez « Afficher la plage de dates dans la bibliothèque d’événements » dans le menu local Action . Tri des événements par les plus récents mm Choisissez « Disposer les événements par date décroissante » dans le menu local Action . Chapitre 5 Organisation de votre média 61 Suppression de plans ou d’événements Vous pouvez supprimer les plans non désirés d’un événement ou supprimer la totalité d’un événement afin de libérer de l’espace sur votre disque dur. Lorsque vous supprimez un plan d’un événement ou la totalité d’un événement, Final Cut Pro place le média source dans la Corbeille. Remarque : La bibliothèque d’événements doit au moins contenir un événement. Suppression de plans d’un événement ou de la totalité d’un événement 1 Dans la bibliothèque d’événements, sélectionnez l’événement que vous souhaitez supprimer ou dont vous souhaitez supprimer des plans. 2 Effectuez l’une des opérations suivantes : •• Pour supprimer des plans de l’événement : sélectionnez les plans que vous souhaitez supprimer, puis choisissez Fichier > Placer dans la Corbeille (ou appuyez sur Commande + Supprimer). •• Pour supprimer la totalité d’un événement : choisissez Fichier > Placer l’événement dans la Corbeille (ou appuyez sur Commande + Supprimer). Les fichiers de média source des plans sélectionnés ou l’événement et tous les fichiers de média source qui lui sont associés sont placés dans la Corbeille du Finder. Pour supprimer de façon définitive les fichiers de média source de votre disque dur, videz la Corbeille. AVERTISSEMENT : Une fois la Corbeille vidée, il est impossible de restaurer les plans ou l’événe-ment et leurs fichiers de média source supprimés. Organisation des plans Affichage et tri des plans Vous pouvez afficher vos plans dans le navigateur d’événements de deux manières. •• Présentation en pellicule : affiche les plans de l’événement sélectionné sous forme de séries de vignettes. La présentation en pellicule est utile pour localiser visuellement vos plans. Chapitre 5 Organisation de votre média 62 •• Présentation par liste : affiche une liste de vos plans et les informations de fichiers associées. Cette présentation vous permet d’afficher ou de trier vos plans en fonction de leur durée, de leur date de création, de leur classement, de leurs mots-clés, etc. Lorsque vous sélectionnez un plan dans la présentation par liste, la pellicule du plan sélectionné s’affiche en haut du navigateur d’événements. La pellicule est totalement interactive. Elle permet d’accéder aux points de départ et d’arrivée, aux marqueurs et aux mots-clés. Passage de la présentation en pellicule à la présentation par liste Procédez de l’une des manières suivantes : mm Cliquez sur le bouton Présentation en pellicule situé dans le coin inférieur gauche du navigateur d’événements. mm Cliquez sur le bouton Présentation par liste situé dans le coin inférieur gauche du navigateur d’événements. Chapitre 5 Organisation de votre média 63 Personnalisation de la présentation en pellicule mm Pour ajuster le temps représenté par chaque vignette dans une pellicule de plan : faites glisser le curseur Durée situé dans le coin inférieur droit du navigateur d’événements. Curseur réglé sur 5 secondes Curseur réglé sur 30 secondes Ajuster le curseur Durée augmente ou réduit le niveau de détail affiché dans la pellicule de chaque plan. Plus les vignettes représentent une longue durée, moins chaque plan comprend de vignettes et plus il y a de plans affichés dans le navigateur d’événements. Chapitre 5 Organisation de votre média 64 mm Pour ajuster la hauteur de la pellicule : dans le coin inférieur droit du navigateur d’événements, cliquez sur le bouton Apparence du plan et ajustez le curseur Hauteur du plan. mm Pour activer et désactiver les formes d’onde audio : dans le coin inférieur droit du navigateur d’événements, cliquez sur le bouton Apparence du plan et décochez la case « Afficher les formes d’ondes » dans la fenêtre qui s’affiche. Lorsque les formes d’onde audio sont activées, elles s’affichent au bas de chaque pellicule de plan, augmentant la hauteur de tous les plans dans le navigateur d’événements. Chapitre 5 Organisation de votre média 65 Personnalisation de la présentation par liste mm Pour choisir quel type d’information s’affiche dans les colonnes de la présentation par liste et pour personnaliser les colonnes : dans le navigateur d’événements, cliquez sur l’en-tête d’une colonne tout en maintenant la touche Contrôle enfoncée et choisissez une option de catégorie dans le menu contextuel. mm Pour réorganiser les colonnes dans la présentation par liste : dans le navigateur d’événements, faites glisser l’en-tête d’une colonne à l’emplacement de votre choix. mm Pour limiter l’affichage des plans à une catégorie dans la présentation par liste : cliquez sur l’en-tête d’une colonne dans le navigateur d’événements pour trier les plans d’après la catégorie en question. mm Pour afficher le classement et les mots-clés d’un plan dans la présentation par liste : cliquez sur le triangle d’affichage situé à gauche du nom du plan. Mot-cléClassement Si un triangle d’affichage s’affiche à gauche d’un plan dans la présentation par liste, cela signifie qu’un classement, un mot-clé ou les deux ont été appliqués au plan. Tri des plans dans le navigateur d’événements Vous pouvez trier les plans dans le navigateur d’événements selon un ordre qui permet de mieux les localiser visuellement. 1 Dans la bibliothèque d’événements, sélectionnez l’événement dont vous souhaitez trier les plans. 2 Procédez de l’une des, ou des deux, manières suivantes : •• Pour grouper les plans par catégorie : choisissez « Grouper les plans par » dans le menu local Action (sous la bibliothèque d’événements), puis choisissez une catégorie dans le sous-menu. Choisissez l’option de tri Croissant ou Décroissant dans le même sous-menu. •• Pour définir l’option de tri des plans dans l’événement sans les grouper : choisissez « Disposer les plans par » dans le menu local Action (sous la bibliothèque d’événements), puis choisissez une catégorie dans le sous-menu. Remarque : Il est possible de grouper des plans et de définir leur option de tri (organisation) de manière indépendante. Réinitialisation de l’option de tri par défaut dans le navigateur d’événements 1 Dans la bibliothèque d’événements, sélectionnez l’événement qui contient les plans dont vous souhaitez réinitialiser l’option de tri. 2 Choisissez Grouper les plans par > Aucun, et Grouper les plans par > Croissant, dans le menu local Action sous le navigateur d’événements. 3 Choisissez Disposer les plans par > Contenu créé, et Disposer les plans par > Croissant dans le menu local Action. Chapitre 5 Organisation de votre média 66 Modification du nom des plans Vous pouvez renommer à tout moment les plans dans le navigateur d’événements, l’index de la timeline ou l’inspecteur d’informations. Le fait de renommer un plan n’a d’effets que sur cette instance particulière du plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les unes des autres et qui peuvent avoir leur propre nom. Important : La modification du nom d’un plan dans Final Cut Pro n’est pas répercutée sur le nom du fichier source de ce plan sur le disque. Modification du nom d’un plan dans le navigateur d’événements mm Pour renommer un plan dans la présentation en pellicule : sélectionnez le nom d’un plan et saisissez un nouveau nom. mm Pour renommer un plan dans la présentation par liste : sélectionnez le nom d’un plan, appuyez sur Retour et saisissez un nouveau nom. Modification du nom d’un plan dans l’index de la timeline 1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Cliquez sur le bouton Plans en haut de l’index de la timeline. Bouton Plans 3 Cliquez sur le champ Nom d’un plan, puis saisissez un nouveau nom. Modification du nom d’un plan dans l’inspecteur d’informations 1 Sélectionnez un plan dans le navigateur d’événements ou la timeline. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Dans la section Nom de l’inspecteur d’informations, cliquez sur le champ Nom, puis saisissez un nouveau nom. Chapitre 5 Organisation de votre média 67 Classement des plans comme Favoris ou Rejetés Si vos plans contiennent des sections dont vous n’êtes pas satisfait ou que vous ne voulez pas utiliser dans un projet, parce qu’ils sont flous, par exemple, vous pouvez les signaler comme Rejetés. Vous pouvez facilement classer les plans que dont vous êtes satisfait et ceux dont vous ne l’êtes pas lorsque vous les passez en revue. Lorsque vous êtes prêt à réaliser un projet ou à présenter un plan à un client, vous pouvez vous focaliser sur vos meilleurs métrages en affichant uniquement ceux marqués comme favoris. Vous pouvez également supprimer les fichiers de média source de vos plans rejetés pour libérer de l’espace sur votre disque dur. Favori Rejeté Classement des plans 1 Dans le navigateur d’événements, sélectionnez une plage, un plan ou plusieurs plans non consécutifs, que vous souhaitez évaluer. 2 Procédez de l’une des manières suivantes : •• Si vous êtes satisfait de la sélection : appuyez sur la touche F ou cliquez sur le bouton Favori dans la barre d’outils. Dans le navigateur d’événements, un trait vert s’affiche au-dessus des images marquées comme favorites. •• Si vous n’êtes pas satisfait de la sélection : appuyez sur la touche Supprimer ou cliquez sur le bouton Rejeter dans la barre d’outils. Chapitre 5 Organisation de votre média 68 Un trait rouge s’affiche au-dessus des images marquées comme rejetées. Remarque : Si l’option « Masquer les projets rejetés » est activée dans le menu local Filtre dans la partie supérieur du navigateur d’événements, les clips rejetés ne s’affichent pas. Suppression des classements de plans 1 Assurez-vous que les plans avec lesquels vous souhaitez travailler sont affichés dans le navigateur d’événements. Il se peut que vous deviez choisir une nouvelle option, telle que Tous les plans dans le menu local Filtre dans le coin supérieur gauche du navigateur d’éléments pour que tous les plans auxquels vous souhaitez accéder soient visibles. Choisissez Tous les plans pour recenser tous les plans inclus dans l’événement, indépendamment de leur classement. 2 Dans le navigateur d’événements, sélectionnez les plans dont vous souhaitez supprimer le classement, puis appuyez sur la touche U ou cliquez sur le bouton Effacer le classement dans la barre d’outils. Les traits verts ou rouges ne s’affichent plus au-dessus des plans. Plans dont le classement a été supprimé Chapitre 5 Organisation de votre média 69 Ajout de mots-clés aux plans Vous pouvez appliquer des plans pour vous aider à localiser rapidement les plans dont vous avez besoin pour composer votre film. Une fois que vous avez appliqué un mot-clé à un plan ou à une plage de plans, le plan ou la plage en question est marqué par un trait bleu dans le navigateur d'événements. (Les plans comprenant des mots-clé d'analyse, qui sont appliqués automatiquement après certains types d'analyse, sont marqués d'une ligne violette. Pour en savoir plus, consultez Présentation de l’analyse des données à la page 49.) De plus, lorsqu’un mot-clé est appliqué à un plan ou à une plage de plans, une collection de mots-clés s’affiche dans la bibliothèque d’événements. Une collection de mots-clés contient des pointeurs (alias) renvoyant vers des plans marqués par un mot-clé spécifique. Par exemple, si vous appliquez le mot-clé « Nicholas » à tous les plans contenant Nicholas, vous pouvez sélectionner la collection de mots-clés « Nicholas » dans la bibliothèque d’événements pour afficher tous les plans contenant ce mot-clé dans le navigateur d’événements. Une ligne bleue indique que le Collections de mots-clés plan possède des mots-clés. Vous pouvez appliquer un ou plusieurs mots-clés à une plage d’un plan, à un plan entier ou à un groupe de plans dans un événement. Application de mots-clés à l’aide de l’éditeur de mots-clés 1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus auxquels vous souhaitez appliquer des mots-clés. 2 Pour ouvrir l’éditeur de mots-clés, cliquez sur le bouton Mots-clés dans la barre d’outils. 3 Au sommet de l’éditeur de mots-clés, saisissez le ou les mots-clés que vous souhaitez appliquer à la sélection, puis appuyez sur Retour. Saisissez un mot-clé ou une phrase de mots-clé, puis appuyez sur Retour. Chapitre 5 Organisation de votre média 70 4 Répétez l’étape 3 pour chaque mot-clé que vous souhaitez ajouter à la sélection. Une ligne bleue s’affiche en haut de la sélection dans le navigateur d’événements, indiquant que les mots-clés lui ont été appliqués. 5 Lorsque vous avez terminé l’ajout de mots-clés, fermez l’éditeur de mots-clés. Ajout de mots-clés à l’aide de raccourcis clavier Pour ajouter des mots-clés à vos plans à l’aide de raccourcis clavier, vous devez préalablement assigner des mots-clés aux raccourcis clavier. 1 Si l’éditeur de mots-clés n’est pas ouvert, cliquez sur le bouton Mots-clés dans la barre d’outils. 2 Dans l’éditeur de mots-clés, cliquez sur le triangle d’affichage à gauche de Raccourcis clavier. 3 Saisissez un mot-clé ou une phrase dans chaque champ, puis appuyez sur Retour. Pour réassigner un raccourci clavier, sélectionnez le champ lui correspondant et saisissez un nouveau mot-clé. Saisissez à cet emplacement les mots-clés ou l’expression-clé à affecter aux raccourcis clavier. 4 Pour utiliser un raccourci clavier, sélectionnez une plage ou un ou plusieurs plans non contigus auxquels vous souhaitez ajouter des mots-clés, puis appuyez simultanément sur Contrôle et sur la touche numérotée correspondante (1 à 9). Affichage des mots-clé appliqués aux plans mm Pour identifier rapidement des plans qui possèdent des mots-clé : sélectionnez un événement dans le navigateur d’événements. Les plans qui possèdent un ou plusieurs mots-clé s'affichent dans le navigateur d'événements marqués d'une ligne bleue dans la partie supérieure. Chapitre 5 Organisation de votre média 71 mm Pour afficher tous les mots-clés appliqués à un plan : choisir Présentation > Afficher les infos du skimmer (ou appuyer sur Contrôle + Y) et survoler le plan dans le navigateur d'événements. Vous pouvez aussi afficher les mots-clés en sélectionnant le plan dans le navigateur d'événements et en cliquant sur le bouton Mots-clés dans la barre d'outils. Les mots-clés appliqués au plan sont affichés dans l'éditeur de mots-clés. mm Pour afficher tous les plans qui possèdent un mot-clé spécifique : Sélectionner une collection de mots-clés dans la bibliothèque d’événements. Les plans contenant ce mot-clé s’affichent dans le navigateur d’événements. Suppression de tous les mots-clés d’une sélection 1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus desquels vous souhaitez supprimer des mots-clés. Une ligne bleue tracée en haut des plans indique les sections des plans auxquelles sont appliqués des mots-clés. 2 Choisissez Marquer > Supprimer tous les mots-clés (ou appuyez sur Contrôle + 0). Suppression d’un sous-ensemble de mots-clés d’une sélection 1 Dans le navigateur d’événements, sélectionnez une plage, un plan précis ou plusieurs plans non contigus desquels vous souhaitez supprimer des mots-clés. Une ligne bleue tracée en haut des plans indique les sections des plans auxquelles sont appliqués des mots-clés. Chaque mot-clé assigné à un plan est également repris dans la présentation par liste. 2 Cliquez sur le bouton Mots-clés dans la barre d’outils pour ouvrir l’éditeur de mots-clés, sélectionnez le ou les mots-clés que vous souhaitez supprimer et appuyez sur Supprimer. Sélectionnez le ou les mots-clés à supprimer de la sélection, puis appuyez sur suppr. Chapitre 5 Organisation de votre média 72 Ajout ou modification de notes de plan Lorsque vous réexaminez vos plans, vous pouvez ajouter et modifier des notes à leur sujet dans le navigateur d’événements ou l’index de la timeline. Vous pouvez retrouver rapidement vos plans en saisissant le texte des notes dans le champ de recherche du navigateur d’événements ou de l’index de la timeline, ou dans le champ de texte de la fenêtre Filtre. Remarque : Vous pouvez ajouter des notes à chaque instance d’un plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les unes des autres. Ajout ou modification de notes de plan dans le navigateur d’événements 1 Cliquez sur le bouton Présentation par liste situé dans le coin inférieur gauche du navigateur d’événements. 2 Sélectionnez le plan auquel vous voulez ajouter des notes ou dont vous voulez modifier les notes. Remarque : Les notes s’appliquent à un plan intégral et non à des plages de sélection. 3 Cliquez sur le champ Notes du plan, puis saisissez vos remarques ou modifiez-les. Ajout ou modification de notes de plan dans l’index de la timeline 1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Pour ouvrir la fenêtre Plans, cliquez sur le bouton Plans en haut de l’index de la timeline. Bouton Plans Chapitre 5 Organisation de votre média 73 3 Si la colonne Notes n’est pas visible dans la fenêtre Plans, cliquez sur l’en-tête d’une colonne en maintenant la touche Contrôle enfoncée et choisissez Notes dans le menu contextuel. 4 Cliquez sur le champ Notes du plan, puis saisissez vos remarques ou modifiez-les. Saisir ici les notes pour un plan. Organisation des plans en fonction des rôles Il est possible d’organiser les plans en fonction de rôles (étiquettes de métadonnées affectées aux plans). Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro attribue automatiquement l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés et les attribuer à vos plans. Vous pouvez visualiser et réaffecter des rôles dans l’index de la timeline, le navigateur d’événements ou l’inspecteur d’informations. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage et réattribution de rôles à la page 311. Recherche de plans dans le navigateur d’événements Dans Final Cut Pro, il vous est possible de rechercher du média de deux manières. •• Filtrer rapidement les plans par marquage : utilisez le menu local Filtre dans le navigateur d’événements pour localiser rapidement des plans en fonction de leur classement, de l’absence de classement ou de mots-clés. •• Rechercher d’après une combinaison de critères à l’aide de la fenêtre Filtre : utilisez la fenêtre Filtre pour effectuer des recherches complexes de plans, aussi appelées recherches pondérées. Vous pouvez utiliser une large gamme de critères de recherche, notamment par le nom du plan, le classement, le type de média, le tremblement excessif, des mots-clés, la présence de personnes, des informations relatives au format et la date. Filtrage rapide des plans par classement Utilisez le menu local Filtre dans le navigateur d’événements pour trouver rapidement des plans en fonction de leur classement. 1 Dans la bibliothèque d’événements, sélectionnez un ou plusieurs événements que vous souhaitez rechercher. Chapitre 5 Organisation de votre média 74 2 Choisissez une option dans le menu local Filtre au sommet du navigateur d’événements. •• Tous les plans : affiche tous les plans de l’événement. •• Masquer les projets rejetés : affiche tous les plans ou toutes les plages, excepté ceux marqués comme rejetés. •• Aucun classement ou mot-clé : affiche uniquement les plans ou les plages sans classement ou mot-clé. •• Favoris : affiche uniquement les plans ou les plages classés comme favoris. •• Rejetés : affiche uniquement les plans ou les plages classés comme rejetés. Recherche des plans selon une combinaison de critères La fenêtre Filtre vous permet de combiner plusieurs critères de recherche. Par exemple, vous pouvez rechercher des plans vidéo contenant le texte « extérieur » dans leurs métadonnées. 1 Dans la bibliothèque d’événements, sélectionnez l’événement ou le dossier dans lequel vous souhaitez effectuer votre recherche. 2 Cliquez sur le bouton Filtre situé au sommet du navigateur d’événements. 3 Dans la fenêtre Filtre, choisissez vos critères de recherches ou règles, dans le menu local Ajouter une règle. Menu local Ajouter une règle •• Texte : recherchez des plans par leur nom ou les notes les concernant dans la présentation par liste à l’aide de texte. Vous pouvez ajouter plusieurs règles textuelles pour rechercher plus d’un mot ou d’une phrase ou pour éliminer des mots ou des phrases spécifiques de la recherche. •• Classements : recherchez des plans en fonction de leur classement (favori ou rejeté). •• Type de média : recherchez des plans dont les fichiers de média source sont d’un type particulier, tel que vidéo, audio ou fixe. •• Stabilisation : recherchez des plans vidéo identifiés par Final Cut Pro comme présentant un tremblement excessif. •• Mots-clés : recherchez des plans en fonction des mots-clés leur étant assignés. Vous pouvez sélectionner un ou plusieurs mots-clés à rechercher. Chapitre 5 Organisation de votre média 75 •• Personnes : recherchez des plans identifiés par Final Cut Pro comme contenant des personnes. •• Infos sur le format recherchez des plans en fonction des informations sur leur format, telles que la fréquence d’image vidéo ou le numéro de la scène. •• Date : recherchez des plans en fonction de la date de création du fichier de média ou de la date d’importation du média dans Final Cut Pro. •• Rôles : recherchez des plans en fonction des rôles qui leur ont été attribués. Pour supprimer une règle, cliquez sur le bouton Supprimer situé à droite de la règle. Pour exclure une règle de la recherche sans la supprimer, il suffit de décocher la case située à gauche de celle-ci. 4 Effectuez une recherche plus précise en choisissant des éléments des menus locaux pour les règles ajoutées. 5 Procédez de l’une des manières suivantes : •• Pour spécifier qu’un plan doit correspondre à au moins un des critères ou des mots-clés : choisissez N’importe quel(le) dans le menu local situé dans le coin supérieur gauche de la fenêtre Filtre. •• Pour spécifier qu’un plan doit correspondre à tous les critères et mots-clés : Choisissez Tous dans le menu local. Les plans qui correspondent aux critères de recherche s’affichent dans le navigateur d’événements et les icônes indiquant l’état de recherche s’affichent à droite du bouton Filtre au sommet du navigateur d’événements. Si vous le souhaitez, vous pouvez enregistrer les résultats de votre recherche sous forme de collection intelligente qui regroupe automatiquement les plans en fonction de vos critères de recherche. Effacement d’une recherche pondérée mm Cliquez sur le bouton Réinitialiser situé à droite des icônes d’état de recherche dans le coin supérieur droit du navigateur d’événements. Conseil : Si les plans ne s’affichent toujours pas, assurez-vous de choisir l’option « Tous les plans » ou « Masquer les projets refusés » dans le menu local Filtre situé dans le coin supérieur gauche du navigateur d’événements. Recherche de plans par nom et par notes Vous pouvez utiliser le champ de recherche pour trouver rapidement des plans par nom ou par notes (en mode de présentation par liste) sans devoir ouvrir la fenêtre Filtre. 1 Dans la bibliothèque d’événements, sélectionnez un ou plusieurs événements que vous souhaitez rechercher. 2 Dans le champ de recherche, saisissez le nom ou les notes du plan que vous recherchez. Chapitre 5 Organisation de votre média 76 Conduite d’un flux de production de filtrage et de recherche L’exécution d’une recherche pondérée suivie d’un filtrage des plans dans le navigateur d’événements en fonction du classement est un moyen efficace de trouver rapidement des plans. Il s’agit aussi de la meilleure méthode pour trouver des plans spécifiques n’ayant pas été évalués et les comparer à ceux l’ayant été. 1 Dans la bibliothèque d’événements, sélectionnez l’événement ou le dossier dans lequel vous souhaitez effectuer votre recherche. 2 Recherchez des plans à l’aide d’une combinaison de critères de recherche tel que décrit précédemment dans la section « Recherche des plans selon une combinaison de critères ». Toutefois, veillez à ne pas appliquer de filtre de classement dans la fenêtre Filtre. 3 Utilisez le menu local Filtre, tel que décrit précédemment dans la section « Filtrage rapide des plans par classement », pour filtrer rapidement les plans en fonction de leur classement. 4 Répétez l’étape 3 jusqu’à trouver les plans que vous recherchez. Enregistrement des recherches sous forme de collections intelligentes Lorsque vous recherchez des plans dans un événement à l’aide de la fenêtre Filtre, vous pouvez enregistrer vos résultats en créant une collection intelligente qui regroupe les plans correspondant aux critères de recherche. Chaque fois qu’un nouveau plan qui satisfait les critères de recherche de la collection intelligente est ajouté à l’événement, il est automatiquement ajouté à celle-ci. Les plans qui s’affichent dans les collections intelligentes ne sont pas dupliqués. Les collections intelligentes filtrent des plans dans un événement pour vous aider à vous centrer sur les plans dont vous avez besoin pour une tâche spécifique. Création d’une collection intelligente se reposant sur des critères de recherche 1 Dans la bibliothèque d’événements, sélectionnez un événement. 2 Utilisez la fenêtre Filtre pour rechercher des plans en fonction des critères de recherche indiqués. 3 Dans la fenêtre Filtre, cliquez sur le bouton Nouvelle collection intelligente. Une nouvelle collection intelligente sans titre s’affiche dans la bibliothèque d’événements. 4 Saisissez un nom pour la collection intelligente et appuyez sur Retour. Lorsque vous ajoutez à l’événement des plans qui satisfont les critères de recherche de la collection intelligente, ils sont automatiquement ajoutés à celle-ci. Modification du contenu d’une collection intelligente 1 Dans la bibliothèque d’événements, double-cliquez sur la collection intelligente dont vous souhaitez modifier le contenu. La fenêtre Filtre de la collection intelligente s’affiche. Collection intelligente Chapitre 5 Organisation de votre média 77 2 Modifiez les critères de recherche dans la fenêtre Filtre. 3 Lorsque vous avez terminé, fermez la fenêtre. Remarque : Si vous modifiez le classement ou les mots-clés d’un plan de telle manière qu’il ne satisfait plus les critères de recherche de la collection intelligente, le plan ne s’affiche plus dans cette collection. Suppression d’une collection intelligente mm Dans la bibliothèque d’événements, sélectionnez la collection intelligente que vous souhaitez éliminer, puis choisissez Fichier > Supprimer la collection intelligente (ou appuyez sur Commande + Supprimer). La collection intelligente est supprimée de la bibliothèque d’événements, mais les plans qui lui sont associés (qui apparaissent dans celle-ci) ne sont pas affectés. Organisation des mots-clés et des collections intelligentes Vous pouvez organiser les collections de mots-clés et les collections intelligentes dans la bibliothèque d’événements sous forme de dossiers. Organisation des collections à l’aide de dossiers 1 Dans la bibliothèque d’événements, sélectionnez l’événement contenant les collections que vous souhaitez organiser, puis choisissez Fichier > Nouveau dossier. 2 Saisissez un nom pour le nouveau dossier qui s’affiche dans l’événement. 3 Sélectionnez les collections intelligentes et les collections de mots-clés que vous souhaitez organiser et faites-les glisser dans le nouveau dossier. Vous pouvez afficher et masquer le contenu du dossier en cliquant sur le triangle d’affichage situé à gauche du nom du dossier. 6 78 Présentation de la lecture et du survol Final Cut Pro simplifie le visionnage et l’écoute de média, que celui-ci se situe dans le navigateur d’événements, dans la bibliothèque de projets ou dans la timeline. Ses fonctionnalités de preview dynamiques vous permettent retrouver rapidement ce que vous recherchez sans perdre de vue la tâche que vous devez réaliser. Deux outils sont à votre disposition pour effectuer un preview et reproduire du média dans Final Cut Pro : •• La tête de lecture marque le point actif sur la timeline ou dans le navigateur d’événements. Vous pouvez à loisir déplacer la tête de lecture en la faisant glisser ou en cliquant sur une autre zone de la timeline ou du navigateur d’événements. Elle vous permet en outre de faire défiler ou de reproduire la vidéo à partir de son point actif. La tête de lecture se présente sous la forme d’un trait vertical gris fixe à moins que vous ne la déplaciez ailleurs ou cliquiez sur un autre point. •• Le skimmer, d’autre part, vous permet de prévisualiser les plans sur la timeline, dans le navigateur d’événements ou dans la bibliothèque de projets, sans affecter pour autant la position de la tête de lecture. Utilisez le skimmer pour survoler le contenu ou parcourir à loisir les plans pour effectuer la lecture depuis l’emplacement du pointeur en fonction de sa vitesse de déplacement. Le skimmer se présente sous la forme d’un trait vertical rose au fur et à mesure que vous déplacez le pointeur sur la zone en cours de survol. Si vous avez activé la fonction de magnétisme, le skimmer devient alors orange lorsqu’il s’aligne sur un point précis. Tête de lectureTête de lectureSkimmerSkimmer Lorsque la fonction de survol est activée, vous avez la possibilité de parcourir les données multimédias pour visualiser le contenu d’autres plans tout en conservant l’emplacement de la tête de lecture sur la timeline. Si cette dernière, ainsi que le skimmer, sont présents sur le même plan, le skimmer prend la priorité et devient l’emplacement par défaut de lecture ou de montage. Si le survol est désactivé ou que le skimmer est absent sur un plan, la tête de lecture constitue alors l’emplacement par défaut. Lecture et survol du média Chapitre 6 Lecture et survol du média 79 Lecture du média Vous avez la possibilité de reproduire des projets et des plans dans Final Cut Pro. Les options de lecture comprennent la lecture depuis le début, à partir d’un certain point, en boucle et à différentes vitesses. Vous avez également la possibilité d’effectuer la lecture en plein écran. Le réglage de lecture sélectionné dans les préférences Montage de Final Cut Pro définit si Final Cut Pro utilise un média proxy, votre média original ou un média optimisé lors de la lecture. Consultez Préférences de lecture à la page 438 pour en savoir plus. Lecture de plans vidéo et de clips audio mm Pour lire un projet ou un plan depuis le début : sélectionnez le projet ou le plan, puis choisissez Présentation > Lecture > Lire depuis le début (ou appuyez sur Maj + Contrôle + I). mm Pour lire une section d’un projet, des plans sélectionnés ou une plage d’images depuis le début : sélectionnez le projet, les plans, l’intégralité ou une partie d’un même plan, puis choisissez Présentation > Lecture > Lire la sélection, ou appuyez sur Barre oblique (/). Si vous sélectionnez un plan entier, une partie d’un plan ou le projet complet, la zone sélectionnée s’encadre en jaune. Cadre jaune mm Pour lire un projet ou un plan à partir d’un point précis : dans le navigateur d’événements ou la timeline, cliquez sur un point dans un projet ou dans un plan à l’endroit où vous voulez commencer (ou placez la tête de lecture sur le point voulu dans la timeline) et appuyez sur la barre d’espace ou cliquez sur le bouton de lecture dans le visualiseur (ou appuyez sur la touche L). La lecture du plan ou du projet commence au niveau du skimmer ou de la tête de lecture. mm Pour lire dans la zone de la tête de lecture ou du Skimmer : choisissez Présentation > Lecture > Lire le contexte, ou appuyez sur Maj + point d’interrogation (?). Skimmer mm Pour interrompre la lecture : appuyez sur la barre d’espace. Chapitre 6 Lecture et survol du média 80 Usage des touches J, K et L pour la lecture Les touches J, K et L de votre clavier vous permettent de lire un projet ou un plan. La lecture se lance depuis la tête de lecture (dans le cas d’un projet) ou depuis le skimmer (dans le cas d’un plan). Vous pouvez aussi passer par les touches J, K et L pour contrôler un dispositif de lecture vidéo. Fait défiler les vitesses de lecture vers l’avantFait défiler les vitesses de lecture vers l’arrièrePause Ces touches vous permettent d’accélérer la lecture jusqu’à 32 fois (32x). mm Pour lancer la lecture normale (vitesse 1x) : appuyez sur L. mm Pour lancer la lecture inverse (vitesse 1x) : appuyez sur J. mm Pour mettre la lecture en pause : appuyez sur K. mm Pour doubler la vitesse de lecture : appuyez sur L ou sur J deux fois. mm Pour inverser immédiatement le sens de lecture : appuyez sur J pour lire dans le sens inverse, ou sur L pour lire dans le sens normal. mm Pour faire avancer ou reculer la tête de lecture d’une image à la fois : maintenez la touche K enfoncée, et appuyez sur J ou sur L. mm Pour déplacer la tête de lecture à vitesse réduite de moitié (1/2x) : maintenez la touche K enfoncée tout en appuyant sur la touche J ou L. Si vous faites appel aux raccourcis clavier pour contrôler un appareil (comme un caméscope ou une caméra), la vitesse de lecture avant (L) et inverse (J) peut différer en fonction de votre équipement vidéo. Lecture en boucle du média Il est possible d’activer la mise en boucle de sorte qu’un projet (ou une partie de projet) se lise continuellement en boucle. 1 Pour activer la lecture en boucle, effectuez l’une des opérations suivantes : •• Choisissez Présentation > Lecture > Lecture en boucle (ou appuyez sur Commande + L). •• Cliquez sur le bouton Lecture en boucle. 2 Procédez de l’une des manières suivantes : •• Pour mettre tout le projet en boucle : appuyez sur la barre d’espace. •• Pour mettre une partie d’un projet en boucle : sélectionnez une plage ou un plan dans la timeline, puis choisissez Présentation > Lecture > Sélection, ou appuyez sur la touche de la barre oblique (/). Chapitre 6 Lecture et survol du média 81 Lecture de vidéo en présentation Plein écran 1 Sélectionnez ou ouvrez un projet dans la bibliothèque de projets ou ouvrez un plan dans le navigateur d’événements et positionnez la tête de lecture à l’endroit où vous voulez que la vidéo commence. 2 Procédez de l’une des manières suivantes : •• Choisissez Présentation > Lecture > Lire en plein écran (ou appuyez sur Commande + Maj + F). •• Cliquez sur le bouton « Lire en plein écran » situé sous le visualiseur. L’élément se lit en présentation Plein écran à partir du point où se trouve la tête de lecture. 3 Pour quitter la présentation Plein écran, appuyez sur la touche Échap. Lorsque vous reproduisez des plans, les images au niveau de la tête de lecture ou du skimmer sont lues dans le visualiseur. Si vous devez comparer deux plans simultanément, vous pouvez passer par le visualiseur d’événements, un visualiseur à part permettant la lecture exclusive de plans d’événement. Le visualiseur d’événements s’affiche à gauche du visualiseur principal. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83. Survol du média Il vous est possible de survoler rapidement votre vidéo et votre audio pour en effectuer un preview, rechercher un plan particulier ou réaliser un montage. Lorsque le survol est activé et que vous déplacez le pointeur sur un plan situé dans le navigateur d’événements ou sur la timeline, le contenu sous le pointeur se lit alors dans le visualiseur. Vous pouvez aussi passer par les outils de montage Lame de rasoir, Trim et Sélection de plage pour survoler les plans sur la timeline ou dans l’éditeur de précision. Au fur et à mesure que vous effectuez le montage dans Final Cut Pro, il se peut que le survol ait tendance à vous distraire lorsque vous déplacez le pointeur d’un point à un autre. Vous pouvez dans ce cas désactiver complètement la fonction du survol (ou vous limiter à rendre inopérant le survol audio). Survol de plans mm Dans le navigateur d’événements ou la timeline, déplacez le pointeur sur un plan. Le skimmer (représenté par un trait vertical rose) indique exactement où se trouve le point actif au fur et à mesure que vous survolez le média ; les images correspondantes s’affichent en outre dans le visualiseur. Skimmer Conseil : Vous pouvez aussi appuyer à tout moment sur la barre d’espace pour lire depuis l’emplacement du skimmer. Chapitre 6 Lecture et survol du média 82 Survol de plans à l’aide des outils de montage Vous avez la possibilité de survoler les plans tout en utilisant les outils Lame de rasoir, Trim et Sélection de plage sur la timeline ou dans l’éditeur de précision. Ceux-ci se comportent comme des skimmers au fur et à mesure que vous placez le pointeur sur un plan. 1 Sélectionnez un plan sur la timeline ou ouvrez l’éditeur de précision. 2 Choisissez Lame de rasoir, Trim ou Sélection de plage dans le menu local Outils situé sur la barre d’outils. 3 Déplacez l’outil en avant ou en arrière sur un plan. Lorsque vous utilisez un outil de montage faisant office de skimmer, il vous est possible de survoler et d’ajouter des marqueurs à des plans sous les plans connectés dans la timeline. Activation et désactivation de la fonction de survol mm Pour activer et désactiver le survol : cliquez sur le bouton Survol, choisissez Présentation > Survol, ou appuyez sur S. mm Pour activer et désactiver le survol audio : cliquez sur le bouton « Audio lors du survol », choisissez Présentation > Audio lors du survol, ou appuyez sur Maj + S. Une fois la fonction activée, les boutons de survol apparaissent en bleu. La fonction de survol audio est désactivée. La fonction de survol est activée. Remarque : Lorsque le survol est désactivé, vous avez néanmoins la possibilité de survoler à l’aide des outils de montage Lame de rasoir, Trim et Sélection de plage. Survol d’audio pour des plans ou des composants audio précis Vous pouvez configurer le survol de plan pour limiter la fonction à un plan particulier. Cela s’avère utile si vous disposez d’un plan connecté dans la timeline et souhaitez en effectuer le survol sans avoir à écouter l’audio du plan dans le scénario principal. Important : Le survol audio doit également être activé afin de pouvoir utiliser cette fonctionnalité. Vous pouvez aussi faire appel au survol de plan pour écouter également un composant audio particulier lors du montage des plans présentant des composants audio développés. Si le survol de plan est éteint, vous pouvez alors entendre l’audio combiné de tous les composants intégrant le plan au fur et à mesure que vous effectuez le survol. Chapitre 6 Lecture et survol du média 83 Conseil : Pour afficher les composants audio sous leur forme développée, sélectionnez le plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). mm Pour activer ou désactiver le survol, choisissez Présentation >Survol du plan (ou appuyez sur Commande + Option + S). Lecture et survol du média dans le visualiseur d’événements Il se peut que vous ayez parfois besoin de deux visualiseurs afin de pouvoir lire et survoler les plans d’événements de façon isolée des plans dans la timeline. Le visualiseur d’événements représente un affichage vidéo distinct qui apparaît en regard du visualiseur principal. En ouvrant le visualiseur d’événements et le visualiseur, vous pouvez ainsi afficher deux plans simultanément : l’un dans le navigateur d’événements et l’autre dans la timeline. Visualiseur d’événementsVisualiseur Vous ne pouvez utiliser le visualiseur d’événements pour lire des plans que dans le navigateur d’événements. Comme pour le visualiseur principal, vous pouvez afficher les instruments vidéo, les canaux de couleurs, les zones sécurisées des titres et de l’action, ainsi que les angles multicam (avec le visualiseur d’événements configuré de façon à afficher les angles). Les commandes de lecture et d’ajustement sont identiques dans le visualiseur et dans le visualiseur d’événements. Les autres opérations en relation avec le visualiseur (notamment les commandes à l’écran et les effets intégrés) se font à travers le visualiseur principal. L’interface du double visualiseur s’inspire des systèmes à bande linéaires qui incluaient des moniteurs pour la source et pour l’enregistrement. Le moniteur source servait à la prévisualisation des plans source et aux sélections dans les plans en question. Le moniteur d’enregistrement permettait la reproduction du programme une fois monté. Ouvrir le visualiseur d’événements mm Choisissez Fenêtre > Afficher le visualiseur d’événements (ou appuyez sur Commande + Contrôle + 3). Pour fermer le visualiseur d’événements, choisissez Fenêtre > Masquer le visualiseur d’événements (ou appuyez sur Commande + Contrôle + 3). Remarque : Si vous utilisez des instruments vidéo avec le visualiseur d’événements, il peut s’avérer pratique d’afficher les instruments sous l’image vidéo plutôt que sur le côté gauche (par défaut). Pour afficher les instruments repris sous l’image vidéo, choisissez Présenter verticalement dans le menu local Réglages du visualiseur d’événements. Pour en savoir plus, consultez Utilisation des instruments vidéo à la page 387. Chapitre 6 Lecture et survol du média 84 Lecture sur un deuxième écran Si vous possédez un deuxième écran branché sur votre ordinateur, vous pouvez y afficher le visualiseur afin de lire la vidéo, ou le navigateur d’événements pour consulter les plans d’un événement, étendant ainsi votre espace de travail dans la fenêtre Final Cut Pro. Affichage du visualiseur sur un second moniteur 1 Branchez un deuxième écran (moniteur informatique branché sur la carte graphique PCI) et assurez-vous qu’il est relié au secteur et allumé. 2 Dans Final Cut Pro, choisissez Fenêtre > Afficher les visualiseurs sur le second moniteur. Le visualiseur apparaît alors sur le deuxième écran. Toutes les fonctionnalités du visualiseur (notamment les commandes à l’écran) sont dès lors disponibles sur le deuxième écran. Remarque : Si le visualiseur d’événements est également visible, les deux visualiseurs s’affichent alors sur le deuxième écran. 3 Pour renvoyer le visualiseur sur la fenêtre principale de Final Cut Pro, choisissez Fenêtre > Afficher les visualiseurs dans la fenêtre principale. Affichage de la bibliothèque et du navigateur d’événements sur un second moniteur 1 Branchez un deuxième écran (moniteur informatique branché sur la carte graphique PCI) et assurez-vous qu’il est relié au secteur et allumé. 2 Dans Final Cut Pro, choisissez Fenêtre > Afficher les événements sur le second moniteur. La bibliothèque et le navigateur d’événements apparaissent sur le deuxième écran. Toutes les fonctionnalités propres aux événements (notamment la sélection, les marqueurs, les mots-clés, etc.) sont dès lors disponibles sur le deuxième écran. Pour renvoyer la bibliothèque d’événements et le navigateur d’événements sur la fenêtre principale de Final Cut Pro, choisissez Fenêtre > Afficher les événements dans la fenêtre principale. Chapitre 6 Lecture et survol du média 85 Lecture sur un moniteur externe Final Cut Pro propose l’option de sortie A/V pour envoyer la vidéo et l’audio de votre ordinateur à un moniteur externe. En plus de pouvoir vérifier à quoi la vidéo et l’audio ressemblent sur un moniteur broadcast NTSC/PAL ou HD, cette fonctionnalité vous permet également de tester la sortie sur des dispositifs plus sophistiqués, tels que des vecteurscopes et des oscilloscopes. La sortie A/V n’est disponible que sous OS X Lion 10.7.2 ou ultérieur et nécessite une interface vidéo matérielle et logicielle de tierce partie compatible. Les appareils DV FireWire ne sont pas pris en charge. Pour en savoir plus, contactez le fabricant de l’équipement ou accédez à la page web des ressources Final Cut Pro X à l’adresse http://www.apple.com/fr/finalcutpro/resources. Lecture vidéo et audio sur un moniteur externe 1 Installez les matériel et logiciel d’interfaçage vidéo en suivant les instructions du fabricant. 2 Branchez un moniteur externe sur l’interface vidéo et assurez-vous qu’il est relié au secteur et allumé. 3 Pour sélectionner un équipement de sortie A/V, choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + Virgule), cliquez sur Lecture, puis choisissez un dispositif dans la fenêtre Lecture des préférences. 4 Dans Final Cut Pro, choisissez Fenêtre > Sortie A/V. Le contenu du visualiseur s’affiche sur le moniteur broadcast. Les fonctionnalités du visualiseur (par exemple, ses commandes à l’écran et les éléments venant se superposer sur la zone de titre ou d’action sécurisée) ne s’affichent que dans Final Cut Pro. Remarque : la vidéo et l’audio sont synchronisés au niveau de l’image vidéo (et non de l’échantillonnage audio). Pour désactiver la sortie A/V, choisissez Fenêtre > Sortie A/V. Chapitre 6 Lecture et survol du média 86 À propos du rendu en arrière-plan Lorsque vous ajoutez des effets, des transitions, des générateurs, des titres ou autres éléments faisant appel à un rendu avant la lecture, l’indicateur de rendu en arrière-plan (représenté par un trait orange) apparaît en dessous du timecode sur la timeline. Indicateur de rendu en arrière-plan Par défaut, le rendu en arrière-plan se lance après 5 secondes d’inactivité et d’immobilité du pointeur dans Final Cut Pro. Ce rendu en arrière-plan se poursuit si vous utilisez une autre application. Vous pouvez modifier ce réglage dans les préférences de Final Cut Pro. 7 87 Création d’un projet Pour créer un film dans Final Cut Pro, vous devez créer au préalable un projet, qui contient tous vos choix de montage et les données utilisées. Vous devez ensuite ajouter les plans à la timeline du projet puis les monter. Au moment de créer un projet Final Cut Pro, vous devez effectuer plusieurs choses : •• Attribuez un nom au projet. •• Indiquer un événement par défaut pour le projet. L’événement par défaut stocke les données déposées sur le projet à partir du Finder ou d’un navigateur multimédia de Final Cut Pro. Si vous faites glisser le média depuis le Finder sur la timeline, il vient alors se placer automatiquement dans l’événement par défaut du projet. Il vous est également possible de définir le timecode de début et les propriétés vidéo, audio et de rendu applicables au projet. Après avoir créé votre projet, vous devez y ajouter des plans à partir de la bibliothèque d’événements. Remarque : Si vous créez un projet et que vous n’avez pas encore importé de média dans Final Cut Pro, vous devez le faire à ce stade. Consultez la section Présentation de l’importation à la page 21 pour en savoir plus. Début d’un projet 1 Procédez de l’une des manières suivantes : •• Dans Final Cut Pro, choisissez Fichier > Nouveau projet (ou appuyez sur Commande + N). •• Assurez-vous que la bibliothèque de projets est ouverte, puis cliquez sur le bouton Nouveau projet. 2 Dans la fenêtre qui s’affiche, attribuez un nom au projet dans le champ Nom. 3 Choisissez un événement par défaut pour le projet. Si vous faites glisser des fichiers multimédias directement du Finder vers la timeline du projet, ou si vous ajoutez des données au projet à l’aide de l’un des navigateurs multimédias, les données en question sont automatiquement ajoutées à l’événement par défaut du projet. 4 Si vous voulez personnaliser davantage les réglages pour votre projet, cliquez sur « Utiliser les réglages personnalisés ». Remarque : Final Cut Pro affiche les réglages automatiques par défaut, mais conserve en mémoire ceux que vous avez utilisés en dernier. Cette étape peut dès lors s’avérer facultative. Création et gestion de projets Chapitre 7 Création et gestion de projets 88 5 Si vous voulez que le timecode de votre projet commence par une autre valeur que 00:00:00:00, tapez une valeur de timecode de début dans le champ Timecode de début. 6 Pour apporter des modifications aux propriétés vidéo ou audio du projet, sélectionnez Personnaliser, puis utilisez les menus locaux à votre disposition. À moins que vous n’ayez des besoins précis pour le projet que vous créez, il est préférable de laisser l’option « Définir automatiquement d’après le 1er plan vidéo » sélectionnée. 7 Cliquez sur OK. Le nouveau projet s’affiche enfin dans la bibliothèque de projets avec le nom que vous lui avez attribué à l’étape 2. Nouveau projet Vous pouvez dès lors ajouter des plans depuis le navigateur d’événements et commencer à monter votre projet de façon plus poussée, par exemple en lui ajoutant des titres, des effets spéciaux, de la musique de fond, des effets sonores, etc. Vous pouvez modifier à tout moment le nom d’un projet, son événement par défaut ainsi que d’autres propriétés du projet. Consultez Modification du nom et des propriétés d’un projet à la page 89 pour en savoir plus. Preview et ouverture d’un projet Pour retrouver le contenu d’un projet, vous pouvez en effectuer le preview avant de l’ouvrir. Preview d’un projet 1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. 2 Sélectionnez un projet dans la bibliothèque de projets. 3 Pour effectuer un preview d’un projet dans le visualiseur, sélectionnez-le et procédez de l’une des manières suivantes : •• Pour survoler le projet : placez le pointeur sur la pellicule (située à droite du nom du projet). •• Pour lancer la lecture du projet à partir du skimmer (représenté par le trait vertical rose) : appuyez sur la barre d’espace ; rappuyez dessus pour interrompre la lecture du projet. Chapitre 7 Création et gestion de projets 89 Ouverture d’un projet 1 Ouvrez la bibliothèque de projets. 2 Accédez au projet à ouvrir, puis double-cliquez dessus. Modification du nom et des propriétés d’un projet Au fur et à mesure de l’évolution de votre projet, il se peut que vous soyez amené à le renommer et à en modifier les propriétés. Réattribution du nom d’un projet 1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. 2 Sélectionnez un projet, puis cliquez sur le nom du projet pour le mettre en surbrillance. 3 Saisissez le nouveau nom du projet dans le champ Nom et appuyez sur Retour. En fonction de l’agencement de votre bibliothèque de projets, la position du projet dans la liste peut changer après avoir renommé ce dernier. Changement de l’événement par défaut et modification des propriétés d’un projet Lorsque vous créez un projet, vous définissez ses propriétés et vous lui attribuez un événement par défaut destiné à stocker des données que vous avez fait glisser directement sur la timeline du projet depuis le Finder ou un navigateur multimédia de Final Cut Pro. Dans la plupart des cas, Final Cut Pro gère automatiquement les propriétés du projet en se basant sur les propriétés du premier plan que vous ajoutez au projet ; vous pouvez toutefois modifier presque toutes les propriétés d’un projet. Si vous devez modifier les propriétés du projet, choisissez celles vidéo et audio selon le mode de partage de votre film final avec votre public. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Propriétés du projet (ou appuyez sur Commande + J). •• Si la fenêtre de l’inspecteur est masquée, cliquez sur le bouton Inspecteur dans la barre d’outils. Cliquez ensuite sur le bouton Propriétés situé en haut de la fenêtre. Bouton Propriétés Chapitre 7 Création et gestion de projets 90 3 Cliquez sur le bouton Propriétés du projet . Bouton Propriétés du projet 4 Dans la fenêtre qui s’affiche, adaptez les réglages selon vos besoins. Sélectionnez un présentation par défaut dans le menu local.Modifiez les propriétés vidéo, audio et de rendu du projet. Nom •• Nom : saisissez un nom pour le projet. Événement par défaut •• Événement par défaut : choisissez l’événement par défaut du projet. Timecode de début •• Timecode de début : si vous voulez que le timecode de votre projet commence par une autre valeur que 00:00:00:00, tapez une valeur de timecode de début. Timecode Drop Frame •• Drop Frame : cochez cette case pour activer le timecode Drop Frame (option disponible uniquement pour les médias à 29,97 et 59,94 ips). Dans le timecode Non-Drop Frame le compteur de timecode défile à vitesse constante sans effectuer de sauts de valeur. Le timecode Non-Drop Frame est disponible comme option d’affichage pour toutes les fréquences d’images. Dans le timecode Drop Frame, les images 0 et 1 sont ignorées au cours de la première seconde de chaque minute, sauf si le nombre de minutes est exactement divisible par 10. Propriétés vidéo •• Format : choisissez le format vidéo (méthode particulière d’encodage vidéo). •• Résolution : choisissez la taille d’image de la vidéo. •• Fréquence : choisissez le nombre d’images par seconde (ips). Remarque : Vous ne pouvez pas modifier la fréquence d’images d’un projet, sauf si la timeline est totalement vide. Chapitre 7 Création et gestion de projets 91 Propriétés audio et de rendu •• Canaux audio : choisissez s’il faut présenter l’audio sous forme de son Surround multicanal ou de son stéréo. •• Fréquence d’échantillonnage : choisissez la fréquence d’échantillonnage audio de votre projet (à savoir le nombre de fois qu’un signal est mesuré, c’est-à-dire échantillonné, par seconde). Plus la fréquence d’échantillonnage est supérieure, plus l’audio est de qualité élevée et plus les fichiers produits sont volumineux. La fréquence d’échantillonnage que vous choisissez dépend des données source que vous utilisez et de la destination finale de votre audio. •• Format du rendu : permet de choisir le codec à utiliser pour le rendu en arrière-plan de votre projet. 5 Cliquez sur OK. Définition de l’ordre de référencement d’événements par un projet Si vous avez des plans en double dans différents événements, il vous est possible de définir l’ordre dans lequel Final Cut Pro recherche les plans. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Propriétés du projet (ou appuyez sur Commande + J). •• Si la fenêtre de l’inspecteur est masquée, cliquez sur le bouton Inspecteur dans la barre d’outils. Cliquez ensuite sur le bouton Propriétés situé en haut de la fenêtre. Bouton Propriétés 3 Cliquez sur le bouton « Modifie les références aux événements » dans la section Événements référencés. Chapitre 7 Création et gestion de projets 92 4 Dans la fenêtre qui s’affiche, faites glisser les événements pour définir l’ordre dans lequel Final Cut Pro recherche les plans. 5 Une fois l’ordre établi, cliquez sur OK. Organisation des projets dans la bibliothèque de projets Tous vos projets vidéo Final Cut Pro sont répertoriés dans la bibliothèque de projets. Vous pouvez commencer l’organisation de vos projets en branchant des disques durs supplémentaires, en créant des dossiers pour y conserver des projets et en attribuant à ces derniers des noms évocateurs et précis. Au fur et à mesure que votre bibliothèque de projets grandit, vous pouvez renommer, copier, déplacer et supprimer vos projets selon vos besoins. Utilisation de dossiers pour organiser les projets 1 Si la bibliothèque de projets n’est pas déjà ouverte, cliquez sur le bouton Bibliothèque de projets situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. 2 Sélectionnez un disque, un dossier ou un projet auquel vous voulez ajouter un dossier, puis cliquez sur le bouton Nouveau dossier situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro. Chapitre 7 Création et gestion de projets 93 Un nouveau dossier au nom évocateur apparaît sur le disque ou dans le dossier que vous avez sélectionné, ou au même niveau que le projet sélectionné. 3 Procédez de l’une des façons suivantes : •• Pour renommer le dossier : sélectionnez le dossier, cliquez sur son nom, puis attribuez-lui un nouveau nom. •• Pour ajouter un projet au dossier : faites glisser le projet sur le dossier. •• Pour ouvrir ou fermer le dossier : cliquez sur le triangle d’affichage à gauche du nom du dossier. Copie d’un projet Copier un projet s’avère utile pour travailler sur une nouvelle version ou pour transférer la copie sur un autre ordinateur. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Choisissez Fichier > Dupliquer le projet. 3 Dans la fenêtre qui s’affiche, choisissez un emplacement pour le fichier dupliqué dans le menu local Emplacement. 4 Sélectionnez une option pour indiquer ce qui doit être dupliqué : •• Dupliquer le projet : copie uniquement le fichier du projet. •• Dupliquer le projet et les événements référencés : copie le fichier du projet, tout événement référencé par le fichier du projet et l’intégralité du média inclus dans les événements référencés. •• Dupliquer le projet et les plans utilisés : copie le fichier du projet et les fichiers de média se rapportant à tout plan utilisé dans le projet. Chapitre 7 Création et gestion de projets 94 •• Inclure les fichiers de rendu : cochez cette case pour inclure les fichiers de rendu pour les plans et les projets. Si vous voulez libérer de l’espace sur le disque dur, décochez cette case. Choisissez un emplacement d’enregistrement du projet.Sélectionnez une option pour la copie. 5 Cliquez sur OK. Final Cut Pro copie le projet dans l’emplacement choisi d’après l’option indiquée. Le projet voit son nom complété d’un suffixe (par exemple « :film de François1 »), puis le projet s’affiche dans la bibliothèque de projets. Copie rapide d’un projet sur un périphérique de stockage externe mm Ouvrez la bibliothèque de projets, sélectionnez un projet, puis faites glisser le projet sur l’icône du disque dur externe située dans la bibliothèque de projets. Déplacement d’un projet Vous avez la possibilité de déplacer un projet en toute simplicité vers un disque dur branché ou un autre ordinateur connecté. Le déplacement du fichier d’un projet s’avère utile si vous voulez travailler dessus en utilisant un autre ordinateur où Final Cut Pro est installé ou si vous cherchez à libérer de l’espace sur le disque dur de votre ordinateur. Important : Impossible d'annuler un déplacement de projet avec la commande Annuler. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Déplacer le projet. •• Maintenez la touche Commande enfoncée pendant le glissement du projet sur l’icône d’un autre disque dur externe reprise dans la bibliothèque de projets. 3 Dans la fenêtre qui s’affiche, choisissez un emplacement cible du projet (à savoir un disque dur ou un ordinateur) dans le menu local Emplacement. Chapitre 7 Création et gestion de projets 95 4 Sélectionnez une option pour indiquer ce qui doit être déplacé : •• Déplacer le projet : déplace uniquement le fichier du projet. •• Déplacer le projet et les événements référencés : déplace le fichier du projet, tout événement référencé par le fichier du projet et l’intégralité du média inclus dans les événements référencés. Sélectionnez l’emplacement vers lequel vous souhaitez déplacer le projet.Sélectionnez une option pour le déplacement. 5 Cliquez sur OK. Final Cut Pro déplace le projet à l’emplacement choisi d’après l’option que vous avez indiquée. Consultez la section Emplacement de vos fichiers de média et de projet à la page 407 pour en savoir plus sur l’emplacement par défaut des projets Final Cut Pro et des événements. Suppression d’un projet ou de son dossier La suppression du dossier d’un projet entraîne également celle de tous les projets qu’il contient. Votre média n’est pas pour autant supprimé car il est stocké dans les événements. 1 Pour ce faire, ouvrez la bibliothèque de projets, puis sélectionnez un projet. 2 Procédez de l’une des manières suivantes : •• Pour supprimer un projet : sélectionnez le projet, puis choisissez Fichier > Placer le projet dans la Corbeille (ou appuyez sur Commande + Supprimer). •• Pour supprimer un dossier et tout projet que le dossier contient : sélectionnez le dossier, puis choisissez Fichier > Placer le dossier dans la Corbeille (ou appuyez sur Commande + Supprimer). Le projet ou son dossier (ainsi que les projets qu’il contient) est alors supprimé de la bibliothèque de projets et placé dans la Corbeille du Finder. 3 Pour supprimer de façon permanente le projet ou le dossier d’un projet ainsi que ses fichiers et libérer de l’espace sur votre disque dur, videz la Corbeille du Finder. AVERTISSEMENT : Une fois la Corbeille vidée, le fichier ou le dossier ne peut plus être récupéré. Il vous est également possible de supprimer les fichiers de rendu d’un projet. Consultez Affichage des tâches d’arrière-plan à la page 418 pour en savoir plus. Chapitre 7 Création et gestion de projets 96 Enregistrement des projets Final Cut Pro enregistre en effet automatiquement toutes les modifications que vous apportez au fur et à mesure de vos manipulations dans le projet, plutôt que de vous obliger à le faire manuellement. Vous pouvez en outre annuler toutes vos modifications jusqu’au moment de la dernière fermeture et réouverture de Final Cut Pro, en choisissant Édition > Annuler (ou en appuyant sur Commande + Z). Vous pouvez créer plusieurs versions d'un projet en le dupliquant. Pour en savoir plus sur la duplication de projets, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92. Les modifications que vous apportez à un plan dans un projet n’influe pas sur son fichier source. Ainsi, si vous avez réalisé de nombreux changements dans un plan mais voulez repartir depuis le début, vous pouvez restaurer facilement le plan à son état d’origine en ajoutant une nouvelle copie du plan (accessible depuis la bibliothèque d’événements) à votre projet. 8 97 Présentation du montage Le terme montage vidéo fait référence à la fois aux grandes étapes du flux de production d’un projet et aux tâches manuelles très spécifiques que vous réalisez sur les plans dans la timeline d’un projet. •• Sélections et ajout de plans à la timeline : l’ajout et l’organisation de plans dans votre projet constituent la base de la création d’un film avec Final Cut Pro. Vous déplacez et organisez les plans dans la timeline. Consultez les sections Présentation de l’ajout de plans à la page 106, Disposition des plans dans la timeline à la page 124 et Présentation de l’audio à la page 164. •• Coupe et trim des plans : Final Cut Pro fournit de nombreux outils pour ajuster les points de départ et d’arrivée des plans dans la timeline et pour contrôler le passage d’un plan au suivant. Consultez Présentation du trim à la page 130. •• Ajustement précis de votre projet : Final Cut Pro fournit de nombreux outils de montage avancé pour procéder facilement à la finition d’un film parfaitement abouti. Consultez les rubriques de la section relative au montage avancé. •• Ajout d’effets et étalonnage : les touches finales incluent les effets visuels et l’étalonnage. Consultez les sections Présentation des transitions, des titres, des effets et des générateurs à la page 212 et Présentation de l’étalonnage à la page 371. Sélection de plans et de plages À propos des sélections et des pellicules de film L’étape de base du montage d’un projet vidéo consiste à choisir ce que vous voulez inclure dans le film final. Dans Final Cut Pro, vous indiquez les plans ou les parties de plans sur lesquels vous voulez réaliser une action en effectuant une sélection. Final Cut Pro offre de nombreux outils puissants pour effectuer des sélections rapidement et avec précision, notamment les pellicules, qui sont des séries de vignettes. Vos plans vidéo apparaissent sous forme de pellicules dans la timeline (là où vous créez vos projets) et dans le navigateur d’événements (là où sont affichées vos données source). Une seule pellicule vidéo peut représenter plusieurs secondes de vidéo regroupant des centaines d’images vidéo (à savoir des images spécifiques). Les clips exclusivement audio se présentent comme des formes d’onde audio, affichant les changements de volume dans le temps. Lorsque vous ajoutez des plans à la timeline d’un projet depuis le navigateur d’événements, vous pouvez ajouter un ou plusieurs plans complets, ou une plage au sein d’un plan. Vous pouvez ensuite affiner séparément les plans dans la timeline, par exemple en leur ajoutant des effets vidéo ou en insérant des transitions entre eux. Montage de votre projet Chapitre 8 Montage de votre projet 98 Vous pouvez régler l’apparence des pellicules dans le navigateur d’événements et dans la timeline afin de simplifier les sélections. Par exemple, développer la largeur d’une pellicule (en réduisant la durée affichée par chaque vignette) vous permet d’effectuer des sélections plus précises. Pellicule développée dans le navigateur d’événements pour des sélections précises Vous pouvez également modifier l’aspect des pellicules dans la timeline pour pouvoir visualiser et sélectionner plus facilement les formes d’onde audio. Aspect de la pellicule modifié pour faciliter la visualisation et la sélection des formes d’onde audio Sélection d’un ou plusieurs plans Les plans représentent vos fichiers vidéo, audio et graphiques et vous permettent de manipuler vos données dans Final Cut Pro sans modifier ces fichiers. Pour ajouter des plans à votre projet, les réorganiser ou leur appliquer des trims, vous devez d’abord les sélectionner. Il vous est possible de sélectionner un seul plan ou plusieurs plans en même temps. La sélection de plusieurs plans vous permet de les déplacer au sein de votre projet, ou d’un événement à un autre, comme s’il s’agissait d’un groupe. Cela s’avère également utile si vous avez apporté des modifications à un plan et que vous voulez appliquer les mêmes modifications à plusieurs autres plans. Chapitre 8 Montage de votre projet 99 Sélection d’un plan complet Procédez de l’une des manières suivantes : mm Cliquez une fois sur le plan. mm Placez le skimmer ou la tête de lecture sur un plan et appuyez sur X. Remarque : Cela génère une sélection de plage qui correspond aux bords du plan. mm Dans le navigateur d’événements, appuyez sur la Flèche vers le haut ou Flèche vers le bas pour déplacer la sélection sur un plan adjacent. mm Dans le navigateur d’événements, tout en maintenant la touche Option enfoncée, faites glisser le pointeur du point de départ au point d’arrivée du plan. mm Dans la timeline, placez le skimmer (ou la tête de lecture si le survol est désactivé) sur le plan que vous voulez sélectionner, puis appuyez sur la touche C. Cette méthode sélectionne le plan dans le scénario principal. Les plans et les scénarios connectés sont associés aux plans figurant dans le scénario principal et apparaissent au-dessus et en dessous de celui-ci. Pour sélectionner un plan ou un scénario connecté avec cette méthode « touche C », placez le pointeur sur le plan connecté, puis appuyez sur la touche C. Pour en savoir plus, consultez les sections Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110 et Ajout de scénarios à la page 274. Une bordure jaune apparaît autour du plan pour indiquer qu’il est sélectionné. Remarque : Une sélection de plan dans la timeline (illustrée ci-dessus) se distingue sur les plans visuels et fonctionnels d’une sélection de plage dans la timeline, qui présente des poignées distinctes permettant d’ajuster ses points de départ et d’arrivée. Toutes les sélections dans le navigateur d’événements représentent en fait des sélections de plage (dont les points de départ et d’arrivée sont réglables) Sélection de plusieurs plans dans le navigateur d’événements ou la timeline mm Pour sélectionner plusieurs plans individuels : cliquez sur les plans à sélectionner tout en maintenant la touche Commande enfoncée. Remarque : Cliquez sur un plan du navigateur d’événements comportant des plages établies tout en maintenant la touche Commande enfoncée entraîne la sélection des plages plutôt que du plan entier. mm Pour sélectionner tous les plans et plages présents dans le navigateur d’événements ou la timeline : Cliquez sur Navigateur d’événements ou sur Timeline pour l’activer, puis choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A). Chapitre 8 Montage de votre projet 100 mm Pour sélectionner plusieurs plans par glissement : tracez un rectangle de sélection englobant les plans à sélectionner dans la timeline ou le navigateur d’événements. Désélection de plans dans le navigateur d’événements ou la timeline mm Pour désélectionner un seul plan : cliquez sur le plan en maintenant la touche Commande enfoncée ou cliquez hors du plan sélectionné (ou sélectionner un autre plan). mm Pour désélectionner plusieurs plans : cliquez sur les plans à désélectionner tout en maintenant la touche Commande enfoncée. mm Pour désélectionner tous les plans et plages : choisissez Édition > Sélectionner > Aucun (ou appuyez sur les touches Commande + Maj + A). mm Pour désélectionner tous les plans et plages dans le navigateur d’événements : Appuyez simultanément sur les touches + X. Sélection d’une plage Au lieu de sélectionner des plans complets, vous pouvez sélectionner une plage au sein d’un plan dans la timeline ou le navigateur d’événements. Dans la timeline, vous pouvez également sélectionner une plage couvrant plusieurs plans. Vous pouvez appliquer des trims aux sélections de plage, leur attribuer des classements et des mots-clés et les modifier de toute autre manière. Vous pouvez ajuster les points de départ et d’arrivée d’une sélection de plage en faisant glisser l’un des bords figurant de part et d’autre de celle-ci. Vous pouvez également créer différentes sélections de plage sur un ou plusieurs plans dans le navigateur d’événements. Poignées de plage Remarque : Cette illustration reprend une sélection de plage dans la timeline. Les sélections de plage du navigateur d’événements possèdent des poignées de plage droites. Chapitre 8 Montage de votre projet 101 Sélection d’une plage Procédez de l’une des manières suivantes : mm Dans le navigateur d’événements, faites glisser le pointeur sur un plan (pellicule). La plage sélectionnée est encadrée en jaune. Si la pellicule s’étend sur deux lignes et que vous souhaitez prolonger la sélection sur la seconde ligne, il vous suffit de continuer à faire glisser le pointeur au-delà du point de retour à la ligne. Lorsque vous atteignez le bord, le pointeur passe à la ligne suivante. Conseil : Dans le navigateur d’événements, faites glisser le pointeur tout en maintenant la touche Option enfoncée sur un plan (ou pellicule) quelconque où des plages sont déjà établies pour remplacer ces dernières par la nouvelle plage. mm Dans la timeline, choisissez Sélection de plage dans le menu local Outils situé sur la barre d’outils (ou appuyez sur R). Le pointeur prend la forme de l’outil Sélection de plage . Faites glisser l’outil Sélection de plage sur un ou plusieurs plans dans la timeline pour sélectionner une plage. Pour ajuster les points de départ et d’arrivée de la sélection de plage, faites glisser les poignées figurant de part et d’autre de la plage. Conseil : Pour activer temporairement l’outil Sélection de plage, maintenez la touche R enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. Poignées de plage mm Utilisez les touches I et O pour définir les points de départ et d’arrivée de la sélection de plage. Pour en savoir plus, reportez-vous aux instructions ci-dessous. mm Dans le navigateur d’événements ou la timeline, placez le skimmer (ou la tête de lecture) sur un plan, puis appuyez sur la touche X. Chapitre 8 Montage de votre projet 102 Final Cut Pro définit les points de départ et d’arrivée de la sélection de plage sur ceux du plan. Conseil : Pour utiliser cette méthode « touche X » avec des plans connectés ou des plans figurant dans un scénario connecté, placez le pointeur sur le plan, puis appuyez sur la touche X. mm Tout en maintenant la touche Commande enfoncée, cliquez sur un trait de marqueur coloré en haut d’un plan. Ces traits permettent d’indiquer un élément particulier parmi les suivants : favori (vert), rejeté (rouge), mots-clé ajoutés manuellement (bleu) ou mots-clés d'analyse (violet). Définition du point de départ ou d’arrivée d’une plage mm Pour définir le point de départ : placez le skimmer (ou la tête de lecture, si le survol est désactivé) à l’endroit où vous voulez que la sélection commence, puis choisissez Marquer > Définir le début de la plage (ou appuyez sur la touche I). Pour supprimer le point de départ de la plage, appuyez sur Option + I. mm Pour définir le point d’arrivée : placez le skimmer (ou la tête de lecture, si le survol est désactivé) à l’endroit où vous voulez que la plage se termine, puis choisissez Marquer > Définir la fin de la plage (ou appuyez sur la touche O). Pour supprimer le point d’arrivée de la plage, appuyez sur Option + O. mm Pour régler le point de départ ou d’arrivée de la plage pendant la lecture d’un plan ou de votre projet : appuyez sur la barre d’espace pour lancer la lecture, puis appuyez sur la touche I ou O au moment où vous voulez définir le point de départ ou d’arrivée. Conseil : Dans le navigateur d’événements, il vous est aussi possible d’appuyer sur Commande + Maj + I et sur Commande + Maj + O pour définir plusieurs plages au cours de la lecture. Si vous utilisez les outils Lame de rasoir, Trim et Sélection de plage dans la timeline ou l’éditeur de précision, vous pouvez utiliser les touches I et O pour définir les points de départ et d’arrivée d’une sélection dans un plan ou un scénario connecté, ainsi que dans les plans figurant sous les plans et les scénarios connectés. Placez le pointeur directement sur un plan, puis appuyez sur la touche I pour définir le point de départ ou sur la touche O pour définir le point d’arrivée. Prolongement ou raccourcissement de la sélection de plage mm Pour modifier le début ou la fin de la plage : faites glisser le côté gauche ou droit de la bordure de sélection jaune. mm Pour réinitialiser le point de départ ou d’arrivée d’une plage au sein du même plan d’événement ou du projet : déplacez le skimmer et appuyez sur la touche I ou O. Conseil : Vous pouvez également appuyer sur la touche I ou O pendant la lecture d’un plan. mm Pour prolonger ou raccourcir une plage au sein d’un plan d’événement : placez le skimmer sur l’image à laquelle vous voulez que la plage commence ou se termine, puis cliquez (ou faites glisser le pointeur) tout en maintenant la touche Maj enfoncée. mm Pour étendre ou raccourcir une plage à l’aide du timecode : choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D), puis saisissez la nouvelle durée. (Cela ne fonctionne qu’avec des sélections de plage simples.) La sélection de plage est prolongée ou raccourcie en conséquence. Si vous avez besoin du skimmer et qu’il est absent, vous pouvez activer le survol à tout moment. Chapitre 8 Montage de votre projet 103 Définition de plusieurs plages dans des plans d’événement au cours de la lecture Il vous est possible de définir plusieurs plages dans des plans repris dans le navigateur d’événements au cours de la lecture. 1 Reproduisez un plan d’un événement. 2 Lors de la lecture du plan, effectuez l’une des opérations suivantes : •• Pour ajouter le point de départ d’une plage : appuyez sur Commande + Maj + I. •• Pour ajouter le point d’arrivée d’une plage : appuyez sur Commande + Maj + O. Remarque : Pour définir plusieurs plages dans le même plan, répétez ces raccourcis clavier pendant que la lecture s’effectue. Définition de la sélection de plage coïncidant avec les bords du plan mm Placez le skimmer ou la tête de lecture sur un plan et appuyez sur X. Final Cut Pro définit une sélection de plage depuis le point de départ au point d’arrivée du plan. Toute sélection préalablement établie est alors supprimée. Effacement des plages Vous pouvez supprimer une ou plusieurs plages dans le navigateur d’événements ou la timeline. Remarque : Cette opération n’influe en rien sur le média du plan, que ce soit dans le navigateur d’événements ou dans la timeline. mm Pour supprimer une plage particulière dans un événement : cliquez sur la plage tout en maintenant la touche Option enfoncée. mm Pour supprimer la sélection d’une plage dans la timeline : cliquez à l’extérieur de la plage ou sélectionnez-en une autre. mm Pour effacer une ou plusieurs plages dans le navigateur d’événements ou la timeline : sélectionnez la ou les plages et appuyez sur Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). Remarque : Les plages sélectionnées sont encadrées en jaune. Celles désélectionnées (disponibles uniquement dans le navigateur d’événements) présentent une bordure fine orange. mm Pour supprimer toutes les plages d’un événement : choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A) pour sélectionner toutes les plages de l’événement actif, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). Gestion de plusieurs sélections de plage dans des plans d’événement Dans le navigateur d’événements, vous avez la possibilité de définir plusieurs plages dans un ou plusieurs plans et vous pouvez sélectionner et désélectionner des plages après les avoir établies. Par exemple, vous pouvez définir plusieurs plages dans un plan d’événement long, puis désélectionner certaines de ces plages avant d’ajouter à la timeline toutes les plages sélectionnées en une seule fois. Chapitre 8 Montage de votre projet 104 Remarque : Les plages sélectionnées sont encadrées en jaune. Les plages désélectionnées présentent un cadre fin orange. Les commandes de montage manipulent uniquement les sélections jaunes. Plages sélectionnéesPlages non sélectionnées Remarque : Les commandes décrites dans cette section supposent que le navigateur d’événements soit l’élément actif de l’interface de Final Cut Pro. Pour activer le navigateur d’événements, déplacez le pointeur dessus ou cliquez dessus. Lorsque le navigateur d’événements est actif, son arrière-plan se présente en gris plus clair. Réglage de plusieurs plages sur un plan d’événement 1 Dans le navigateur d’événements, sélectionnez une plage au sein d’un même plan. 2 Pour définir une autre plage, effectuez l’une des opérations suivantes : •• Faites glisser, tout en maintenant la touche Commande enfoncée, une autre section du plan. •• Placez le skimmer ou la tête de lecture sur l’image où vous voulez que commence une plage supplémentaire et appuyez sur Commande + Maj + I. Placez le skimmer ou la tête de lecture sur l’image où doit se terminer la nouvelle plage et appuyez sur Commande + Maj + O. Remarque : Ces raccourcis clavier fonctionnent également pendant la lecture pour vous permettre de régler des plages supplémentaires à la volée. •• Faites glisser, tout en maintenant la touche Option enfoncée, le pointeur sur ou au sein de plages pour les remplacer par une nouvelle plage. •• Tout en maintenant la touche Commande enfoncée, cliquez sur un trait de marqueur coloré en haut d’un plan. Ces traits permettent d’indiquer un élément particulier parmi les suivants : favori (vert), rejeté (rouge), mots-clé ajoutés manuellement (bleu) ou mots-clés d'analyse (violet). La sélection de plage supplémentaire apparaît dans le plan. Chapitre 8 Montage de votre projet 105 Pour désélectionner une plage, cliquez dessus tout en maintenant la touche Option enfoncée. Sélection et désélection de plages et de plans dans un événement Vous avez la possibilité de définir, de sélectionner ou de désélectionner plusieurs plages à l’intérieur de plans d’événement ou d’événements. Important : Les commandes de montage manipulent uniquement les sélections jaunes. Les commandes de montage ignorent les plages orange (désélectionnées). Plages sélectionnéesPlages non sélectionnées mm Pour sélectionner une plage indépendamment : cliquez sur la plage. mm Pour sélectionner ou désélectionner une plage : cliquez sur la plage tout en maintenant la touche Commande enfoncée. mm Pour sélectionner toutes les plages d’un plan : cliquez sur une zone du plan où aucune plage n’est définie. mm Pour sélectionner toutes les plages et tous les plans de l’événement actif : choisissez Édition > Tout sélectionner (ou appuyez sur les touches Commande + A). Les plages (ainsi que tous les plans sans plage) s’encadrent alors en jaune pour indiquer qu’elles sont sélectionnées. mm Pour désélectionner toutes les plages et tous les plans de l’événement actif : choisissez Édition > Tout désélectionner (ou appuyez sur les touches Commande + Maj + A). Les plages deviennent alors orange. Annulation de la sélection de plages dans des plans d’un événement Vous pouvez supprimer des plages particulières, plusieurs plages ou même toutes les plages incluses dans l’événement actif. mm Pour supprimer une plage particulière dans un événement : cliquez sur la plage tout en maintenant la touche Option enfoncée. mm Pour annuler les plages sélectionnées dans un événement : sélectionnez les plages à supprimer, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). mm Pour supprimer toutes les plages d’un événement : choisissez Édition > Tout sélectionner (ou appuyez sur Commande + A) pour sélectionner toutes les plages de l’événement actif, puis choisissez Marquer > Effacer les plages sélectionnées (ou appuyez sur Option + X). Navigation entre les sélections dans un événement mm Pour atteindre le début de la sélection de plage : choisissez Marquer > Aller à > Début de la plage (ou appuyez sur Maj + I). Répétez cette commande pour accéder au début de la sélection de plage précédente ou au début du plan. mm Pour atteindre la fin de la sélection de plage : choisissez Marquer > Aller à > Fin de la plage (ou appuyez sur Maj + O). Chapitre 8 Montage de votre projet 106 Répétez cette commande pour accéder à la fin de la sélection de plage suivante ou à la fin du plan. mm Pour sélectionner le plan précédent (ou ses plages) : appuyez sur Flèche vers le haut. Pour ajouter à la sélection, appuyez sur Maj + Flèche vers le haut. mm Pour sélectionner le plan suivant (ou ses plages) : appuyez sur Commande + Flèche vers le bas. Pour ajouter à la sélection, appuyez sur Maj + Flèche vers le bas. Ajout et suppression de plans Présentation de l’ajout de plans Pour créer un projet de film, vous ajoutez des plans à la timeline dans un ordre chronologique. Vous disposez d’un grand choix d’outils et de techniques pour ajouter des plans selon vos besoins ou votre style de montage. Vous pouvez réorganiser à tout moment les plans dans la timeline. Dans Final Cut Pro, vous pouvez monter vos projets sans vous soucier de la connexion ou de la synchronisation entre les plans. Par exemple, si vous faites glisser un plan dans la timeline, Final Cut Pro réorganise automatiquement celle-ci pour insérer le nouveau plan sans déranger le travail déjà réalisé. Cela est vrai pour tous les types de plans : vidéo, audio, titres, générateurs, images fixes, etc. Vous pouvez utiliser les plans de plusieurs événements dans un même projet. Vous pouvez également ajouter des plans depuis les navigateurs multimédias de Final Cut Pro et le Finder. La suppression de plans de la timeline n’a aucun impact sur les plans ou les fichiers présents dans le navigateur d’événements, les navigateurs multimédias ou le Finder. Les plans et les scénarios connectés restent associés (et synchronisés) aux plans figurant dans le scénario principal jusqu’à ce que vous les déplaciez ou les supprimiez explicitement. Plan connectéPlan connecté ne contenant que des données audioScénario principal Chapitre 8 Montage de votre projet 107 Glissement de plans vers la timeline Vous pouvez ajouter des plans à la timeline en les faisant glisser depuis le navigateur d’événements, un navigateur multimédia de Final Cut Pro (tel que le navigateur de photos ou de générateurs) ou le Finder. Glissement de plans depuis le navigateur d’événements ou un navigateur multimédia 1 Procédez de l’une des manières suivantes : •• Dans la bibliothèque d’événements, sélectionnez l’événement contenant les plans que vous voulez ajouter à votre projet. •• Ouvrez le navigateur multimédia contenant les données que vous voulez ajouter à votre projet. 2 Faites glisser un ou plusieurs plans du navigateur d’événements ou d’un navigateur multimédia vers la timeline. Selon l’endroit où vous déposez les plans dans la timeline, vos actions peuvent entraîner un montage par ajout, insertion, connexion ou remplacement. Final Cut Pro règle automatiquement les plans adjacents pour faire tenir tous les plans que vous avez fait glisser. Conseil : Vous pouvez ajouter un plan à la fois à votre projet ; cependant, il est parfois plus facile d’ajouter plusieurs plans en même temps et de les réorganiser par la suite dans la timeline. Glissement de fichiers depuis le Finder 1 Disposez les fenêtres à l’écran de façon à voir à la fois la fenêtre principale de Final Cut Pro et les fichiers dans le Finder. 2 Faites glisser les fichiers du Finder vers la timeline. Selon l’endroit où vous déposez les plans dans la timeline, vos actions peuvent entraîner un montage par ajout, insertion, connexion ou remplacement. Remarque : Si vous ajoutez des plans à la timeline depuis un navigateur multimédia de Final Cut Pro ou le Finder, vous importez les données dans l’événement par défaut associé au projet en cours. Vous pouvez configurer l’événement par défaut dans la fenêtre des réglages du projet. Final Cut Pro applique alors les réglages d’optimisation et d’analyse par défaut aux nouveaux plans. Vous pouvez définir les traitements d’optimisation et d’analyse par défaut dans les préférences de Final Cut Pro. Si vous ajoutez des images fixes à la timeline, elles ont une durée de 4 secondes par défaut. Vous pouvez modifier cette durée par défaut dans les préférences de Final Cut Pro. Ajout de plans à votre projet Vous pouvez ajouter simplement un plan à votre projet en procédant à un montage par ajout, qui consiste à ajouter un ou plusieurs plans à la fin d’un projet ou d’un scénario. Ajout de plans à votre projet dans la timeline 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. 2 Pour ajouter les plans à la timeline, effectuez l’une des opérations suivantes : •• Choisissez Édition > Ajouter à la fin (ou appuyez sur la touche E). Chapitre 8 Montage de votre projet 108 •• Dans la barre d’outils, cliquez sur le bouton Ajouter. Si aucun élément n’est sélectionné, le plan apparaît à la fin du scénario principal dans la timeline. Si un scénario est sélectionné, le plan apparaît à la fin de celui-ci. Insertion de plans dans votre projet Un montage par insertion place le plan source de façon à ce que tous les plans situés après le point d’insertion soient déplacés vers l’avant (Ripple) dans la timeline pour faire de la place au plan inséré. Aucun plan n’est supprimé de votre projet. Un montage par insertion allonge le projet de la durée du plan inséré. D A B C A D B C Après montage Avant montage Vous pouvez recourir au montage par insertion lorsque vous souhaitez ajouter un plan au début ou au milieu de votre projet. Vous pouvez également réaliser ce type de montage pour interrompre l’action dans un plan par celle dans le plan inséré. L’action du plan d’origine reprend ensuite, au terme du plan inséré. Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par insertion. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Insertion de plans du navigateur d’événements dans la timeline 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. 2 Placez la tête de lecture sur le point où vous voulez insérer le plan dans le scénario principal ou un scénario sélectionné (ou effectuez une sélection de plage). 3 Procédez de l’une des manières suivantes : •• Choisissez Édition > Insérer (ou appuyez sur la touche W). Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le montage est réalisé au niveau de ce dernier. •• Dans la barre d’outils, cliquez sur le bouton Insérer. Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant. Si le skimmer est absent, les plans sont insérés au niveau de la tête de lecture. Si vous effectuez un montage par insertion au milieu d’un plan existant dans la timeline, celui-ci est coupé au niveau du point d’insertion et la seconde moitié est repoussée à la fin du plan inséré, avec le reste du métrage situé après le point d’insertion. Chapitre 8 Montage de votre projet 109 Insertion d’un plan vide ou de repère d’emplacement dans la timeline Il se peut que vous ayez besoin de réserver un espace dans la timeline pour un plan que vous n’avez pas encore. Final Cut Pro offre deux solutions à ce problème : des images de repère d’emplacement ou un plan vierge et sans son appelé plan vide dont vous pouvez définir librement la durée. 1 Placez la tête de lecture sur le point où vous voulez insérer le plan vide ou de repère d’emplacement dans le scénario principal ou un scénario sélectionné (ou effectuez une sélection de plage). 2 Effectuez l’une des opérations suivantes : •• Pour insérer un plan de repère d’emplacement : choisissez Édition > Insérer le repère d’emplacement (ou appuyez sur Commande + Option + W). Final Cut Pro insère des images de repère d’emplacement grises que vous pouvez personnaliser. Pour en savoir plus, consultez Utilisation d’un repère d’emplacement à la page 247. Vous pouvez définir librement la durée des plans de repère d’emplacement. Plan de repère d’emplacement •• Pour insérer un plan vide : choisissez Édition > Insérer un espace (ou appuyez sur Option + W). Final Cut Pro insère un plan vierge (contenant de la vidéo vierge et du silence) dont vous pouvez définir librement la durée. (L’industrie audiovisuelle emploie le terme d’amorce pour le désigner.) Plan vide Remarque : La couleur du plan vide se détermine par celle de l’arrière-plan actif dans Final Cut Pro. Pour définir celle-ci, choisissez une option Arrière-plan du lecteur dans la fenêtre Lecture des préférences de Final Cut Pro. Si vous voulez une autre couleur, envisagez d’utiliser un générateur de couleur unie. Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant (la droite). Chapitre 8 Montage de votre projet 110 Insertion de plans par glissement depuis le navigateur d’événements, un navigateur multimédia ou le Finder Vous pouvez insérer des plans entre ceux présents dans la timeline en les faisant glisser depuis le navigateur d’événements, un autre navigateur multimédia de Final Cut Pro ou le Finder. mm Faites glisser le plan à insérer sur un point de montage (entre deux plans) dans la timeline. Le plan apparaît dans la timeline et tous les plans situés après le point d’insertion sont déplacés vers l’avant (la droite). Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés Vous pouvez associer des plans entre eux dans la timeline. Les plans connectés restent reliés et synchronisés jusqu’à ce que vous les déplaciez ou les supprimiez manuellement. A B C D A B C D Après montage Avant montage Voici quelques utilisations possibles des plans connectés : •• Plans de coupe : ajout d’un plan de coupe en le connectant à un plan vidéo dans la timeline. •• Titres superposés : ajout d’un titre ou d’un tiers inférieur à un plan vidéo ou à une plage. •• Effets sonores et musique de fond : synchronisation de clips audio avec des plans du scénario principal. Les plans restent synchronisés même si vous déplacez les plans du scénario principal. Chapitre 8 Montage de votre projet 111 Lorsque vous utilisez la commande de menu, le raccourci clavier ou le bouton de barre d’outils Connecter, les plans vidéo (bleus) sont connectés au-dessus du scénario principal, et les clips audio (verts) sont connectés en dessous : Plan connectéPlan connecté ne contenant que des données audioScénario principal Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par connexion. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Connexion de plans dans la timeline 1 Si votre projet est vide, ajoutez des plans à la zone gris foncé du scénario principal dans la timeline pour créer votre séquence initiale. Les plans du scénario principal constituent une base à laquelle vous pouvez connecter (associer) d’autres plans pour développer votre projet. Les montages par connexion sont légèrement différents des autres types de montage en ce sens qu’ils n’ajoutent jamais de plans au scénario principal. Si vous réalisez un montage par connexion dans une timeline vide, Final Cut Pro ajoute d’abord un plan vide au scénario principal et lui associe le nouveau plan connecté. 2 Sélectionnez un ou plusieurs plans ou une plage dans le navigateur d’événements. 3 Effectuez l’une des opérations suivantes pour indiquer l’endroit où vous voulez connecter le plan source sélectionné : •• Placez la tête de lecture sur l’image du plan dans le scénario principal. Chapitre 8 Montage de votre projet 112 •• Sélectionnez une plage dans le scénario principal. 4 Pour connecter les plans sélectionnés aux plans du scénario principal, effectuez l’une des opérations suivantes : •• Choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q). Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le plan est connecté au niveau de ce dernier. •• Dans la barre d’outils, cliquez sur le bouton Connecter. •• Faites glisser les plans vers la zone grise au-dessus ou en dessous du scénario principal. La première image de la sélection source est connectée au plan du scénario principal au niveau de la tête de lecture ou du skimmer. Si vous avez fait glisser la sélection source vers la timeline, sa première image est connectée au scénario principal à l’endroit où vous avez relâché le bouton de la souris. Point de connexion Plan connecté Scénario principal Chapitre 8 Montage de votre projet 113 Lorsque vous réorganisez, déplacez, propagez ou supprimez des plans dans le scénario principal, les plans qui y sont connectés sont déplacés (ou supprimés) avec eux. Lorsque vous connectez des plans en les faisant glisser, vous avez la possibilité de placer les plans vidéo en dessous du scénario principal et les clips audio au-dessus. Plan connecté ne contenant que des données audioPlan audio/vidéo connectéTitre Remarque : Dans Final Cut Pro, si vous connectez des plans, les plans vidéo situés au-dessus masquent ceux se trouvant en dessous. Cela ne s’applique toutefois pas aux plans présentant certains réglages de transparence, d’incrustation ou de compositing. Pour en savoir plus, consultez Présentation du compositing à la page 367. Les clips audio n’affectent jamais la sortie vidéo, même s’ils sont placés au-dessus de plans vidéo dans la timeline. Ajustement du point de connexion d’un plan connecté Par défaut, les plans et les scénarios connectés sont connectés au scénario principal au niveau de leur première image, mais vous pouvez déplacer ce « point de connexion ». Cela s’avère utile si vous voulez connecter une image ou un échantillon audio précis du plan ou du scénario connecté à une image ou un échantillon audio précis du scénario principal. Chapitre 8 Montage de votre projet 114 mm Maintenez les touches Commande et Option enfoncées et cliquez sur le plan connecté (ou sur la bordure grise du scénario) à l’endroit où vous voulez placer le point de connexion. Le point de connexion est positionné à l’endroit où vous avez cliqué. Point de connexion par défautNouvelle position du point de connexion Déplacement, trim ou suppression de plans dans le scénario principal sans affecter les plans connectés Si vous devez déplacer ou effectuer un trim sur des plans dans le scénario principal mais voulez conserver l’emplacement des plans connectés, vous pouvez maintenir la touche de l’accent grave (`) lors du montage pour préserver la synchronisation et la position des plans connectés. mm Pour déplacer un plan sans affecter pour autant les plans connectés : tout en maintenant enfoncée la touche de l’accent grave (`), faites glisser le plan dans la timeline (soit par le biais de l’outil Sélection, soit à l’aide de l’outil Position). Maintenez la touche de l’accent grave (`) enfoncée, puis faites glisser le plan. Le plan connecté conserve son emplacement. Chapitre 8 Montage de votre projet 115 mm Pour effectue un trim sur un plan sans affecter pour autant les plans connectés : tout en maintenant enfoncée la touche de l’accent grave (`), effectuez un trim sur le plan en faisant appel à une méthode quelconque, notamment les montages Ripple, les montages Roll, les montages par coulissement et les montages par glissement. mm Pour supprimer un plan sans affecter pour autant les plans connectés : tout en maintenant enfoncée la touche de l’accent grave (`), sélectionnez le plan et appuyez sur Supprimer (ou appuyez sur Commande + Option + Supprimer). Pour en savoir plus sur la suppression de plans ou de plages possédant des plans connectés, consultez Suppression de plans du projet à la page 122. mm Pour passer à un autre plan dans une audition sans affecter pour autant les plans connectés : tout en maintenant enfoncée la touche de l’accent grave (`), sélectionnez la meilleure image dans la fenêtre Audition. Pour en savoir plus, consultez Utilisation d’auditions pour essayer des plans dans votre projet à la page 295. Dans tous ces cas, le ou les plans connectés conservent exactement la même position ainsi que leur synchronisation. Si vous supprimez des plans ou des plages en relation avec des plans connectés et des scénarios sans maintenir la touche de l’accent grave (`) enfoncée, des règles particulières s’appliquent alors. Pour en savoir plus, consultez Suppression de plans du projet à la page 122. Écrasement de certaines parties de votre projet Dans un montage par écrasement, un ou plusieurs plans source écrasent les plans présents dans le scénario principal ou un scénario sélectionné, en commençant au point de départ d’une sélection de plage ou au niveau du skimmer ou de la tête de lecture. Puisqu’aucun élément de plan ne subit de montage Ripple en avant, la durée de votre projet reste inchangée. A B C A D B C D Après montage Avant montage L’écrasement diffère du remplacement de données. L’écrasement ne fonctionne qu’avec des sélections de plage, et non avec des plans complets, et n’est pas limité aux limites des plans. Utilisez un montage par écrasement lorsque vous voulez monter une durée de métrage précise et non des plans précis. Remarque : Vous pouvez utiliser un montage à trois points pour réaliser un montage par écrasement. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Écrasement de plans de la timeline par des plans du navigateur d’événements 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. Si la sélection comporte plusieurs plans source, ceux-ci apparaîtront dans la timeline dans l’ordre dans lequel ils ont été sélectionnés. 2 Pour définir le point de départ du plan d’écrasement dans la timeline, effectuez l’une des opérations suivantes dans le scénario principal ou un scénario sélectionné : •• Positionnez la tête de lecture. Chapitre 8 Montage de votre projet 116 •• Sélectionnez une plage comprenant un ou plusieurs plans dans la timeline. Remarque : La commande d’écrasement ignore les sélections de plan complet dans la timeline. Si vous ne sélectionnez pas de plage dans la timeline, Final Cut Pro place le point de départ du plan d’écrasement au niveau de la tête de lecture ou du skimmer. 3 Choisissez Édition > Écraser (ou appuyez sur la touche D). Le plan source apparaît dans le scénario principal et écrase tous les plans existants sur toute sa durée. Remarque : Si vous utilisez le raccourci clavier et que le skimmer est présent dans la timeline, le montage est réalisé au niveau de ce dernier. Pour réaliser le montage par écrasement en amont de la tête de lecture, de sorte que le point d’arrivée du plan d’écrasement (et non son point de départ) soit aligné sur la position cible, appuyez sur Maj + D. Remplacement d’un plan par un autre dans votre projet Vous pouvez remplacer des plans de votre projet par des plans figurant dans le navigateur d’événements, d’autres navigateurs multimédias de Final Cut Pro ou le Finder. Contrairement aux montages par écrasement, le remplacement ne fonctionne que sur des plans complets de la timeline et peut modifier la durée du projet. A B C A D C D Après montage Avant montage Les options de remplacement incluent l’utilisation du début ou de la fin du plan source, ainsi que la création automatique d’auditions ou l’ajout automatique à des auditions. Remplacement par glissement d’un plan de la timeline par un ou plusieurs plans 1 Procédez de l’une des manières suivantes pour effectuer une sélection source : •• Sélectionnez un plan ou une plage dans le navigateur d’événements. •• Sélectionnez un élément de média dans l’un des navigateurs multimédias de Final Cut Pro ou le Finder. 2 Faites glisser la sélection source sur le plan de la timeline que vous voulez remplacer. Le plan cible est mis en évidence par un contour blanc dans la timeline. Chapitre 8 Montage de votre projet 117 3 Relâchez le bouton de la souris et choisissez une option dans le menu contextuel : •• Remplacer : Le plan cible est remplacé par la sélection source. La durée est déterminée par celle de la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés. •• Remplacer depuis le début : le plan cible est remplacé par la sélection source, en commençant au début de celle-ci. La durée est déterminée par celle du plan de la timeline. •• Remplacer depuis la fin : le plan cible est remplacé par la sélection source, en commençant à la fin de celle-ci. La durée est déterminée par celle du plan de la timeline. •• Remplacer et ajouter à l’audition : le plan cible est remplacé par une audition dans laquelle la sélection source est le meilleur élément et le plan cible un élément alternatif. La durée est déterminée par la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés. •• Ajouter à l’audition : le plan cible est remplacé par une audition dans laquelle le plan cible est le meilleur élément et la sélection source un élément alternatif. •• Annuler : le montage par remplacement est annulé. La sélection source apparaît dans la timeline, à la place du plan d’origine. Le plan source sélectionné apparaît dans la timeline. Remarque : Pour les options « Remplacer depuis le début » et « Remplacer depuis la fin », si la sélection source est une sélection de plage ayant une durée inférieure à celle du plan cible et qu’il y a suffisamment de données supplémentaires, Final Cut Pro augmente la durée de la sélection source pour qu’elle corresponde à celle du plan cible. La durée du scénario obtenu ne change pas. Chapitre 8 Montage de votre projet 118 Remplacement d’un plan de la timeline à l’aide de raccourcis clavier 1 Dans le navigateur d’événements, sélectionnez le plan ou la plage source. 2 Dans la timeline, sélectionnez le plan à remplacer. Remarque : Il doit s’agir d’un plan complet, et non d’une plage. Pour en savoir plus, consultez À propos des sélections et des pellicules de film à la page 97. 3 Procédez de l’une des manières suivantes : •• Pour réaliser un montage par remplacement standard : appuyez sur Maj + R. Le plan cible est remplacé par la sélection source. La durée est déterminée par celle de la sélection source. Si les durées de la sélection source et du plan cible sont différentes, les plans suivants sont décalés. •• Pour réaliser un montage Remplacer depuis le début : appuyez sur Option + R. Le plan cible est remplacé par le plan source, en commençant au début de celui-ci. La durée est déterminée par celle du plan de la timeline. Remarque : Pour l’option « Remplacer depuis le début », si la sélection source est une sélection de plage ayant une durée inférieure à celle du plan cible et qu’il y a suffisamment de données supplémentaires, Final Cut Pro augmente la durée de la sélection source pour qu’elle corresponde à celle du plan cible. La durée du scénario obtenu ne change pas. La sélection source apparaît dans la timeline, à la place du plan d’origine. Ajout et montage d’images fixes Dans Final Cut Pro, vous pouvez ajouter et monter de nombreux formats d’image fixe dans vos projets, notamment des photos et des fichiers graphiques. Ajout d’une image fixe à la timeline Vous pouvez ajouter des images fixes à votre projet depuis le navigateur d’événements ou le navigateur de photos. mm Pour ajouter une image fixe depuis le navigateur d’événements : importez l’image fixe dans un événement, puis sélectionnez intégralement ou partiellement le plan d’image fixe et faites-le glisser du navigateur d’événements vers la timeline. Remarque : Lorsqu’une image fixe est importée, elle fonctionne comme tout autre plan dans Final Cut Pro. Vous pouvez utiliser toutes les techniques décrites dans le présent chapitre pour ajouter des plans d’image fixe à la timeline. mm Pour ajouter une image fixe depuis le navigateur de photos : ouvrez le navigateur de photos, sélectionnez une image fixe, puis faites-la glisser directement vers la timeline. La durée initiale par défaut des sélections de plage dans les images fixes est de 4 secondes, mais vous pouvez la modifier dans la fenêtre Montage des préférences de Final Cut Pro. La durée d’un plan d’image fixe n’est pas limitée. Pour modifier la durée d’un plan d’image fixe dans la timeline, utilisez l’une des techniques de trim décrites dans le présent chapitre. Pour modifier la durée de plusieurs plans d’image fixe en même temps, sélectionnez ces derniers et choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D). Chapitre 8 Montage de votre projet 119 Ajout de fichiers graphiques multicouche à la timeline Il vous est possible d’ajouter des fichiers graphiques multicouches, tels que les fichiers Adobe Photoshop (PSD), créés dans une autre application de retouche d’image à la timeline. 1 Importez le fichier graphique multicouche dans un événement. Important : si le fichier graphique multicouche présente un arrière-plan transparent, assurezvous que le format de rendu de votre projet est défini sur Apple ProRes 4444 afin de préserver la transparence au moment du rendu. Consultez Modification du nom et des propriétés d’un projet à la page 89. 2 Dans le navigateur d’événements, maintenez la touche Contrôle enfoncée et cliquez sur l’image multicouche, puis choisissez « Ouvrir dans la timeline » dans le menu contextuel. Chaque couche s’affiche sur la timeline sous forme de plan connecté qu’il vous est possible de monter comme vous le feriez pour tout autre plan. Par exemple, vous pouvez animer des couches en leur appliquant un fondu entrant ou sortant. Image de graphiques en couches dans le visualiseur Plan représentant des couches individuelles La durée par défaut d’un fichier graphique multicouche est d’une minute. Pour modifier la durée d’une des couches dans la timeline, utilisez l’une des techniques de trim décrites dans le présent chapitre. Pour modifier la durée de toutes les couches, sélectionnez ces derniers et choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D). Pour en savoir plus sur la création de fichiers graphiques multicouches pour Final Cut Pro, consultez la page http://support.apple.com/kb/HT5152?viewlocale=fr_FR. Modification d’une image fixe avec une application d’édition d’image externe Vous pouvez modifier une image fixe à l’aide d’une application d’édition d’image externe ; les modifications apparaissent automatiquement dans le plan dans Final Cut Pro. 1 Pour ajouter un plan d’image fixe à la timeline, procédez comme indiqué ci-dessus. 2 Pour retrouver le fichier de média source du plan dans le Finder, appuyez sur Commande + Maj + R. 3 Ouvrez le fichier multimédia source dans l’application d’édition d’image externe. 4 Modifiez l’image dans l’application d’édition d’image et enregistrez les modifications. Chapitre 8 Montage de votre projet 120 5 Retournez dans Final Cut Pro. Les modifications apparaissent automatiquement dans le plan d’image fixe dans Final Cut Pro. Vous pouvez également créer des images figées à partir de vos plans vidéo. Pour en savoir plus, consultez Création d’images figées à la page 120. Création d’images figées Vous pouvez créer en toute simplicité des plans d’arrêt sur image à partir de n’importe quel plan vidéo. Les plans d’arrêt sur image contiennent une image particulière permettant d’interrompre temporairement l’action à l’écran. Vous pouvez créer des plans d’arrêt sur image à partir de plans dans la timeline ou le navigateur d’événements. Si vous créez un plan d’arrêt sur image à partir du navigateur d’événements, il est alors attaché au scénario principal au niveau de la tête de lecture sous forme de plan connecté. Vous pouvez créer des images figées à la volée pendant la lecture ou en accédant à une image donnée dans un plan. Remarque : Un plan d’arrêt sur image conserve tous les attributs appliqués au plan source, par exemple les réglages et les effets. Création d’un plan d’arrêt sur image 1 Dans la timeline ou le navigateur d’événements, procédez de l’une des façons suivantes : •• Placez le skimmer ou la tête de lecture sur l’image à figer. •• Lancez la lecture du plan. 2 Choisissez Édition > Ajouter un arrêt sur image (ou appuyez simultanément sur les touches Option + F). Le mode d’ajout de l’arrêt sur image au projet dépend de l’emplacement où l’image a été créée : depuis la timeline ou du navigateur d’événements. •• Si vous avez créé l’image figée à partir d’un plan dans la timeline : un nouveau plan d’arrêt sur image est inséré dans la timeline à l’emplacement du skimmer ou de la tête de lecture. •• Si vous avez créé l’image figée à partir d’un plan dans le navigateur d’événements : un nouveau plan d’arrêt sur image est joint sous forme de plan connecté dans la timeline à l’emplacement de la tête de lecture. Chapitre 8 Montage de votre projet 121 Modification de la durée par défaut des plans d’arrêt sur image Les plans d’arrêt sur image possèdent la même durée par défaut que les plans d’images fixes, à savoir 4 secondes. Vous pouvez modifier la durée par défaut dans les préférences de Final Cut Pro. 1 Choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + virgule), puis cliquez sur le bouton Montage en haut de la fenêtre. 2 Réglez la case de valeur Images fixes. Si vous ne voulez pas créer de plan à part pour les images figées, vous pouvez créer un segment de suspension à l’aide du menu local Resynchronisation. Pour en savoir plus, consultez Création d’un segment de suspension à la page 305. Ajout de plans en mode vidéo uniquement ou audio uniquement Par défaut, lorsque vous ajoutez un plan d’un événement à la timeline, tous les composants vidéo et audio de ce plan sont inclus dans le montage. Toutefois, vous pouvez également n’ajouter que la partie vidéo ou la partie audio des plans d’événement à la timeline, même s’ils contiennent de la vidéo et de l’audio. Réalisation de montages Vidéo seulement ou Audio seulement 1 Pour définir le mode de montage, effectuez l’une des opérations suivantes : •• Pour n’ajouter que la vidéo de votre sélection à la timeline : choisissez Vidéo seulement dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 2). •• Pour n’ajouter que l’audio de votre sélection à la timeline : choisissez Audio seulement dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 3). Les boutons de montage de la barre d’outils changent d’aspect pour indiquer le mode sélectionné : Mode Vidéo uniquement Mode Audio uniquement 2 Ajoutez des plans à la timeline comme vous le faites habituellement. Le plan Vidéo seulement ou Audio seulement apparaît dans la timeline. Pour revenir au mode par défaut (vidéo et audio), dans le menu local Édition de la barre d’outils (ou appuyez sur Maj + 1), choisissez Tout. Chapitre 8 Montage de votre projet 122 Suppression de plans du projet Lorsque vous supprimez des plans d’un projet dans la timeline, les données source figurant dans les événements, les navigateurs multimédias de Final Cut Pro et le Finder ne sont pas affectées. Suppression de plans ou de plages de la timeline 1 Sélectionnez dans la timeline les plans ou la plage à supprimer. 2 Choisissez Édition > Supprimer (ou appuyez sur la touche Supprimer). Les plans ou parties de plans sélectionnés sont supprimés de la timeline, et les plans situés à droite de la sélection (le cas échéant) sont décalés pour combler le vide résultant. Pour annuler immédiatement la suppression, choisissez Édition > Annuler (ou appuyez sur Commande + Z). Remarque : En général, si vous sélectionnez un plan complet de la timeline (par exemple, avec la touche C) ou une plage se composant d’un plan complet (par exemple, avec la touche X) et que vous supprimez cette sélection, les éventuels plans connectés ou scénarios sont également supprimés. Cependant, il est possible de supprimer un plan sans affecter pour autant ses plans connectés en maintenant enfoncée la touche de l’accent grave (`) tout en appuyant sur la touche Supprimer. Pour en savoir plus, consultez « Déplacement, trim ou suppression de plans dans le scénario principal sans affecter les plans connectés » dans Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. En outre, si vous supprimez une plage partielle d’un plan, qui inclut un plan ou un scénario connecté, les éléments de ce type ne sont alors pas supprimés mais décalés au plan le plus proche dans le scénario principal. Suppression de plans ou de plages sans affecter la durée totale et la synchronisation du projet Si vous souhaitez supprimer des plans de la timeline tout en préservant la durée totale et la synchronisation du projet, vous pouvez remplacer ces plans par des plans vides. Cette méthode évite les montages Ripple. 1 Sélectionnez les plans ou la plage à supprimer. 2 Choisissez Édition > Remplacer par un blanc (ou appuyez sur Maj + Supprimer). Final Cut Pro remplace la sélection par un plan vide dans la timeline. Chapitre 8 Montage de votre projet 123 Remarque : Cette méthode préserve les plans connectés. Lorsque vous remplacez un plan par un plan vide, les éventuels plans connectés sont associés à ce dernier. Isolement, désactivation et activation de plans Il peut parfois être utile de lire une séquence avec et sans certains plans à des fins de comparaison. Dans Final Cut Pro, vous pouvez rapidement lire l’audio d’un plan excluant ainsi l’audio des autres plans. Cette fonctionnalité, appelée solo, désactive l’audio de tous les plans non sélectionnés dans la timeline. Vous pouvez également désactiver (et non supprimer) des plans sélectionnés, ce qui a pour effet de les rendre invisibles et inaudibles lors de la lecture. Les plans désactivés n’apparaissent dans aucune sortie. Vous pouvez les réactiver tout aussi facilement. Isolement d’éléments sélectionnés Si vous voulez vous concentrer sur un sous-ensemble de plans dans la timeline, vous pouvez sélectionner ces derniers et les isoler des autres. 1 Dans la timeline, sélectionnez les plans à isoler. 2 Procédez de l’une des manières suivantes : •• choisissez Plan > Solo (ou appuyez sur les touches Option + S). •• Cliquez sur le bouton Solo dans le coin supérieur droit de la timeline. Lorsque l’isolement est activé, le bouton Solo est jaune et les plans non sélectionnés sont affichés en noir et blanc, ce qui permet d’identifier facilement les plans isolés, qui sont entourés en jaune. 3 Pour désactiver l’isolement, cliquez à nouveau sur le bouton Solo. Désactivation et réactivation d’un ou de plusieurs plans 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Choisissez Plan > Désactiver (ou appuyez sur la touche V). Les plans désactivés sont estompés dans la timeline et sont invisibles et inaudibles pendant la lecture. Plan désactivé Plan activé Chapitre 8 Montage de votre projet 124 3 Pour réactiver les clips désactivés, sélectionnez-les dans la timeline et choisissez Plan > Désactiver (ou appuyez sur la touche V). Recherche d’un plan source d’un plan de la timeline Vous pouvez rechercher rapidement le plan d’événement source d’un plan que vous utilisez dans la timeline de votre projet. Cela s’avère particulièrement utile si vous voulez dupliquer un plan de votre projet ou ajouter le même plan à un autre projet. Recherche et affichage du plan d’événement source d’un plan de la timeline 1 Dans la timeline, sélectionnez le plan dont vous voulez localiser le plan d’événement source. 2 Procédez de l’une des manières suivantes : •• Choisissez Plan > Afficher dans le navigateur d’événements (ou appuyez sur Maj + F). •• Cliquez sur le plan tout en maintenant la touche Contrôle enfoncée, puis choisissez « Afficher dans le navigateur d’événements » dans le menu contextuel. Une bordure de sélection apparaît autour du plan source dans le navigateur d’événements et la position de la tête de lecture dans le plan source correspond à celle de la tête de lecture dans le plan de la timeline. Disposition des plans dans la timeline Dans Final Cut Pro, vous pouvez organiser et réorganiser les plans de votre projet comme vous le souhaitez. Si vous ajoutez ou déplacez un plan dans la timeline en le faisant glisser, Final Cut Pro déplace les autres plans pour lui faire de la place. Vous pouvez également déplacer les plans numériquement en saisissant une valeur de timecode, les déplacer légèrement à l’aide de raccourcis clavier, les écraser à l’aide de l’outil Position et les déplacer verticalement depuis et vers le scénario principal. Déplacement de plans par glissement horizontal mm Dans la timeline, sélectionnez un ou plusieurs plans et faites-les glisser vers un nouvel emplacement du projet. Pendant que vous faites glisser les plans, un contour de la sélection apparaît au nouvel emplacement de la timeline. Lorsque vous relâchez le bouton de la souris, le ou les plans repositionnés apparaissent au nouvel emplacement. Final Cut Pro décale les plans (et les éventuels plans connectés) dans la timeline pour faire de la place aux plans repositionnés et pour combler le vide laissé par ces derniers. Vous pouvez également faire glisser les plans verticalement vers et depuis le scénario principal. Remarque : Cette méthode de déplacement horizontal des plans est l’équivalent fonctionnel du montage par déplacement disponible dans Final Cut Pro 7, en plus simple. Chapitre 8 Montage de votre projet 125 Déplacement de plans à l’aide d’une valeur de timecode Vous pouvez déplacer des plans sélectionnés dans la timeline en saisissant la durée dont vous souhaitez les décaler. 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Effectuez l’une des opérations suivantes, ou les deux : •• Pour déplacer les plans vers l’avant : appuyez sur la touche Plus (+), puis entrez une durée de timecode pour le déplacement. •• Pour déplacer les plans vers l’arrière : appuyez sur la touche Tiret (-), puis entrez une durée de timecode pour le déplacement. Remarque : Pour en savoir plus et obtenir des conseils pour la saisie des valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Champ de saisie du timecode dans le Dashboard 3 Appuyez sur la touche Entrée. Les plans sont déplacés vers l’avant ou l’arrière de la durée saisie et écrasent les plans présents au nouvel emplacement, le cas échéant. Si les plans sélectionnés se trouvent dans un scénario, un plan vide comble les parties vacantes de ce dernier. Le plan se déplace vers l’avant ou l’arrière de la durée saisie.Un plan vide comble la partie vacante du scénario. Déplacement léger de plans à l’aide de raccourcis clavier La fonctionnalité de déplacement léger dans Final Cut Pro vous permet de déplacer très légèrement les éléments sélectionnés, par exemple de quelques images ou sous-images (pour les plans Audio seulement connectés). Chapitre 8 Montage de votre projet 126 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Pour déplacer légèrement les plans, effectuez l’une des opérations suivantes : •• Pour déplacer la sélection d’une image vers la gauche : appuyez sur la touche Virgule (,). •• Pour déplacer la sélection de 10 images vers la gauche : appuyez sur Maj + Virgule (,). •• Pour déplacer la sélection d’une image vers la droite : appuyez sur la touche Point (.). •• Pour déplacer la sélection de 10 images vers la droite : appuyez sur Maj + point (.). 3 Si vous souhaitez déplacer légèrement des clips audio connectés d’une ou de plusieurs sous-images, effectuez l’une des opérations suivantes : •• Pour déplacer la sélection d’une sous-image vers la gauche : appuyez sur Option + Virgule (,). •• Pour déplacer la sélection de 10 sous-images vers la gauche : appuyez sur Maj + Option + Virgule (,). •• Pour déplacer la sélection d’une sous-image vers la droite : appuyez sur Option + point (.). •• Pour déplacer la sélection de 10 sous-images vers la droite : appuyez sur Maj + Option + point (.). Pour en savoir plus sur les sous-images, consultez la section Affichage des formes d’onde audio au niveau de l’échantillon audio à la page 169. Les plans déplacés écrasent les plans présents au nouvel emplacement, le cas échéant. Un plan vide comble les parties vacantes de la timeline. Écrasement de plans à l’aide de l’outil Position Vous pouvez déplacer des plans en les faisant glisser dans la timeline pour écraser d’autres plans. Cela vous permet de positionner précisément des plans sans provoquer le déplacement d’autres plans pour faire de la place. 1 Choisissez l’outil Position dans le menu local Outils de la barre d’outils (ou appuyez sur la touche P). Le pointeur prend la forme de l’outil Position . Conseil : Vous pouvez activer temporairement l’outil Position en maintenant la touche P enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. Chapitre 8 Montage de votre projet 127 2 Sélectionnez le plan à déplacer. 3 Faites glisser le plan vers un nouvel emplacement de la timeline. Le plan déplacé écrase les plans présents au nouvel emplacement, le cas échéant. Un plan vide comble la partie vacante de la timeline. Remarque : Si vous préférez déplacer les plans vers la gauche ou la droite dans la timeline sans laisser de blanc, vous pouvez réaliser un montage par coulissement. Pour revenir à l’outil Sélectionner (outil par défaut), choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). Glissement de plans depuis et vers le scénario principal Vous pouvez faire glisser des plans depuis et vers le scénario principal. Cette technique fait appel aux montages Ripple, qui ont une incidence sur la durée totale de votre projet. Lorsque vous déplacez un plan hors du scénario principal, il devient soit un plan connecté individuel, soit un élément d’un scénario connecté. 1 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). 2 Sélectionnez un ou plusieurs plans (plans du scénario principal ou plans connectés). 3 Effectuez l’une des opérations suivantes : •• Pour déplacer les plans hors du scénario principal : faites glisser les plans du scénario principal vers leur nouvel emplacement de plans connectés (au-dessus ou en dessous du scénario principal). Chapitre 8 Montage de votre projet 128 Les plans suivants dans le scénario principal sont décalés vers la gauche pour combler le vide laissé par les plans que vous avez déplacés. Faites glisser le plan sur sa nouvelle position en tant que plan connecté.Les plans suivants sont raccordés à gauche pour combler le vide. •• Pour déplacer les plans vers le scénario principal : faites glisser les plans de leur emplacement de plans connectés vers un point de montage (entre deux plans) du scénario principal. Ce faisant, vous réalisez en fait un montage par insertion : les anciens plans connectés sont insérés dans le scénario principal et les plans suivants sont décalés vers la droite pour leur faire de la place. Remarque : Vous pouvez faire glisser des plans depuis et vers le scénario principal à condition qu’aucun plan ne soit connecté à ces derniers. Si un plan est connecté, vous devez d’abord le déplacer ou le supprimer, ou vous devez utiliser la commande « Prélever du scénario principal » ou « Remplacer par le scénario principal ». Chapitre 8 Montage de votre projet 129 Déplacement de plans depuis et vers le scénario principal sans montage Ripple du projet Vous pouvez déplacer des plans depuis et vers le scénario principal sans affecter la durée totale de votre projet. 1 Sélectionnez les plans à déplacer. 2 Effectuez l’une des opérations suivantes : •• Pour déplacer les plans sélectionnés du scénario principal vers des plans connectés au même emplacement de la timeline : choisissez Édition > Prélever du scénario principal (ou appuyez sur Commande + Option + flèche vers le haut). Nouveau plan connecté à la même position dans la timelineUn plan vide comble la partie vacante du scénario principal. Des plans vides comblent les parties vacantes du scénario principal, si nécessaire. •• Pour déplacer les plans connectés sélectionnés vers le scénario principal : choisissez Édition > Remplacer par le scénario principal (ou appuyez sur Commande + Option + Flèche vers le bas). Selon le niveau de chevauchement sur le plan connecté, la commande « Remplacer par le scénario principal » crée un montage scindé ou écrase les plans vidéo présents au nouvel emplacement et convertit la partie audio du plan écrasé en plan connecté. La commande « Remplacer par le scénario principal » n’est pas disponible pour les plans Audio seulement. Remarque : La commande « Remplacer par le scénario principal » ne fonctionne qu’avec des plans connectés individuels. Pour l’utiliser sur un plan figurant dans un scénario connecté, déplacez d’abord ce plan hors du scénario. Vous pouvez obtenir les mêmes résultats en faisant glisser les plans à l’aide de l’outil Position. Chapitre 8 Montage de votre projet 130 Coupe et trim des plans Présentation du trim Après avoir grossièrement assemblé vos plans dans l’ordre chronologique dans la timeline, vous pouvez commencer à ajuster le point de montage entre chaque paire de plans contigus. Toute opération de rallongement ou de raccourcissement d’un plan dans un projet représente une opération de trim sur le plan en question. Ceci étant dit, le trim constitue généralement un ajustement précis (qui s’applique aussi bien à une image qu’à plusieurs secondes du plan). Si vous modifiez la durée d’un plan en manipulant des durées plus longues, il s’agit toujours d’opérations de trim, bien que cela ne s’inscrive pas encore dans la phase d’affinement du montage. Dans Final Cut Pro, vous pouvez utiliser de nombreuses techniques pour appliquer un trim aux plans et aux points de montage dans la timeline, notamment les montages Ripple, Roll, par coulissement et par glissement. Indépendamment de la façon dont vous réalisez le trim ou autres montages dans Final Cut Pro, le média sous-jacent n’est jamais modifié. Les parties des plans effacées ou ayant fait l’objet d’un trim ne sont supprimées que du projet, et non des plans source présents dans votre bibliothèque d’événements ni des fichiers multimédias source stockés sur votre disque dur. Conseil : Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Coupe de plans à l’aide de l’outil Lame de rasoir Après avoir ajouté des plans à la timeline, vous pouvez facilement les couper pour ajuster leur durée ou supprimer les parties dont vous ne voulez pas. Le montage le plus élémentaire est la coupe droite. À l’origine, il s’agit d’une opération de montage de film consistant à couper une pellicule à l’aide d’un rasoir et à coller un nouveau « plan ». Lorsque vous coupez un plan dans votre projet, il est divisé en deux. Vous pouvez couper un ou plusieurs plans à la fois. Coupe d’un plan dans la timeline 1 Choisissez l’outil Lame de rasoir dans le menu local Outils de la barre d’outils (ou appuyez sur la touche B). Le pointeur prend la forme de l’outil Lame de rasoir . Conseil : Vous pouvez activer temporairement l’outil Lame de rasoir en maintenant la touche B enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. Chapitre 8 Montage de votre projet 131 2 Placez le skimmer sur l’image du plan où vous souhaitez effectuer la coupe, puis cliquez. Outil Lame de rasoir Conseil : Vous pouvez également couper des plans pendant la lecture de votre projet. Pour couper des plans à la volée, appuyez sur les touches Commande + B à tout moment pendant la lecture de votre projet. Un point de montage apparaît à l’endroit où vous avez cliqué et le plan est divisé en deux. Nouveau point de montage Coupe de tous les plans à la fois La commande « Lame de rasoir sur tout » vous permet de couper simultanément tous les plans du scénario principal et les plans connectés situés au niveau du skimmer ou de la tête de lecture. 1 Dans la timeline, placez le skimmer sur l’image où vous souhaitez effectuer la coupe. 2 Choisissez Édition > Lame de rasoir sur tout (ou appuyez sur les touches Commande + Maj + B). Tous les plans au niveau du skimmer sont alors coupés. Coupe de plusieurs plans sélectionnés à la fois Vous pouvez utiliser la commande Lame de rasoir pour couper simultanément des plans sélectionnés du scénario principal et des plans connectés. 1 Dans la timeline, sélectionnez les plans à couper. Chapitre 8 Montage de votre projet 132 2 Placez le skimmer sur l’image où vous souhaitez effectuer la coupe. 3 Choisissez Édition > Lame de rasoir (ou appuyez sur Commande + B). Les plans sélectionnés sont coupés au niveau du skimmer. Remarque : Si aucun élément n’est sélectionné, cette commande ne s’applique qu’au plan du scénario principal. Extension ou raccourcissement d’un plan Vous pouvez appliquer un trim à un plan de votre projet en ajustant le point de départ ou d’arrivée de ce plan. Le type de trim par défaut dans Final Cut Pro, le trim Ripple, règle le point de départ ou le point d’arrivée d’un plan sans laisser de vide dans la timeline. La modification de la durée du plan est propagée vers l’extérieur, avançant ou reculant tous les plans suivants dans la timeline. ABCABCAvant montageAprès montage De même, si vous supprimez un plan de la timeline, les plans suivants s’adaptent en amont pour fermer le vide. Les montages Ripple affectent le plan auquel le trim est appliqué, la position de tous les plans suivants sur la timeline et la durée totale du projet. Chapitre 8 Montage de votre projet 133 Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Cet affichage présente en détail les parties situées de part et d’autre du point de montage. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Glissement de points de montage à l’aide de l’outil Sélectionner 1 Dans la timeline, placez le pointeur sur le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim. La forme du pointeur passe d’une icône de flèche à une icône de trim. L’apparence de l’icône de trim change pour indiquer si le trim va modifier le point d’arrivée du plan de gauche ou le point de départ du plan de droite. Trim du point de sortie du plan de gauche.Trim du point d’entrée du plan de droite. 2 Faites glisser le point de départ ou d’arrivée dans la direction dans laquelle vous voulez appliquer le trim au plan. Le plan est raccourci ou allongé à mesure que vous faites glisser le point. Le contenu des champs de timecode numérique indique la durée du plan et la quantité de temps correspondant au déplacement du point de montage. Les plans situés à droite du point de montage, le cas échéant, sont décalés en conséquence. Une fois que vous avez atteint la longueur maximale du plan dans l’une ou l’autre direction, le bord du plan devient rouge. Chapitre 8 Montage de votre projet 134 Modification de la durée d’un plan à l’aide d’une valeur de timecode Vous pouvez modifier la durée totale d’un ou de plusieurs plans sélectionnés en saisissant une valeur de timecode. 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D). •• Double-cliquez au centre du panneau de contrôle de la barre d’outils. Le champ de saisie du timecode apparaît dans le panneau de contrôle. 3 Saisissez une nouvelle durée pour le plan sélectionné. Final Cut Pro déplace le point d’arrivée du plan en fonction de la durée saisie et décale en conséquence les plans suivants dans la timeline. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Remarque : Si vous saisissez une durée supérieure aux données disponibles dans le plan, Final Cut Pro prolonge ce dernier jusqu’à sa durée maximale. Trim d’une sélection 1 Dans la timeline, sélectionnez la partie d’un plan que vous voulez conserver. Plan d’origineSélection de plage Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. 2 Choisissez Édition > Ajuster à la sélection. Final Cut Pro applique un trim aux points de départ et d’arrivée du plan pour l’ajuster à la plage sélectionnée. Plan après Trim Chapitre 8 Montage de votre projet 135 Les parties dont vous ne voulez pas sont supprimées du plan et du projet, et les plans suivants dans le projet sont décalés en conséquence. Déplacement léger de points de montage à l’aide de raccourcis clavier Vous pouvez ajuster avec précision le point de départ ou d’arrivée d’un plan à l’aide de raccourcis clavier. Vous pouvez déplacer le point de montage d’une ou de plusieurs images vidéo, et vous pouvez également déplacer les points de montage de clips audio connectés (c’est-à-dire ne figurant pas dans le scénario principal) d’une ou de plusieurs sous-images. 1 Dans la timeline, sélectionnez le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim. 2 Pour déplacer le point de montage, effectuez l’une des opérations suivantes : •• Pour déplacer le point de montage d’une image vers la gauche : appuyez sur la touche Virgule (,). •• Pour déplacer le point de montage de 10 images vers la gauche : appuyez sur Maj + Virgule (,). •• Pour déplacer le point de montage d’une image vers la droite : appuyez sur la touche Point (.). •• Pour déplacer le point de montage de 10 images vers la droite : appuyez sur Maj + point (.). 3 Si vous souhaitez déplacer le point de montage de clips audio connectés d’une ou de plusieurs sous-images, effectuez l’une des opérations suivantes : •• Pour déplacer le point de montage d’une sous-image vers la gauche : appuyez sur Option + Virgule (,). •• Pour déplacer le point de montage de 10 sous-images vers la gauche : appuyez sur Maj + Option + Virgule (,). •• Pour déplacer le point de montage d’une sous-image vers la droite : appuyez sur Option + point (.). •• Pour déplacer le point de montage de 10 sous-images vers la droite : appuyez sur Maj + Option + point (.). Pour en savoir plus sur les sous-images, consultez la section Affichage des formes d’onde audio au niveau de l’échantillon audio à la page 169. Le plan est ajusté et la timeline est actualisée en conséquence. Déplacement de points de montage vers la tête de lecture Vous pouvez ajuster des points de montage sélectionnés dans la timeline en procédant à un montage Ripple ou Roll à l’aide de raccourcis clavier. Chapitre 8 Montage de votre projet 136 1 Dans la timeline, sélectionnez le point de montage à ajuster. Point de sortie sélectionné Remarque : Pour un montage Roll, sélectionnez les deux côtés du point de montage à l’aide de l’outil Trim. 2 Placez la tête de lecture ou le skimmer à l’endroit de la timeline vers lequel vous voulez déplacer le point de montage. Skimmer 3 Choisissez Édition > Étendre le montage (ou appuyez sur Maj + X). Le point de montage est déplacé (en avant ou en arrière) vers la tête de lecture ou le skimmer. Le point de sortie du plan est positionné à l’emplacement du skimmer et les plans suivants sont Dans l’exemple ci-dessus, si vous avez sélectionné le point d’arrivée du plan, les plans suivants dans la timeline sont décalés en conséquence. Si vous avez sélectionné les deux côtés du point de montage à l’aide de l’outil Trim, le plan de droite est raccourci (par le biais d’un montage Roll) et aucun plan n’est décalé. Chapitre 8 Montage de votre projet 137 Trim de points de montage à l’aide de valeurs de timecode Vous pouvez appliquer des trims aux plans à l’aide de valeurs de timecode. 1 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). 2 Dans la timeline, sélectionnez le point de départ ou d’arrivée du plan auquel vous voulez appliquer un trim. 3 Pour appliquer un trim au point de montage, effectuez l’une des opérations suivantes : •• Pour déplacer le point de montage vers l’avant : appuyez sur la touche Plus (+), entrez une durée de timecode pour le trim, puis appuyez sur Entrée. •• Pour déplacer le point de montage vers l’arrière : appuyez sur la touche Signe moins (-), entrez une durée de timecode pour le trim, puis appuyez sur Entrée. Le champ de saisie du timecode (avec des nombres bleus et le signe plus ou moins) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Champ de saisie du timecode Le plan est raccourci ou étendu de la durée saisie et tous les plans suivants dans la timeline sont décalés en conséquence. Remarque : Cette fonctionnalité ne permet pas d’étendre un plan au-delà de sa durée maximale. Pour en savoir plus et obtenir des conseils pour la saisie des valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Chapitre 8 Montage de votre projet 138 Coupe du début ou de la fin d’un plan au niveau de la tête de lecture Il se peut que certains de vos plans vidéo présentent au début ou à la fin des sections que vous ne voulez pas inclure dans votre projet. Vous pouvez facilement couper ces plages à l’aide d’une seule commande, même pendant la lecture du projet. Aucune sélection n’est requise. Ce type de montage est parfois appelé éboutage. 1 Dans la timeline, placez la tête de lecture ou le skimmer sur l’image au niveau de laquelle vous voulez ébouter le plan. SkimmerPlan d’origine 2 Procédez de l’une des manières suivantes : •• Pour couper le début du plan : choisissez Édition > Trim sur le début, ou appuyez sur Option + crochet gauche ([). •• Pour couper la fin du plan : choisissez Édition > Trim sur la fin, ou appuyez sur Option + crochet droit (]). Le plan est ébouté au niveau de la tête de lecture (ou du skimmer) et la timeline est actualisée en conséquence. Nouveau point de sortie du plan après TrimPlan après Trim Dans le cas des plans ou des scénarios connectés, Final Cut Pro applique le trim au plan sélectionné. Si aucun plan n’est sélectionné, Final Cut Pro applique le trim au plan de dessus. Réalisation de montages Roll à l’aide de l’outil Trim Un montage Roll consiste à ajuster simultanément les points de départ et d’arrivée de deux plans adjacents. Si vous aimez la façon dont sont disposés deux plans dans la timeline mais que vous souhaitez repositionner le point de coupe, vous pouvez utiliser l’outil Trim pour déplacer le point de montage entre les deux plans. Cela n’entraîne pas le déplacement des plans dans la timeline. Seul le point de montage entre les deux plans change de place. Aucun autre plan du projet n’est affecté. Chapitre 8 Montage de votre projet 139 Lorsque vous procédez à un montage Roll, la durée totale du projet reste la même, mais celle des deux plans change. L’un s’allonge alors que l’autre rétrécit en compensation. ABCABCAvant montageAprès montage Dans l’exemple ci-dessus, le plan B raccourcit tandis que le plan C s’allonge. En revanche, la durée combinée des deux plans reste la même. Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Cet affichage présente en détail les parties situées de part et d’autre du point de montage. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Roll d’un point de montage 1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T). Le pointeur prend la forme de l’outil Trim . Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Dans la timeline, cliquez au centre du point de montage que vous voulez déplacer de sorte que ses deux côtés soient sélectionnés. 3 Procédez de l’une des manières suivantes : •• Faites glisser le point de montage vers la gauche ou vers la droite. •• Appuyez sur la touche Plus (+) ou Moins (–), saisissez la durée de timecode à ajouter ou à soustraire du montage actuel, puis appuyez sur Entrée. Chapitre 8 Montage de votre projet 140 Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. •• Placez la tête de lecture ou le skimmer à l’endroit de la timeline vers lequel vous voulez déplacer le point de montage, puis choisissez Édition > Étendre le montage (ou appuyez sur Maj + X). Le point de montage est déplacé vers le nouvel emplacement. La durée globale des deux plans reste la même. Si vous ne parvenez pas à déplacer davantage le point de montage et qu’un côté de celui-ci apparaît en rouge, cela signifie que vous avez atteint la fin des données de l’un des deux plans. Réalisation de montages par coulissage à l’aide de l’outil Trim Un montage par coulissement ne modifie pas la position ou la durée d’un plan dans la timeline, mais la partie des données de ce plan qui apparaît dans la timeline. Un montage par coulissement vous permet de modifier simultanément les points de départ et d’arrivée d’un plan. Lorsque vous disposez des plans dans la timeline de manière à ce que leurs points de montage coïncident avec les temps musicaux ou d’autres points de synchronisation fixes d’un film, ils doivent rester en position pour préserver cet alignement. Cela limite considérablement les possibilités d’ajustement d’un plan dans la mesure où vous ne pouvez pas modifier sa durée ni le déplacer dans la timeline. Vous pouvez uniquement déplacer simultanément ses points de départ et d’arrivée en conservant sa durée et sa position. La partie du plan visible dans le projet change, mais pas la position du plan dans la timeline. Les plans voisins ne sont pas affectés et la durée globale du projet reste la même. 00:00:30:0000:00:10:00ABCAvant montage00:00:37:0000:00:17:00Après montageABC Chapitre 8 Montage de votre projet 141 Dans l’exemple ci-dessus, le montage par coulissement modifie les points de départ et d’arrivée du plan B, mais pas sa durée ni sa position dans la timeline. Lors de la lecture du projet, une autre partie des données du plan B est affichée. Remarque : Pour qu’un plan puisse être coulissé, il doit présenter des poignées de données à chacune de ses extrémités ; en d’autres termes, des données supplémentaires doivent être disponibles au début et à la fin du plan. Si vous avez du mal à faire coulisser un plan, vérifiez que des poignées de données sont disponibles à chacune de ses extrémités. Vous pouvez double-cliquer sur n’importe quel point de montage pour afficher ou ajuster ses poignées de données dans l’éditeur de précision. Si aucune poignée de données n’est disponible, utilisez plutôt l’outil Position . Pour en savoir plus sur l’outil Position, consultez la section Disposition des plans dans la timeline à la page 124. Pour un affichage plus précis lors des montages de plans contigus, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Pour un montage par coulissement, ce « double » affichage dans le visualiseur présente les points de départ et d’arrivée du plan que vous faites coulisser. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Coulissement d’un plan dans la timeline 1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T). Le pointeur prend la forme de l’outil Trim . Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Faites glisser un plan vers la gauche ou la droite. Chapitre 8 Montage de votre projet 142 Pendant que vous faites glisser le plan, un champ de timecode indique la durée dont vous déplacez les points de départ et d’arrivée. Les sélections de bordure jaunes sur les points de départ et d’arrivée indiquent un montage par coulissement. Nouvelle position de l’imageLes sélections jaunes aux bordures des points d’entrée et de sortie indiquent un montage par coulissement.Position d’origine de l’image Lorsque vous relâchez le bouton de la souris, le plan coulissé apparaît dans la timeline avec de nouveaux points de départ et d’arrivée. Vous pouvez également faire coulisser le plan sélectionné à l’aide de raccourcis clavier en effectuant l’une des opérations suivantes : •• Déplacer légèrement les points de départ et d’arrivée (d’une ou de 10 images) vers la gauche ou la droite. •• Saisir la durée dont vous souhaitez faire coulisser le plan vers la gauche ou la droite. Remarque : Si le point de départ départ ou d’arrivée devient rouge pendant que vous faites glisser le plan, cela signifie que vous avez atteint la fin des données disponibles pour ce côté du plan. Chapitre 8 Montage de votre projet 143 Réalisation de montages par glissement à l’aide de l’outil Trim Un montage par glissement vous permet de repositionner un plan dans la timeline entre deux autres plans sans créer de vide. Le contenu et la durée du plan ne changent pas, seule sa position dans la timeline est modifiée. Lorsque vous faites glisser un plan, les plans adjacents sont allongés et raccourcis pour s’adapter à la nouvelle position du plan. La durée globale de ces trois plans ainsi que la durée totale du projet ne sont pas modifiées. ABCABCAvant montageAprès montage Remarque : Pour pouvoir faire glisser un plan entre deux autres, les plans précédent et suivant doivent présenter des poignées de données (données supplémentaires disponibles au-delà du point de montage). Vous pouvez double-cliquer sur n’importe quel point de montage pour afficher ou ajuster ses poignées de données dans l’éditeur de précision. Si aucune poignée de données n’est disponible, utilisez plutôt l’outil Position . Pour en savoir plus sur l’outil Position, consultez la section Disposition des plans dans la timeline à la page 124. Pour un affichage plus précis lors des montages de plans contigus, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Pour un montage par glissement, ce « double » affichage dans le visualiseur présente les deux points de montage que vous ajustez : le point d’arrivée du plan précédent et le point de départ du plan suivant. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Glissement d’un plan dans la timeline 1 Choisissez l’outil Trim dans le menu local Outils de la barre d’outils (ou appuyez sur la touche T). Le pointeur prend la forme de l’outil Trim . Conseil : Vous pouvez activer temporairement l’outil Trim en maintenant la touche T enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Faites glisser un plan vers la gauche ou la droite en maintenant la touche Option enfoncée. Chapitre 8 Montage de votre projet 144 Les sélections jaunes sur les plans voisins indiquent un montage par glissement. Position d’origine dans la timelineLes sélections jaunes sur les plans voisins indiquent un montage par glissement. Pendant que vous faites glisser le plan, un champ de timecode indique la durée dont vous le déplacez dans la timeline. La durée de ce plan reste la même. Ce plan est plus court.Ce plan est plus long.Nouvelle position dans la timeline Lorsque vous relâchez le bouton de la souris, le plan glissé apparaît à son nouvel emplacement dans la timeline. Un trim est appliqué aux plans adjacents pour les adapter à la nouvelle position du plan. Vous pouvez également faire glisser le plan sélectionné à l’aide de raccourcis clavier en effectuant l’une des opérations suivantes : •• Le déplacer légèrement (d’une ou de 10 images) vers la gauche ou la droite. •• Saisir la durée dont vous souhaitez faire glisser le plan vers la gauche ou la droite. Pour en savoir plus, consultez Disposition des plans dans la timeline à la page 124. Remarque : Si l’un des points de montage devient rouge pendant que vous faites glisser le plan, cela signifie que vous avez atteint la fin des données disponibles pour ce côté du plan. Chapitre 8 Montage de votre projet 145 Affichage détaillé des commentaires sur le trimming Pour un affichage plus précis lors des montages de plans contigus ou connectés, vous pouvez activer l’option « Afficher les commentaires détaillés sur le trimming » dans les préférences de Final Cut Pro. Par exemple, pour un montage Ripple simple, ce « double » affichage dans le visualiseur présente le point d’arrivée du plan de gauche et le point de départ du plan de droite. Cet affichage est disponible pour les montages Ripple, Roll, par coulissement et par glissement, ainsi que pour les opérations de trim dans l’éditeur de précision. Activation de l’affichage de trim détaillé 1 Sélectionnez Final Cut Pro > Préférences (ou appuyez sur les touches Commande + virgule). 2 Cliquez sur Montage. 3 Dans la section Timeline, cochez la case « Afficher les commentaires détaillés sur le trimming ». Le « double » affichage apparaît dans le visualiseur chaque fois que vous utilisez un type de montage pris en charge ou que vous effectuez un trim dans l’éditeur de précision. Conseil : Vous pouvez utiliser la touche Option pour modifier à la volée l’affichage de trim détaillé. Si l’affichage de trim détaillé est activé, appuyez sur la touche Option pour le désactiver. Si l’affichage de trim détaillé est désactivé, appuyez sur la touche Option pour basculer entre l’affichage du point d’arrivée du plan de gauche et l’affichage du point de départ du plan de droite. Affichage et navigation Zoom et défilement dans la timeline Pouvoir afficher et atteindre n’importe quel point de votre projet est essentiel pour un montage et une narration efficaces. La présentation de la timeline peut être modifiée de diverses manières. Connaître les raccourcis clavier peut vous faire gagner du temps. Adaptation de l’intégralité du contenu de la timeline à la fenêtre Qu’il n’y ait qu’un seul plan affiché suite à un zoom avant ou que tous les plans de votre projet apparaissent à gauche de la timeline suite à un zoom arrière, vous pouvez ajuster rapidement la présentation de sorte que tous les plans tiennent dans la partie visible de la timeline et qu’aucun défilement ne soit nécessaire. Chapitre 8 Montage de votre projet 146 mm Choisissez Présentation > Zoom pour adapter à la fenêtre (ou appuyez sur Maj + Z). Avant la sélection de Zoom pour adapter à la fenêtre Après la sélection de Zoom pour adapter à la fenêtre Zoom avant et arrière sur la timeline à l’aide du curseur Zoom mm Pour effectuer un zoom avant sur la timeline : faites glisser le curseur Zoom vers la droite ou appuyez sur Commande + signe plus (+). mm Pour effectuer un zoom arrière sur la timeline : faites glisser le curseur Zoom vers la gauche ou appuyez sur Commande + signe moins (–). Zoom avant et arrière sur la timeline à l’aide de l’outil Zoom 1 Choisissez l’outil Zoom dans le menu local Outils de la barre d’outils (ou appuyez sur la touche Z). Le pointeur prend la forme de l’outil Zoom . Chapitre 8 Montage de votre projet 147 Conseil : Vous pouvez activer temporairement l’outil Zoom en maintenant la touche Z enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. 2 Procédez de l’une des manières suivantes : •• Pour effectuer un zoom avant sur la timeline : cliquez sur la section de la timeline sur laquelle vous voulez effectuer un zoom avant. (Vous pouvez également faire glisser le pointeur sur une zone de la timeline pour limiter le zoom avant à cette zone.) Cliquez plusieurs fois pour poursuivre le zoom avant. •• Pour effectuer un zoom arrière sur la timeline : tout en maintenant la touche Option enfoncée, cliquez sur la section de la timeline sur laquelle vous voulez effectuer un zoom arrière. Cliquez plusieurs fois tout en maintenant la touche Option enfoncée pour poursuivre le zoom arrière. Défilement d’une timeline sur laquelle vous avez effectué un zoom avant 1 Effectuez un zoom avant sur la timeline jusqu’à ce que vous ne voyiez plus qu’une partie du projet. 2 Procédez de l’une des manières suivantes : •• Faites glisser horizontalement le curseur situé au bas de la timeline. •• Faites glisser verticalement le curseur situé sur le côté droit de la timeline. •• Choisissez l’outil Main dans le menu local Outils de la barre d’outils (ou appuyez sur la touche H), puis faites glisser la souris dans la timeline. Conseil : Vous pouvez activer temporairement l’outil Main en maintenant la touche H enfoncée. Lorsque vous relâchez celle-ci, l’outil précédent est réactivé. Ajustement des réglages de la timeline Dans Final Cut Pro, les options d’affichage de la timeline peuvent être modifiées très facilement. Par exemple, vous pouvez afficher les plans avec ou sans les pellicules vidéo ou les formes d’onde audio. Vous pouvez également modifier la hauteur des plans ou la taille des pellicules ou des formes d’onde audio en fonction des vignettes vidéo qui apparaissent dans la pellicule de chaque plan dans la timeline. Vous pouvez aussi n’afficher que les étiquettes des plans. Le magnétisme simplifie et accélère certaines opérations, notamment l’alignement d’un plan vidéo avec un clip audio ou le positionnement de la tête de lecture sur un marqueur précis. Lorsque le magnétisme est activé, les éléments que vous déplacez dans la timeline semblent se caler sur certains points de celle-ci. Cette fonction peut vous aider à aligner rapidement les montages sur d’autres éléments du projet. Chapitre 8 Montage de votre projet 148 Le magnétisme affecte les fonctions de nombreux outils de montage dans Final Cut Pro, notamment les outils de sélection, Trim, Position, Sélection de plage et Lame de rasoir. Plusieurs éléments déclenchent le magnétisme dans la timeline : •• les limites des plans (points de départ et d’arrivée), •• la tête de lecture et le skimmer, •• Marqueurs •• les images clés, •• les sélections de plage. Modification de l’apparence et de la hauteur du plan de la timeline 1 Cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la timeline. La fenêtre Apparence du plan s'affiche. 2 Procédez de l’une des manières suivantes : •• Pour afficher uniquement les plans avec des grandes formes d'onde audio : cliquez sur le bouton Apparence du plan le plus à gauche (ou appuyez sur Option + Contrôle + 1). •• Pour afficher les plans avec des grandes formes d'onde audio et des petites pellicules : cliquez sur le deuxième bouton Apparence du plan depuis la gauche (ou appuyez sur Option + Contrôle + 2). •• Pour afficher les plans avec des grandes formes d'onde audio et des pellicules vidéo de même taille : cliquez sur le troisième bouton Apparence du plan depuis la gauche (ou appuyez sur Option + Contrôle + 3). Chapitre 8 Montage de votre projet 149 •• Pour afficher les plans avec de petites formes d'onde audio et de grandes pellicules : cliquez sur le troisième bouton Apparence du plan depuis la droite (ou appuyez sur Option + Contrôle + 4). •• Pour afficher uniquement les plans avec des grandes pellicules : cliquez sur le deuxième bouton Apparence du plan depuis la droite (ou appuyez sur Option + Contrôle + 5). •• Pour afficher uniquement les étiquettes de plan : cliquez sur le bouton Apparence du plan le plus à droite (ou appuyez sur Option + Contrôle + 6). Conseil : Pour augmenter la taille des formes d'onde audio pour la timeline, appuyez sur Option + Contrôle + Flèche vers le haut. Pour réduire la taille des formes d'onde audio pour la timeline, appuyez sur Option + Contrôle + Flèche vers le bas. 3 Pour ajuster la hauteur des plans dans la timeline, faites glisser le curseur Hauteur du plan vers la gauche pour diminuer la hauteur des plans, ou vers la droite pour l’augmenter. 4 cochez ou décochez la case Afficher les connections pour activer ou désactiver les plans connectés et les scénarios. 5 Pour ajuster l'affichage de l'étiquette du plan, choisissez une option dans le menu local Afficher : •• Pour afficher les plans en fonction du nom : choisir Nom des plans. •• Pour afficher les plans en fonction du rôle : choisir Rôles des plans. •• Pour afficher les plans multicam en fonction des angles vidéo et audio actifs : choisir Nom des plans ou Angles. Activation ou désactivation du magnétisme Tout en étant extrêmement utile, le magnétisme peut parfois constituer un obstacle si vous tentez de déplacer un plan de quelques images uniquement au sein d’une série de marqueurs et de limites de plans et si vous ne souhaitez pas créer de magnétisme en aucun de ces points. Mais sachez que vous pouvez activer et désactiver facilement le magnétisme à tout moment, même lorsque vous êtes en train de glisser un plan. Procédez de l’une des manières suivantes : mm Choisissez Présentation > Magnétisme (ou appuyez sur la touche N). Une coche indique que le magnétisme est activé. Vous pouvez appuyer sur la touche N pour activer ou désactiver le magnétisme pendant que vous faites glisser un plan. mm Cliquez sur le bouton Magnétisme dans le coin supérieur droit de la timeline. Lorsque le magnétisme est activé, le bouton Magnétisme apparaît en bleu. Conseil : Vous pouvez activer ou désactiver temporairement le magnétisme en maintenant la touche N enfoncée. Lorsque vous relâchez celle-ci, le magnétisme revient à l’état précédent. Chapitre 8 Montage de votre projet 150 Navigation au sein de votre projet La possibilité d’atteindre instantanément n’importe quel point de la timeline est l’un des principaux avantages d’un environnement de montage non linéaire. Final Cut Pro offre différents moyens permettant de naviguer rapidement et facilement dans votre projet. Vous pouvez également utiliser une présentation textuelle de la timeline pour naviguer et effectuer des recherches dans votre projet. Pour en savoir plus, consultez Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches à la page 152. Vous pouvez utiliser les touches J, K et L pour lire un projet à différentes vitesses ou dans différentes directions. Pour en savoir plus, consultez Lecture du média à la page 79. Navigation par survol, clic ou glissement mm Pour survoler la timeline jusqu’à une image de votre projet : déplacez le skimmer vers la gauche et la droite sur les plans de la timeline pour les visionner rapidement dans le visualiseur. mm Pour déplacer la tête de lecture jusqu’à une image de votre projet : déplacez la tête de lecture en cliquant sur la règle en haut de la timeline ou en y faisant glisser le pointeur, ou en cliquant sur l’arrière-plan de la timeline. Conseil : Pour éviter que la tête de lecture ne bouge quand vous sélectionnez un plan dans la timeline, appuyez sur Option lorsque vous cliquez. Navigation image par image Pour trouver plus facilement des images précises d’un plan, vous pouvez parcourir la pellicule image par image au lieu de la survoler. 1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur une pellicule et cliquez. 2 Effectuez l’une des opérations suivantes : •• Pour reculer par incréments d’une image : Choisissez Marquer > Précédent > Image (ou appuyez sur la touche Flèche gauche). •• Pour avancer par incréments d’une image : choisissez Marquer > Suivant > Image (ou appuyez sur la touche Flèche droite). Navigation sous-image par sous-image Vous pouvez naviguer dans les plans sous-image par sous-image. Une sous-image possède une durée égale à 1/80 de celle d’une image vidéo et constitue par conséquent une unité de référence plus précise pour la visualisation ou la modification des formes d’onde audio agrandies au niveau de l’échantillon. Remarque : vous ne pouvez pas modifier la vidéo au niveau des sous-images. 1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur un plan et cliquez. 2 Effectuez l’une des opérations suivantes : •• Pour reculer par incréments d’une sous-image : appuyez sur Commande + Flèche gauche. •• Pour avancer par incréments d’une sous-image : appuyez sur Commande + Flèche droite. Remarque : vous pouvez modifier l’affichage du temps dans le panneau de contrôle pour qu’il utilise les sous-images. Pour en savoir plus, consultez Modification des préférences à la page 437. Chapitre 8 Montage de votre projet 151 Navigation par saut Utilisez les techniques suivantes pour déplacer rapidement la tête de lecture d’un point à un autre dans la timeline. mm Pour atteindre le point de montage suivant : choisissez Marquer > Suivant > Montage (ou appuyez sur la touche fléchée vers le bas), ou cliquez sur le bouton Montage suivant situé sous le visualiseur. mm Pour atteindre le point de montage précédent : choisissez Marquer > Précédent > Montage (ou appuyez sur la touche Flèche vers le haut), ou cliquez sur le bouton Montage précédent situé sous le visualiseur. mm Pour atteindre le début du projet : choisissez Marquer > Aller à > Début (ou appuyez sur la touche Début). mm Pour atteindre la fin du projet : choisissez Marquer > Aller à > Fin (ou appuyez sur la touche Fin). mm Pour atteindre le marqueur suivant : choisissez Marquer > Suivant > Marqueur, ou appuyez sur Contrôle + Apostrophe (’). mm Pour atteindre le marqueur précédent : choisissez Marquer > Précédent > Marqueur, ou appuyez sur Contrôle + Point-virgule (;). Pour en savoir plus sur les marqueurs, consultez la section Présentation des marqueurs à la page 156. Navigation à l’aide du timecode Le timecode est un signal enregistré avec la vidéo et identifiant chaque image de manière unique. Lorsque vous lisez un plan dans le navigateur d’événements, son signal de timecode apparaît dans le panneau de contrôle, au centre de la barre d’outils de Final Cut Pro, au format suivant : TimecodeHeuresMinutesSecondesImages Le timecode prend en charge de nombreuses fonctions de Final Cut Pro, notamment la lecture dans la timeline, la synchronisation des éléments vidéo et audio, ainsi que l’ajout, le déplacement et le trim de plans. En outre, le timecode vous permet de naviguer au sein des projets dans la timeline et de connaître la durée des plans, des sélections de plage et des projets. Navigation par saisie d’une valeur de timecode Pour déplacer la tête de lecture vers un nouvel emplacement de la timeline, effectuez l’une des opérations suivantes : mm Pour déplacer la tête de lecture vers un emplacement précis de la timeline : cliquez une fois au centre du panneau de contrôle (ou appuyez sur Contrôle + P), saisissez la nouvelle valeur de timecode, puis appuyez sur Entrée. Par exemple, pour placer la tête de lecture au point 01:40:31:03, appuyez sur Contrôle + P, saisissez « 1403103 », puis appuyez sur Entrée. Chapitre 8 Montage de votre projet 152 mm Pour déplacer la tête de lecture d’une durée de timecode : assurez-vous qu’aucun plan n’est sélectionné, appuyez sur la touche Plus (+) ou Moins (–), saisissez le nombre d’images, de secondes ou de minutes dont vous voulez déplacer la tête de lecture, puis appuyez sur Entrée. Par exemple, si vous tapez « +1612 » et que vous appuyez sur Entrée, la tête de lecture avance de 16 secondes et 12 images. Les nouvelles valeurs de timecode apparaissent dans le panneau de contrôle à mesure que vous tapez. Lorsque vous appuyez sur Entrée, la tête de lecture se déplace vers le nouvel emplacement de la timeline. Voici quelques conseils pour la saisie des valeurs de timecode : •• Il n’est pas nécessaire de saisir les caractères de séparation (deux-points). Final Cut Pro les ajoute automatiquement après chaque paire de chiffres. Par exemple, si vous saisissez « 01221419 », Final Cut Pro l’interprète comme 01:22:14:19 (1 heure, 22 minutes, 14 secondes et 19 images). •• Si les champs de gauche ne contiennent que des zéros, il n’est pas nécessaire de les saisir. Par exemple, si vous saisissez « 1419 », Final Cut Pro l’interprète comme 00:00:14:19. De même, si vous saisissez « 253407 », Final Cut Pro l’interprète comme 00:25:34:07. •• Si les champs de droite ne contiennent que des zéros, vous pouvez utiliser des points à la place. Par exemple, pour atteindre le timecode 00:00:03:00, saisissez « 3. » (le chiffre 3 suivi d’un point). Pour accéder au timecode 03:00:00:00, tapez « 3... » (le chiffre 3 suivi de trois points). Au lieu d’un point, vous pouvez également utiliser une virgule, un signe plus, un signe moins, un deux-points, un point-virgule ou une esperluette. Remarque : Vous pouvez modifier l’affichage du temps dans le panneau de contrôle pour ne présenter que le timecode, le timecode et les sous-images, uniquement les images ou uniquement les secondes. Pour en savoir plus, consultez Modification des préférences à la page 437. Utilisation de l’index de la timeline pour afficher votre projet, y naviguer et effectuer des recherches L’index de la timeline fournit une présentation textuelle des plans et des balises (divers types de marqueurs et de mots-clés) utilisés dans la timeline de votre projet. Vous pouvez facilement filtrer l’index de la timeline pour n’afficher que les éléments voulus. Les plans sont répertoriés dans l’ordre dans lequel ils apparaissent dans la timeline. Vous pouvez également utiliser l’index de la timeline pour naviguer dans celle-ci. La tête de lecture de l’index de la timeline apparaît dans la liste des éléments. Lorsque vous lisez un projet, elle se déplace vers le bas de la liste. Lorsque vous sélectionnez un élément dans l’index de la timeline, la tête de lecture se place automatiquement au début de cet élément. Chapitre 8 Montage de votre projet 153 Afficher ou masquer l’index de la timeline mm Cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). L’index de la timeline apparaît dans le coin inférieur gauche de la fenêtre de Final Cut Pro. La tête de lecture de l’index de la timeline se déplace en même temps que celle de la timeline. Tête de lecture de la timeline Affichage d’une liste d’éléments dans l’index de la timeline 1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Procédez de l’une des façons suivantes : •• Pour afficher la liste des plans utilisés dans la timeline, dans l’ordre chronologique : cliquez sur le bouton Plans en haut. Procédez de l’une des façons suivantes : •• Modifiez le nom des plans. •• Affichez une liste de plans en fonction du timecode dans la colonne Position. •• Affichez, réattribuez et modifiez des rôles dans la colonne Rôles. Chapitre 8 Montage de votre projet 154 •• Affichez et ajoutez des notes dans la colonne Notes. •• Affichez les angles actifs des plans multicam dans la colonne Angle actif. Vous pouvez spécifier les colonnes à afficher en cliquant sur l’en-tête d’une colonne tout en maintenant la touche Contrôle enfoncée et en choisissant une option dans le menu contextuel. Vous pouvez indiquer les éléments à afficher en cliquant sur le bouton Tout, Vidéo, Audio ou Titres au bas de l’index de la timeline. •• Pour afficher la liste de toutes les balises affectées aux plans de la timeline, dans l’ordre chronologique : cliquez sur le bouton Balises en haut. Tâche non terminéeMot-cléTâche terminéeMarqueur de chapitreMarqueur standard Par défaut, toutes les balises sont affichées. Vous pouvez indiquer les éléments à afficher en cliquant sur un bouton au bas de l’index de la timeline. Vous pouvez afficher les marqueurs, les mots-clés, les mots-clés d’analyse, les tâches non terminées, les tâches terminées et les marqueurs de chapitre. Remarque : Les tâches sont des types de marqueurs. Chapitre 8 Montage de votre projet 155 •• Pour afficher une liste de plans organisée en fonction du rôle dans la timeline : cliquez sur le bouton Rôles en haut. Sélectionnez un nom de rôle dans la liste pour mettre en surbrillance dans la timeline tous les plans auxquels ce rôle a été attribué. Sélectionnez ou désélectionnez les cases en regard des rôles que vous voulez activer ou désactiver dans la timeline. Lorsqu’une case est désélectionnée, il n’est plus possible de voir ou d’entendre les plans auxquels ce rôle a été attribué lorsque vous les lisez dans votre projet. Pour en savoir plus, consultez Affichage des plans en fonction du rôle dans la timeline à la page 316. Modification d’un marqueur Tâche Dans l’index de la timeline, vous pouvez changer rapidement l’état d’un marqueur Tâche pour indiquer qu’une tâche est terminée ou non. 1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Cliquez sur la case d’un marqueur Tâche. •• Si le marqueur était rouge (tâche non terminée), il devient vert (tâche terminée). •• Si le marqueur était vert (tâche terminée), il devient rouge (tâche non terminée). Recherche d’éléments dans l’index de la timeline 1 Si l’index de la timeline n’est pas encore ouvert, cliquez sur le bouton « Index de la timeline » situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Cliquez sur Plans pour rechercher des plans ou sur Balises pour rechercher des balises. 3 Saisissez un terme dans le champ de recherche situé en haut de l’index de la timeline. Vous pouvez rechercher des plans, des mots-clés et des marqueurs (y compris des tâches). Conseil : La timeline étant activée, choisissez Édition > Rechercher (ou appuyez sur Commande + F). L’index de la timeline s’ouvre et vous pouvez saisir le terme recherché dans le champ de recherche, qui est actif. Chapitre 8 Montage de votre projet 156 Utilisation de marqueurs Présentation des marqueurs Les marqueurs sont des points de référence que vous pouvez placer dans les plans pour localiser, identifier, annoter et accéder à des images spécifiques. Lors du montage, les marqueurs sont particulièrement utiles pour synchroniser deux plans ou plus à un emplacement précis. Par exemple, vous pouvez utiliser un marqueur pour identifier une image où une porte claque, puis caler par magnétisme un effet sonore sur ce marqueur. Les marqueurs permettent d’ajouter des remarques de montage ou d’autres informations descriptives à un emplacement précis d’un plan. Lorsque vous ajoutez des marqueurs de chapitre à des points particuliers de votre projet, les spectateurs peuvent alors utiliser les marqueurs pour accéder directement à ces points dans le film après qu’il ait été exporté ou gravé sur DVD ou disque Blu-ray. Vous pouvez aussi faire appel à des marqueurs pour la gestion des tâches. Ils se classifient en marqueurs standard (bleus), en marqueurs de chapitre (orange), en tâches à réaliser (rouges) ou en tâches accomplies (vertes). Marqueur standardMarqueur de chapitreTâcheTâche terminée Les marqueurs s’utilisent de la même façon dans le navigateur d’événements et dans la timeline. Ajout et suppression de marqueurs Vous pouvez ajouter et supprimer facilement des marqueurs. Si vous ajoutez des marqueurs à des plans dans le navigateur d’événements, ils apparaissent aussi bien dans la présentation en pellicule que dans la présentation en liste. Lorsque vous ajoutez des plans assortis de marqueurs à la timeline, les marqueurs sont visibles aussi bien dans la timeline que dans l’index de la timeline. Ajout d’un marqueur à un plan dans le navigateur d’événements ou la timeline 1 Pour indiquer l’endroit où vous souhaitez ajouter un marqueur, effectuez l’une des opérations suivantes : •• Effectuez un survol jusqu’à l’emplacement voulu. •• Lisez le plan, puis, lorsque la tête de lecture atteint l’emplacement où vous voulez ajouter le marqueur, appuyez sur la barre d’espace pour arrêter la lecture. Chapitre 8 Montage de votre projet 157 Pour en savoir plus sur le positionnement du skimmer et de la tête de lecture, consultez la section Navigation au sein de votre projet à la page 150. 2 Procédez de l’une des manières suivantes : •• Pour ajouter un marqueur : choisissez Marquer > Marqueurs > Ajouter un marqueur (ou appuyez sur la touche M). Conseil : Pour ajouter des marqueurs à la volée, appuyez simplement sur la touche M pendant la lecture d’un plan. •• Pour ajouter un marqueur et afficher ses informations : choisissez Marquer > Marqueurs > Ajouter et modifier (ou appuyez sur Option + M). Lorsque vous ajoutez un marqueur de cette façon, ses informations sont automatiquement affichées. Le marqueur apparaît au-dessus du plan dans le navigateur d’événements ou la timeline. Remarque : Les marqueurs ajoutés aux plans dans le navigateur d’événements apparaissent dans la présentation en liste et en pellicule. Suppression d’un marqueur Procédez de l’une des manières suivantes : mm Naviguez jusqu’au marqueur, puis choisissez Marquer > Marqueurs > Supprimer le marqueur (ou appuyez sur Contrôle + M). mm Sélectionnez un ou plusieurs plans, puis choisissez Marquer > Marqueurs > Supprimer dans la sélection. mm Double-cliquez sur un marqueur pour ouvrir la fenêtre Marqueur, puis cliquez sur le bouton Supprimer. mm Appuyez sur la touche Contrôle tout en cliquant sur le marqueur que vous souhaitez supprimer, puis choisissez Supprimer le marqueur dans le menu contextuel. Chapitre 8 Montage de votre projet 158 Modification, déplacement et accès à des marqueurs Vous pouvez afficher et modifier les informations des marqueurs, et déplacer des marqueurs au sein d’un même plan ou d’un plan à un autre. Modification d’informations de marqueurs et changement de types de marqueurs Par défaut, les nouveaux marqueurs sont des marqueurs standard bleus reprenant du texte comme repère d’emplacement. Vous pouvez modifier ce texte à tout moment et avez la possibilité de changer le type du marqueur parmi les types de marqueurs proposés, entre autres les marqueurs de chapitre, les tâches à réaliser et les tâches terminées. 1 Pour afficher les informations d’un marqueur, effectuez l’une des opérations suivantes : •• Sélectionnez le marqueur, puis choisissez Marquer > Marqueurs > Modifier le marqueur (ou appuyez sur Maj + M). •• Cliquez sur le marqueur tout en maintenant la touche Contrôle enfoncée, puis choisissez Modifier le marqueur dans le menu contextuel. •• Double-cliquez sur le marqueur. Les informations du marqueur apparaissent au-dessus de lui. Bouton de marqueur de chapitreBouton de tâche à réaliserBouton de marqueur standard 2 Pour modifier le marqueur, effectuez l’une des opérations suivantes : •• Pour modifier le texte descriptif du marqueur : saisissez le nouveau texte dans le champ. (Le texte est automatiquement sélectionné à l’affichage des informations sur le marqueur : il n’est donc pas nécessaire de le sélectionner.) •• Pour convertir le marqueur en marqueur de chapitre : cliquez sur le bouton Marqueur de chapitre. Le marqueur devient orange pour refléter sa conversion en marqueur de chapitre. Pour en savoir plus, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160. •• Pour convertir le marqueur en tâche : cliquez sur le bouton Tâche. Le marqueur devient rouge. •• Pour indiquer qu’une tâche est terminée : cochez la case Terminée. Chapitre 8 Montage de votre projet 159 Le marqueur devient vert. Cochez la case Terminée.Bouton de tâche à réaliser •• Pour convertir le marqueur en marqueur standard : cliquez sur le bouton Marqueur standard. Le marqueur devient bleu. 3 Cliquez sur Terminé. Déplacement ou copie d’un marqueur Vous pouvez déplacer ou copier des marqueurs à l’aide des commandes Mac Couper, Copier et Coller habituelles. 1 Cliquez sur le marqueur à déplacer ou à copier tout en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel. •• Pour déplacer le marqueur : choisissez Couper le marqueur. •• Pour copier le marqueur : choisissez Copier le marqueur. 2 Placez le skimmer ou la tête de lecture à l’endroit où vous voulez coller le marqueur. 3 Choisissez Édition > Coller (ou appuyez sur Commande + V). Le marqueur apparaît au nouvel emplacement. Déplacement d’un marqueur d’une image à la fois 1 Sélectionnez un marqueur. 2 Procédez de l’une des manières suivantes : •• Pour déplacer le marqueur d’une image vers la droite : choisissez Marquer > Marqueurs > Pousser vers la droite, ou appuyez sur Contrôle + point (.). •• Pour déplacer le marqueur d’une image vers la gauche : choisissez Marquer > Marqueurs > Pousser vers la gauche, ou appuyez sur Contrôle + virgule (,). Passage d’un marqueur à l’autre Vous pouvez passer rapidement d’un marqueur à un autre dans la timeline ou le navigateur d’événements. mm Pour atteindre le marqueur suivant : choisissez Marquer > Suivant > Marqueur, ou appuyez sur Contrôle + Apostrophe (’). mm Pour atteindre le marqueur précédent : choisissez Marquer > Précédent > Marqueur, ou appuyez sur Contrôle + point-virgule (;). Chapitre 8 Montage de votre projet 160 Gestion des marqueurs de chapitre et de leur vignette Les marqueurs de chapitre représentent une fonctionnalité standard des DVD, des disques Blu-ray et des podcasts. Il vous est possible d’ajouter des marqueurs de chapitre à votre projet afin que, lorsque vous partagez votre film terminé, les spectateurs puissent utiliser les marqueurs pour accéder directement à ces points dans le film. Les applications et les dispositifs qui reconnaissent les marqueurs de chapitre Final Cut Pro lors de la reproduction incluent iTunes, iPod, iPhone, iPad, Apple TV, QuickTime Player, Lecteur DVD Player et la plupart des lecteurs DVD et Blu-ray standard. Les marqueurs de chapitre simplifient le passage à une section voulue. Ils permettent également à Compressor, une application de transcodage professionnelle d’Apple, et à d’autres applications de création de DVD et de disques Blu-ray de créer une liste ou un menu navigable des chapitres, tel qu’un index des chapitres. Cependant, même dans des projets simples dépourvus de menus (tels que les podcasts), les marqueurs de chapitre offrent aux spectateurs et aux auditeurs la possibilité de passer rapidement des sections d’un programme par le biais des boutons Précédent et Suivant à travers leur application ou leur dispositif de lecture. Une vignette de marqueur de chapitre constitue une image fixe qui représente un chapitre particulier. Final Cut Pro vous permet de sélectionner une image vidéo particulière tirée d’un plan ou d’un scénario que vous marquez comme vignette de marqueur de chapitre. Dans les applications ou appareils de reproduction pris en charge, les vignettes de marqueurs de chapitre représentent les chapitres correspondants. Création d’un marqueur de chapitre 1 Ajoutez un marqueur à un plan dans la timeline à l’endroit où vous voulez que le chapitre commence. Par défaut, Final Cut Pro crée un marqueur standard bleu. 2 Pour adapter le marqueur en marqueur de chapitre, double-cliquez dessus puis, lorsque les informations du marqueur s’affichent, cliquez sur le bouton Marqueur de chapitre. Bouton de marqueur de chapitreBouton de tâche à réaliserBouton de marqueur standard Le marqueur se convertit en marqueur de chapitre orange. Définition d'une image de vignette du marqueur de chapitre Après avoir défini un marqueur de chapitre, vous pouvez choisir une image vidéo appropriée pour représenter le chapitre donné. 1 Cliquez une fois sur le marqueur de chapitre dans la timeline pour le sélectionner. Chapitre 8 Montage de votre projet 161 Le marqueur s’agrandit légèrement pour indiquer qu’il est sélectionné, et le repère d’une vignette de marqueur de chapitre apparaît à droite du marqueur de chapitre choisi. Par défaut, la vignette du marqueur de chapitre apparaît 11 images après le marqueur en question. Marqueur de chapitreÉpingle de vignette de marqueur de chapitre 2 Pour définir l’image vidéo représentant la vignette du marqueur de chapitre, faites glisser horizontalement l’épingle dans la timeline. Pendant le glissement, le visualiseur affiche l’image vidéo correspondante. Faites glisser horizontalement l’épingle dans la timeline. Remarque : La vignette de marqueur de chapitre constitue une image composite de l’emplacement en question dans la timeline et inclut les titres et toute autre image superposée. Si le marqueur de chapitre se trouve dans le scénario principal, vous pouvez faire glisser le repère de sa vignette complètement au début ou à la fin du scénario principal. Si le marqueur de chapitre se trouve dans un scénario connecté, vous pouvez faire glisser le repère de sa vignette complètement au début ou à la fin du scénario connecté. Pour en savoir plus sur le partage de votre film une fois terminé, consultez Présentation du partage de projets à la page 394. Correction des problèmes de tremblement excessif et d’obturateur roulant Vous pouvez lisser les tremblements d’un plan en corrigeant les problèmes de stabilisation ou d’obturateur roulant, ou les deux. La fonctionnalité de stabilisation de Final Cut Pro réduit le mouvement de caméra dans votre vidéo de sorte que la lecture des parties tremblantes soit plus fluide. Vous pouvez à tout moment désactiver la stabilisation pour un plan afin qu’il soit lu tel qu’il a été enregistré. Chapitre 8 Montage de votre projet 162 La plupart des caméscopes et des appareils photo intègrent des capteurs d’image CMOS qui exposent progressivement l’image enregistrée, au lieu de le faire en une seule fois. Par conséquent, si la caméra bouge beaucoup pendant l’enregistrement ou si le mouvement enregistré est rapide, une déformation peut se produire. L’image apparaît alors tremblante ou inclinée. Final Cut Pro dispose d’une fonctionnalité d’obturateur roulant permettant de réduire cette déformation du mouvement. Correction d’un plan présentant un tremblement excessif ou une déformation provoquée par un obturateur roulant 1 Si le plan ne figure pas encore dans votre projet, ajoutez-le à la timeline et sélectionnez-le. Remarque : Ces opérations s’appliquent aux sélections de plan complet, et non aux sélections de plage. Pour obtenir plus rapidement des résultats optimaux, isolez la section posant problème en coupant le plan à l’aide de l’outil Lame de rasoir dans la timeline. N’appliquez ensuite la correction qu’à la séquence vidéo à corriger. 2 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît. 3 Dans l’inspecteur vidéo, effectuez l’une des opérations suivantes : •• Pour réduire le tremblement : cochez la case Stabilisation. •• Pour réduire la déformation provoquée par un obturateur roulant : cochez la case Obturateur roulant. Lorsque vous activez l’option Stabilisation ou Obturateur roulant, sa case devient bleue. 4 Pour visualiser la correction, lancez la lecture du plan dans la timeline. Pour désactiver la stabilisation ou les corrections d’obturateur roulant pour un plan, décochez la case Stabilisation ou Obturateur roulant. Vous pouvez affiner les corrections en ajustant les réglages de stabilisation ou le réglage « Niveau d’obturateur roulant ». Ajustement des réglages de stabilisation Vous pouvez régler l’amplitude de la correction que la fonctionnalité de stabilisation applique. La fonctionnalité de stabilisation présente deux phases indépendantes : •• Si vous appliquez la fonctionnalité de stabilisation à un plan, Final Cut Pro analyse alors les pixels dans les images successives pour déterminer la direction du mouvement de la caméra. •• Au cours du rendu ou de la lecture, Final Cut Pro utilise les données d’analyse du mouvement pour appliquer un effet de transformation à chaque image, qui compense le mouvement de la caméra. Chapitre 8 Montage de votre projet 163 Utilisez l’un des trois curseurs indépendants de paramétrage de la stabilisation accessibles dans l’inspecteur vidéo pour contrôler la stabilité de votre prise de vue. Lorsque vous appliquez la stabilisation à un plan, ces trois paramètres sont alors définis selon une valeur moyenne de 2,5 par défaut. Chaque paramètre peut être défini sur une valeur comprise entre 0,0 et 5,0. La valeur égale à 0,0 désactive le paramètre, alors que la valeur 5,0 applique la transformation la plus forte. Plus vous attribuez une valeur élevée à chaque paramètre, plus le mouvement de la caméra est compensé par rapport à cet axe. xTranslationyxRotationyxÉchelleyz 1 Sélectionnez un plan dans la timeline et ouvrez l’inspecteur vidéo. 2 Procédez de l’une des façons suivantes : •• Pour régler le mouvement vertical ou latéral d’une prise de vue (axes X et Y) : faites glisser le curseur Lissage de la conversion. •• Pour ajuster la rotation autour du point central de l’image : faites glisser le curseur Lissage de la rotation. •• Pour adapter le mouvement de la caméra ou de l’objectif vers l’arrière ou vers l’avant (axe Z) : faites glisser le curseur Lissage de l’échelle. Par exemple, si vous souhaitez éliminer le tremblement horizontal, vertical et rotatif, vous devez régler les paramètres « Lissage de la conversion » et « Lissage de la rotation » sur une valeur supérieure à 0. Il est conseillé de procéder à des tests pour savoir quelles sont les valeurs qui stabilisent le mieux votre prise. Remarque : Lorsqu’un plan présente d’un mouvement trop prononcé (panoramique excessif, par exemple), la stabilisation du plan risque de produire des barres noires sur les bords de la vidéo. Pour éviter les barres noires, vous pouvez : •• réduire les valeurs des paramètres « Lissage de la conversion », « Lissage de la rotation » et « Lissage de l’échelle » ; •• couper ou effectuer un trim du plan dans la timeline pour supprimer les sections présentant le plus de tremblement. (Vous pouvez retrouver les sections présentant des tremblements excessifs dans la fenêtre Mots-clés de l’index de la timeline. Cliquez dans ce cas sur les différents mots-clés Tremblement excessif pour sélectionner les plages correspondantes dans la timeline.) •• Rognez les bords de la vidéo stabilisée pour supprimer les barres noires. 9 164 Présentation de l’audio Final Cut Pro possède de nombreuses fonctionnalités conçues pour faciliter le traitement et le montage audio. Par exemple, vous pouvez utiliser Final Cut Pro pour analyser et améliorer automatiquement l’audio afin de résoudre des problèmes tels que le bruit ou des bourdonnements, d’ajouter des effets à vos plans, de synchroniser automatiquement les plans vidéo et les clips audio ou de faire correspondre l’audio entre deux plans. Vous pouvez apporter les modifications suivantes aux clips ou aux composants audio au sein d’un plan : •• Monter plusieurs canaux audio : vous pouvez développer la partie audio de plans pour révéler et monter des composants audio jusqu’au niveau des canaux. Cela vous permet d’appliquer différents effets à divers composants ou canaux et de rationaliser le processus de réalisation d’estampes de son ou autres réglages rapides. Consultez Vue d’ensemble du montage audio à la page 175. •• Réglage du volume : ajustez rapidement le volume d’un plan directement dans la timeline ou dans l’inspecteur audio. Consultez Ajustement du volume à la page 179. •• Balance audio : tirez profit des préréglages intégrés de balance pour le son stéréo et Surround. Consultez Balance audio à la page 184. •• Ajout d’effets audio : ajoutez aux plans des effets Audio Unit, Logic ou personnalisés inclus dans Final Cut Pro, tels que de la réverbération. Consultez Ajout d’effets audio à la page 194. •• Ajout d’images clés pour automatiser le volume et les effets : faites évoluer le volume ou les réglages des effets au cours de la lecture d’un plan. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Remarque : Les fondus ne peuvent être créés que dans des plans. Pour appliquer des fondus entrants ou sortants aux plans à l’aide des poignées de fondu simples d’emploi, consultez Application d’un fondu entrant ou sortant à l’audio à la page 181 Dans Final Cut Pro, les outils utilisés pour le montage audio sont les mêmes que ceux du montage vidéo. Les fonctionnalités de montage indiquées ci-dessous sont présentées dans d’autres sections de l’Aide Final Cut Pro. •• Changement de mode de montage : réglez le mode de montage d’un plan pour vous concentrer sur la vidéo uniquement ou sur l’audio uniquement. Consultez Ajout de plans en mode vidéo uniquement ou audio uniquement à la page 121. •• Ajout de marqueurs aux plans : ajoutez des marqueurs pour baliser des points de références spécifiques dans un clip audio. Pour en savoir plus, consultez Présentation des marqueurs à la page 156. •• Application d’un trim à l’audio : réalisez des montages précis sur la forme d’onde audio, par exemple pour supprimer un son indésirable de l’enregistrement. Consultez Présentation du trim à la page 130. Montage audio Chapitre 9 Montage audio 165 •• Ajout de fondus enchaînés audio : créez une transition fluide reliant deux formes d’onde audio. Consultez Ajout de transitions au projet à la page 215. •• Utilisation de plans composés : les plans composés vous permettent de combiner n’importe quels plans vidéo ou clips audio en un seul plan ou clip composé. Du point de vue audio, les clips composés offrent la possibilité d’appliquer le même effet audio ou les mêmes améliorations à un groupe de clips, de façon analogue à l’application d’un effet ou d’un ajustement à l’ensemble d’un mixage. Consultez Présentation des plans composés à la page 266. •• Exportation de l’audio : vous pouvez exporter le projet sous forme de fichier audio mono, stéréo ou Surround. Vous pouvez également exporter des données en fonction de leur rôle. Consultez Présentation du partage de projets à la page 394. Notions élémentaires sur le montage audio À propos des formes d’onde audio Les formes d’ondes audio constituent des représentations visuelles des sons. Elles s’affichent dans les clips audio des manières suivantes : •• dans la partie inférieure d’un plan vidéo, colorées en bleu ; •• sous forme de plans détachés ou de clips audio uniquement, colorés en vert. Clip audio seulementSection audio d’un plan vidéo Leur amplitude et leur longueur varient selon le volume et la durée du son qu’elles représentent. Un son court et marqué, tel qu’un son de percussion, est représenté par une forme d’onde en pic, alors qu’un bruit de foule étouffé présente une forme d’onde plus basse et prolongée. Ces propriétés permettent de trouver plus facilement des points de montage spécifiques au moment d’appliquer un trim à des plans ou d’ajouter des images clés à des effets. Dans Final Cut Pro, les formes d’onde varient en fonction du niveau de volume d’un plan ou clip ou des effets qui lui sont appliqués. Elles sont plus grandes lorsque le volume est élevé et plus petites lorsque ce dernier est faible. Le montage de clips audio dans la timeline se fait tout d’abord en écoutant un plan lu ou survolé, puis en apportant des modifications au clip en utilisant la forme d’onde comme référence. À propos des canaux audio et des composants audio Les fichiers audio peuvent contenir un seul ou plusieurs canaux audio. Les canaux correspondent d’ordinaire aux entrées micro lors de l’enregistrement ou aux haut-parleurs pour la sortie multicanal. Par exemple, un fichier audio stéréo contient généralement les canaux gauche et droit correspondant ce qui est audible pendant la lecture dans les haut-parleurs de gauche et de droite. Chapitre 9 Montage audio 166 Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Vous pouvez ensuite affiner le volume et la balance séparément ou appliquer et animer avec des images clés différents effets audio pour chaque composant. Pour en savoir plus, consultez Vue d’ensemble du montage audio à la page 175. Le nombre de composants audio que vous pouvez voir correspond au nombre de canaux que vous avez configuré dans votre plan source. Remarque : De nombreux formats courants de fichier audio numérique, tels que l’AAC et le MP3, utilisent des fichiers de stéréo entrelacée, lesquels ne contiennent pas de canaux gauche et droit distincts. Un clip stéréo présentant des canaux gauche et droit entrelacés apparaît sous forme de composant audio simple dans l’inspecteur audio et dans la timeline. Si vous changez la configuration des canaux du clip de Stéréo à Mono dual, les canaux apparaissent alors comme deux composants audio distincts. Composants audio Pour en savoir plus sur la configuration des canaux audio, consultez Configuration des canaux audio à la page 176. Différentes manières d’afficher des clips audio Lorsque vous travaillez avec des formes d’onde audio dans la timeline, vous pouvez réaliser des zooms avant ou arrière ou modifier l’apparence du plan pour agrandir ou réduire la forme d’onde. Final Cut Pro comprend aussi plusieurs manières d’afficher et de travailler avec l’audio et la vidéo à l’intérieur des plans. Vous pouvez : •• développer un plan de sorte à afficher et monter des composants audio jusqu’au niveau des différents canaux ; •• développer un plan pour afficher séparément l’audio et vidéo ; •• détacher l’audio d’un plan vidéo pour travailler sur l’audio et la vidéo séparément ; •• changer l’apparence de l’arrière-plan d’un plan pour afficher la forme d’onde de référence, ce qui facilite la visualisation de formes d’ondes audio lorsque le volume est réduit. Affichage de composants audio développés Vous pouvez développer la partie audio de plans dans Final Cut Pro pour afficher et modifier des composants audio. Vous pouvez afficher les composants audio dans leur forme développée pour les plans synchronisés, les plans multicam et les plans composés. Chapitre 9 Montage audio 167 Procédez de l’une des manières suivantes : mm Sélectionnez le plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). mm Tout en maintenant la touche Option enfoncée, double-cliquez sur la partie audio du plan dans la timeline. Vue du plan normalComposants audio Réduction des composants audio Procédez de l’une des manières suivantes : mm Sélectionnez soit le plan ou l’un de ses composants audio dans la timeline, puis choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). mm Tout en maintenant la touche Option enfoncée, double-cliquez sur l’un des composants audio dans la timeline. Affichage étendu de l’audio et de la vidéo Vous pouvez afficher séparément l’audio et la vidéo d’un même plan dans la timeline en développant les plans qui contiennent de l’audio et de la vidéo. Cela peut s’avérer utile si vous devez zoomer sur des sections audio et réaliser des montages. Remarque : Si vous créez un montage scindé de manière à ce que des sections audio se chevauchent, vous ne verrez clairement les formes d’onde se superposant que si vous choisissez d’afficher l’audio étendu pour les plans scindés. mm Pour développer un seul plan : double-cliquez sur la forme d’onde audio du plan. mm Pour développer un ou plusieurs plans sélectionnés dans la timeline : choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur Contrôle + S). Chapitre 9 Montage audio 168 mm Pour développer tous les plans dans la timeline : choisissez Présentation > Développer les plans audio/vidéo, puis indiquez si vous souhaitez développer l’audio/la vidéo pour tous les plans ou uniquement pour les plans qui se chevauchent. Vue du plan normalPlan avec audio étendu En affichant l’audio étendu, les sections audio et vidéo du plan restent liées. Pour créer un plan audio connecté à part, détachez l’audio. Vous pouvez aussi utiliser l’éditeur de précision pour afficher une vue détachée des sections audio et vidéo du plan. Condensation de l’affichage de l’audio et de la vidéo Vous pouvez réduire la présentation développée de l’audio/la vidéo pour un seul plan, plusieurs plans ou tous les plans de la timeline. mm Pour réduire un seul plan : double-cliquez sur la forme d’onde audio du plan. mm Pour réduire un ou plusieurs plans sélectionnés dans la timeline : choisissez Plan > Condenser l’audio/la vidéo (ou appuyez sur Contrôle + S). mm Pour réduire tous les plans dans la timeline : choisissez Présentation > Condenser tous les plans. Détachement de l’audio de la vidéo Par défaut, Final Cut Pro importe l’audio et la vidéo provenant de la même source sous forme d’un seul plan. Il est facile de détacher l’audio d’un plan vidéo afin de pouvoir réaliser le montage du clip audio séparément dans la timeline. mm Sélectionnez le plan dans la timeline, puis choisissez Plan > Détacher l’audio. Chapitre 9 Montage audio 169 Un nouveau clip audio s’affiche comme clip connecté sous le plan vidéo. Audio dissocié Pour rattacher un clip audio au plan vidéo original, vous devez créer un plan composé. Affichage ou masquage des formes d’onde de référence Une forme d’onde de référence affiche la résolution maximale de la forme d’onde audio active. En faisant appel à un facteur d’annulation sur la tonalité, les formes d’onde de référence permettent de distinguer plus clairement les détails du son. 1 Choisissez Final Cut Pro > Préférences, puis cliquez sur Montage. 2 Cochez la case « Afficher les formes d’onde de référence ». Forme d’onde de référence Lorsque la forme d’onde active change de forme (par exemple, se réduit lorsque le volume d’un plan est faible), sa forme d’onde de référence reste visible pour faciliter le montage. Conseil : Vous pouvez placer tout plan contenant de l’audio au-dessus ou en dessous du scénario principal dans la timeline. Si votre plan contient de la vidéo et qu’il est placé sous le scénario principal, il se peut que la vidéo soit masquée par celle dans le scénario principal, mais l’audio est lu. Si vous placez le plan au-dessus du scénario principal, l’audio est reproduit et la vidéo est lue (au lieu de celle du scénario principal). Affichage des formes d’onde audio au niveau de l’échantillon audio Pour réaliser un montage plus précis, vous pouvez effectuer des zooms dans les clips audio au niveau des échantillons audio. Les échantillons audio présentent la forme d’onde audio à une fraction de seconde (par exemple, 1/48 000 pour l’audio enregistré à une fréquence d’échantillonnage de 48 kHz). Le montage avec une précision à l’échantillon près n’est disponible que pour les clips audio connectés (c’est-à-dire les clips audio ne faisant pas partie du scénario principal) ou les plans composés ne contenant que de l’audio. Chapitre 9 Montage audio 170 Conseil : Lorsque vous travaillez sur de la vidéo, vous pouvez vous baser sur les sous-images (1/80 de la durée d’une image vidéo) dans l’affichage du timecode du panneau de contrôle. Dans la fenêtre Montage des préférences de Final Cut Pro, choisissez l’option de sous-image dans le menu local Affichage du temps. Zoom sur les échantillons audio 1 Choisissez Présentation > Zoom sur les échantillons (ou appuyez sur Option + Z). 2 Sélectionnez le plan dans la timeline. 3 Réalisez un zoom avant jusqu’à ce que le plan affiche la forme d’onde à l’intérieur des bordures d’une image vidéo. Bords d’image Vous pouvez continuer le zoom avant pour afficher plus en détail la forme d’onde. Bords d’image 4 Procédez aux montages du plan ou des ajustements aux effets audio à l’aide d’images clés. Pour désactiver le zoom sur les échantillons, choisissez Présentation > Zoom sur les échantillons (ou appuyez sur Option + Z). Navigation sous-image par sous-image 1 Dans la timeline ou le navigateur d’événements, placez votre pointeur sur un plan et cliquez. 2 Effectuez l’une des opérations suivantes : •• Pour reculer par incréments d’une sous-image : appuyez sur Commande + Flèche gauche. •• Pour avancer par incréments d’une sous-image : appuyez sur Commande + Flèche droite. Affichage et correction des niveaux audio Les VU-mètres audio vous permettent d’afficher et d’effectuer le suivi des niveaux audio des plans et clips dans Final Cut Pro. Ils vous avertissent si un plan particulier ou une section d’un plan atteint le niveau des crêtes, ce qui peut entraîner une distorsion audible. Le nombre de VU-mètres affichés varie en fonction du nombre de canaux configurés pour le plan en cours de lecture. Par exemple, lorsque vous lisez un plan surround dans le navigateur d'événements, six VU-mètres surround sont affichés. Par contre, si vous faites glisser le même plan dans un projet stéréo dans la timeline, Final Cut Pro modifie l'audio pour passer de surround à stéréo et seulement deux VU-mètres sont affichés. Pour en savoir plus, consultez Configuration des canaux audio à la page 176. Chapitre 9 Montage audio 171 Lorsque le volume d’un clip audio s’approche des niveaux de crête au cours de la lecture, la couleur du niveau passe de vert à jaune. Lorsqu’un clip audio dépasse ces niveaux de crête, la couleur du niveau passe de jaune à rouge et les témoins lumineux de crête deviennent rouges pour le ou les canaux audio concernés. Les indicateurs de crête se réinitialisent lorsque vous arrêtez et reprenez la lecture. Réglez le volume de façon à éviter que le volume d’un clip dépasse les niveaux de crête. Bien que le niveau adéquat pour un clip varie en fonction du mixage général désiré, il est important de vous assurer que le niveau combiné de tous les clips ne dépasse pas 0 dB. Final Cut Pro comprend deux VU-mètres, un petit dans le panneau de contrôle de la barre d’outils et un plus grand dans la fenêtre des VU-mètres. Afficher ou masquer les VU-mètres audio Pour afficher les VU-mètres, procédez de l’une des façons suivantes : mm Choisissez Fenêtre > Afficher les VU-mètres. mm Cliquez sur l’icône VU-mètre dans le panneau de contrôle de la barre d’outils. Vous pouvez faire glisser les bords des VU-mètres pour afficher une présentation développée contenant des informations supplémentaires. Niveau Canaux Surround Indicateurs de crête Pour masquer les VU-mètres, choisissez Fenêtre > Masquer les VU-mètres audio, ou cliquez sur l’icône VU-mètre dans le panneau de contrôle de la barre d’outils. Réinitialisation et correction les niveaux de crête mm Sélectionnez le plan dans la timeline, réajustez le niveau, puis relancez la lecture du plan pour vous assurer que les crêtes ont disparu. Dans la timeline et le navigateur d’événements, la ou les sections de forme d’onde d’un plan deviennent jaunes lorsqu’un niveau se rapproche des niveaux de crête ou rouges lorsqu’un niveau dépasse 0 dB. Chapitre 9 Montage audio 172 Isolement et désactivation des clips audio La fonctionnalité Solo permet de désactiver temporairement la lecture audio de tous les plans dans la timeline, excepté ceux que vous avez sélectionnés. Cela est particulièrement utile lors du montage audio si vous disposez de plusieurs clips audio dans la timeline (dialogue et musique de fond, par exemple) et que vous ne souhaitez écouter et modifier que certains clips. Vous pouvez également désactiver le son des clips en les désactivant ces derniers. Les plans désactivés sont invisibles, silencieux et n’apparaissent dans aucune sortie. Solo des plans dans la timeline 1 Sélectionnez un ou plusieurs plans dans la timeline. 2 Procédez de l’une des manières suivantes : •• choisissez Plan > Solo (ou appuyez sur les touches Option + S). •• Cliquez sur le bouton Solo dans la timeline. Bouton Solo Le plan placé en solo s’affiche en surbrillance alors que les autres apparaissent estompés. Plan lu en solo Pour désactiver le solo, cliquez sur le bouton Solo ou choisissez Plan > Solo (ou appuyez sur Option + S) à nouveau. Désactivation de plans 1 Sélectionnez un ou plusieurs plans dans la timeline. Remarque : Si les plans sélectionnés contiennent de l'audio et de la vidéo et que vous souhaitez désactiver le son de l'audio uniquement, choisissez Plan > Détacher l'audio et sélectionner uniquement la portion de l'audio détachée. 2 Choisissez Plan > Désactiver (ou appuyez sur la touche V). Les clips désactivés sont muets et apparaissent estompés dans la timeline. 3 Pour réactiver les clips désactivés, sélectionnez-les dans la timeline et choisissez Plan > Désactiver (ou appuyez sur la touche V). Vous pouvez mettre en solo des plans vidéo dans Final Cut Pro. Pour en savoir plus, consultez Isolement, désactivation et activation de plans à la page 123. Chapitre 9 Montage audio 173 Ajout de l’audio Ajout de la musique et du son Vous pouvez ajouter à votre projet de la musique et des fichiers son directement depuis votre bibliothèque iTunes ou d’autres sources. Final Cut Pro inclut également un certain nombre de bruitages et d’autres effets sonores que vous pouvez utiliser comme clips audio connectés. Si un plan contient de l’audio et de la vidéo, vous avez la possibilité de régler le mode de montage sur audio uniquement pour n’insérer que la partie audio du plan. Ajout de musique et de son à un projet dans la timeline 1 Cliquez sur le bouton Musique et son dans la barre d’outils. 2 Dans le navigateur de musique et son, choisissez un dossier source dans le menu local situé en haut. Par exemple, choisissez iTunes pour parcourir votre collection iTunes. Conseil : Si le dossier que vous recherchez n’est pas visible, vous pouvez l’ajouter à la liste de sources en le faisant glisser depuis le Finder ou le bureau jusque dans le navigateur de musique et son. 3 Dans la liste de sons qui s’affiche, recherchez le son ou la musique que vous désirez : •• Pour rechercher un élément : saisissez votre texte dans le champ de recherche. Pour filtrer votre recherche, cliquez sur le bouton Filtre et choisissez le filtre souhaité. •• Pour obtenir un aperçu d’un élément : double-cliquez sur l’élément ou sélectionnez-le et cliquez sur le bouton Lecture . •• Pour sélectionner plusieurs éléments : cliquez sur chaque élément tout en maintenant la touche Commande enfoncée. 4 Faites glisser le ou les fichiers de son vers la timeline. Remarque : Pour de meilleures performances en lecture et à l’importation, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV et conserve les fichiers MP3 originaux pour une utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de données originaux et des fichiers de données transcodés, consultez la section Emplacement de vos fichiers de média et de projet à la page 407. Enregistrement de l’audio Vous pouvez réaliser des enregistrements audio directement dans Final Cut Pro à partir de sources d’entrée telles que des micros intégrés et externes. Les fichiers audio enregistrés s’affichent dans le navigateur d’événements et sous forme de plans connectés dans la timeline. Cette fonctionnalité est particulièrement utile pour l’enregistrement de narration en voix off. Enregistrement de l’audio en direct 1 Placez la tête de lecture à l’endroit où vous souhaitez commencer l’enregistrement dans la timeline. Chapitre 9 Montage audio 174 2 Choisissez Fenêtre > Enregistrer l’audio. Cliquez sur le bouton Enregistrement pour lancer ou interrompre l’enregistrement. 3 Si nécessaire, ajustez les paramètres d’entrée en procédant de l’une des manières suivantes : •• Pour modifier l’emplacement auquel l’enregistrement est sauvegardé : choisissez un dossier d’événement dans le menu local Destination. •• Pour modifier le dispositif d’entrée ou le nombre de canaux d’entrée (mono ou stéréo) : choisissez une option dans le menu local Appareil d’entrée. •• Pour ajuster le niveau d’entrée du micro : faites glisser le curseur Gain vers la droite pour augmenter le niveau d’entrée ou vers la gauche pour le diminuer, en utilisant les VU-mètres pour contrôler et corriger les niveaux audio. 4 Si nécessaire, ajustez les paramètres de sortie en procédant de l’une des manières suivantes : •• Pour écouter la sortie lors de l’enregistrement : cochez la case Contrôle. Remarque : Si les sources d’entrée et de sortie sont proches l’une de l’autre (comme dans le cas de micro et de haut-parleurs intégrés), un effet Larsen risque de se produire. •• Pour modifier le dispositif de sortie ou le nombre de canaux de sortie (mono ou stéréo) : Choisissez une option dans le menu local Contrôle. •• Pour ajuster le niveau de sortie : faites glisser le curseur Gain vers la droite pour augmenter le niveau de sortie ou vers la gauche pour le diminuer. 5 Pour démarrer l’enregistrement, cliquez sur le bouton Enregistrer. 6 Pour arrêter l’enregistrement, cliquez à nouveau sur le bouton Enregistrer (ou appuyez sur la barre d’espace). Vos enregistrements audio sont alors connectés au scénario principal au niveau de la tête de lecture. Chapitre 9 Montage audio 175 Modification de clips audio ou de composants audio Vue d’ensemble du montage audio Pour monter de l’audio dans Final Cut Pro, suivez l’une des deux façons détaillées ci-dessous. Montage audio au niveau des plans Vous pouvez procéder à des réglages et à des montages sur des plans entiers. À ce niveau, les réglages et les effets audio s’appliquent à l’intégralité du plan, y compris à tous les canaux audio inclus dans le plan. Final Cut Pro conserve tous les réglages que vous appliquez aux différents canaux audio. En d’autres termes, si vous réduisez le volume pour un seul canal mais que vous l’augmentez pour le plan entier, le volume du canal en question est également augmenté mais en respectant la proportion du volume des autres canaux du plan. Si votre média source ne contient qu’un ou deux canaux audio ou si vous montez un plan ne contenant que de l’audio (clip audio), vous n’aurez probablement besoin que de procéder aux réglages et aux montages à ce niveau. Montage audio multicanal avancé Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. Cela vous permet d’appliquer différents effets à divers composants et de rationaliser le processus d’application d’estampes de son rapides à une seule entrée micro ou autres réglages plus fins. Important : De nombreux formats de fichier audio numérique, tels que l’AAC et le MP3, utilisent des fichiers de stéréo entrelacée, lesquels ne contiennent pas de canaux gauche et droit distincts. Ces fichiers apparaissent sous forme d’un seul composant audio à moins que vous ne modifiiez la configuration des canaux du clip. Gardez à l’esprit les points suivants lors du montage de composants audio dans Final Cut Pro : •• Vous pouvez visualiser et modifier la configuration des canaux audio de vos plans dans l’inspecteur audio. Vous pouvez changer le nom des composants audio, en ajouter ou supprimer, mais aussi configurer les canaux aux formats mono, stéréo et Surround. Consultez Configuration des canaux audio à la page 176. •• À l’aide de l’outil Sélection de plage (outil d’édition par défaut), il vous est possible de sélectionner les plages dans un composant audio pour cibler l’audio à modifier. •• Vous pouvez monter des composants audio pour les plans synchronisés, les plans multicam et les plans composés. •• Pour modifier des composants audio, vous pouvez procéder de la même façon que pour les plans entiers. Vous pouvez : •• survoler des composants précis lorsque les survols de plan et audio sont activés. Consultez Survol du média à la page 81. •• ajuster le volume d’un composant. Consultez Ajustement du volume à la page 179. •• désactiver l’audio d’un composant en désactivant ce dernier partiellement ou dans son intégralité. Il s’agit de la méthode la plus rapide pour supprimer des sons indésirables d’un composant. Consultez Isolement, désactivation et activation de plans à la page 123. •• effectuer la balance du son pour différents composants. Consultez Balance audio à la page 184. Chapitre 9 Montage audio 176 •• Attribuer un rôle, tel que Dialogue, Musique ou Effets, à un composant dans l’inspecteur d’informations (ou via le menu Modifier lorsque le plan contenant le composant audio se trouve dans la timeline). Consultez Utilisation de rôles pour organiser des plans et exporter des fichiers audio à la page 193. •• ajouter ou régler les effets audio de composants précis. Consultez Ajout d’effets audio à la page 194 ou Ajustement des effets audio à la page 196. •• régler les effets audio de composants précis à l’aide d’images clés. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Pour voir des exemples de flux de travail de montage audio multicanal, consultez Exemples de montage audio multicanal à la page 187. Configuration des canaux audio Final Cut Pro assigne une configuration de canaux par défaut aux clips audio lorsque ceux-ci sont importés ou ajoutés à un projet. Il vous est possible de modifier la configuration des canaux, par exemple, si vous souhaitez convertir un clip de dialogue stéréo en deux canaux mono. Final Cut Pro regroupe automatiquement les canaux en composants audio en fonction de la configuration des canaux pour le plan. Pour en savoir plus, consultez À propos des canaux audio et des composants audio à la page 165. En plus de modifier la configuration des canaux, vous pouvez aussi afficher et écouter les composants audio, en ajouter ou en supprimer et les renommer. Modification de la configuration des canaux Le nombre d’options que vous pouvez configurer dépend du nombre de canaux présents dans votre plan source ou votre plan composé. Vous pouvez configurer les canaux dans plusieurs formats, notamment : •• Mono : un seul canal. Dans une configuration de son Surround, vous pouvez affecter un canal mono à n’importe quel canal Surround. •• Stéréo : canaux gauche et droit. •• Surround 5.1 : canaux gauche, central, droit, Surround gauche, Surround droit et effets basse fréquence (caisson de basse). •• Surround 7.1 : canaux gauche, central, droit, Surround gauche, Surround droit, arrière gauche, arrière droit et effets basse fréquence (caisson de basse). Si vous configurez plus de six canaux Surround, Final Cut Pro ajuste automatiquement le mixage des canaux pour obtenir une configuration Surround 5.1 pendant la lecture. Important : La modification de la configuration des canaux réinitialise tous les réglages et les montages effectués sur les composants audio (notamment les effets appliqués, les plages désactivées, les réglages d’images clés et les noms personnalisés). 1 Sélectionnez le plan dans la timeline. 2 Dans la section Configuration des canaux de l’inspecteur audio, sélectionnez une option dans le menu local Canaux. Chapitre 9 Montage audio 177 Les canaux apparaissent dans l’inspecteur audio sous forme de composants audio, chacun avec sa propre forme d’onde. Si vous avez un plan incluant des canaux Surround et comptez attribuer un canal mono à un canal Surround particulier, sélectionnez la forme d’onde du canal mono, puis choisissez un canal Surround dans le menu local Canaux. Remarque : Pour modifier la configuration des canaux d’un plan composé, désélectionnez tout d’abord l’option « Utiliser la présentation Plan de l’événement » dans le menu local Canaux, puis choisissez une autre configuration. Pour réinitialiser une configuration, cliquez sur le bouton Réinitialiser . Affichage et écoute d’un composant audio 1 Sélectionnez le plan dans la timeline. 2 Dans la section Configuration des canaux de l’inspecteur audio, cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio, puis effectuez le survol ou lancez la lecture de l’un d’entre eux à l’aide de la barre d’espace ou des touches J, K et L. Faites défiler pour prévisualiser. Ajout ou suppression d’un composant audio Vous pouvez ajouter ou supprimer des composants audio d’un plan. Par exemple, il peut s’avérer judicieux de supprimer les composants inutilisés d’un plan ou d’ajouter des composants tirés d’angles inactifs à l’angle actif dans un plan multicam. Par défaut, tous les composants audio actifs dans un plan apparaissent sélectionnés dans l’inspecteur audio. Ils sont repris dans le même ordre lorsque le plan est développé pour afficher les composants audio dans la timeline. Pour en savoir plus sur l’affichage de composants audio, consultez Différentes manières d’afficher des clips audio à la page 166. Chapitre 9 Montage audio 178 Lorsque vous supprimez un composant audio, celui-ci est estompé dans l’inspecteur audio mais est supprimé de l’agencement des composants du plan dans la timeline. 1 Sélectionnez le plan dans la timeline. 2 Dans la section Configuration des canaux de l’inspecteur audio, cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio. 3 Procédez de l’une des manières suivantes : •• Pour supprimer un composant : décochez la case en regard de la forme d’onde d’un composant. •• Pour ajouter un composant : cochez la case en regard de la forme d’onde d’un composant. Sélectionnez pour ajouter ou supprimer un composant audio. Réattribution du nom d’un composant Procédez de l’une des manières suivantes : mm Dans la section Configuration des canaux de l’inspecteur audio : cliquez sur le triangle d’affichage en regard du nom du plan pour révéler ses composants audio, double-cliquez sur le nom de celui à renommer, puis saisissez un nouveau nom. Attribuez un nouveau nom au composant audio dans le champ. mm Dans un plan repris dans la timeline, avec ses composants audio développés : cliquez sur le composant audio tout en maintenant la touche Contrôle enfoncée, puis choisissez Renommer le composant dans le menu contextuel et saisissez un nouveau nom. Pour en savoir plus sur l’affichage de composants audio, consultez Différentes manières d’afficher des clips audio à la page 166. Important : Si vous modifiez par la suite la configuration des canaux, tous les noms personnalisés des composants audio sont alors réinitialisés et reprennent leur nom de d’origine. Chapitre 9 Montage audio 179 Vous pouvez aussi choisir une configuration de canaux lorsque vous exportez des rôles sous forme de stems audio pour le mixage ou la postproduction. Pour en savoir plus, consultez Utilisation de rôles pour organiser des plans et exporter des fichiers audio à la page 193. Si la configuration de canaux choisie pour des fichiers exportés est différente de celle des fichiers source, les canaux sont exportés de la manière suivante : •• Source stéréo exportée en Surround : les canaux de gauche et de droite sont exportés dans les canaux de gauche et de droite du fichier Surround. •• Source Surround exportée en stéréo : la source Surround est exportée en tant que mix stéréo (canaux gauche et droite). •• Source stéréo ou Surround exportée en mono : la source stéréo ou Surround est exportée en tant que mix mono (un seul canal). Ajustement du volume Vous pouvez ajuster les niveaux de volume des clips audio depuis le navigateur d’événements, la timeline, l’inspecteur audio ou le menu Modifier. Les réglages de volume que vous réalisez dans l’inspecteur audio ou le menu Modifier s’appliquent à toute la sélection. Pour effectuer des ajustements plus précis, vous pouvez créer des images clés dans le clip, puis ajuster les points entre les images clés. Consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Vous pouvez utiliser les VU-mètres pour vous assurer que le volume ne dépasse pas les crêtes, ce qui pourrait entraîner une distorsion notable du son. Ajustement du volume dans la timeline mm Faites glisser verticalement la commande du volume (la ligne horizontale qui traverse la forme d’onde audio). Ce faisant, le niveau de décibels s’affiche et la forme d’onde change en fonction de vos ajustements. Contrôle du volume Si vous ajustez le volume entre deux images clés, les variations de la ligne de volume s’adaptent, traduisant les changements de volume entre les images clés. Ajustement du volume à l’aide du menu Modifier ou du clavier 1 Sélectionnez un ou plusieurs clips audio ou plans vidéo contenant de l’audio dans la timeline. 2 Choisissez Modifier > Volume, puis sélectionnez Vers le haut ou Vers le bas, ou appuyez sur Contrôle + signe égal (=) ou sur Contrôle + Tiret (-). Le volume est augmenté ou réduit de 1 dB. Si plusieurs clips ou plans sont sélectionnés, le volume est ajusté pour chacun d’eux. Chapitre 9 Montage audio 180 Ajustement du volume dans l’inspecteur audio 1 Sélectionnez un ou plusieurs clips audio ou plans vidéo contenant de l’audio dans le navigateur d’événements ou la timeline. 2 Dans l’inspecteur audio, procédez de l’une des façons suivantes : •• Saisissez une valeur dans le champ Volume. Si plusieurs clips ou plans sont sélectionnés, le volume de chacun d’eux est réglé sur la valeur saisie. •• Faites glisser le curseur Volume vers la droite pour augmenter le volume ou vers la gauche pour le diminuer. Si plusieurs clips ou plans sont sélectionnés, le volume de chacun d’eux est augmenté ou réduit par rapport à sa valeur d’origine. Curseur de volume Ajustement automatique du volume sur une zone sélectionnée Pour ajuster le volume d’un plan de la timeline, vous pouvez utiliser l’outil Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée. 1 Sélectionnez le plan dans la timeline. 2 Choisissez Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche R). Le pointeur prend la forme de l’outil Sélection de plage . 3 Faites glisser le pointeur sur la zone où vous voulez ajuster le volume. 4 Ajustez le volume de la plage en déplaçant verticalement la commande horizontale. Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. Chapitre 9 Montage audio 181 Réinitialisation de tous les réglages du volume 1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans le navigateur d’événements ou la timeline. 2 Cliquez sur le bouton Réinitialiser dans la section Volume et balance de l’inspecteur audio. Application d’un fondu entrant ou sortant à l’audio Il existe plusieurs moyens de créer des fondus entrants ou sortants dans la partie audio des plans dans Final Cut Pro : •• Fondus enchaînés automatiques durant les transitions : lorsque vous ajoutez une transition à un plan vidéo contenant de l’audio, Final Cut Pro applique automatiquement une transition en fondu enchaîné à la partie audio. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Consultez Ajout de transitions au projet à la page 215. •• Fondus enchaînés : lors du trim de la forme d’onde audio dans des plans, il est possible d’appliquer un fondu enchaîné au point de montage. Consultez Présentation du trim à la page 130. •• Poignées de fondu : Vous pouvez créer rapidement des fondus entrants et sortants pour la portion audio des clips dans la timeline en utilisant les poignées de fondu qui s’affichent lorsque vous placez le pointeur sur le coin supérieur gauche ou droit d’une forme d’onde audio. Poignée de fonduPoignée de fondu Vous pouvez aussi modifier la forme du fondu en sélectionnant l’une des options prédéfinies. La modification de la forme du fondu change le son du fondu. Remarque : les fondus créés au moyen de poignées de fondu sont prioritaires par rapport aux fondus enchaînés créés par des transitions. Création d’un fondu à l’aide des poignées de fondu mm Faites glisser la poignée de fondu sur le point du plan où vous souhaitez que le fondu commence ou se termine. Les poignées de fondu placées au début d’un plan créent un fondu entrant, tandis que celles placées à la fin d’un plan génèrent un fondu sortant. Fondu entrantFondu sortant Chapitre 9 Montage audio 182 Les fondus complètent les ajustements de volume déjà effectués sur un clip audio. Par exemple, si vous avez auparavant baissé le volume au début d’un clip, le fondu entrant augmente le volume du silence (–∞ dB) jusqu’au niveau déjà spécifié. Création manuelle d’un fondu enchaîné à l’aide des poignées de fondu 1 Sélectionnez les deux plans adjacents sur la timeline, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur Contrôle + S). Les plans apparaissent alors sous leur forme développée. 2 Faites glisser le point d’arrivée du premier plan vers la droite et le point de départ du deuxième plan vers la gauche de sorte que les parties audio des plans se chevauchent. Remarque : veillez à bien ajuster la superposition audio à la durée voulue. Chapitre 9 Montage audio 183 3 Faites glisser les poignées de fondu sur les points où vous souhaitez que le fondu commence et se termine. Fondu enchaînéPoignée de fondu Pour modifier la forme du fondu de chaque plan, suivez les instructions reprises immédiatement ci-dessous. Changement de la forme d’un fondu à l’aide de poignées de fondu mm Cliquez sur une poignée de fondu en maintenant la touche Contrôle enfoncée, puis choisissez une option de fondu dans le menu contextuel : •• Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu. •• Courbe S : atténuation en entrée et en sortie du fondu avec point intermédiaire à 0 dB. •• +3 dB : commence rapidement, puis ralentit progressivement vers la fin. Il s’agit du réglage le plus utile pour les fondus rapides. •• –3 dB : commence lentement, puis accélère vers la fin. Il s’agit du réglage par défaut, le plus adapté pour conserver un volume naturel lors de l’application d’un fondu croisé entre deux clips adjacents. Chapitre 9 Montage audio 184 Changement de la forme de fondu d’un fondu enchaîné de transition 1 Sélectionnez une transition dans la timeline, puis procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). •• Dans la barre d’outils, cliquez sur le bouton Inspecteur. 2 Dans la section Fondu audio de l’inspecteur de transition, choisissez une option de fondu dans les menus locaux Type de fondu entrant et Type de fondu sortant : •• Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu. •• Courbe S : atténuation en entrée et en sortie du fondu avec point intermédiaire à 0 dB. •• +3 dB : commence rapidement, puis ralentit progressivement vers la fin. Il s’agit du réglage le plus utile pour les fondus rapides. •• –3 dB : commence lentement, puis accélère vers la fin. Il s’agit du réglage par défaut, le plus adapté pour conserver un volume naturel lors de l’application d’un fondu croisé entre deux clips adjacents. Balance audio La balance audio vous permet de distribuer le son à travers le spectre stéréo ou Surround pour l’équilibrer ou générer un effet particulier. Par exemple, vous pouvez placer plus de son dans le canal droit d’un clip stéréo ou moins de son dans le canal central d’un clip Surround. Final Cut Pro intègre un décodeur de son Surround permettant de choisir parmi plusieurs modes de préréglage de la balance stéréo et Surround que vous pouvez appliquer aux clips dans l’inspecteur audio. Les préréglages de balance vous permettent de recréer dynamiquement des champs sonores Surround à partir d’un contenu source stéréo. Lorsque vous modifiez le mode de balance dans l’inspecteur audio, le réglage est appliqué à l’ensemble de la sélection. Pour réaliser des ajustements plus précis, vous pouvez ajouter des images clés à l’aide de l’éditeur d’animation audio ou de l’inspecteur audio, puis effectuer les ajustements nécessaires dans l’inspecteur audio. Balance audio pour la stéréo 1 Sélectionnez le clip audio. 2 Dans l’inspecteur audio, choisissez Stéréo gauche/droite dans le menu local Mode de balance. 3 Déplacez le son vers la gauche ou la droite en effectuant l’une des opérations suivantes : •• Saisissez une valeur dans le champ Quantité de balance. •• Déplacez horizontalement le curseur Quantité de balance. Balance audio pour le son Surround 1 Sélectionnez le clip audio. 2 Dans le menu local Mode de balance de l’inspecteur audio, choisissez l’une des options présentées ci-dessous : •• Créer de l’espace : distribue le signal à travers le spectre Surround, en concentrant le signal au centre et dans les canaux frontaux gauche et droit. Ce réglage est utile pour réaliser un mixage Surround général à partir de n’importe quelle source stéréo. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral). Chapitre 9 Montage audio 185 •• Dialogue : concentre le signal dans le canal central du spectre Surround de sorte que le son direct se trouve au centre et que le son ambiant soit réparti entre les autres canaux. Ce réglage est idéal pour les voix off et les clips contenant des dialogues. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (tout le son concentré dans le canal central). •• Musique : répartit un signal stéréo mélangé sur tout le spectre Surround. Ce réglage est idéal pour convertir de la musique stéréo en un mixage Surround. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral). •• Ambiance : balayage du spectre Surround en concentrant le signal sur les canaux Surround et en réduisant le signal vers les canaux frontaux et centraux. Ce réglage est utile pour les effets tels que les bruits de foule ou les environnements extérieurs. La plage de réglage du curseur Quantité de balance s’étend de 0 (aucun effet) à 100 (champ Surround intégral). •• Cercle : balayage du son en cercle autour du spectre Surround comme une abeille tournant autour de la tête de l’auditeur. Le curseur Quantité de balance permet d’ajuster la direction par rapport à l’auditeur en degrés (-180 à 180). •• Rotation : balayage autour du spectre Surround comme si l’auditeur tournait en rond. Le curseur Quantité de balance permet d’ajuster la rotation de l’auditeur en degrés (-180 à 180). •• Retour vers l’avant : balayage de l’arrière vers l’avant à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (arrière) à 100 (avant). •• Surround gauche vers avant droit : Balayage du Surround gauche vers l’avant droit à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (Surround gauche) à 100 (avant droit). •• Surround droit vers avant gauche : Balayage du Surround droit vers l’avant gauche à travers le spectre Surround. La plage de réglage du curseur Quantité de balance s’étend de -100 (Surround droit) à 100 (avant gauche). 3 Pour ajuster la quantité de balance, effectuez l’une des opérations suivantes : •• Saisissez une valeur dans le champ Quantité de balance. •• Déplacez horizontalement le curseur Quantité de balance. Les réglages Quantité de balance varient en fonction du mode de balance choisi. Ajustement du son Surround à l’aide du panner Surround Dans l’inspecteur audio, vous pouvez utiliser le panner Surround pour modifier le champ sonore Surround ou effectuer des ajustements avancés à l’aide des curseurs. À l’aide du panner Surround, vous pouvez modifier les niveaux de balance en déplaçant une commande représentant l’origine apparente du son dans une configuration réelle de haut-parleurs Surround. 1 Choisissez un préréglage Surround parmi ceux proposés dans le menu local Mode de balance. 2 Pour ouvrir le panner Surround, cliquez sur le triangle d’affichage en regard de l’élément dans la section Volume et balance de l’inspecteur audio. Cliquez ici pour afficher le Panner Surround. Chapitre 9 Montage audio 186 3 Effectuez l’une des opérations suivantes : •• Pour effectuer des ajustements dans le panner Surround : faites glisser la commande dans le champ Surround pour déplacer la balance vers certains canaux Surround ou l’éloigner de ceux-ci (gauche, central, droit, Surround gauche ou Surround droit, représentés par des icônes de haut-parleur). Cliquez sur une icône de haut-parleur pour l’activer ou la désactiver. Faites glisser pour déplacer la source sonore. Pour ramener la commande à sa position centrale, double-cliquez dessus. •• Pour effectuer des ajustements avancés : cliquez sur le triangle d’affichage Avancé situé sous le panner Surround, puis faites glisser horizontalement les curseurs des paramètres suivants : •• Original/Décodé : règle la balance entre les signaux originaux et les signaux décodés. Le curseur peut être ajusté de –100 (signal original uniquement) à 100 (centre décodé et signaux Surround uniquement). À 0, le signal est équilibré de façon égale entre les signaux originaux et les signaux décodés. •• Ambient/Direct : règle la balance entre les signaux Surround décodés et les signaux centraux. Le curseur peut être ajusté de -100 (signal Surround uniquement) à 100 (signal central uniquement). À 0, le signal est équilibré de façon égale entre les signaux centraux et les signaux Surround. •• Largeur Surround : spécifie quelle valeur de séparation (exprimée en dB) existe entre les signaux Surround décodés. À 0 dB, il existe une séparation complète entre les signaux centraux et les signaux Surround, mais chaque signal Surround est mono. Pour accroître l’effet stéréo dans les canaux Surround gauche et droit, vous pouvez augmenter la valeur du paramètre. Cela aura également pour effet de dévier une partie du signal du canal central vers les canaux Surround. •• Balance LFE : ajuste les signaux des effets de fréquence faible (subwoofer) de -1 (aucun signal envoyé vers le canal LFE) à 1 (tous les signaux envoyés vers le canal LFE). Lorsque le curseur est centré sur 0, le signal est distribué de façon égale entre les cinq canaux et le canal LFE. •• Rotation : fait tourner tous les signaux Surround vers la gauche ou la droite de façon circulaire. Lorsque le curseur est placé à l’extrémité gauche ou droite (respectivement -180 degrés ou 180 degrés), le signal Surround tourne vers le canal central et le signal central tourne vers les canaux Surround. À 0 degré (curseur placé au centre), aucune rotation n’est effectuée. •• Répartition stéréo : règle la quantité d’effet stéréo des canaux gauche et droit vers les haut-parleurs Surround et central. Chapitre 9 Montage audio 187 •• Atténuer/Condenser : ajuste la façon dont l’effet de balance est mis en oeuvre. À 0, les signaux source sont atténués (ce qui signifie que les signaux du canal original deviennent plus forts et plus doux mais ne sont pas réellement déviés vers d’autres canaux). À 100, les signaux source sont condensés (ce qui signifie que les signaux des canaux originaux ne sont pas modifiés en volume, mais plutôt qu’ils sont déplacés vers d’autres canaux dans la direction de la balance). •• Balance au centre : règle la balance entre les signaux centraux et les signaux Surround. Le curseur peut être réglé de -100 (tous les signaux centraux envoyés vers les canaux Surround) à 100 (tous les signaux Surround envoyés vers le canal central). À 0, le signal est équilibré de façon égale entre les canaux centraux et les canaux Surround. Lorsque vous ajustez les paramètres avancés, le mode de balance indique qu’il a été modifié. Réinitialisation des réglages de la balance mm Pour réinitialiser un mode de balance modifié : choisissez un autre préréglage dans le menu local Mode de balance. Le curseur Quantité de balance n’est pas affecté. mm Pour ne réinitialiser que les ajustements du panner Surround : cliquez sur le bouton Réinitialiser dans la section Panner Surround de l’inspecteur audio. mm Pour réinitialiser tous les réglages : cliquez sur le bouton Réinitialiser en haut de la section Volume et balance de l’inspecteur audio. Vous pouvez contrôler les niveaux des canaux stéréo et son Surround à l’aide des Vu-mètres audio. Exemples de montage audio multicanal Les exemples ci-dessous traitent de flux de production pour le montage audio multicanal dans Final Cut Pro. Exemple : Suppression de bruit indésirable d’un composant audio donné Remarque : Pour effectuer le survol d’un composant audio particulier, assurez-vous que les survols de plan et audio sont tous deux activés. Pour en savoir plus, consultez Survol du média à la page 81. 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Survolez ou lancez la lecture du composant audio pour rechercher l’emplacement spécifique où le bruit se produit. Chapitre 9 Montage audio 188 3 Faites glisser le pointeur dans le composant pour sélectionner la plage où le bruit se produit. 4 Procédez de l’une des manières suivantes : •• Pour désactiver la partie du composant où le bruit se produit : appuyez sur la touche V (ou appuyez sur la touche Supprimer). La désactivation d’une plage sélectionnée coupe tout son s’inscrivant dans la plage. Remarque : Pour réactiver le son sur la plage, appuyez sur la touche V (ou appuyez sur Commande + Z). •• Pour ajuster le volume dans la plage choisie : faites glisser verticalement la commande horizontale. Chapitre 9 Montage audio 189 Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. 5 Lancez la lecture du plan pour vérifier vos modifications à l’écoute. 6 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). Exemple : Trim audio dans un composant audio 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Positionnez le pointeur sur le bord du composant audio sur lequel effectuer un trim. Le pointeur prend la forme de l’outil Trim . 3 Faites glisser pour effectuer le trim sur la section. La section à laquelle est appliqué un trim est désactivée (coupant ainsi tous les sons de la section en question) et apparaît estompée dans la timeline. Pour annuler votre trim, appuyez sur Commande + Z. Chapitre 9 Montage audio 190 4 Lancez la lecture du plan pour vérifier vos modifications à l’écoute. 5 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). Exemple : Application d’un montage Roll à tous les composants audio 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Positionnez le pointeur sur le bord de la partie audio du plan auquel appliquer le montage. Le pointeur prend la forme de l’outil Trim . 3 Maintenez la touche Maj enfoncée et faites glisser pour rembobiner le point de montage pour la partie audio du plan. Le point de montage est déplacé sur le nouvel emplacement, coupant ainsi l’audio à la fin du plan. La partie vidéo du plan ne se voit pas affectée par cette modification. Pour annuler votre montage, appuyez sur Commande + Z. 4 Lancez la lecture du plan pour vérifier vos modifications à l’écoute. 5 Pour réduire les composants audio après avoir terminé vos réglages, choisissez Plan > Réduire les composants audio (ou appuyez sur Option + Contrôle + S). Exemple : ajout ou suppression des composants audio d’un plan multicam Lorsque vous créez un plan multicam contenant plusieurs composants audio, vous pouvez faire appel au visualiseur d’angle ou à l’inspecteur audio pour ajouter à des angles actifs des composants audio tirés d’angles inactifs. Cela simplifie l’ajout d’audio de plusieurs plans source dans votre plan multicam tout en conservant l’angle vidéo actif. Il vous est également possible de supprimer des composants audio de l’angle actif afin d’éliminer de l’audio indésirable ou inutilisé. Chapitre 9 Montage audio 191 Avant de commencer, vous pouvez procéder à des réglages de la configuration des canaux des composants audio dans vos plans source repris dans le navigateur d’événements, à l’aide de l’inspecteur audio. Pour en savoir plus, consultez Configuration des canaux audio à la page 176. 1 Faites glisser un plan multicam du navigateur d’événements sur la timeline. 2 Pour ouvrir le visualiseur d’angle, procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Affichage du visualiseur > Afficher les angles (ou appuyez sur Commande + Maj + 7). •• Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur. L’angle actif apparaît encadré en jaune. Angle actif dans le visualiseur d’angle 3 Pour activer l’audio seulement dans le visualiseur d’angle, cliquez sur le bouton de droite de changement de mode situé dans le coin supérieur gauche. Cliquez pour autoriser le passage à l’audio uniquement. 4 Pour ouvrir l’inspecteur audio, procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Audio situé en haut de la fenêtre Inspecteur. •• Cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Audio situé en haut de la fenêtre Inspecteur. L’audio correspondant à l’angle actif dans le visualiseur d’angle apparaît en surbrillance dans la section Configuration des canaux de l’inspecteur audio. Chapitre 9 Montage audio 192 5 Pour révéler les composants audio de l’angle actif, cliquez sur le triangle d’affichage en regard du nom du plan source de l’angle actif. Cliquez pour afficher les composants audio pour l’angle actif. 6 Pour ajouter les composants audio d’angles inactifs, effectuez l’une des opérations suivantes : •• Dans le visualiseur d’angle : maintenez les touches Commande et Option enfoncées et cliquez sur un ou des angles inactifs. •• Dans l’inspecteur audio : cochez la case en regard de chaque composant audio à ajouter. Dans cet exemple, l’angle dont vous avez ajouté l’audio est mis en surbrillance verte dans le visualiseur d’angle et les composants audio ajoutés sont indiqués dans l’inspecteur audio. Composants audio ajoutés à l’angle actifComposants audio ajoutés à l’angle actif Chapitre 9 Montage audio 193 Les composants audio ajoutés apparaissent également dans l’agencement des composants du plan multicam de la timeline. (Pour afficher les composants audio sous leur forme développée, choisissez Plan > Développer les composants audio, ou appuyez sur Option + Contrôle + S.) Composants audio ajoutés à la timeline 7 Pour supprimer un composant audio de l’angle actif, effectuez l’une des opérations suivantes : •• Dans le visualiseur d’angle : Maintenez les touches Commande et Option enfoncées et cliquez sur l’angle (en surbrillance verte) dont vous souhaitez supprimer l’audio. •• Dans l’inspecteur audio : décochez la case en regard du composant audio à supprimer. Une fois un composant supprimé, celui-ci est estompé dans l’inspecteur audio, et l’angle ne s’affiche plus en surbrillance verte dans le visualiseur d’angle. Le composant disparaît également de l’agencement des composants du plan multicam de la timeline. Utilisation de rôles pour organiser des plans et exporter des fichiers audio Final Cut Pro attribue un rôle audio (Dialogue, Musique ou Effets) à la partie audio des plans lors de l’importation. Si la possibilité d’attribuer des rôles simplifie l’organisation des plans en fonction du type audio, son plus grand avantage réside toutefois dans la facilité avec laquelle vous pouvez exporter des fichiers séparés (appelés stems) depuis Final Cut Pro pour tous les plans d’effets, de musique et de dialogues. Ce processus est souvent utilisé lorsqu’il s’agit de livrer des fichiers correspondant à certaines spécifications de diffusion ou de remettre des stems en vue du mixage ou de la postproduction. Vous pouvez utiliser des rôles pour les flux de production suivants : •• Réaffectation de rôles : Vous pouvez visualiser et réaffecter les rôles d’un plan dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Vous avez également la possibilité d’afficher et de réattribuer un rôle pour un composant audio dans l’inspecteur d’informations (ou via le menu Modifier lorsque son plan de ce composant se trouve dans la timeline). Consultez Affichage et réattribution de rôles à la page 311. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés pour organiser davantage vos plans. •• Afficher et organiser des plans en fonction du rôle : l’index de la timeline vous permet d’organiser des plans en fonction du rôle, d’activer ou de désactiver des rôles et de mettre des plans en surbrillance ou de les minimiser en vue de leur affichage dans la timeline. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage des plans en fonction du rôle dans la timeline à la page 316. Chapitre 9 Montage audio 194 •• Exporter des stems : Il est possible d’exporter des rôles sous forme de stems soit dans un fichier QuickTime multipiste combiné, soit dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Consultez Présentation du partage de projets à la page 394. Ajout et ajustement d’effets audio Ajout d’effets audio Outre les fonctionnalités d’amélioration audio intégrées de Final Cut Pro, vous pouvez tirer profit des effets intégrés à OS X 64 bits et des effets Audio Units (AU) tiers pour vos tâches de traitement audio. Final Cut Pro comprend aussi une large gamme d’effets audio personnalisés et d’effets Logic professionnels qui constituent des effets et des processeurs de traitement des signaux numériques utilisés pour colorer les enregistrements et les sources audio en temps réel ou faire adopter à leur tonalité une forme. Parmi les options de traitement les plus courantes, on trouve la réduction du bruit, la correction de la tonalité, les égalisateurs, les processeurs dynamiques et les réverbérations. Il existe également des fonctionnalités avancées telles que les délais, les modulations, les distorsions, l’amélioration des basses et les processeurs et utilitaires de modulation temporelle. Certains effets personnalisés compris dans Final Cut Pro combinent plusieurs effets de manière à créer un environnement sonore particulier, tel qu’une cathédrale. Vous pouvez ajouter des effets à des plans ou clips précis ou à un plan composé. Après avoir ajouté un effet, il est possible d’en ajuster les réglages à l’aide de l’inspecteur audio. Ajout d’effets audio à un plan ou clip 1 Dans la barre d’outils, cliquez sur le bouton Effets. 2 Dans le navigateur d’effets, sélectionnez un effet audio en vous aidant de l’un des éléments suivants : •• Pour obtenir un aperçu une fois l’effet appliqué à l’audio tiré du plan ou clip sélectionné dans la timeline : placez le pointeur sur les vignettes d’effets audio. •• Pour effectuer un preview influant sur la commande principale de l’effet : maintenez la touche Option enfoncée tout en plaçant le pointeur sur la vignette d’un effet audio. •• Pour filtrer la liste des effets qui apparaissent à l’écran : saisissez le texte recherché dans le champ de recherche du navigateur d’effets. 3 Procédez de l’une des manières suivantes : •• Faites glisser l’effet sur un clip audio (ou un plan vidéo contenant de l’audio) dans la timeline. •• Double-cliquez sur l’icône de l’effet pour l’appliquer au plan ou clip sélectionné. L’effet s’affiche dans la section Effets de l’inspecteur audio et dans l’éditeur d’animation audio. Vous pouvez à présent ajuster l’effet. Chapitre 9 Montage audio 195 Désactivation d’un effet de plan Lorsque vous appliquez un effet audio à un plan, il vous est possible de désactiver cet effet (tout en conservant ses réglages) dans l’inspecteur audio ou l’éditeur d’animation audio. 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes : •• Dans la section Effets de l’inspecteur audio, sélectionnez l’effet et cliquez sur sa case bleue. •• Dans l’éditeur d’animation audio, sélectionnez l’effet et cliquez sur sa case verte. Suppression d’un effet de plan Lorsque vous appliquez un effet audio à un plan, il vous est possible de supprimer cet effet dans l’inspecteur audio ou l’éditeur d’animation audio. 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes : •• Dans la section Effets de l’inspecteur audio, sélectionnez l’effet et appuyez sur la touche Supprimer. •• Dans l’éditeur d’animation audio, sélectionnez l’effet et appuyez sur la touche Supprimer. Modification de l’ordre des effets Lorsque vous appliquez des effets audio à un plan, il vous est possible de modifier l’ordre dans lequel ils apparaissent dans l’inspecteur audio ou l’éditeur d’animation audio. 1 Dans la timeline, sélectionnez un plan auquel vous avez ajouté des effets. 2 Procédez de l’une des manières suivantes : •• Dans la section Effets de l’inspecteur audio, faites glisser un effet vers le haut ou le bas. •• Dans l’éditeur d’animation audio, faites glisser un effet vers le haut ou le bas. Copie de tous les effets d’un plan vers un autre Vous pouvez copier les effets et leurs réglages d’un plan ou clip à un autre. Cela peut être particulièrement utile si vous avez réalisé des ajustements aux effets d’un plan que vous souhaitez conserver et utiliser pour d’autres plans. 1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les effets, puis choisissez Édition > Coller les effets (ou appuyez sur Commande + Option + V). Si plusieurs effets sont appliqués à un plan, l’ensemble de ceux-ci et leurs réglages sont appliqués. Copie des attributs d’un plan sélectionné vers un autre Il est possible de copier les attributs audio, tels que les réglages et les effets, d’un plan à l’autre. Par exemple, il vous est possible de copier les réglages de balance, ou tout autre effet ajouté à un plan, y compris des réglages d’image clé quelconques. Cette fonctionnalité vous permet de sélectionner les attributs de plan à appliquer. 1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les attributs, puis choisissez Édition > Coller les attributs (ou appuyez sur Commande + Maj + V). Chapitre 9 Montage audio 196 3 Procédez de l’une des façons suivantes : •• Pour appliquer tous les attributs audio du plan source : cochez la case Attributs audio. •• Pour appliquer des attributs précis : cochez la case de chaque attribut à appliquer. •• Si vous avez apporté des réglages d’images clés au plan source : choisissez « Conserver le contrôle du temps » ou « Adapter par étirement » dans le menu local Images clés. Si vous choisissez Adapter par étirement, Final Cut Pro adapte les images clés dans le temps pour respecter la durée du plan de destination. 4 Cliquez sur Coller. Pour en savoir plus sur l’utilisation des effets Logic inclus dans Final Cut Pro, consultez la page de référence des effets Logic de Final Cut Pro X : http://help.apple.com/finalcutpro-logiceffects/mac. Ajustement des effets audio Vous pouvez ajuster les paramètres d’un effet à l’aide des commandes de l’inspecteur audio ou de la fenêtre de l’effet. Si vous utilisez des effets Audio Units ou Logic, vous pouvez afficher une interface développée en ouvrant la fenêtre de l’effet. Pour en savoir plus sur l’utilisation des effets Logic inclus dans Final Cut Pro, consultez la page de référence des effets Logic de Final Cut Pro X : http://help.apple.com/finalcutpro-logiceffects/mac. Chapitre 9 Montage audio 197 Ajustement d’un effet audio 1 Sélectionnez dans la timeline un plan incluant un effet à adapter. 2 Localisez l’effet dans la section Effets de l’inspecteur audio. Bouton d’accès aux commandes 3 Pour afficher les paramètres d’un effet, procédez de l’une des manières suivantes : •• Cliquez sur le bouton Commandes (à droite du nom de l’effet) pour afficher une fenêtre plus grande contenant des commandes avancées. •• Cliquez sur le triangle d’affichage en regard des paramètres pour afficher les commandes dans l’inspecteur audio. Conseil : Vous pouvez ajuster les effets dans le temps à l’aide d’images clés dans l’inspecteur audio ou dans l’éditeur d’animation audio. 4 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Vous pouvez obtenir un aperçu de vos ajustements à l’aide du skimmer ou en reproduisant le clip dans la timeline. Pour rétablir les valeurs par défaut des réglages des effets, cliquez sur le bouton Réinitialiser de l’effet. Utilisation de préréglages d’effets De nombreux effets Audio Units et Logic comportent des préréglages intégrés adaptés à certains réglages ou environnements spécifiques. C’est le cas par exemple des préréglages réverbération qui simulent l’ambiance acoustique d’une petite pièce ou d’une vaste cathédrale. Les préréglages facilitent la prévisualisation et l’application rapide d’effets. 1 Localisez l’effet dans la section Effets de l’inspecteur audio. 2 Sélectionnez un préréglage dans le menu local Préréglage. Chapitre 9 Montage audio 198 Vous pouvez obtenir un aperçu de vos préréglages en utilisant le skimmer ou en lisant le plan dans la timeline. Pour rétablir les réglages par défaut de l’effet, choisissez Par défaut dans le menu local Préréglage. Modification et enregistrement de préréglages personnalisés Vous pouvez modifier des paramètres de préréglage en ajustant les commandes de l’effet. Pour conserver vos modifications, enregistrez-les en tant que préréglage personnalisé. 1 Localisez l’effet dans la section Effets de l’inspecteur audio. 2 Sélectionnez un préréglage dans le menu local Préréglage. 3 Pour afficher les paramètres d’un effet, procédez de l’une des manières suivantes : •• Cliquez sur le bouton Commandes (à droite du nom de l’effet) pour afficher une fenêtre plus grande contenant des commandes avancées. •• Cliquez sur le triangle d’affichage en regard des paramètres pour afficher les commandes dans l’inspecteur audio. 4 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Vous pouvez obtenir un aperçu de vos ajustements à l’aide du skimmer ou en reproduisant le clip dans la timeline. Lorsque vous modifiez les paramètres d’un préréglage, le menu local Préréglage indique que le préréglage a été modifié. Préréglages édités Chapitre 9 Montage audio 199 5 Pour enregistrer un préréglage modifié, choisissez Enregistrer ce préréglage dans le menu local Préréglage, puis saisissez un nom pour le nouveau préréglage. Les préréglages enregistrés apparaissent dans le menu local Préréglage. Pour rétablir les réglages par défaut de l’effet, choisissez Par défaut dans le menu local Préréglage. Suppression de préréglages personnalisés 1 Localisez l’effet dans la section Effets de l’inspecteur audio. 2 Dans le menu local Préréglage, choisissez l’option Afficher les préréglages utilisateur dans le Finder. Chapitre 9 Montage audio 200 3 Sélectionnez le ou les préréglages à supprimer dans la fenêtre du Finder, puis faites-les glisser dans la corbeille. Les préréglages personnalisés supprimés ne sont plus visibles dans le menu local Préréglage. Ajustement des effets audio à l’aide d’images clés Final Cut Pro vous permet d’utiliser des images clés pour créer de simples évolutions à l’audio dans le temps. Il est par exemple possible d’appliquer un fondu entrant ou sortant au volume ou à un effet au milieu du plan. Il vous suffit de placer des images clés aux points spécifiques d’un plan ou clip pour modifier la valeur du paramètre d’une amélioration audio ou d’un effet appliqué à ces endroits. Par exemple, vous pouvez appliquer une image clé sur le volume ou sur un effet tel qu’une réverbération ou une distorsion. Il est possible de définir des images clés pour ajuster le volume d’un plan directement dans la timeline ou dans l’inspecteur audio. Pour voir les images clés dans la timeline pour tous les autres effets, vous devez afficher l’éditeur d’animation audio. Pour en savoir plus sur les images clés appliquées à des plans vidéo, consultez Ajustement d’effets vidéo à l’aide d’images clés à la page 256. Ajout d’images clés à un plan 1 Procédez de l’une des manières suivantes : •• Sélectionnez le plan dans la timeline, puis choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). •• En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Afficher l’animation audio » dans le menu contextuel. Si vous ajoutez des images clés uniquement pour réaliser des réglages de volume, passez à l’étape 4. Dans l’éditeur d’animation audio, chaque effet possède une zone séparée pour l’ajout d’images clés. Certains effets possèdent plusieurs paramètres et vous permettent d’ajouter des images clés indépendamment aux différents paramètres. Ils apparaissent dans l’éditeur d’animation audio avec un triangle en regard du nom de l’effet et dans l’inspecteur audio sous forme de commandes de paramètre supplémentaires. 2 Sélectionnez l’effet auquel vous souhaitez ajouter des images clés dans l’éditeur d’animation audio ou dans la section Effets de l’inspecteur audio. Chapitre 9 Montage audio 201 3 Procédez de l’une des manières suivantes : •• Pour développer les paramètres dans l’éditeur d’animation audio : cliquez sur le triangle pour choisir un paramètre précis dans le menu local, ou sélectionnez Tous pour voir toutes les images clés. •• Pour développer les paramètres dans l’inspecteur audio : Cliquez sur le triangle d’affichage situé en regard de Paramètres pour l’effet en question. 4 Procédez de l’une des manières suivantes pour chaque paramètre d’effet : •• Dans l’éditeur d’animation audio (ou le clip audio pour le volume uniquement) : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande horizontale de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K). Les images clés destinées au réglage du volume s’affichent sous forme de losanges blancs. Marquage d’image clé indiquant un changement du volume. Pour les effets comportant plusieurs paramètres, les images clés du paramètre sélectionné s’affichent sous forme de losanges blancs, alors que celles des autres paramètres apparaissent en gris. Les images clés s’affichent sous forme de losanges blancs pour tous les paramètres lorsque vous sélectionnez Tous dans le menu local Effet. Une paire de losanges indique que vous avez ajouté des images clés à plusieurs paramètres au point indiqué. •• Dans l’inspecteur audio : placez la tête de lecture dans la timeline à l’endroit où vous souhaitez ajouter une image clé, puis cliquez sur le bouton Image clé (ou appuyez sur Option + K). Bouton d’image clé Chapitre 9 Montage audio 202 Une fois l’image clé ajoutée, le bouton Image clé devient jaune, indiquant que la tête de lecture est positionnée sur une image clé. Lorsque vous déplacez la tête de lecture dans la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur audio pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’). Cliquez sur la flèche correspondante pour accéder à l’image clé précédente ou suivante. 5 Ajoutez des images clés si nécessaire. Conseil : après avoir ajouté une image clé, il vous est possible d’en ajouter une autre automatiquement en déplaçant la tête de lecture sur la timeline, puis en ajustant la valeur de paramètre de l’effet (ou le curseur du volume lors de l’animation du volume à l’aide d’images clés) dans l’inspecteur audio. Ajout automatique d’images clés sur une zone sélectionnée Pour ajuster le volume d’un plan de la timeline, vous pouvez utiliser l’outil Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée. Si un effet est assorti d’un triangle d’affichage dans l’éditeur d’animation audio, vous pouvez utiliser l’outil Sélectionner ou Sélection de plage pour ajouter des images clés sur une zone sélectionnée. 1 Procédez de l’une des manières suivantes : •• Sélectionnez le plan dans la timeline, puis choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). •• En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Afficher l’animation audio » dans le menu contextuel. Si vous ajoutez des images clés uniquement pour réaliser des réglages de volume, passez à l’étape 3. 2 Sélectionnez un effet, puis cliquez sur le triangle d’affichage pour le développer dans l’éditeur d’animation audio. Triangle d’affichage Chapitre 9 Montage audio 203 3 Dans la timeline, effectuez l’une des opérations suivantes : •• Si vous n’ajustez que le volume : Choisissez Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche R). Le pointeur prend la forme de l’outil Sélection de plage . •• Si vous ajustez un effet dans l’éditeur d’animation audio : choisissez Sélectionner ou Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A pour Sélectionner ou sur la touche R pour Sélection de plage). 4 Faites glisser le pointeur sur la zone où vous voulez ajuster le volume ou l’effet. Chapitre 9 Montage audio 204 5 Ajustez le volume ou l’effet sur la plage en déplaçant verticalement la commande horizontale. Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. Ajustement des images clés dans l’éditeur d’animation audio Vous pouvez déplacer horizontalement des images clés dans l’éditeur d’animation audio. Si un effet présente un triangle d’affichage, vous pouvez développer la présentation de l’effet et déplacer verticalement les images clés pour modifier la valeur du paramètre. 1 Sélectionnez une image clé. 2 Procédez de l’une des manières suivantes : •• Pour repositionner l’image clé dans l’éditeur d’animation audio, faites-la glisser vers la gauche ou la droite. Ce faisant, la valeur de timecode apparaît. Chapitre 9 Montage audio 205 •• Si un effet présente un triangle d’affichage, cliquez sur ce dernier (ou double-cliquez sur l’effet) pour développer la présentation de l’effet. Triangle d’affichage Une fois l’effet développé, vous pouvez faire glisser l’image clé verticalement pour modifier la valeur du paramètre de l’effet. Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé. Pour ajouter une autre image clé, maintenez la touche Option enfoncée et cliquez (ou appuyez sur Option + K) sur la commande de l’effet à l’endroit où vous voulez ajouter l’image clé. Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement. Ajustement des images clés dans l’inspecteur audio Pour de nombreux effets, vous pouvez ajuster la valeur du paramètre des différentes images clés à l’aide de l’inspecteur audio. 1 Sélectionnez ou placez la tête de lecture sur une image clé, puis ajustez la valeur du paramètre dans l’inspecteur audio. 2 Pour modifier la valeur de l’image clé suivante, accédez à celle-ci et ajustez à nouveau sa valeur. Ajustement simultané de toutes les images clés dans l’éditeur d’animation audio mm Maintenez les touches Commande et Option enfoncées et faites glisser soit une image clé, soit la commande de l’effet verticalement. Chapitre 9 Montage audio 206 Toutes les images clés sont alors ajustées de la même amplitude, préservant ainsi la forme créée par les ajustements apportés par images clés. Avant Après Affichage d’un seul effet à la fois dans l’éditeur d’animation audio Vous pouvez condenser l’éditeur d’animation audio pour afficher un seul effet à la fois. Cela peut être utile si vous appliquez plusieurs effets à un plan et que vous souhaitez conserver de l’espace à l’écran. 1 Choisissez Plan > Solo de l’animation (ou appuyez Maj + Contrôle + V). 2 Dans l’éditeur d’animation audio, cliquez sur le triangle en regard du nom de l’effet pour choisir un effet dans le menu local. Remarque : Lorsque l’option « Solo de l’animation » est activée, vous ne pouvez pas supprimer d’effet depuis l’éditeur d’animation audio. Pour désactiver « Solo de l’animation », choisissez Plan > Solo de l’animation (ou appuyez sur Maj + Contrôle + V). Suppression d’images clés Procédez de l’une des manières suivantes : mm Sélectionnez une image clé dans l’éditeur d’animation audio et appuyez sur la touche Supprimer. mm Accédez à une image clé dans l’inspecteur audio, puis cliquez sur le bouton Image clé. Bouton d’image clé Chapitre 9 Montage audio 207 Masquage de l’animation audio Procédez de l’une des manières suivantes : mm Sélectionnez le plan dans la timeline, puis choisissez Plan > Masquer l’animation audio (ou appuyez sur Contrôle + A). mm Cliquez sur le bouton de fermeture situé dans l’angle supérieur gauche de l’éditeur d’animation audio. mm En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Masquer l’animation audio » dans le menu contextuel. Outils et techniques audio Amélioration de l’audio Final Cut Pro comprend plusieurs outils puissants d’analyse et d’amélioration des parties audio des plans, entre autres ceux présentés ci-dessous. •• Tonalité : améliore le signal audio principal et le rend plus uniforme. •• Suppression du bruit de fond réduit le bruit d’arrière-plan. •• Suppression du bourdonnement : réduit le bourdonnement habituel d’origine électrique à 50 ou 60 Hz. Vous pouvez analyser l’audio et ajuster la tonalité, le bruit de fond et les bourdonnements à l’aide de l’inspecteur d’améliorations audio. Vous pouvez aussi analyser et corriger des problèmes audio lors de l’importation d’un plan. La section Améliorations audio de l’inspecteur audio inclut également les éléments suivants : •• Égalisation : améliore les hautes fréquences, les fréquences moyennes et les basses fréquences. Toutes les améliorations sont conçues pour corriger les problèmes audio les plus courants, automatiquement ou par des ajustements mineurs. Remarque : Lorsque vous importez un plan, la fonction d’analyse et de correction audio résout uniquement les problèmes audio importants. Si le plan contient des problèmes moyennement importants, ceux-ci s’affichent en jaune à côté de l’analyse audio de la section Amélioration audio de l’inspecteur audio une fois le plan importé. Pour corriger ces problèmes, vous devez améliorer automatiquement l’audio dans l’inspecteur d’améliorations audio. Analyse de l’audio 1 Sélectionnez un clip audio ou un plan vidéo qui contient de l’audio dans la timeline. 2 Pour analyser l’audio, effectuez l’une des opérations suivantes : •• Choisissez Fenêtre > Aller à > Afficher les améliorations audio (ou appuyez sur Commande + 8). •• Choisissez « Afficher les améliorations audio » dans le menu local Améliorations de la barre d’outils. •• Dans l’inspecteur audio, cliquez sur le bouton de l’inspecteur d’améliorations audio à côté d’Analyse audio de la section Améliorations audio. (Le bouton change de couleur si des ajustements ont été effectués.) Chapitre 9 Montage audio 208 L’inspecteur des améliorations audio s’affiche. Après l’analyse, des indicateurs apparaissent à côté de chaque amélioration pour afficher les résultats : •• un signe rouge indique un problème sévère ; •• un triangle d’avertissement jaune indique un problème potentiel ; •• une coche verte indique qu’il n’y a pas de problème. 3 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent . Vous pouvez modifier automatiquement ou manuellement les réglages des améliorations pour corriger des problèmes. Amélioration automatique de l’audio Vous avez la possibilité d’améliorer automatiquement l’audio pour analyser et corriger des problèmes de tonalité, de bruit de fond ou de bourdonnement. 1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans la timeline. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Amélioration de l’audio automatique. •• Choisissez « Amélioration de l’audio automatique » dans le menu local Améliorations de la barre d’outils. •• Cliquez sur le bouton Amélioration automatique en bas de l’inspecteur d’améliorations audio. 3 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent . À l’issue de l’analyse, une coche verte s’affiche à côté d’une amélioration, indiquant que le plan a été analysé en vue de l’amélioration en question. Des détails s’affichent si une correction est appliquée automatiquement. Une coche bleue s’affiche à côté de chaque amélioration activée pour appliquer une correction. Décochez la case pour désactiver une amélioration. Application manuelle d’améliorations Une fois l’analyse de l’audio terminée, vous pouvez ajuster les améliorations manuellement. 1 Sélectionnez un clip audio ou un plan vidéo contenant de l’audio dans la timeline. 2 Pour afficher l’inspecteur d’améliorations audio, procédez de l’une des façons suivantes : •• Choisissez Fenêtre > Aller à > Afficher les améliorations audio (ou appuyez sur Commande + 8). •• Choisissez « Afficher les améliorations audio » dans le menu local Améliorations de la barre d’outils. •• Dans l’inspecteur audio, cliquez sur le bouton de l’inspecteur d’améliorations audio à côté d’Analyse audio de la section Améliorations audio. (Lorsque vous réalisez des ajustements, le bouton change de couleur.) Chapitre 9 Montage audio 209 3 Pour activer une amélioration, cliquez sur son icône ou cochez sa case (celle-ci est bleue lorsque l’amélioration est activée). Case bleue 4 Si nécessaire, procédez de l’une des façons suivantes : •• Pour modifier les réglages Tonalité : déplacez les curseurs Quantité et Uniformité exprimés en pourcentages. Le curseur Quantité augmente ou diminue la tonalité globale (compression) du plan ou du clip, tandis que le curseur Uniformité augmente ou diminue la plage dynamique concernée. •• Pour changer le pourcentage de suppression du bruit de fond : faites glisser le curseur Quantité. •• Pour supprimer le bourdonnement : choisissez la valeur 50 Hz ou 60 Hz pour Suppression du bourdonnement. 5 Pour fermer l’inspecteur d’améliorations audio, cliquez sur le bouton Précédent . Ajustement de l’égalisation 1 Sélectionnez le plan dans la timeline. 2 Dans la section Améliorations audio de l’inspecteur audio, choisissez un préréglage d’égalisation dans le menu local Égalisation ou cliquez sur le bouton Commandes pour réaliser des ajustements manuels. Bouton d’accès aux commandesChoisissez un préréglage dans ce menu local. Si vous voulez qu’un plan sonne comme un autre plan, vous pouvez faire correspondre l’audio. Synchronisation automatique de l’audio et de la vidéo Final Cut Pro est en mesure d’analyser et de synchroniser automatiquement les clips audio et les plans vidéo de votre projet. Par exemple, si vous sélectionnez deux plans vidéo et trois clips audio de différentes sources enregistrées lors d’une même prise, Final Cut Pro analyse et synchronise ensemble automatiquement les plans sous forme de nouveau plan dans le navigateur d’événements. Chapitre 9 Montage audio 210 Final Cut Pro analyse les plans pour rechercher les points synchrones, tels que des marqueurs que vous avez ajoutés, le timecode, la date de création des fichiers et le contenu audio. Si aucun point synchrone n’est trouvé, les plans sont synchronisés à leur point de départ respectif. Plans sélectionnés dans le navigateur d’événements Nouveau plan contenant des plans synchronisés Contenu du plan synchronisé Scénario principal pour le plan synchronisé Plans connectés Synchronisation des plans 1 Sélectionnez les clips audio et les plans vidéo à synchroniser dans le navigateur d’événements. 2 Choisissez Plan > Synchroniser les plans (ou appuyez sur les touches Commande + Option + G). Les plans synchronisés portent alors l’intitulé de « Plan synchronisé » dans le navigateur d’événements. Ces modifications ne se répercutent pas sur les plans originaux. Si votre plan synchronisé comprend des canaux audio qui ne sont plus utilisés, vous pouvez les désactiver. Consultez Configuration des canaux audio à la page 176. Chapitre 9 Montage audio 211 Correspondance des réglages d’égalisation audio La fonctionnalité « Faire correspondre l’audio » utilise l’égalisation pour faire correspondre le son d’un plan sélectionné à celui d’un autre plan. Cela s’avère particulièrement utile lorsque vous possédez divers clips audio enregistrés dans des environnements différents et que vous souhaitez qu’ils adoptent un son similaire. Correspondance audio 1 Sélectionnez le ou les plans que vous souhaitez modifier dans la timeline. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Faire correspondre l’audio. •• Choisissez Correspondance dans le menu local Égalisation de la section Améliorations audio de l’inspecteur audio. •• Choisissez « Faire correspondre l’audio » dans le menu local Améliorations de la barre d’outils. 3 Cliquez pour sélectionner le plan ou clip auquel vous souhaitez faire correspondre le son. 4 Cliquez sur Appliquer la correspondance. Une fois la correspondance appliquée, vous pouvez modifier les réglages dans la section Améliorations audio de l’inspecteur audio. Suppression de la correspondance audio 1 Sélectionnez le plan dans la timeline. 2 Dans la section Améliorations audio de l’inspecteur audio, choisissez un autre réglage d’égalisation dans le menu local Égalisation. Pour supprimer toute égalisation, choisissez le réglage Plat. Conservation de la tonalité lors de la resynchronisation des plans Par défaut, Final Cut Pro préserve la tonalité lors de la resynchronisation des plans afin que le son ne soit pas plus aigu en lecture rapide ou plus grave en lecture lente. Vous pouvez activer ou désactiver cette fonctionnalité avant ou après la resynchronisation d’un plan. Activation ou désactivation de la fonction Conserver la tonalité 1 Dans la timeline, sélectionnez un plan complet, ou une plage d’un plan, dont vous souhaitez modifier la vitesse. 2 Choisissez Conserver la tonalité dans le menu local Resynchronisation de la barre d’outils. Une coche à gauche du nom de la commande indique que la fonctionnalité Conserver la tonalité est activée. Pour la désactiver, sélectionnez à nouveau Conserver la tonalité. 10 212 Présentation des transitions, des titres, des effets et des générateurs Il vous est possible d’ajouter facilement des effets spéciaux à de la vidéo, à de l’audio et à des photos inclus dans vos projets. Final Cut Pro propose plusieurs types d’effets et de commandes : •• Transitions : ajoutez un effet entre des plans afin de diriger les changements d’un plan à un autre. Consultez Présentation des transitions à la page 213. •• Titres : ajoutez du texte à n’importe quel point de votre projet. Consultez Présentation des titres à la page 222. •• Effets : exploitez un large éventail d’effets applicables à vos plans vidéo et à vos clips audio, d’effets les plus subtils (du grain ajouté à une vidéo ou un effet de couleur, ou un égaliseur graphique appliqué à l’audio) aux plus marqués (effet du clapotis de gouttelettes ou vision d’un insecte appliqué à la vidéo, ou encore une tonalité plus élevée de l’audio). Il existe deux types principaux d’effets : •• Effets intégrés : ces effets standard vous permettent de redimensionner, déplacer, faire pivoter, effectuer un trim, incliner, rogner ou appliquer l’effet de zoom Ken Burns à un plan vidéo. Ces effets sont déjà intégrés à chaque plan affiché sur la timeline ; vous n’avez dès lors qu’à les ajuster. Consultez Présentation des effets intégrés à la page 228. •• Effets de plan : ceux-ci sont conçus pour modifier des plans vidéo et des clips audio dans le but de corriger des problèmes, de créer des atmosphères nouvelles ou de générer des sons inédits. Consultez Présentation des effets de plans à la page 240. •• Générateurs : ajoutez un élément particulier comme un plan repère d’emplacement, un générateur de timecode ou un compte à rebours, ou ajoutez des couleurs, des motifs ou des arrière-plans animés à votre projet. Consultez Présentation des générateurs à la page 246. •• Commandes à l’écran : personnalisez de nombreux effets à l’aide des commandes à l’écran. Consultez Présentation des commandes à l’écran à la page 251. •• Animation vidéo : faites varier les réglages des effets au fur et à mesure de la lecture d’un plan. Consultez Présentation de l’animation vidéo à la page 256. Vous pouvez ajouter des effets à n’importe quel plan repris sur la timeline. Une fois ajoutés (ou ajustés dans le cas d’effets intégrés), vous pouvez personnaliser les effets par le biais des commandes prévues dans un inspecteur, des commandes à l’écran du visualiseur et celles dont les éditeur d’animation vidéo et éditeur d’animation audio sont dotés. Il vous est également possible de tester plusieurs versions d’un effet par le biais d’auditions. Vous pouvez ouvrir la plupart des effets et générateurs depuis Motion, une application Apple conçue pour fonctionner avec Final Cut Pro, afin d’en personnaliser et d’en enregistrer des versions spécialisées. Ajout de transitions, de titres, d’effets et de générateurs Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 213 Ajout et réglage de transitions Présentation des transitions Vous avez la possibilité d’ajouter des fondus enchaînés et autres effets de transition entre des coupes pour donner de l’attrait à votre programme. Les transitions remplacent un plan par un autre sur une durée donnée ; lorsqu’un plan se termine, un autre le remplace. L’on rencontre trois types de transitions vidéo particulièrement courants dans les projets vidéo : les fondus, les fondus enchaînés et les balayages. Vous pouvez ajouter des transitions audio uniquement à des montages audio au sein d’un scénario. Il peut s’agir d’un fondu entrant, sortant ou enchaîné. Remarque : Si vous ajoutez une transition à un plan vidéo contenant de l’audio, une transition en fondu enchaîné est automatiquement appliquée à l’audio. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Création des transitions Les transitions nécessitent le chevauchement de vidéo entre les plans, de chaque côté du point de montage. Une transition d’une seconde impose une seconde de vidéo tirée de la fin du plan de gauche et une seconde de vidéo reprise du début du plan de droite. En appliquant une transition à un point de montage, Final Cut Pro tente d’utiliser la vidéo supplémentaire tirée de chacun des plans pour créer la superposition. Ces sections supplémentaires (inutilisées) de plans sont connues sous le nom de poignées de média. L’image suivante représente un plan doté de gestionnaires de média de chaque extrémité et un plan sans autre vidéo supplémentaire, ou gestionnaire de média, à son début. Plan sélectionné dans le navigateur d’événementsAucune poignée de début du médiaPoignée de fin du médiaPoignée de début du médiaPoignée de fin du média Il se peut que la vidéo de gestionnaire de média ne soit pas adaptée à son exploitation dans une transition. Par exemple, si la vidéo comprend des parties inutilisables, telles qu’un clap, celles-ci sont alors visibles dans le projet. Vous pouvez définir la durée par défaut des transitions. Consultez Définition des valeurs par défaut de transition à la page 214. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 214 L’illustration ci-dessous indique comment créer des transitions lorsque les plans, d’un côté ou d’un autre du point de montage, possèdent des poignées de média. La transition est placée de sorte qu’elle s’étend sur les plans ; une moitié de la transition vient coïncider sur chacun des deux plans adjacents. Le média inutilisé issu de la fin de chaque plan est ainsi ajouté afin de remplir la transition. La durée globale du projet s’en voit inchangée. Montage sans transition Poignée de média Plan 1 Plan 2 Plan 1 Plan 2 Poignée de média Montage avec transition (poignées de média utilisées) Si un ou les deux plans ne disposent pas de contenu supplémentaire suffisant (poignées de média) pour prendre en charge une transition de la durée par défaut, l’option de superposer du média de votre projet vous est proposée pour créer la transition. Final Cut Pro exploite toutes les poignées de média disponibles puis fait coïncider le média nécessaire pour créer la transition. L’illustration ci-dessous reprend la création d’une transition sans poignée de média. Les deux plans sont destinés à se chevaucher et la transition se voit placée sur la région de superposition. Il s’agit dès lors d’un montage de superposition (ripple trim) et la durée totale de votre projet s’en trouve réduite. Montage sans transition Plan 1 Plan 2 Plan 1 Plan 2 Montage avec transition (aucune poignée de média utilisée) Définition des valeurs par défaut de transition Vous pouvez définir la transition par défaut utilisée grâce au raccourci clavier Commande + T. Il vous est également possible de définir la durée par défaut des transitions. Définition de la transition par défaut 1 Dans la barre d’outils, cliquez sur le bouton Transitions. 2 Cliquez sur une transition tout en maintenant la touche Contrôle enfoncée, puis choisissez Par défaut dans le menu contextuel. Définition de la durée par défaut Vous devez définir la durée par défaut des transitions dans les préférences de Final Cut Pro. 1 Choisissez Final Cut Pro > Préférences, ou appuyez sur Commande + Virgule (,), puis cliquez sur Montage. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 215 2 Utilisez la case de valeur « La durée est de x secondes » pour régler la durée exprimée en secondes de toutes les transitions que vous ajoutez à la timeline. Vous avez la possibilité d’adapter la durée d’une transition après que cette dernière ait été placée sur la timeline. Remarque : Certaines transitions disposent d’une durée définie et ne sont pas affectées par ce réglage. Ajout de transitions au projet Plusieurs méthodes vous sont proposées pour ajouter des transitions à un projet. Une fois une transition ajoutée, vous avez la possibilité de régler ses paramètres. Vous pouvez également modifier l’effet de transition dans Motion. Ajout d’un fondu croisé 1 Choisissez l’outil de sélection dans le menu local Outils accessible à partir de la barre d’outils (illustré ci-dessous), puis cliquez sur le bord d’un plan (appelé point de montage) dans la timeline. L’un des bords ou les deux bords de plan sont mis en surbrillance. Remarque : Si vous sélectionnez un plan entier sur la timeline plutôt qu’un simple point de montage, les transitions se voient alors ajoutées à chaque extrémité du plan sélectionné. 2 Choisissez Édition > Ajouter un fondu enchaîné (ou appuyez sur Commande + T). Le fondu croisé est inséré en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Si le plan vidéo contient une piste audio, une transition en fondu enchaîné s’applique à l’audio. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 216 Ajout ou modification d’une transition à l’aide du navigateur de transitions 1 Dans la barre d’outils, cliquez sur le bouton Transitions. 2 Sélectionnez une transition. Placez le pointeur sur les vignettes des transitions pour obtenir un aperçu de chacune d’entre elles. De plus, il vous est possible de taper du texte dans le champ de recherche pour filtrer la liste des transitions qui apparaissent à l’écran. 3 Procédez de l’une des manières suivantes : •• Pour appliquer la transition à un point de montage : faites-y glisser la transition. •• Pour remplacer une transition déjà placée dans le projet : faites-y glisser la transition. Conseil : Une autre solution consiste à sélectionner tout d’abord le point de montage, puis de double-cliquer sur une transition dans le navigateur de transitions pour l’appliquer. La transition est alors ajoutée au montage en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Si le plan vidéo contient une piste audio, une transition en fondu enchaîné s’applique à l’audio. Ajout d’un fondu enchaîné audio automatique Si un plan vidéo contient de l’audio, la piste audio se voit automatiquement appliquée une transition de fondu enchaîné au moment où une transition vidéo est appliquée. Si l’audio est dissocié ou développé par rapport à la vidéo, la piste audio n’est alors pas affectée par la transition vidéo. Suivez ces étapes pour ajouter un fondu enchaîné audio entre des clips audio dissociés d’un scénario connecté. 1 Créez un scénario uniquement audio connecté au scénario principal. Pour en savoir plus sur la création de scénarii, consultez Ajout de scénarios à la page 274. 2 Faites appel à l’outil de sélection, cliquez sur le bord d’un plan (à savoir un point de montage) dans le scénario. L’un des bords ou les deux bords de plan sont mis en surbrillance. Remarque : Si vous sélectionnez dans le scénario un plan entier plutôt qu’un simple point de montage, les transitions se voient alors ajoutées à chaque extrémité du plan sélectionné. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 217 3 Pour insérer un fondu enchaîné, choisissez Édition > Ajouter un fondu enchaîné (ou appuyez sur Commande + T). Le fondu enchaîné est inséré en s’appuyant sur le réglage « Appliquer les transitions utilisant ». Pour en savoir plus, consultez Définition des valeurs par défaut de transition à la page 214. Vous pouvez configurer les réglages de fondu entrant et de fondu sortant dans l’inspecteur de transition. Copie d’une transition vers d’autres points de montage par le biais du menu Édition 1 Sélectionnez une transition sur la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 À l’aide de l’outil Sélectionner, cliquez sur le bord d’un plan (un point de montage) dans la timeline, puis choisissez Édition > Coller (ou appuyez sur Commande + V). Remarque : Si vous copiez une transition et que vous la collez sur un point de montage comportant déjà une transition, la transition existante est supprimée. Copie d’une transition vers d’autres points de montage par glisser-déposer mm Sélectionnez une transition dans la timeline, appuyez sur la touche Option, puis faites glisser la transition sur un autre point de montage. Remarque : Si vous copiez une transition et que vous la collez sur un point de montage comportant déjà une transition, la transition existante est supprimée. Suppression de transitions du projet Vous avez la possibilité de supprimer une transition en toute simplicité, rétablissant ainsi le point de montage en une simple coupe. Suppression d’une transition 1 Sélectionnez les transitions de votre choix sur la timeline. 2 Appuyez sur la touche Supprimer. Les transitions sélectionnées sont alors supprimées et leurs points de montage sont convertis en de simples coupes. Important : Si une transition supprimée faisait appel à une superposition complète, le point de montage coïncide alors avec le point central où se trouvait la transition avant d’être supprimée, et non l’emplacement d’origine avant l’application de la transition. Vous pouvez passer par Édition > Annuler pour supprimer la transition et rétablir les plans à leur durée d’origine. Pour en savoir plus, consultez Création des transitions à la page 213. Ajustement des transitions sur la timeline Il vous est possible de régler la durée d’une transition et de la déplacer sur la timeline. Vous avez également la possibilité d’effectuer un trim de l’un des deux plans situés sous la transition. Modification de la durée d’une transition 1 Sélectionnez une transition dans la timeline. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Modifier la durée (ou appuyez sur Contrôle + D), saisissez la durée voulue (celle-ci s’affiche dans le panneau de contrôle accessible depuis la barre d’outils) et appuyez sur Retour. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 218 •• Faites glisser l’une des extrémités de la transition en l’éloignant du centre de celle-ci pour la rallonger ou vers l’intérieur pour la raccourcir. Faites glisser l’un des bords de la transition pour adapter sa durée. La transition conserve son point central et effectue un trim équivalent de chaque côté et mentionne un nombre indiquant combien d’images sont ainsi ajoutées ou soustraites de la durée de la transition. Déplacement de la transition Le déplacement d’une transition réalise en fait un montage roll sous la transition, ajoutant ainsi du contenu à un plan sous-jacent tout en supprimant du contenu de l’autre plan. La durée globale du projet ne se voit pas affectée par cette modification. De plus, vous ne pouvez déplacer la transition que si des gestionnaires de média suffisants sont mis à disposition du plan en cours d’extension. Plan 2Poignée de médiaMontage avec transitionPoignée de médiaPlan 1Plan 2Poignée de média Poignée de médiaPlan 1Montage avec transition déplacée vers la droite 1 Sélectionnez une transition dans la timeline. 2 Faites glisser l’icône de trim de la transition sur la zone supérieure du centre de la transition. Faites défiler le montage sous la transition. Le montage sous la transition se convertit en montage roll : un plan est étendu et l’autre raccourci. Un nombre indique alors le nombre d’images à gauche (nombre négatif) ou à droite (nombre positif) affectées par le montage roll sous la transition. Vous pouvez aussi utiliser l’éditeur de précision pour effectuer un montage roll de la transition. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 219 Trim d’un plan sous une transition La transition comprend des icônes qui simplifient le trim à gauche ou à droite du plan sans affecter pour autant la transition. 1 Sélectionnez une transition dans la timeline. 2 Faites glisser l’une des icônes de trim situées dans la zone supérieure gauche ou supérieure droite de la transition. Faites glisser pour effectuer un trim sur la droite du point de départ du plan.Faites glisser pour effectuer un trim sur la gauche du point d’arrivée du plan. Le déplacement de l’icône de trim en haut à gauche règle le point de départ du plan de droite ; faire glisser celle qui se trouve dans la partie supérieure droite adapte le point d’arrivée du plan de gauche. Un nombre indique alors le nombre d’images ajoutées (nombres négatifs) ou soustraites (nombres positifs) à la durée du plan. Le trim ne modifie pas la durée de la transition, mais il modifie celle du projet. Vous pouvez aussi utiliser l’éditeur de précision pour effectuer un trim des plans situés sous la transition. Ajustement des transitions dans l’inspecteur de transition et dans le visualiseur Il vous est possible de régler une transition à l’aide des commandes de l’inspecteur de transition et du visualiseur. Ajustement d’une transition par le biais de l’inspecteur de transition et du visualiseur 1 Si l’inspecteur de transition n’est pas déjà affiché à l’écran, choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). 2 Dans la timeline, sélectionnez la transition à régler. Pour cet exemple, utilisons la transition Cercle. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 220 Le visualiseur affiche tout réglage à l’écran que vous opérez en faisant glisser les poignées. L’inspecteur de transition affiche les autres paramètres que vous pouvez ajuster. En outre, certaines transitions disposent d’un cadre d’image vous permettant de sélectionner une image vidéo apparaissant dans le cadre de la transition. Faites glisser les commandes à l’écran pour ajuster les réglages de transition sélectionnés. Dans l’exemple ci-dessus, vous pouvez faire glisser le cercle blanc dans le visualiseur (appelé une commande à l’écran) pour positionner le centre du balayage circulaire, et le carré pour régler la largeur de la bordure (dans notre cas, son adoucissement). L’inspecteur de transition comprend un réglage pour les proportions et le traitement de la bordure du balayage circulaire (notamment la couleur de la bordure si vous choisissez un bord uni). De plus, de nombreuses transitions possèdent des paramètres vous permettant de les animer avec des images clés. Par exemple, vous pouvez faire bouger le centre de la transition Cercle au fur et à mesure de la lecture du plan. Pour en savoir plus sur l’ajustement de fondus enchaînés dans l’inspecteur de transition, consultez Application d’un fondu entrant ou sortant à l’audio à la page 181. Ajustement des transitions avec plusieurs images Plusieurs de celles-ci regroupent des zones remplies à l’aide d’images fixes issues des plans de chaque côté de la transition. Prenons l’exemple de la transition « Panoramique complet à droite » (l’une des transitions de la catégorie Tableau d’affichage). Cette image porte le numéro de poignée 4 sur la timeline. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 221 Les zones sont numérotées et mises en corrélation aux points numérotés autour de la transition sur la timeline. Ajustement des transitions avec des points numérotés 1 Dans la timeline, sélectionnez la transition dotée de points numérotés. 2 Placez la tête de lecture sur la transition jusqu’à ce qu’apparaisse une zone portant le même nombre que celui des poignées numérotées reprises sur la timeline. 3 Faites glisser la poignée numérotée pour sélectionner l’image destinée à remplir la zone. 4 Continuez jusqu’à obtenir les images choisies pour l’intégralité des zones. Création de versions de transitions spécialisées dans Motion De nombreuses transitions ont été élaborées dans Motion, une application Apple conçue pour fonctionner avec Final Cut Pro. Vous pouvez ouvrir ces transitions dans Motion, y apporter des modifications et enregistrer ces dernières sous forme de nouveau fichier de transition qui s’affiche ensuite dans le navigateur de transitions. Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur. Modification d’une transition dans Motion 1 Dans la barre d’outils, cliquez sur le bouton Transitions. 2 Dans le navigateur de transitions, cliquez tout en maintenant la touche Contrôle enfoncée sur la transition à modifier, puis choisissez « Ouvrir une copie dans Motion » dans le menu contextuel. Motion se lance automatiquement et ouvre le projet de la transition. 3 Modifiez le projet de transition. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 4 Choisissez Fichier > Enregistrer sous (ou appuyez sur Commande + Maj + S), attribuez un nom à la nouvelle transition (appelée modèle dans Motion), affectez-la à une catégorie (créez-en une au besoin), choisissez un thème (le cas échéant), puis cliquez sur Publier. Remarque : Si vous choisissez Fichier > Enregistrer, la transition s’enregistre alors en reprenant le même nom complété du suffixe « copie ». Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 222 Ajout et réglage de titres Présentation des titres Les titres jouent un rôle clé car ils constituent un encadrement important (tels que les titres des génériques de début et de fin) et parce qu’ils transmettent les différentes dates et heures au sein du film. Les titres, spécialement ceux du tiers inférieur de l’écran, sont également utilisés dans les documentaires et les vidéos d’information, afin d’apporter des détails nécessaires quant aux sujets ou produits présentés à l’écran. Lors du montage, vous pouvez également ajouter des notes et des repères d’emplacement à votre projet. Les sous-titres peuvent s’avérer vitaux pour les films tournés dans une langue différente de celle du public. Vous pouvez créer des titres et des génériques dans Final Cut Pro avec des effets. Les titres sont des plans synthétisés (semblables à des générateurs) produits par Final Cut Pro. Les plans de titre ne font référence à aucun média stocké sur disque dur. Lorsque vous ajoutez un titre sous forme de plan connecté directement au-dessus d’un autre plan, celui-ci apparaît comme arrière-plan du texte, vous évitant ainsi d’avoir à réaliser un autre compositing pour créer l’effet. Ajout de titres au projet Passez par le navigateur de titres pour ajouter des titres aux plans de votre projet. Après avoir ajouté du texte, vous pouvez en modifier le style pour élaborer le titre. Ajout d’un titre à un plan du projet 1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le titre. 2 Cliquez sur l’outil Titres dans la barre d’outils (ou appuyez sur Commande + 5). 3 Procédez de l’une des façons suivantes : •• Pour ajouter un titre à partir du navigateur de titres : double-cliquez sur le titre. Un plan de titre est ajouté à l’emplacement de la tête de lecture. •• Pour ajouter un titre standard : choisissez Édition > Connecter un titre > Titre standard (ou appuyez sur Contrôle + T). Un plan de titre « Titre standard » (sans effets ou animations) est ajouté à l’emplacement de la tête de lecture. •• Pour ajouter un tiers inférieur standard : choisissez Édition > Connecter un titre > Tiers inférieur standard (ou appuyez sur Maj + Contrôle + T). Le plan de titre de bas d’écran « Tiers inférieur standard » (sans effets ou animations) est ajouté à l’emplacement de la tête de lecture. Il se voit connecté au plan dans le scénario principal, au niveau de la tête de lecture. Sur le plan visuel, le titre est superposé au plan dans le scénario principal à l’emplacement de la tête de lecture. Si cette dernière ne se situe pas sur un plan, le titre est alors placé par défaut sur l’arrière-plan. Ajout d’un titre en tant que plan dans le scénario principal Il existe deux façons pour ajouter un titre dans le scénario principal sous forme de plan. Vous pouvez soit insérer un plan de titre au niveau du point de montage entre deux plans, soit remplacer un plan existant dans le scénario principal par un plan de titre. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 223 mm Pour ajouter un titre entre des plans sur la timeline : depuis le navigateur de titres, faites glisser un plan de titre sur le point de montage situé entre les plans à l’endroit où vous voulez qu’il apparaisse. mm Pour remplacer un plan existant sur la timeline par un plan de titre : faites glisser un titre du navigateur de titres sur le plan que vous voulez remplacer dans la timeline, puis choisissez Remplacer dans le menu contextuel. Saisie de texte pour le titre Après avoir ajouté un plan de titre au projet dans la timeline, il vous est possible d’attribuer du texte au titre dans le visualiseur. 1 Sélectionnez un plan de titre dans la timeline. 2 Placez la tête de lecture sur le plan de titre sélectionné. 3 Dans le visualiseur, double-cliquez sur le texte du titre, puis saisissez le texte de votre choix. Double-cliquez sur le champ pour taper le texte du titre.Bouton Couche de texte précédenteBouton Couche de texte suivante 4 Pour sélectionner un autre objet texte, procédez de l’une des manières suivantes : •• Cliquez sur le bouton « Couche de texte précédente » ou « Couche de texte suivante ». •• Double-cliquez sur un autre objet texte. 5 Tapez le texte voulu. 6 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Remarque : Les boutons « Couche de texte précédente » et « Couche de texte suivante » prennent également en charge les marqueurs Édition de texte de Motion. Pour en savoir plus, consultez l’. Aide Motion à l'adresse http://help.apple.com/motion. Réglage des titres Vous avez la possibilité de modifier du texte dans le visualiseur et d’adapter l’apparence du texte d’un titre grâce à l’inspecteur de titre et à l’inspecteur vidéo. Par exemple, vous pouvez régler l’opacité d’un titre ou modifier la police, l’alignement, la couleur, l’éclat et l’ombre portée du texte. Modification du texte du titre 1 Double-cliquez sur un plan de titre dans la timeline. 2 Procédez de l’une des manières suivantes : •• Double-cliquez sur un objet texte dans le visualiseur. •• Sélectionnez le texte dans l’inspecteur de texte. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 224 3 Modifiez le texte. 4 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Adaptation de l’emplacement d’un titre à l’écran 1 Sélectionnez un plan de titre dans la timeline. 2 Placez la tête de lecture sur le plan de titre sélectionné. 3 Procédez de l’une des manières suivantes : •• Dans le visualiseur, faites glisser l’objet texte selon vos besoins. •• Double-cliquez sur l’objet texte et faites glisser le bouton de positionnement sur le nouvel emplacement. Cliquez sur le bouton de positionnement (représenté par le petit cercle) et faites glisser le titre selon vos besoins. Adaptation de l’opacité d’un titre Si vous placez un titre sur un plan, il vous est alors possible d’ajuster la transparence du titre. 1 Double-cliquez sur un plan de titre dans la timeline. 2 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Vidéo situé en haut de la fenêtre qui apparaît. Curseur Opacité 3 Dans la section Compositing, ajustez les réglages d’opacité. 4 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Remarque : Il vous est également possible d’animer avec des images clés le réglage de l’opacité d’un titre. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 225 Ajustement des réglages d’un titre Vous pouvez modifier les réglages d’un titre dans l’inspecteur de titre. 1 Sélectionnez un plan de titre dans la timeline. 2 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4), puis cliquez sur le bouton Titre situé en haut de la fenêtre qui apparaît. 3 Ajustez le cas échéant les réglages proposés. Remarque : Vous avez également la possibilité d’animer avec des images clés de nombreux réglages dans les inspecteurs de titre et de texte. Modification du style du texte d’un titre Vous pouvez modifier le style de texte d’un titre. 1 Double-cliquez sur un plan de titre dans la timeline. Le titre apparaît dans le visualiseur et le texte dans le premier objet texte inclus dans le plan de titre est sélectionné. 2 Pour modifier un autre objet texte, sélectionnez-le dans le visualiseur. 3 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). 4 Ajustez le cas échéant les réglages proposés. 5 Pour quitter le mode d’édition de texte, appuyez sur Commande + Retour. Remarque : Vous avez également la possibilité d’animer avec des images clés de nombreux réglages dans les inspecteurs de titre et de texte. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 226 Réglage simultané de plusieurs objets texte dans un plan de titre Vous pouvez adapter les réglages de plusieurs objets texte en une seule fois. 1 Sélectionnez un plan de titre dans la timeline. 2 Placez la tête de lecture sur le plan de titre sélectionné. 3 Dans le visualiseur, procédez de l’une des manières suivantes. •• Tout en maintenant la touche Commande enfoncée, sélectionnez les objets texte à modifier. •• Faites glisser le pointeur pour sélectionner les objets texte à modifier. 4 Choisissez Fenêtre > Afficher l’inspecteur (ou appuyez sur Commande + 4). 5 Ajustez le cas échéant les réglages proposés. Utilisation de la règle pour agencer et aligner les objets de texte de paragraphe Le texte créé dans Motion et certains titres du navigateur de titres contiennent du texte de paragraphe. Vous pouvez utiliser une règle et des onglets pour contrôler la présentation du texte de paragraphe. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 1 Double-cliquez sur un objet de texte de paragraphe dans le visualiseur. 2 Dans le visualiseur, cliquez sur le bouton Afficher la règle. Remarque : Le bouton Afficher la règle s'affiche uniquement lorsque vous modifiez un objet de texte de paragraphe. Une règle apparaît au-dessus de l’objet de texte de paragraphe dans le visualiseur. Les tabulations dans la règle indiquent comment le texte tabulé doit être aligné dans le texte sélectionné. Centrer la tabulationTabulation décimaleTabulation droiteTabulation gauche 3 Procédez de l’une des façons suivantes : •• Pour ajouter une tabulation : cliquez sur la règle. •• Pour changer le type de tabulation ajoutée lorsque vous cliquez sur la règle : cliquez sur la règle tout en maintenant la touche Contrôle enfoncée, puis choisissez un type de tabulation dans le menu contextuel. •• Pour déplacer une tabulation : faites-la glisser sur la règle. •• Pour supprimer une tabulation : faites-la glisser en dehors de la règle. •• Pour changer de type de tabulation : cliquez sur la tabulation tout en maintenant la touche Contrôle enfoncée, puis choisissez un type de tabulation dans le menu contextuel. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 227 Suppression de titres du projet Vous pouvez supprimer à tout moment un titre du projet. Suppression d’un titre mm Sur la timeline, sélectionnez le titre à supprimer et appuyez sur Supprimer. Recherche et remplacement de texte dans un projet Si le projet contient plusieurs instances d’un mot ou d’une expression qui se retrouve dans plusieurs plans de titre, par exemple des noms, des entreprises ou des intitulés de poste, vous pouvez rechercher le mot ou l’expression et modifier rapidement chaque instance. Recherche et remplacement de texte du titre 1 Choisissez Édition > Rechercher et remplacer le texte du titre. 2 Dans la fenêtre « Rechercher et remplacer le texte du titre » qui s’affiche, saisissez le texte à rechercher dans le champ Rechercher. 3 Dans le champ Remplacer, tapez le texte par lequel vous souhaitez remplacer celui recherché. 4 Pour indiquer où effectuer la recherche, procédez de l’une des manières suivantes : •• Pour rechercher du texte dans le plan de titre sélectionné : choisissez Titre sélectionné dans le menu local Rechercher dans. Cette option s’avère utile pour la recherche dans des plans de titre incluant beaucoup de texte, tels que les génériques. •• Pour rechercher du texte parmi tous les plans de titre du projet : choisissez « Tous les titres du projet » dans le menu local Rechercher dans. 5 Procédez de l’une des façons suivantes : •• Pour rechercher respectant les majuscules telles qu’elles sont saisies dans le texte recherché : cochez la case Respecter la casse. •• Pour rechercher des mots entiers plutôt qu’un groupe de lettres dans des mots : cochez la case Mots entiers. •• Pour que la recherche reprenne depuis le début de l’élément recherché après avoir atteint la fin : cochez la case Rechercher en boucle. 6 Procédez de l’une des manières suivantes : •• Pour remplacer toutes les instances du texte en une seule fois : cliquez sur le bouton Tout remplacer. •• Pour remplacer uniquement l’instance sélectionnée du texte : cliquez sur le bouton Remplacer. •• Pour remplacer l’instance du texte sélectionnée et rechercher l’occurrence suivante du texte : cliquez sur le bouton Remplacer et rechercher. •• Pour passer à l’instance suivante ou précédente du texte recherché : cliquez sur le bouton respectif Suivant ou Précédent. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 228 Ajustement d’effets intégrés Présentation des effets intégrés Final Cut Pro comprend plusieurs effets vidéo intégrant chaque plan de la timeline, directement accessibles depuis le visualiseur ; tout ce qu’il vous reste à faire est de les sélectionner et d’y apporter vos ajustements. Ceux-ci vous permettent de : •• créer une image composite à partir de plusieurs plans ; •• repositionner ou recadrer un plan en zoomant dessus ; •• rogner un plan pour supprimer tous les éléments indésirables, tels que des micros ou l’équipement d’éclairage qui apparaissent accidentellement dans la vidéo ; •• configurer un effet Ken Burns pour apporter du souffle à vos images fixes (mais aussi à vos plans vidéo). Il vous est possible d’exploiter plusieurs effets intégrés simultanément. Par exemple, vous pouvez faire appel à l’effet Transformer pour réduire la taille et la position de l’image, Trim pour supprimer une partie de la vidéo et Distorsion pour déformer la vidéo. Vous pouvez animer ces effets pour qu’ils changent au fil de la lecture du plan. Par exemple, vous pouvez réduire la taille d’une image et la faire sortir de l’écran. Pour configurer une animation, vous devez modifier les réglages sur au moins deux points du plan. Au cours de la lecture du plan, Final Cut Pro crée des transitions animées et fluides entre ces points. Redimensionnement, déplacement et rotation de plans L’effet intégré Transformer vous permet de redimensionner, de faire pivoter et de déplacer une image. Cet effet est couramment utilisé sur un plan placé au-dessus d’un plan du scénario principal, qui devient alors l’arrière-plan du plan redimensionné. Il sert également souvent à zoomer sur un plan, vous permettant ainsi de recadrer une prise de vue au besoin. Ajustement de l’effet Transformer Les commandes disponibles dans le visualiseur et l’inspecteur vidéo vous permettent d’ajuster cet effet. Cependant, certaines commandes ne sont disponibles que dans l’un ou dans l’autre. 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Transformer, effectuez l’une des opérations suivantes : •• Choisissez Transformer à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + T). •• Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Transformer dans le menu contextuel. 3 Pour régler l’effet à l’aide des commandes à l’écran : •• Poignées bleues situées à chaque coin : faites-les glisser pour ajuster la taille de l’image tout en conservant ses proportions. •• Poignées bleues situées au milieu de chaque côté : faites-les glisser pour adapter indépendamment la taille verticale ou horizontale de l’image, faisant ainsi varier les proportions de l’image. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 229 Remarque : Ces commandes ne sont pas accessibles depuis l’inspecteur vidéo. •• Cercle blanc situé au centre : indique le point d’ancrage pour la rotation. Faites glisser n’importe où le point actif à l’intérieur de l’image pour adapter sa position. •• Poignée bleue s’étendant depuis le cercle central : faites-la glisser pour faire pivoter l’image. Conseil : Pour bénéficier d’une plus grande précision lors de la rotation de l’image, faites glisser la poignée de rotation en l’éloignant du point d’ancrage situé au centre. Faites glisser la poignée d’un coin pour modifier la taille de l’image sans influer sur ses proportions.Faites glisser la poignée d’un bord pour adapter les proportions de l’image.Faites glisser l’image pour affiner sa position.Faites glisser cette poignée pour faire pivoter l’image. 4 Utilisez les commandes Transformer dans l’inspecteur vidéo comme suit : •• Position X et Y : utilisez ces commandes pour déplacer l’image horizontalement (axe des X) et verticalement (axe des Y). •• Rotation : faites-la glisser pour faire pivoter l’image autour de son point d’ancrage. •• Échelle : cette commande vous permet d’adapter la taille de l’image. •• Ancrage X et Y : permet de déplacer le point central de l’image. Cette commande définit le point autour duquel l’image pivote. Remarque : Elle ne se trouve pas parmi les commandes à l’écran. 5 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé. Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Trim de plans Les commandes de trim vous permettent d’élaguer indépendamment chacun des bords de l’image, créant ainsi l’aspect d’une fenêtre. Cet effet, couramment employé avec l’effet Transformer, est généralement mis en oeuvre sur un plan placé au-dessus d’un plan du scénario principal, qui devient alors l’arrière-plan du plan faisant l’objet du trim. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 230 Ajustement de l’effet Trim 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Trim, effectuez l’une des opérations suivantes : •• Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C). •• Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel. 3 Cliquez sur le bouton Trim en bas du visualiseur. 4 Pour régler l’effet à l’aide des commandes à l’écran : •• Poignées bleues situées à chaque coin : faites-les glisser pour adapter en même temps la position de deux côtés de la fenêtre du trim. •• Poignées bleues situées au milieu de chaque côté : faites-les glisser pour ajuster indépendamment la position de chaque côté. •• N’importe où dans la fenêtre : faites glisser la fenêtre pour affiner sa position. Faites glisser une poignée au milieu d’un bord pour ne modifier que le bord en question.Faites glisser la poignée d’un angle pour modifier deux côtés simultanément.Faites glisser l’image pour positionner la fenêtre du trim. 5 Pour adapter chaque bord indépendamment à l’aide de la zone de rognage de l’inspecteur vidéo, faites appel aux commandes Trim. 6 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé. Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 231 Rognage de plans L’effet Rogner simplifie la suppression des zones indésirables de l’image. Il étend automatiquement l’image rognée de façon à lui faire remplir l’écran. Ajustement de l’effet Rogner 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Rogner, effectuez l’une des opérations suivantes : •• Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C). •• Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel. 3 Cliquez sur le bouton Rognage en bas du visualiseur. 4 Pour régler l’effet à l’aide des commandes à l’écran : •• Poignées bleues situées à chaque coin : faites-les glisser pour adapter le rognage du coin choisi. L’image rognée conserve toujours ses proportions d’origine. •• N’importe où dans la fenêtre : faites glisser la fenêtre de rognage pour affiner sa position. Faites glisser la poignée d’un coin pour modifier la taille de la fenêtre de rognage (mais sans influer sur ses proportions).Faites glisser l’image pour positionner la fenêtre du rognage.Cliquez sur Terminé pour rogner l’image et l’afficher dans sa taille développée finale. 5 Pour adapter chaque bord indépendamment à l’aide de la zone de rognage de l’inspecteur vidéo, faites appel aux commandes Rogner. Remarque : S’il vous est possible d’exploiter ces commandes pour modifier les proportions de la fenêtre de rognage, l’image finale maintient cependant les proportions de l’image d’origine. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 232 6 Cliquez sur Terminé pour que le rognage s’applique enfin et pour retrouver l’image zoomée de façon à remplir l’écran. Vous pouvez animer l’effet, créant ainsi l’illusion d’un panoramique et d’un zoom (il s’agit alors en fait d’un effet Ken Burns manuel). Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Panoramique et zoom des plans avec l'effet Ken Burns L’effet Ken Burns crée un effet de panoramique et de zoom à l’aide de positions de départ et de fin que vous devez définir. L’effet Ken Burns représente en fait un effet Rogner marqué par deux réglages de rognage : l’un au début du plan et l’autre à sa fin. Ajustement de l’effet Ken Burns 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Ken Burns, effectuez l’une des opérations suivantes : •• Choisissez Rogner à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + C). •• Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Rogner dans le menu contextuel. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 233 3 Cliquez sur le bouton Ken Burns en bas du visualiseur. Deux rectangles apparaissent alors dans le visualiseur : un vert, qui définit l’emplacement et la taille pour le début du plan, et un rouge qui indique la position et la taille pour la fin du plan. Une flèche vient marquer la direction dans laquelle l’image avance lorsque le plan est reproduit. Sélectionnez le rectangle vert Début ou le rectangle rouge Fin pour régler la taille et l’emplacement du rognage.Cliquez sur le bouton Échange pour intervertir le départ et l’arrivée.Cliquez sur le bouton Lecture en boucle pour reproduire le plan de façon continue. Les réglages par défaut pour le début et la fin entraînent un zoom de faible amplitude vers le centre de l’image. 4 Pour choisir la partie de l’image qui apparaît au début de l’effet, faites glisser les poignées vertes pour modifier la taille de rognage de l’image et faites glisser la fenêtre pour définir son emplacement. 5 Pour choisir la partie de l’image qui apparaît à la fin de l’effet, faites glisser les poignées rouges pour modifier la taille de rognage de l’image et faites glisser la fenêtre pour définir son emplacement. 6 Pour reproduire continuellement le plan avec l’effet appliqué, cliquez sur le bouton Lecture en boucle. 7 Pour intervertir les emplacements du départ et d’arrivée, cliquez sur le bouton Échange. 8 Cliquez sur Terminé. Conseil : Faites appel à l’effet Rogner et à des images clés intermédiaires pour créer un effet ressemblant à l’effet Ken Burns, qui suit cependant une trajectoire plus compliquée. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Inclinaison de la perspective d’un plan L’effet Distorsion s’apparente à l’effet Transformer hormis que vous êtes en mesure de faire glisser chacun des coins indépendamment des autres, vous permettant ainsi de générer une apparence inclinée ou d’ajouter de la perspective à l’image. Remarque : L’effet Distorsion modifie la forme de la vidéo sans pour autant la déplacer. Pour repositionner la vidéo, utilisez l’effet Transformer. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 234 Ajustement de l’effet Distorsion 1 Sélectionnez un plan dans la timeline. 2 Pour accéder aux commandes Distorsion, effectuez l’une des opérations suivantes : •• Choisissez Distorsion à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Commande + Maj + D). •• Tout en maintenant la touche Contrôle enfoncée, cliquez dans le visualiseur sur le plan, puis choisissez Distorsion dans le menu contextuel. 3 Pour régler l’effet à l’aide des commandes à l’écran : •• Poignées bleues situées à chaque coin : faites-les glisser pour repositionner chaque coin, ce qui ajoute de la perspective à l’image (une partie semble alors se projeter plus au premier plan que d’autres parties). •• Poignées bleues situées au milieu de chaque côté : faites-les glisser pour ajuster la position de chaque côté. Vous pouvez ainsi générer un effet d’inclinaison en les faisant glisser dans la même direction que leur bord (plutôt que par rapport au centre). •• N’importe où dans la fenêtre : faites glisser la fenêtre pour affiner sa position. Faites glisser chaque coin pour définir sa position.Faites glisser les poignées au milieu des arrêtes pour régler la position d’un côté. 4 Pour ajuster indépendamment chaque coin par le biais de l’inspecteur vidéo, servez-vous des commandes Distorsion. 5 Lorsque vous avez fini l’ajustement de l’effet et que vous n’avez plus besoin des commandes à l’écran, cliquez sur Terminé. Vous pouvez animer l’effet et le faire apparaître par dessus un arrière-plan. Pour en savoir plus sur la manipulation d’effets intégrés, consultez Manipulation d’effets intégrés à la page 235. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 235 Manipulation d’effets intégrés Les méthodes suivantes vous permettent de travailler avec des effets intégrés. Désactivation ou réinitialisation de l’effet 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes : •• Pour désactiver l’effet et conserver ses réglages : cliquez sur la case bleue en regard de l’effet utilisé (Transformer, Rogner ou Distorsion) dans l’inspecteur vidéo. Vous pouvez cliquer à nouveau sur la case pour réactiver l’effet, simplifiant ainsi la comparaison du plan avec et sans l’effet. Placez le pointeur sur cette zone et cliquez sur Afficher pour afficher les réglages d’un effet.Cliquez sur une case pour activer ou désactiver un effet.Cliquez sur l’icône d’un effet pour afficher ou masquer les commandes à l’écran correspondantes.Cliquez sur le bouton Réinitialiser d’un effet pour rétablir les valeurs par défaut des réglages. •• Pour rétablir toutes les valeurs de l’effet à leur valeur par défaut : Cliquez sur le bouton Réinitialiser . •• Pour désactiver l’effet dans l’éditeur d’animation vidéo : ouvrez l’éditeur en choisissant Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V), puis cliquez sur la case en regard de l’effet à désactiver. Cliquez sur la case d’un effet pour l’activer ou le désactiver. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 236 Animation d’effets intégrés Utilisez des images clés pour faire évoluer les réglages de l’effet au fur et à mesure de la lecture du plan. Ceci s’applique à tous les effets intégrés sauf à l’effet Ken Burns. 1 Sélectionnez un plan dans la timeline. 2 Choisissez l’effet à animer à partir du menu local situé dans le coin inférieur gauche du visualiseur. Dans le cadre de cet exemple, choisissez Transformer (ou appuyez sur Maj + T). 3 Positionnez la tête de lecture de la timeline au début du plan. 4 Réglez l’emplacement de départ à l’aide des commandes à l’écran de l’effet. 5 Cliquez sur le bouton « Ajouter une image clé » situé dans la partie supérieure du visualiseur. Cliquez sur le bouton « Ajouter une image clé » pour ajouter à l’animation la première image clé. 6 Placez la tête de lecture sur la fin du plan. 7 Réglez l’emplacement de fin à l’aide des commandes de l’effet. Une image clé est alors automatiquement ajoutée. De plus, dans le cas des effets Transformer, une ligne indique la trajectoire empruntée par l’image. Cliquez sur la flèche gauche pour passer directement à la première image clé.Une fois terminé, la création de l’animation, cliquez sur Terminé.La ligne rouge indique la trajectoire du centre de l’image. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 237 8 Pour confirmer vos opérations, cliquez sur Terminé dans le coin supérieur droit du visualiseur. Une fois lancée la lecture du plan, la vidéo se déplace de façon fluide entre les images clés, créant ainsi une effet animé. Vous pouvez en fait ajouter plusieurs images clés en déplaçant la tête de lecture et en adaptant les commandes de l’effet. Pour en savoir plus sur l’utilisation des images clés, consultez Présentation de l’animation vidéo à la page 256. Ajustement de la trajectoire d’animation de l’effet Transformer Les animations par transformation présentent des commandes d’images clés complémentaires qui permettent d’affiner la trajectoire d’animation. Pour les afficher, vous devez au préalable créer un effet simple sur trois coins. Le bouton « Ajouter une image clé » s’adapte en bouton « Supprimer l’image clé » lorsque le point actif se trouve sur une image clé.Image clé du milieu 1 Sélectionnez un plan dans la timeline et placez la tête de lecture sur son début. 2 Sélectionnez Transformer à partir du menu local situé dans le coin inférieur gauche du visualiseur (ou appuyez sur Maj + T), puis faites glisser les commandes à l’écran pour réduire la taille de l’image et la placer dans le coin supérieur gauche. 3 Cliquez sur le bouton « Ajouter une image clé ». 4 Dans la timeline, placez la tête de lecture au milieu du plan. 5 Utilisez les commandes à l’écran Transformer pour déplacer l’image vers le coin supérieur droit. Une image clé est automatiquement ajoutée et une ligne rouge indique le chemin emprunté jusqu’alors par l’animation. 6 Dans la timeline, placez la tête de lecture sur la fin du plan. 7 Servez-vous des commandes à l’écran Transformer pour déplacer l’image sur le centre inférieur. Une image clé est automatiquement ajoutée et la ligne rouge s’étend alors jusqu’au nouveau point. 8 Pour passer directement d’une image clé à l’autre, cliquez sur les carrés blancs placés le long de la ligne rouge. Les première et dernière images clés sont dotées de flèches blanches. Par défaut, la ligne rouge suit une trajectoire fluide (indiquée par sa courbe harmonieuse). Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 238 9 Pour contrôler cette courbe représentant la trajectoire, cliquez sur l’image clé du début ou du milieu, puis faites glisser les poignées de courbe. Faites glisser ces poignées sur une image clé du milieu pour ajuster la courbe de la trajectoire.Image clé de départImage clé d’arrivée 10 Cliquez sur une image clé en maintenant la touche Contrôle enfoncée, puis choisissez une option dans le menu contextuel : •• Linéaire : sert aux trajectoires directes non courbes partant ou arrivant à l’image clé en question. •• Lissage : sert aux trajectoires courbes partant ou arrivant à l’image clé en question, offrant ainsi un mouvement plus naturel. •• Supprimer le point : permet de supprimer l’image clé. •• Verrouiller le point : permet d’empêcher tout ajustement de l’image clé. Une fois activé, son intitulé change en Déverrouiller le point. •• Désactiver le point : sert à ignorer l’image clé en question, mais la laisse en place pour pouvoir l’utiliser ultérieurement au besoin. Une fois activé, son intitulé change en Activer le point. Effets composites sur un arrière-plan Les effets Transformer, Trim et Distorsion génèrent souvent une image de taille inférieure à la taille réelle, avec des zones vides noires. Vous pouvez remplacer ces dernières par un arrière-plan en plaçant le plan transformé sur un plan d’arrière-plan, technique connue sous le nom de compositing. Procédez de l’une des manières suivantes : mm Ajoutez un plan à la timeline sous forme de plan connecté, puis l’effet à ce plan. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 239 Ceci entraîne le placement du plan au-dessus du plan du scénario principal, qui devient alors automatiquement l’arrière-plan de l’effet. Plan composé sur le scénario principalPlan situé dans le scénario principal, constituant l’arrière-plan mm Si le plan se trouve déjà dans le scénario principal, faites-le glisser au-dessus de celui-ci, en le positionnant sur le plan faisant office d’arrière-plan. L’image devient ainsi une image composite. Les effets Transformer et Trim ont permis de créer une image composite sur l’arrière-plan avec cette image. Pour en savoir plus sur l’utilisation de plans connectés, consultez Ajout de scénarios à la page 274. Pour en savoir plus sur le compositing de plans, consultez Présentation du compositing à la page 367. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 240 Ajout et réglage des effets de plans Présentation des effets de plans En plus des effets intégrés, Final Cut Pro contient une grande variété d’effets vidéo qu’il vous est possible d’appliquer aux plans vidéo de votre projet. De nombreux effets modifient l’apparence de votre vidéo, allant de l’ajout d’un flou ou d’un éclat à de fortes distorsions. Certains effets incrustent des graphismes issus d’un caméscope ou du timecode. Il existe aussi un effet pour l’incrustation d’un plan vidéo sur un autre. Final Cut Pro inclut également un ensemble étendu d’effets audio applicables aux clips audio de votre projet. De nombreux effets modifient le son de votre audio, allant de l’ajout d’échos subtils à de fortes distorsions de la tonalité. Après avoir ajouté un effet, vous avez la possibilité de régler ses paramètres. Certains effets ne disposent que de peu de réglages alors que d’autres en proposent un ensemble complet, vous permettant un contrôle étendu de leur apparence. Les effets peuvent en outre être animés, leurs réglages pouvant s’adapter lors de la lecture du plan. Il est possible d’appliquer plusieurs effets à vos plans, en « empilant » des effets. Cependant, l’ordre dans lequel vous appliquez ces effets peut influer sur l’apparence finale de votre vidéo. De plus, vous pouvez ouvrir de nombreux effets vidéo pour les modifier dans Motion, afin de créer des versions spécialisées utilisables dans vos projets. Ajout d’effets au projet Passez par le navigateur d’effets pour ajouter des effets aux plans de votre projet. Ajout d’un effet à un plan du projet 1 Sélectionnez le plan voulu dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils. 2 Dans le navigateur d’effets, sélectionnez un effet en vous aidant de l’un des éléments suivants : •• Pour effectuer un preview une fois l’effet appliqué à la vidéo tirée du plan sélectionné sur la timeline : placez le pointeur sur les vignettes d’effets vidéo. •• Pour effectuer un preview influant sur la commande principale de l’effet : maintenez la touche Option enfoncée tout en plaçant le pointeur sur la vignette d’un effet vidéo. •• Pour filtrer la liste des effets qui apparaissent à l’écran : saisissez le texte recherché dans le champ de recherche du navigateur d’effets. 3 Procédez de l’une des manières suivantes : •• Faites glisser l’effet sur le plan situé dans la timeline, auquel vous voulez l’appliquer. •• Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné. Il ne vous reste à présent qu’à adapter l’effet selon vos besoins. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 241 Réglage d’effets dans Final Cut Pro Pour la plupart des effets, vous pouvez ajuster un ou plusieurs paramètres dans l’inspecteur vidéo ou audio, le visualiseur ou l’éditeur d’animation vidéo ou audio. Vous pouvez également contrôler l’application de l’effet au plan, soit progressivement, soit entièrement sur toute sa durée d’application. Ajustement d’un effet dans l’inspecteur vidéo et dans le visualiseur 1 Sélectionnez dans la timeline un plan incluant un effet à adapter. 2 Accédez à l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio. Cliquez sur cette icône pour activer ou désactiver l’effet.Cliquez dessus pour réinitialiser les ajustements de l’effet. Dans l’exemple ci-dessus, plusieurs réglages sont sélectionnés pour l’effet Capteur. De nombreux effets disposent également d’ajustements qui apparaissent dans le visualiseur, connus sous le nom de commandes à l’écran. Conseil : Dans le cas d’effets audio, il vous est possible de cliquer sur le bouton Commandes (qui se trouve à droite du nom de l’effet) pour afficher à l’écran une fenêtre de commande personnalisée. Cliquez sur cette icône pour accéder à la fenêtre de commande personnalisée de l’effet. 3 Sélectionnez les paramètres d’effets et ajustez leurs réglages selon vos besoins. Pour rétablir les valeurs par défaut des réglages des effets, vous avez la possibilité de cliquer sur le bouton Réinitialiser de l’effet. Ajustement d’un effet dans l’éditeur d’animation vidéo De nombreux paramètres d’effets peuvent être adaptés dans l’éditeur d’animation vidéo. De plus, il est possible de configurer ces paramètres de sorte qu’ils soient appliqués progressivement. 1 Sélectionnez dans la timeline un plan incluant un effet vidéo. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 242 2 Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). L’effet vient s’afficher dans l’éditeur d’animation vidéo au-dessus du plan, sous forme d’animation. Vous pouvez cliquer sur sa case pour activer ou désactiver l’effet. Les effets qui possèdent plusieurs attributs adaptables disposent également d’un menu local pour vous permettre de choisir l’attribut à afficher et à régler. Double-cliquez sur les effets présentant cette icône pour les développer verticalement.Choisissez un ajustement d’effet spécifique dans ce menu local.Cliquez sur cette icône pour activer ou désactiver l’effet. 3 Pour étirer verticalement la zone d’ajustement de l’effet, choisissez un ajustement donné dans le menu local (si celui-ci est présent) et double-cliquez dessus. Ceci ne s’applique qu’aux ajustements d’effet qui possèdent une seule valeur. Une icône apparaît à droite de la section de l’effet si l’ajustement peut être développé. 4 Pour que le réglage de l’effet effectue un fondu entrant et sortant du plan, faites glisser les poignées situées de chaque côté de l’effet. Faites glisser les poignées de fondu pour appliquer progressivement l’effet.Faites glisser cette ligne pour ajuster la valeur sélectionnée. Il vous est également possible de faire glisser verticalement la ligne horizontale pour contrôler le réglage sélectionné de l’effet (Degré, dans le cas de l’exemple ci-dessus). Toutes les images clés que vous ajoutez apparaissent également. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 243 Affichage des effets audio appliqués à un plan 1 Sélectionnez dans la timeline un plan incluant un effet audio. 2 choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). L’effet audio apparaît dans l’éditeur d’animation audio sous forme d’animation. Vous pouvez cliquer sur sa case verte pour activer ou désactiver l’effet. Modification de l’ordre des effets Vous pouvez appliquer plusieurs effets à un plan sur la timeline. L’ordre dans lequel vous les appliquez peut influer sur la sortie finale générée. Par exemple, l’application de l’effet Parasites, qui ajoute par défaut des cercles blancs aléatoires à la vidéo, avant l’effet Papier vieilli, génère par conséquent des cercles blancs dont l’aspect est également vieilli ; son application après l’effet Papier vieilli produit donc des cercles blancs inchangés. Vous pouvez modifier en toute simplicité l’ordre des effets de plan dans l’inspecteur vidéo, dans l’inspecteur audio, dans l’éditeur d’animation vidéo ou dans l’éditeur d’animation audio. Remarque : Vous ne pouvez pas adapter l’ordre des effets intégrés ou de l’étalonnage. Modification de l’ordre des effets de plan vidéo et de clip audio à l’aide de l’inspecteur vidéo ou de l’inspecteur audio 1 Sélectionnez dans la timeline un plan vidéo ou un clip audio auquel plusieurs effets sont appliqués, puis procédez de l’une des manières suivantes : •• Pour constater le résultat des effets vidéo : ouvrez l’inspecteur vidéo. •• Pour constater le résultat des effets audio : ouvrez l’inspecteur audio. 2 Dans l’inspecteur vidéo ou l’inspecteur audio, faites glisser les effets pour en modifier l’ordre. Les effets intégrés et l’étalonnage ne peuvent pas être réorganisés.Faites glisser les effets de plan pour les réorganiser. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 244 Modification de l’ordre des effets de plan vidéo et de clip audio à l’aide de l’éditeur d’animation vidéo ou de l’éditeur d’animation audio 1 Sélectionnez dans la timeline un plan vidéo ou un clip audio auquel plusieurs effets sont appliqués, puis procédez de l’une des manières suivantes : •• Pour constater le résultat des effets vidéo : Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). •• Pour constater le résultat des effets audio : choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A). 2 Dans l’éditeur d’animation vidéo ou dans l’éditeur d’animation audio, faites glisser les effets pour en modifier l’ordre. Les effets intégrés et l’étalonnage ne peuvent pas être réorganisés.Faites glisser les effets de plan pour les réorganiser. Copie d’effets et d’attributs entre des plans Final Cut Pro propose deux façons de copier des effets entre les plans. La commande Coller les attributs vous permet de copier les attributs de plan sélectionnés à un autre plan et offre un contrôle supplémentaire sur les différents effets, réglages et images clés. La commande Coller les effets vous permet de copier tous les effets d’un plan vers un autre plan. Elle s’avère être le moyen le plus rapide pour copier des effets et des attributs. Copie des attribut d’un plan sélectionné vers un autre Vous pouvez copier les attributs, tels que les réglages et les effets, d’un plan à l’autre. Par exemple, il vous est possible de copier les réglages de rognage vidéo ou tout autre effet ajouté à un plan, y compris des réglages d’image clé quelconques. La fonctionnalité Coller les attributs vous permet de sélectionner les attributs de plan à appliquer. 1 Sélectionnez un plan dans la timeline, puis choisissez Édition > Copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les attributs, puis choisissez Édition > Coller les attributs (ou appuyez sur Commande + Maj + V). 3 Effectuez l’une des opérations suivantes : •• Pour appliquer tous les attributs vidéo ou audio du plan source : cochez la case Attributs vidéo ou la case Attributs audio. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 245 •• Pour appliquer des attributs précis : cochez la case de chaque attribut à appliquer. 4 Si vous apportez un réglage quelconque aux images clés du plan source, choisissez Conserver la synchronisation ou Adapter par étirement à partir du menu local Images clés. Si vous choisissez Adapter par étirement, Final Cut Pro adapte les images clés dans le temps pour respecter la durée du plan de destination. 5 Cliquez sur Coller. Copie de tous les effets d’un plan vers un autre 1 Dans la timeline, sélectionnez le plan duquel copier les effets, puis sélectionnez Édition > copier (ou appuyez sur Commande + C). 2 Sélectionnez le ou les plans auxquels vous souhaitez appliquer les effets, puis choisissez Édition > Coller les effets (ou appuyez sur Commande + Option + V). Les effets du plan source et leurs réglages s’appliquent alors au plan de destination. Pour bénéficier d’un plus grand contrôle sur les différents attributs, suivez les instructions dans la section « Copie des attribut d’un plan sélectionné vers un autre » ci-avant. Désactivation ou suppression d’un effet d’un plan Lorsque vous appliquez un effet à un plan, il vous est possible soit de désactiver l’effet (tout en conservant ses réglages), soit de le supprimer du plan. Désactivation d’un effet de plan 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes : •• Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V) pour voir les effets vidéo, ou choisissez Plan > Afficher l’animation audio (ou appuyez sur Contrôle + A) pour voir les effets audio. Sélectionnez l’effet, puis cliquez sur sa case. •• Sélectionnez l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio, puis cliquez sur sa case bleue. L’effet ne s’applique plus à la vidéo ou à l’audio. Vous pouvez cliquer sur la case pour réactiver l’effet avec ses réglages inaltérés. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 246 Suppression d’un effet d’un plan 1 Sélectionnez dans la timeline un plan incluant un effet. 2 Procédez de l’une des manières suivantes : •• Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V) pour voir les effets vidéo, ou choisissez Plan > Afficher l’animation audio pour voir les effets audio. Sélectionnez l’effet, puis appuyez sur Supprimer. •• Sélectionnez à l’effet dans l’inspecteur vidéo ou dans l’inspecteur audio. Création de versions d’effets vidéo spécialisées dans Motion De nombreux effets vidéo fournis ont été élaborés dans Motion, une application Apple conçue pour fonctionner avec Final Cut Pro. Vous pouvez ouvrir ces effets dans Motion, y apporter des modifications et enregistrer ces modifications sous forme de nouvel effet qui s’affiche ensuite dans le navigateur d’effets. Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur. Modification d’un effet vidéo dans Motion 1 Dans la barre d’outils, cliquez sur le bouton Effets. 2 Dans le navigateur d’effets, cliquez sur l’effet tout en maintenant la touche Contrôle enfoncée, puis choisissez « Ouvrir une copie dans Motion » dans le menu contextuel. Motion se lance automatiquement et ouvre le projet de l’effet. 3 Modifiez le projet de l’effet. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 4 Choisissez Fichier > Enregistrer sous (ou appuyez sur Commande + Maj + S), attribuez un nom au nouvel effet (appelé modèle dans Motion), affectez-le à une catégorie (ou créez-en une), choisissez un thème (le cas échéant), puis cliquez sur Publier. Remarque : Si vous choisissez Fichier > Enregistrer, l’effet s’enregistre alors en reprenant le même nom complété du suffixe « copie ». Ajout de générateurs Présentation des générateurs Final Cut Pro comprend une série de plans vidéo, appelés générateurs, pour une panoplie étendue d’usages dans un projet. Par exemple, vous pouvez faire appel aux générateurs pour ajouter les éléments suivants : •• Contenu de repère d’emplacement : si du contenu est absent du projet car il n’a pas encore été filmé ou remis, vous pouvez ajouter un plan repère d’emplacement. Le générateur de repère d’emplacement vous permet d’ajouter un plan à la timeline avec une silhouette adaptée pour représenter le contenu manquant. Consultez Utilisation d’un repère d’emplacement à la page 247. •• Compteur de timecode : vous avez la possibilité d’ajouter à votre projet un plan de timecode pour superposer un compteur de timecode généré sur une partie ou l’intégralité du projet. Consultez Usage d’un compteur de timecode à la page 248. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 247 •• Plan de forme : vous avez le choix parmi une grande variété de formes pour ajouter des éléments graphiques au projet. Consultez Utilisation d’une forme à la page 248. •• Plan d’arrière-plan général : Final Cut Pro inclut un grand choix d’arrière-plans fixes et animés sur lesquels vous pouvez superposer des titres ou des effets d’incrustation. Consultez Utilisation d’un arrière-plan à la page 249. Tous les générateurs s’ajoutent au projet sous forme de plans dont la durée est définie d’entrée par défaut. Vous pouvez modifier cette durée et la position de façon identique à tout autre plan vidéo sur la timeline. Remarque : Les plans générateurs n’apparaissent pas dans le navigateur d’effets. Utilisation d’un repère d’emplacement Les repères d’emplacement générés s’avèrent utiles dans de nombreux cas de figure où il convient de remplir un vide dans le projet par quelque chose fournissant un indice sur ce que le contenu final est appelé à inclure. Vous pouvez configurer les plans repère d’emplacement pour représenter un large éventail de plans standard, tels que des gros plans, des groupes, des plans élargis, etc. Insertion et configuration d’un plan repère d’emplacement 1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le plan repère d’emplacement. 2 Procédez de l’une des manières suivantes : •• Choisissez Édition > Insérer le repère d’emplacement. •• Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils, puis double-cliquez sur la vignette intitulée Repère d’emplacement. 3 Sélectionnez un plan repère d’emplacement sur la timeline. 4 Configurez la prise de vue pour le plan à représenter à l’aide des réglages de l’inspecteur du générateur. 5 Sélectionnez Afficher les notes pour ajouter une zone de texte dans le visualiseur où il vous est possible de saisir du texte appartenant au plan en question. Si vous préférez remplir un vide sur la timeline par un plan vierge, vous pouvez insérer un espace. Pour en savoir plus, consultez Insertion de plans dans votre projet à la page 108. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 248 Usage d’un compteur de timecode Lors de l’envoi du projet pour le faire passer en revue, il peut s’avérer utile d’y superposer le timecode, simplifiant ainsi la tâche au réviseur pour indiquer précisément les sections afin de faire part de commentaires. Insertion et configuration d’un compteur de timecode 1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 2 Faites glisser le générateur de timecode au-dessus du scénario principal. Le plan du générateur de timecode est généralement placé au début du projet, mais il vous est possible de le placer n’importe où vous voulez qu’il apparaisse puis adapter sa durée à celle du projet. 3 Configurez les réglages de timecode dans l’inspecteur du générateur. Vous pouvez cliquer sur le bouton Réinitialiser pour rétablir les réglages par défaut du générateur. Utilisation d’une forme Vous pouvez configurer le générateur de formes afin qu’il s’adapte à n’importe quelle forme parmi celles proposées, telle qu’une étoile, un losange, une flèche et un coeur. Il s’agit ici de celles utilisées le plus souvent au-dessus du scénario principal pour ajouter un élément graphique au projet qu’il vous est ensuite possible d’animer. Insertion et configuration d’une forme 1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 2 Faites glisser le générateur de formes au-dessus du scénario principal afin qu’il vienne se positionner par dessus le plan vidéo sur lequel vous voulez que la forme apparaisse. La forme par défaut correspond à un cercle blanc. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 249 3 Dans le menu local Forme de l’inspecteur du générateur, choisissez la forme à utiliser. 4 Définissez la couleur de remplissage, la couleur et la largeur du contour, ainsi que l’ombre portée de la forme. Vous pouvez cliquer sur le bouton Réinitialiser pour rétablir les réglages par défaut du générateur. 5 Pour adapter la taille, la position et la rotation de la forme, faites appel à l’effet intégré Transformer ou Distorsion. Utilisez l’effet Transformer pour modifier la taille, la position et la rotation de la forme. Grâce à ces effets, il vous est également possible d’animer la forme. Par exemple, vous pouvez faire suivre une personne dans une salle par une flèche. 6 Pour rendre la forme partiellement transparente, sélectionnez-la dans la timeline, puis ajustez son réglage Opacité dans l’inspecteur vidéo. Utilisation d’un arrière-plan De nombreux générateurs prévoient un arrière-plan à caractère général sur lequel il vous est possible de placer des effets intégrés, des titres, des incrustations et des plans avec un canal alpha. Certains se composent de simples couleurs unies, d’autres représentent des textures telles que du bois ou de la pierre. Des générateurs contiennent même des animations, proposant ainsi un arrière-plan plus attractif. Insertion et configuration d’un plan d’arrière-plan 1 Dans la timeline, positionnez la tête de lecture sur le point où vous comptez ajouter le plan d’arrière-plan. 2 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 3 Dans le navigateur de générateurs, double-cliquez sur la vignette représentant l’arrière-plan à utiliser. 4 Sélectionnez le plan d’arrière-plan sur la timeline. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 250 5 Configurez l’arrière-plan (le cas échéant) à l’aide des réglages repris dans l’inspecteur du générateur. Création de versions de générateurs spécialisées dans Motion De nombreux générateurs ont été élaborés dans Motion, une application Apple conçue pour fonctionner avec Final Cut Pro. Pour les personnaliser davantage, vous pouvez les ouvrir dans Motion, apporter des modifications et enregistrer ces dernières sous forme de nouveau fichier qui apparaît ensuite dans le navigateur de générateurs. Important : Les étapes suivantes impliquent que Motion 5 soit installé sur votre ordinateur. Modification d’un générateur ou d’un arrière-plan dans Motion 1 Ouvrez le navigateur de générateurs en cliquant sur le bouton Générateurs repris sur la barre d’outils. 2 Dans le navigateur de générateurs, cliquez sur une vignette en maintenant la touche Contrôle enfoncée, puis choisissez « Ouvrir une copie dans Motion » dans le menu contextuel. Motion se lance automatiquement et ouvre le projet du plan. 3 Modifiez le projet du plan. Pour en savoir plus, consultez l’Aide Motion à l’adresse http://help.apple.com/motion. 4 Choisissez Fichier > Enregistrer sous (ou appuyez sur les touches Commande + Maj + S), attribuez un nom au nouveau générateur, puis cliquez sur Enregistrer. Remarque : Si vous choisissez Fichier > Enregistrer, le générateur s’enregistre alors en reprenant le même nom complété du suffixe « copie ». À propos des thèmes Final Cut Pro comprend un certain nombre de générateurs, de transitions et de titres, groupés par thème. Les générateurs, les transitions et les titres de chaque thème utilisent des formes et des couleurs proches, offrant un style visuel unique à chacun des thèmes. Les noms de thème, tels que Boîtes, Bande dessinée ou Documentaire, suggèrent des éléments qu'ils utilisent ou le type de projet dans lequel il peut être utilisé. Chaque thème peut contenir plusieurs générateurs vidéo, transitions vidéo et titres. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 251 Pour accéder au navigateur de thèmes, cliquez sur le bouton Thèmes de la barre d’outils. Pour en savoir plus sur les générateurs vidéo, consultez la section Présentation des générateurs à la page 246. Pour en savoir plus sur les transitions vidéo, consultez la section Présentation des transitions à la page 213. Pour en savoir plus sur les titres, consultez la section Présentation des titres à la page 222. Usage des commandes à l’écran Présentation des commandes à l’écran De nombreux effets, transitions et autres éléments font appel à des commandes à l’écran, placées au premier plan de la vidéo reprise dans le visualiseur, afin de simplifier l’ajustement d’un grand nombre de paramètres. Dans de nombreux cas, ces commandes à l’écran recopient les commandes reprises dans les inspecteurs, bien que dans certains cas les commandes soient uniques et constituent le seul moyen de régler un paramètre donné. Ces commandes peuvent se limiter à la simple définition du centre d’un effet de loupe ou s’étendre au réglage plus complexe du diamètre, de la largeur et de l’emplacement d’un effet de vignette. Cette section se concentre sur les types de commandes à l’écran que l’on retrouve dans les effets et les transitions de plans. Ces commandes sont également proposées dans d’autres parties de Final Cut Pro, notamment les suivantes : •• Effets intégrés : les commandes à l’écran s’avèrent particulièrement utiles pour tous les effets intégrés. Consultez Présentation des effets intégrés à la page 228. •• Incrustation colorimétrique : des commandes à l’écran spécialisées vous sont proposées lors de la configuration d’un incrustateur colorimétrique. Consultez Utilisation des incrustations chromatiques à la page 348. •• Étalonnages : les étalonnages prévoient parfois des commandes à l’écran afin de créer des masques de couleurs et de formes. Consultez Présentation de l’étalonnage manuel à la page 375. Affichage ou masquage des commandes à l’écran Les commandes à l'écran des transitions s'affichent lorsqu'une transition est sélectionnée. Les commandes à l'écran des effets de plan s'affichent lorsqu'un effet est sélectionné ou lorsque la tête de lecture est positionnées sur un plan ou un titre dans la timeline à laquelle un effet vidéo est appliqué. Vous pouvez aussi afficher ou masquer les commandes à l'écran. Remarque : Les commandes à l’écran se masquent toujours lorsque vous lancez la lecture de plans dans la timeline. Affichage ou masquage des commandes à l’écran d’une transition mm Pour afficher les commandes à l’écran de la transition : sélectionnez la transition dans la timeline. mm Pour masquer les commandes à l’écran de la transition : désélectionnez la transition sur la timeline. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 252 Affichage ou masquage des commandes à l’écran de l’effet d’un plan mm Pour afficher les commandes de l’effet : placez la tête de lecture sur un plan avec l'effet ou sélectionnez un plan avec l'effet dans la timeline, puis sélectionnez l'effet dans l'éditeur d'animation vidéo ou dans l'inspecteur vidéo. mm Pour masquer les commandes à l’écran de l’effet : désélectionnez le plan incluant l’effet sur la timeline ou désélectionnez l’effet soit dans l’éditeur d’animation vidéo, soit dans l’inspecteur vidéo. Remarque : Si un plan contient plusieurs effets utilisant des commandes à l'écran, seules celles de l'effet situé le plus haut s'affichent lorsque la tête de lecture est positionnée sur le plan contenant les effets. Exemples de commandes à l’écran Ces quelques exemples de commandes à l’écran ci-dessous peuvent s’avérer utiles au moment de manipuler des effets de plans et des transitions. De nombreux autres effets de plans et transitions s’appuient sur ces commandes ou des commandes semblables (les exemples ci-après sont prévus dans le but de fournir des informations à caractère général sur l’utilisation des commandes à l’écran). N’oubliez pas les points ci-dessous en suivant ces exemples : •• Ces derniers partent du principe que vous êtes familier de l’application d’effets aux plans dans la timeline. •• S’il vous est possible d’appliquer plusieurs effets à un même plan, il est recommandé dans le cadre de ces exemples soit d’appliquer chaque effet à un plan différent sur la timeline, soit de supprimer l’effet du plan voulu avant d’appliquer un autre effet. •• Ces exemples partent en outre du principe que vous savez ajouter des transitions à des points de montage dans la timeline. •• La plupart des effets et des transitions possèdent des ajustements complémentaires dans l’inspecteur vidéo ou dans l’inspecteur de transition. Exemple : Usage des commandes à l’écran pour appliquer un effet Capteur 1 Ouvrez le navigateur d’effets et faites glisser l’effet Capteur sur un plan de la timeline. 2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes : •• Pour positionner l’effet : faites glisser le cercle central. •• Pour définir la taille de l’effet : faites glisser le cercle extérieur. Faites glisser le cercle central pour positionner l’effet.Faites glisser le cercle pour définir la taille de l’effet. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 253 Exemple : Usage des commandes à l’écran pour appliquer un effet Gouttelette 1 Ouvrez le navigateur d’effets et faites glisser l’effet Gouttelette sur un plan de la timeline. 2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes : •• Pour positionner l’effet : faites glisser le cercle central. •• Pour définir la limite extérieure de l’effet : faites glisser le cercle extérieur. •• Pour définir la limite intérieure de l’effet : faites glisser le cercle intérieur. •• Pour définir la taille globale de l’effet : faites glisser n’importe quelle zone entre les cercles intérieur et extérieur. Une zone en relief apparaît lorsque le pointeur se place dessus. Faites glisser le cercle central pour positionner l’effet.Faites glisser la zone (grisée) délimitée par les cercles pour définir l’étendue de l’effet global.Faites glisser le cercle intérieur pour régler la limite intérieure.Faites glisser le cercle extérieur pour régler la limite extérieure. Exemple : Usage des commandes à l’écran pour appliquer un effet Prisme 1 Ouvrez le navigateur d’effets et faites glisser l’effet Prisme sur un plan de la timeline. 2 Pour indiquer la direction de l’effet, faites glisser la flèche. L’effet ne prévoyant aucun centre défini, le cercle central ne peut pas être glissé. Faites glisser la flèche pour indiquer la direction de l’effet.Le cercle central ne peut pas être glissé car l’effet ne possède aucun centre défini. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 254 Exemple : Usage des commandes à l’écran pour appliquer un effet Étalement 1 Ouvrez le navigateur d’effets et faites glisser l’effet Étalement sur un plan de la timeline. 2 Pour régler les commandes à l’écran de l’effet, effectuez l’une des opérations suivantes : •• Pour positionner l’effet : faites glisser le cercle central. •• Pour définir le sens de l’effet : faites glisser la poignée de rotation. Faites glisser cette poignée pour faire pivoter la direction de l’effet.Faites glisser le cercle central pour régler la position de départ de l’effet. Exemple : Usage des commandes à l’écran pour appliquer une transition Centre 1 Ouvrez le navigateur de transitions et faites glisser la transition Centre sur un point de montage de la timeline. 2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes : •• Pour positionner la transition : faites glisser le cercle central. •• Pour définir le sens de la transition : faites glisser la flèche. •• Pour régler l’épaisseur de la bordure de la transition (effet d’adoucissement dans ce cas) : faites glisser la poignée extérieure par rapport au cercle central. Faites glisser la flèche pour indiquer la direction de la transition.Faites glisser le cercle central pour positionner la transition.Faites glisser cette poignée pour définir la largeur de la bordure (ici, il s’agit d’une frange d’adoucissement). Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 255 Exemple : Usage des commandes à l’écran pour appliquer une transition Étoile 1 Ouvrez le navigateur de transitions et faites glisser la transition Étoile sur un point de montage de la timeline. 2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes : •• Pour positionner la transition : faites glisser le cercle central. •• Pour définir le nombre de points de l’étoile : faites glisser la poignée la plus longue. •• Pour faire pivoter l’étoile : faites glisser la poignée la plus courte. Faites glisser le cercle central pour régler la position de la transition.Faites glisser cette poignée pour définir le nombre de branches de l’étoile.Faites glisser cette poignée pour faire pivoter l’étoile de transition. Exemple : Usage des commandes à l’écran pour appliquer une transition Zoom et panoramique 1 Ouvrez le navigateur de transitions et faites glisser la transition Zoom et panoramique sur un point de montage de la timeline. 2 Pour régler les commandes à l’écran de la transition, effectuez l’une des opérations suivantes : •• Pour définir le point de départ de la transition : faites glisser le cercle vert. •• Pour définir le point d’arrivée de la transition : faites glisser le cercle rouge. Faites glisser le cercle rouge pour définir le point d’arrivée.Faites glisser le cercle vert pour régler le point de départ. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 256 Utilisation de l’éditeur d’animation vidéo Présentation de l’animation vidéo Grâce à Final Cut Pro, vous pouvez créer des variations simples de la vidéo au cours de la lecture, telles que le fondu entrant progressif de la vidéo au début d’un film. Vous avez également la possibilité de réaliser des ajustements sophistiqués et précis dans le temps pour de nombreux paramètres d’effets vidéo différents, de transitions, de trajectoires d’animation, etc. Final Cut Pro prévoit des images clés et des poignées de fondu dans l’éditeur d’animation vidéo pour vous permettre de faire évoluer les effets au gré de la lecture. Le terme image clé est issu de l’animation traditionnelle, où seules les images importantes (clés) d’une séquence animée étaient dessinées pour esquisser l’animation d’un personnage au fil du temps. Une fois les images clés déterminées, un artiste d’interpolation dessine toutes les images intermédiaires. Dans Final Cut Pro, vous pouvez régler des paramètres sur des valeurs spécifiques à des moments précis (représentés par des images clés) et laisser Final Cut Pro jouer le rôle du graphiste chargé de l’interpolation en temps réel, en calculant toutes les valeurs intermédiaires entre vos images clés. Par exemple, pour animer un paramètre, tel qu’un réglage de rotation ou de mise à l’échelle, vous devez créer au moins deux images clés dans le plan. Final Cut Pro déduit la valeur du réglage entre les images clés, créant ainsi une animation fluide au fur et à mesure des fluctuations du réglage. Vous pouvez animer normalement ou avec des images clés aussi bien des effets vidéo qu’audio dans Final Cut Pro, notamment les différents paramètres d’effets et les propriétés des plans. Pour en savoir plus sur l’animation audio avec des images clés, consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Ajustement d’effets vidéo à l’aide d’images clés Vous devez dans ce cas placer des images clés à des points spécifiques d’un plan pour modifier les valeurs des paramètres au niveau de ces points. Par exemple, si vous souhaitez qu’un plan de votre projet se fonde jusqu’à se noircir complètement, vous devez définir deux images clés d’opacité à deux instants différents : l’un avec une valeur de 100 (entièrement visible) et l’autre avec une valeur de 0 (complètement transparent). Final Cut Pro interpole les valeurs intermédiaires entre 100 et 0, ce qui crée un fondu en douceur vers le noir. Il est possible de définir des images clés sur la timeline ou dans l’inspecteur vidéo. Pour localiser les images clés sur la timeline, vous devez afficher l’éditeur d’animation vidéo pour le plan en question. Des commandes d’images clés supplémentaires apparaissent avec les effets intégrés de Final Cut Pro. Consultez Manipulation d’effets intégrés à la page 235. Pour en savoir plus sur les images clés appliquées à des clips audio, consultez Ajustement des effets audio à l’aide d’images clés à la page 200. Ajout d’images clés 1 Procédez de l’une des manières suivantes : •• Sélectionnez un plan dans la timeline, puis choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). •• En maintenant la touche Contrôle enfoncée, cliquez sur un plan dans la timeline, puis choisissez « Afficher l’animation vidéo » dans le menu contextuel. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 257 Dans l’éditeur d’animation vidéo, chaque effet possède une zone séparée pour l’ajout d’images clés. Certains effets possèdent plusieurs paramètres et vous permettent d’ajouter des images clés indépendamment aux différents paramètres. Dans l’éditeur d’animation vidéo, ils apparaissent avec un triangle en regard du nom de l’effet et dans l’inspecteur vidéo sous forme de commandes de paramètre supplémentaires. 2 Sélectionnez l’effet auquel vous souhaitez ajouter des images clés dans l’éditeur d’animation vidéo ou dans la section Effets de l’inspecteur vidéo. 3 Procédez de l’une des manières suivantes : •• Pour développer les paramètres dans l’éditeur d’animation vidéo : cliquez sur le triangle pour choisir un paramètre précis dans le menu local, ou sélectionnez Tous pour ajouter des images clés à tous les paramètres. •• Pour développer les paramètres dans l’inspecteur vidéo : cliquez sur Afficher lorsque vous placez le pointeur sur l’effet et qu’apparaît l’option. 4 Effectuez l’une des opérations suivantes pour chaque effet : •• Dans l’éditeur d’animation vidéo : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande horizontale de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K). Les images clés pour le paramètre choisi s’affichent sous forme de losanges blancs, alors que celles des autres paramètres apparaissent en gris. Image clé du paramètre sélectionné Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 258 Si vous choisissez d’afficher tous les paramètres dans l’éditeur d’animation vidéo, les images clés s’affichent sous forme de losanges blancs pour tous les paramètres. Une paire de losanges indique que vous avez ajouté des images clés à plusieurs paramètres au point indiqué. Double losange •• Dans l’inspecteur vidéo : placez la tête de lecture dans la timeline à l’endroit où vous souhaitez ajouter une image clé, puis cliquez sur le bouton Image clé (ou appuyez sur Option + K). Une fois l’image clé ajoutée, le bouton Image clé devient jaune, indiquant que la tête de lecture est positionnée sur une image clé. Bouton d’image clé Lorsque vous déplacez la tête de lecture sur la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur vidéo pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’). Flèches 5 Ajoutez des images clés si nécessaire. Conseil : après avoir ajouté une image clé, il vous est possible d’en ajouter une autre automatiquement en déplaçant la tête de lecture sur la timeline, puis en ajustant la valeur de paramètre de l’effet dans l’inspecteur vidéo. Ajout automatique d’images clés sur une zone sélectionnée Si un effet est assorti d’un triangle d’affichage dans l’éditeur d’animation vidéo, vous pouvez utiliser l’outil Sélectionner ou Sélection de plage pour ajouter automatiquement des images clés sur une zone sélectionnée. 1 Procédez de l’une des manières suivantes : •• Sélectionnez un plan dans la timeline, puis choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). •• En maintenant la touche Contrôle enfoncée, cliquez sur un plan, puis choisissez « Afficher l’animation vidéo » dans le menu contextuel. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 259 2 Sélectionnez un effet, puis cliquez sur le triangle d’affichage pour le développer dans l’éditeur d’animation vidéo. Triangle d’affichage 3 Dans la timeline, choisissez Sélectionner ou Sélection de plage dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A pour Sélectionner ou sur la touche R pour Sélection de plage). 4 Faites glisser le curseur dans l’éditeur d’animation vidéo, sur la zone où vous souhaitez ajuster un effet. 5 Ajustez l’effet sur la plage en déplaçant verticalement la commande horizontale. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 260 Les images clés sont automatiquement créées le long des points d’ajustement dans la plage. Ajustement des images clés dans l’éditeur d’animation vidéo Vous pouvez déplacer horizontalement des images clés dans l’éditeur d’animation vidéo. Si un effet présente un triangle d’affichage, vous pouvez développer la présentation de l’effet et déplacer verticalement les images clés pour modifier la valeur du paramètre. 1 Sélectionnez une image clé. 2 Procédez de l’une des manières suivantes : •• Pour repositionner l’image clé dans l’éditeur d’animation vidéo, faites-la glisser vers la gauche ou la droite. Ce faisant, la valeur de timecode apparaît. Faites glisser horizontalement l’image clé. •• Si un effet présente un triangle d’affichage, cliquez sur ce dernier (ou double-cliquez sur l’effet) pour le développer. Triangle d’affichage Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 261 Une fois l’effet développé, vous pouvez faire glisser l’image clé verticalement pour modifier la valeur du paramètre de l’effet. Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé. Faites glisser verticalement l’image clé. Pour ajouter une autre image clé, maintenez la touche Option enfoncée et cliquez (ou appuyez sur Option + K) sur la commande de l’effet à l’endroit où vous voulez ajouter l’image clé. Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement. Si un effet présente un triangle d’affichage dans l’éditeur d’animation vidéo, vous pouvez aussi appliquer un fondu entrant ou sortant aux effets vidéo ou faire évoluer la forme de la courbe de l’effet d’une image clé à l’autre. Ajustement des images clés dans l’inspecteur vidéo Pour de nombreux effets, vous pouvez ajuster la valeur du paramètre des différentes images clés à l’aide de l’inspecteur vidéo. Lorsque vous déplacez la tête de lecture sur la timeline, des flèches s’affichent à côté du bouton Image clé dans l’inspecteur vidéo pour indiquer de quel côté de la tête de lecture des images clés sont placées. Pour revenir à l’image clé précédente, cliquez sur la flèche gauche ou appuyez sur Option + Point-virgule (;). Pour passer à l’image clé suivante, cliquez sur la flèche droite ou appuyez sur Option + apostrophe (’). Flèches 1 Sélectionnez ou placez la tête de lecture sur une image clé, puis ajustez la valeur du paramètre dans l’inspecteur vidéo. 2 Pour modifier la valeur de l’image clé suivante, accédez à celle-ci et ajustez à nouveau sa valeur. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 262 Affichage d’un seul effet à la fois dans l’éditeur d’animation vidéo Vous pouvez condenser l’éditeur d’animation vidéo pour afficher un seul effet à la fois. Cela peut être utile si vous appliquez plusieurs effets à un plan et que vous souhaitez conserver de l’espace à l’écran. 1 Choisissez Plan > Solo de l’animation (ou appuyez Maj + Contrôle + V). 2 Dans l’éditeur d’animation vidéo, cliquez sur le triangle en regard du nom de l’effet pour choisir un effet dans le menu local. Remarque : Lorsque l’option « Solo de l’animation » est activée, vous ne pouvez pas supprimer d’effet depuis l’éditeur d’animation vidéo. Pour désactiver « Solo de l’animation », choisissez Plan > Solo de l’animation (ou appuyez sur Maj + Contrôle + V). Suppression d’images clés Procédez de l’une des manières suivantes : mm Sélectionnez une image clé dans l’éditeur d’animation vidéo et appuyez sur la touche Supprimer. mm Accédez à une image clé dans l’inspecteur vidéo, puis cliquez sur le bouton Image clé. Une fois atteint une image clé, cliquez sur le bouton d’image clé pour la supprimer. Masquage de l’animation vidéo pour un plan Procédez de l’une des manières suivantes : mm Sélectionnez le plan dans la timeline, puis choisissez Plan > Masquer l’animation vidéo (ou appuyez sur Contrôle + V). mm Cliquez sur le bouton de fermeture situé dans l’angle supérieur gauche de l’éditeur d’animation vidéo. mm En maintenant la touche Contrôle enfoncée, cliquez sur le plan dans la timeline, puis choisissez « Masquer l’animation vidéo » dans le menu contextuel. Ajustement des courbes d’effet à l’aide des poignées de fondu ou d’une animation avec des images clés Dans l’éditeur d’animation vidéo, certains effets comprennent des poignées de fondu permettant d'ajuster la durée du fondu entrant ou sortant d'un effet. Par exemple, vous pouvez utiliser les poignets de fondu pour ajuster la durée du fondu entrant de l'effet d'opacité, du fondu à l'ouverture depuis le noir ou du fondu au noir. Vous pouvez aussi déplacer les images clés verticalement pour créer une courbe destinée au paramètre de l’effet et modifier la forme de la courbe (interpolation) passant par les images clés. Créer ainsi une courbe de fondu ou d’effet adoucit la transition de sorte que les variations de l’effet semblent plus naturelles lors de la lecture du plan. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 263 Modification d’un effet à l’aide des poignées de fondu 1 Cliquez sur le triangle d’affichage pour développer l’effet dans l’éditeur d’animation vidéo. Triangle d’affichage Remarque : Si un effet ne possède aucun triangle d’affichage, il ne prévoit alors pas de poignée de fondu. 2 Faites glisser la poignée de fondu sur le point du plan où vous souhaitez que le fondu commence ou se termine. Les poignées de fondu placées au début d’un plan créent un fondu entrant, tandis que celles placées à la fin d’un plan génèrent un fondu sortant. Fondu entrantFondu sortant Modification d’un effet à l’aide d’images clés mm Cliquez sur le triangle d’affichage pour développer l’effet dans l’éditeur d’animation vidéo. Triangle d’affichage Remarque : Si un effet ne possède aucun triangle d’affichage, il ne vous est alors pas possible de déplacer verticalement les images clés. •• Pour ajouter une image clé : tout en maintenant la touche Option enfoncée, cliquez sur un point de la commande de l’effet où vous souhaitez ajouter l’image clé (ou appuyez sur Option + K). Conseil : Pour ajouter une image clé et modifier la valeur de paramètre de l’effet en une seule opération, maintenez la touche Option enfoncée, puis faites glisser la commande de l’effet verticalement. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 264 •• Pour modifier la valeur de paramètre de l’effet au niveau d’une image clé donnée : sélectionnez une image clé, puis faites-la glisser verticalement. Conseil : pour régler les valeurs avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement l’image clé. Faites glisser verticalement l’image clé. Modification de la forme de la courbe (interpolation) passant par les images clés Procédez de l’une des manières suivantes : mm Faites glisser horizontalement la ligne entre les images clés pour créer une courbe. Pour ajuster la courbe avec plus de précision, maintenez la touche Commande enfoncée tout en faisant glisser verticalement le pointeur. mm Tout en appuyant sur la touche Contrôle, cliquez sur la ligne passant par les images clés, puis choisissez une option de courbe dans le menu contextuel. •• Linéaire : maintient une vitesse de changement constante sur toute la durée du fondu. •• Fluide : atténue en entrée et en sortie le fondu d’après le point intermédiaire défini entre les valeurs de début et de fin. •• Atténuation en entrée : commence lentement depuis la valeur de début, puis accélère progressivement vers la valeur de fin. •• Atténuation en sortie : commence rapidement depuis la valeur de début, puis ralentit progressivement vers la valeur de fin. Chapitre 10 Ajout de transitions, de titres, d’effets et de générateurs 265 Remarque : Vous pouvez modifier la forme de la courbe entre les images clés pour les effets vidéo uniquement. Dans le cas d’une courbe se limitant au volume, vous avez la possibilité d’influer sur la forme de la courbe pour les fondus créés à l’aide des poignées de fondu mais pas pour les images clés. Consultez Application d’un fondu entrant ou sortant à l’audio à la page 181. Réglage de toutes les images clés sur la courbe mm Maintenez les touches Commande et Option enfoncées, puis faites glisser soit une image clé, soit la courbe complète verticalement. Toutes les images clés sont alors ajustées de la même amplitude, préservant ainsi la forme d’origine de la courbe. Avant Après 11 266 Regroupement des plans et des plans composés Présentation des plans composés Avec Final Cut Pro, vous pouvez créer des plans composés, qui vous permettent de regrouper des plans de n’importe quels types dans la timeline ou le navigateur d’événements et d’imbriquer des plans dans d’autres plans. Un plan composé peut contenir des composants de plan vidéo et clip audio, des plans et d’autres plans composés. Chaque plan composé peut être considéré comme un mini-projet possédant ses propres propriétés. Les plans composés fonctionnent comme les autres plans : vous pouvez les ajouter à votre projet, leur appliquer un trim, les resynchroniser et leur ajouter des effets et des transitions. Des icônes identifient les plans composés dans le navigateur d’événements et la timeline. Icône de plan composé d’un plan dans le navigateur d’événementsIcône de plan composé d’un plan dans la timeline Les plans composés se dénotent pour leurs nombreux usages. Vous pouvez : •• simplifier un projet complexe en créant un plan composé distinct pour chaque section principale ; •• synchroniser un plan vidéo un ou plusieurs clips audio, puis combiner les plans dans un plan composé, pour éviter de perdre par erreur leur synchronisation ; •• ouvrir n’importe quel plan, en modifier le contenu dans la timeline, puis le refermer ; •• créer rapidement un plan composé contenant les plans d’un événement, dans l’ordre dans lequel ils apparaissent dans le navigateur d’événements ; •• exploiter un plan composé pour créer une section d’un projet avec des réglages différents de ceux du projet principal. Montage avancé Chapitre 11 Montage avancé 267 Le diagramme suivant illustre comment un projet peut être simplifié dans la timeline à l’aide de plans composés : Plans sélectionnés dans la timeline Nouveau plan composé Les plans composés présentent les caractéristiques suivantes : •• Vous pouvez créer des plans composés dans le navigateur d’événements ou dans la timeline. •• Chaque plan composé dans la timeline possède un plan composé « parent » dans le navigateur d’événements. Plans de l’événement Projet 1 Projet 3 Plan enfant Plans enfants Plan enfant Projet 2 Plan composé parent •• Lorsque vous modifiez le contenu d’un plan composé quelconque, vous montez en fait le plan composé parent depuis le navigateur d’événements. Toute modification apportée à un plan composé est transmise à l’intégralité de ses plans enfants. Par exemple, si vous supprimez un plan de titre du contenu d’un plan composé parent, il est alors supprimé de tous les plans enfants. Vous pouvez créer un plan composé indépendant d’un plan composé existant. Par exemple, vous pouvez disposer d’un plan composé d’une séquence de titre standard pour vos séries télévisées ou vos podcasts. Vous pouvez créer des instances uniques (indépendantes) du plan composé pour chaque épisode sans affecter pour autant les autres instances de la séquence de titre. Remarque : Dans Final Cut Pro X, les plans composés offrent les mêmes fonctionnalités que les séquences imbriquées dans Final Cut Pro 7, mais avec plus de flexibilité et de convivialité. Chapitre 11 Montage avancé 268 Création et division de plans composés Vous pouvez créer un plan composé à partir de plans existants dans la timeline ou le navigateur d’événements, ou bien créer un plan composé vide dans le navigateur d’événements et y ajouter des plans dans la timeline. Vous pouvez également scinder un plan composé ; ses différentes parties sont alors reconverties en éléments individuels dans la timeline. Création d’un plan composé à partir de plans existants 1 Sélectionnez un ou plusieurs plans dans la timeline ou le navigateur d’événements. Il peut s’agir de plans contigus ou non, de plans composés, de plans du scénario principal ou de plans connectés. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Nouveau plan composé (ou appuyez sur Option + G). •• Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan composé dans le menu contextuel. Remarque : Lorsque vous ajoutez un plan composé à la timeline ou créez un plan composé à partir de plans existants dans la timeline, une relation directe et active s’établit entre un plan composé parent dans le navigateur d’événements et le plan composé enfant dans la timeline. Si le plan parent n’existe pas déjà dans le navigateur d’événements, Final Cut Pro en crée alors un automatiquement. Lorsque vous modifiez le contenu d’un plan composé (par exemple, en effectuant le trim de plans ou en ajoutant des effets à des plans inclus dans le plan composé), vous modifiez en fait toutes les instances du plan composé en question, y compris le plan composé parent dans le navigateur d’événements. Chapitre 11 Montage avancé 269 La façon dont les plans sont regroupés au sein du plan composé dépend de l’endroit où vous les avez sélectionnés : •• Si vous avez sélectionné les plans dans un événement : Final Cut Pro crée un plan composé dans l’événement (en plus des plans sélectionnés) et place des copies des plans sélectionnés horizontalement dans le nouveau plan composé, dans l’ordre dans lequel vous avez sélectionné les plans. (Pour obtenir des instructions complémentaires sur la création d’un plan composé dans le navigateur d’événements, consultez « Création d’un plan composé vide » ci-après.) Plans sélectionnés dans le navigateur d’événementsNouveau plan composéContenu du plan composé Chapitre 11 Montage avancé 270 •• Si vous avez sélectionné les plans dans la timeline : Final Cut Pro place les plans sélectionnés dans le nouveau plan composé exactement comme ils le sont dans la timeline. Le nouveau plan composé hérite de la taille d’image et de la fréquence d’images de la timeline actuelle. Plans sélectionnés dans la timeline Nouveau plan composé Contenu du plan composé Création d’un plan composé indépendant d’un plan composé existant 1 Sélectionnez un plan composé dans la timeline. 2 Choisissez Plan > Référencer un nouveau plan parent. Final Cut Pro crée un plan composé « parent » dans le navigateur d’événements. Cette commande rompt la relation entre le plan composé sélectionné dans la timeline et le plan composé parent d’origine qui lui correspond (ainsi que toute autre plan enfant du parent d’origine, dans tous les projets). Remarque : Vous pouvez également sélectionner plusieurs plans à l’étape 1 et laisser Final Cut Pro établir un ou plusieurs plans parents en s’appuyant sur les références de plan parent existantes. Création d’un plan composé vide Vous pouvez créer des plans composés vides puis y ajouter des plans. Chaque plan composé peut être considéré comme un mini-projet possédant ses propres propriétés. 1 Dans la bibliothèque d’événements, sélectionnez l’événement auquel vous voulez ajouter le plan composé. Chapitre 11 Montage avancé 271 2 Choisissez Fichier > Nouveau plan composé. Dans la fenêtre qui s’affiche, attribuez un nom au plan composé dans le champ Nom. 3 Cliquez sur « Utiliser les réglages personnalisés » pour personnaliser davantage les réglages pour votre plan composé. Remarque : Final Cut Pro affiche les réglages automatiques par défaut, mais conserve en mémoire ceux que vous avez utilisés en dernier. Cette étape peut dès lors s’avérer facultative. 4 Par défaut, Final Cut Pro définit le champ Timecode de début à la valeur de timecode la plus faible pour les plans sélectionnés. Si vous voulez que le timecode du plan composé commence à une autre valeur, saisissez sa valeur dans le champ Timecode de début. 5 Pour modifier les réglages vidéo, audio et de rendu, cliquez sur Personnalisé. À moins que vous n’ayez des besoins précis pour le plan composé que vous créez, il est préférable de laisser les options « Définir automatiquement d’après le 1er plan vidéo » et « Utiliser les réglages par défaut » sélectionnées. 6 Cliquez sur OK. Le nouveau plan composé apparaît dans l’événement. Modification du contenu d’un plan standard dans la timeline Vous pouvez modifier le contenu d’un plan standard. mm Sélectionnez un plan dans le navigateur d’événements ou la timeline, puis choisissez Plan > Ouvrir dans la timeline. La timeline affiche le contenu du plan. La plupart des plans standard comprennent un composant vidéo et/ou un composant audio. Vous ne pouvez pas modifier le contenu de ces composants audio et vidéo. Il vous est possible d’ajouter des données au contenu de ce plan (en ajoutant des plans à cette timeline). Pour fermer ce plan, accédez au niveau immédiatement supérieur dans l’historique de la timeline. Remarque : Comme le montage effectué dans Final Cut Pro n’est pas destructif, toute modification apportée au contenu d’un plan standard ou composé n’a pas d’effet sur les fichiers d’origine qui demeurent intacts sur le disque dur de votre ordinateur. Pour en savoir plus sur la différence entre fichiers source et plans, consultez Fichiers de média et plans à la page 18. Scinder des éléments de plan Vous pouvez scinder un plan composé ou un plan standard pour convertir son contenu en plans individuels dans la timeline. mm Sélectionnez un plan composé ou un plan standard dans la timeline, puis choisissez Plan > Scinder les éléments de plan (ou appuyez sur cmd + Maj + G). Final Cut Pro remplace le plan sélectionné dans la timeline par les différents éléments qui le constituent. Si vous avez sélectionné un plan composé, les plans d’origine qui le constituaient sont rétablis. Cependant, le plan composé parent est conservé dans le navigateur d’événements. Si le plan sélectionné est un plan standard, son contenu apparaît sous forme de plans individuels dans la timeline. La plupart des plans standard incluent un composant vidéo, un composant audio ou les deux. Les données audio apparaissent sous la forme d’un plan connecté. Chapitre 11 Montage avancé 272 Gestion des plans composés Les plans composés peuvent être gérés et modifiés de diverses manières. Vous pouvez, par exemple, les ouvrir (et modifier leurs composants) dans une timeline distincte. Vous pouvez facilement parcourir les différents niveaux d’un plan composé. Enfin, vous pouvez ouvrir et modifier un plan composé au sein d’un événement. Remarque : Lorsque vous modifiez le contenu d’un plan composé (par exemple, en effectuant le trim de plans ou en ajoutant des effets à des plans inclus dans le plan composé), vous modifiez en fait toutes les instances du plan composé en question, y compris le plan composé parent dans le navigateur d’événements. Toute modification apportée aux éléments intégrant le plan composé est transmise à l’intégralité de ses plans enfants, dans tous les projets. Ces modifications incluent entre autres l’ajout ou la suppression de plans, les réglages de trim, les effets vidéo ou audio tels que l’étalonnage, ou encore la resynchronisation de la vitesse des plans. Par exemple, si vous supprimez un plan de titre d’un plan composé parent, il est alors supprimé de tous les plans composés enfants. Ouverture d’un plan composé en vue de sa modification Procédez de l’une des manières suivantes : mm Sélectionnez un plan composé dans la timeline ou le navigateur d’événements, puis choisissez Plan > Ouvrir dans la timeline. mm Double-cliquez sur la partie vidéo d'un plan composé dans la timeline ou le navigateur d'événements. mm Cliquez sur l’icône de plan composé dans le coin supérieur gauche d’un plan composé dans la timeline. Le plan composé s’ouvre dans une nouvelle timeline et son contenu peut être modifié. Plan composé d’un projet dans la timelinePlan composé ouvert dans une nouvelle vue de la timelineProjetPlan composéProjet Chapitre 11 Montage avancé 273 Remarque : Comme le montage effectué dans Final Cut Pro n’est pas destructif, toute modification apportée au contenu d’un plan standard ou composé n’a pas d’effet sur les fichiers d’origine qui demeurent intacts sur le disque dur de votre ordinateur. Pour en savoir plus sur la différence entre fichiers source et plans, consultez Fichiers de média et plans à la page 18. Parcourir les niveaux d’un plan composé à l’aide de commandes de menu et de raccourcis clavier Vous pouvez monter ou descendre d'un ou plusieurs niveaux dans un plan composé. mm Pour avancer (descendre d’un niveau) : Choisir Présentation > Avancer dans l'historique de la timeline, ou appuyez sur Commande + Crochet fermant (]) mm Pour reculer (monter d’un niveau) : Choisir Présentation > Reculer dans l'historique de la timeline, ou appuyez sur Commande + Crochet ouvrant ([) Parcourir les niveaux d’un plan composé à l’aide des boutons fléchés Procédez de l’une des manières suivantes : mm Cliquez sur les flèches vers la gauche et la droite dans le coin supérieur gauche de la timeline. mm Cliquez sur la flèche droite ou gauche dans le coin supérieur gauche de la timeline et maintenez le bouton de la souris enfoncé, puis choisissez un niveau dans le menu local. La flèche gauche permet de fermer le plan composé actuel et d’ouvrir son plan parent, le niveau supérieur étant le projet ou l’événement contenant le plan composé. S’il n’y a pas d’historique à parcourir, les flèches gauche et droite sont estompées. S’assurer que tout le contenu d’un plan composé apparaît dans la séquence Lorsque vous montez le contenu d’un plan composé, Final Cut Pro indique la limite de ce dernier à l’aide d’une zone hachurée gris foncé à gauche de son point de départ et à droite de son point d’arrivée. Si vous ajoutez des plans au contenu du plan composé, les parties de ces plans s’étendant dans la zone gris foncé n’apparaissent pas dans le projet. Les plans figurant dans la zone hachurée gris foncé n’apparaissent pas dans la séquence finale. Chapitre 11 Montage avancé 274 Pour que les données des nouveaux plans apparaissent dans votre projet, effectuez l’une des opérations suivantes pour leur faire de la place : mm Réduisez la durée totale des autres plans du plan composé. Vous pouvez par exemple appliquer un trim à un ou plusieurs plans du plan composé. mm Fermez le plan composé pour remonter d’un niveau, puis augmentez la durée totale du plan parent (le « conteneur » du plan composé) dans la timeline. Pour en savoir plus, consultez Présentation du trim à la page 130. Ajout de scénarios Les scénarios sont des séquences de plans connectés au scénario principal. Ils offrent à la fois la commodité des plans connectés et les possibilités de montage de précision du scénario principal. Vous pouvez utiliser les scénarios pour les mêmes utilisations que les plans connectés (par exemple, créer des plans de coupe, composer des titres et autres graphismes ou encore ajouter des effets sonores et de la musique). L’avantage unique des scénarios réside dans la capacité à monter une suite de plans connectés dans le contexte des autres plans sur la timeline. Par exemple, il vous est possible d’ajouter des transitions en fondu croisé à une série de titres superposés dans un scénario, puis d’adapter le contrôle du temps des titres de sorte à les faire correspondre aux plans du scénario principal. Tout comme les plans connectés, les scénarios peuvent contenir aussi bien de la vidéo que de l’audio, ou se limiter à la vidéo seule et à l’audio. Pour plus d’informations sur les plans connectés, consultez Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. ScénarioScénario ne contenant que des données audioScénario principal Pour monter les scénarios, vous pouvez utiliser les mêmes méthodes que pour le scénario principal. Vous pouvez : •• Ajouter des plans : faites glisser des plans vers le scénario pour les ajouter, ou utilisez les commandes d’ajout, d’insertion, de remplacement et d’écrasement standard. Chapitre 11 Montage avancé 275 •• Ajouter de transitions, des titres, des effets et des générateurs : ajoutez des effets à un scénario en les faisant glisser vers celui-ci ou en utilisant les commandes et les raccourcis clavier standard. Remarque : Lorsque vous appliquez une transition à un plan connecté au scénario principal, un scénario est automatiquement créé pour ce plan. •• Appliquer un trim aux plans : utilisez les montages trim standard dans un scénario, notamment les montages Ripple, Roll, par coulissement et par glissement. Vous pouvez également appliquer un trim aux plans ou les déplacer au sein des scénarios en saisissant des valeurs de timecode. •• Créer des montages par chevauchement : définissez des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan particulier pour créer des montages scindés (coupes en L et en J) dans un scénario. Création et scission de scénarios Vous pouvez créer rapidement des scénarios à partir de plans connectés existants. 1 Dans la timeline, sélectionnez au moins deux plans connectés. 2 Choisissez Plan > Créer un scénario (ou appuyez sur cmd + G). Une bordure grise apparaît autour des plans pour indiquer la présence d’un scénario. La bordure grise indique un scénario. Remarque : Si les plans connectés d’origine ne sont pas contigus, Final Cut Pro insère un plan vide pour combler l’espace entre les plans. Chapitre 11 Montage avancé 276 Vous pouvez également créer un scénario en maintenant enfoncée la touche G et en faisant glisser un plan vers un plan connecté jusqu’à ce que leurs bords se touchent : Maintenez la touche G enfoncée lorsque vous faites glisser un plan vers un plan connecté. 3 Pour reconvertir un scénario en plans individuels, procédez de l’une des manières suivantes : •• Sélectionnez le scénario (en cliquant sur la bordure grise) et choisissez Plan > Scinder les éléments de plan (ou appuyez sur cmd + Maj + G). •• Faites glisser le scénario vers le scénario principal. Sélection et déplacement de scénarios Vous pouvez sélectionner ou déplacer des scénarios complets comme s’il s’agissait de plans standard ou de plans composés. Ils possèdent les propriétés de connexion des plans connectés. mm Pour sélectionner un scénario complet : cliquez sur la bordure grise du scénario. mm Pour déplacer un scénario en le faisant glisser : cliquez sur la bordure grise du scénario et faites glisser celui-ci vers la gauche ou la droite pour le connecter à un autre point du scénario principal. Faites glisser horizontalement le scénario. mm Pour déplacer un scénario à l’aide de valeurs de timecode ou de raccourcis clavier : utilisez les mêmes techniques que pour les plans standard. Pour en savoir plus, consultez Disposition des plans dans la timeline à la page 124. Chapitre 11 Montage avancé 277 Ajustement des montages à l’aide de l’éditeur de précision Vous pouvez ajuster le point de montage entre deux plans dans la timeline à l’aide de l’éditeur de précision, qui fournit une présentation étendue des plans de part et d’autre du point de montage ainsi que des parties non utilisées de chaque plan. Vous pouvez modifier (trim ou extension) la fin d’un plan et le début de l’autre, séparément ou ensemble. Vous pouvez observer instantanément l’effet de vos modifications sur la coupure ou la transition entre un plan et le suivant. Un « double » affichage apparaît dans le visualiseur lorsque vous appliquez un trim à des points de montage dans la timeline. Pour en savoir plus, consultez Affichage détaillé des commentaires sur le trimming à la page 145. Ajustement du point de montage entre des plans à l’aide de l’éditeur de précision 1 Choisissez l’outil Sélectionner ou l’outil Trim dans le menu local Outils de la barre d’outils, puis double-cliquez sur le point de montage auquel vous voulez appliquer un trim dans la timeline. Double-cliquez sur le point de montage auquel appliquer un trim. L’éditeur de précision apparaît avec une présentation étendue des plans sortant et entrant. Le point de montage est représenté par une ligne verticale au centre de l’éditeur de précision. Le plan sortant et ceux qui le précèdent apparaissent dans la partie supérieure du scénario. Le plan entrant et ceux qui le suivent apparaissent dans la partie inférieure. Les parties estompées des plans à droite et à gauche de la ligne de montage correspondent aux données non utilisées disponibles pour le trim (on les appelle les poignées de données). Vous pouvez survoler ces zones pour afficher et lire les données afin de déterminer l’endroit où vous allez appliquer le trim. Point d’arrivée du plan sortantTrait de montageSkimmerPoint de départ du plan entrantPoignée du trait de montage Chapitre 11 Montage avancé 278 2 Pour ajuster le point de montage, effectuez l’une des opérations suivantes : •• Déplacez la ligne de montage au centre de l’éditeur de précision en faisant glisser sa poignée vers la gauche ou la droite. Faites glisser la poignée de ligne de montage horizontalement. Déplacer l’ensemble de la ligne de montage permet d’effectuer un montage Roll. •• Déplacez le point d’arrivée du plan sortant ou le point de départ du plan entrant. Cela permet d’effectuer un montage Ripple. Remarque : Vous pouvez faire glisser la ligne de montage ou les différents points de montage tant que des poignées de données sont disponibles. Une fois que vous avez atteint la longueur maximale du plan dans l’une ou l’autre direction, le bord du plan devient rouge. Déplacez le point d’arrivée du plan sortant ou le point de départ du plan entrant. Chapitre 11 Montage avancé 279 •• Survolez le plan sortant ou entrant et cliquez à l’endroit voulu. Cliquez n’importe où sur l’un des deux plans. Le point de montage du plan est placé au niveau de l’image sur laquelle vous cliquez. Cette opération équivaut à un montage Ripple. Le point de montage du plan se place au niveau de l’image sur laquelle vous cliquez. Vous pouvez également saisir une valeur de timecode pour ajuster numériquement le point de montage. Si vous sélectionnez le point d’arrivée du plan sortant ou le point de départ du plan entrant, un montage Ripple est effectué. Sinon, un montage Roll est appliqué. 3 Pour atteindre un autre point de montage, effectuez l’une des opérations suivantes : •• Pour atteindre directement un point de montage : cliquez sur l’autre point de montage. •• Pour atteindre le point de montage suivant ou précédent : appuyez sur la touche fléchée vers le haut ou vers le bas. 4 Pour fermer l’éditeur de précision, effectuez l’une des opérations suivantes : •• Double-cliquez sur le point de montage actuel, ou appuyez sur la touche Échap. •• Cliquez sur le bouton « Fermer l’éditeur de précision » dans le coin inférieur droit de la timeline. Chapitre 11 Montage avancé 280 Création de montages scindés Final Cut Pro permet de définir des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan donné. Ces montages, appelés montages scindés, peuvent être utilisés dans de nombreuses situations, notamment dans des scènes de dialogue, pour le montage d’une séquence Roll B à des fins d’illustration dans une interview ou pour effectuer une transition entre deux scènes. Vous pouvez utiliser un montage scindé pour introduire le son d’un nouveau plan ou d’une nouvelle scène avant l’arrivée de ce plan ou de cette scène. À l’inverse, vous pouvez faire appel à un montage scindé pour étendre l’audio d’un plan sur le plan suivant. Par exemple, vous pouvez passer du plan d’une personne qui parle à la vidéo d’une personne qui écoute tout en conservant l’audio du premier plan. La technique de montage scindé produit des plans en L et en J, l’audio s’étendant vers la gauche ou la droite. C’est ce qu’on appelle des coupes en L et des coupes en J. Remarque : Lorsque vous utilisez des montages scindés, il est recommandé de sélectionner Présentation > Développer les plans audio/vidéo > Pour les scissions (afin qu’une coche apparaisse en regard de l’élément du menu). Ce réglage offre une précision d’affichage optimale pour tous vos montages scindés. Création d’un montage scindé par glissement Pour créer un montage scindé, vous devez étendre l’audio d’un plan au plan voisin. Dans cet exemple, l’audio du gros plan de l’homme s’étend au gros plan de la femme de sorte à créer une coupe en J. 1 Ajoutez des plans à la timeline dans l’ordre dans lequel vous voulez qu’ils apparaissent dans votre film. 2 Pour afficher séparément les données audio du plan que vous voulez monter, effectuez l’une des opérations suivantes : •• Sur la timeline, sélectionnez le plan dont vous voulez développer l’audio, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur ctrl + S). •• Double-cliquez sur la forme d’onde audio du plan. Chapitre 11 Montage avancé 281 Les données audio et vidéo du plan apparaissent sous forme de composants distincts que vous pouvez modifier séparément. Ils sont néanmoins toujours connectés et resteront synchronisés. 3 Faites glisser le point de départ (bord gauche) des données vidéo du plan vers la droite ; cela a pour effet d’appliquer au plan un trim de type Ripple. L’exemple ci-dessous illustre le glissement du point de départ vidéo du gros plan de l’homme vers la droite. Cela crée un montage scindé en J, le point de départ de l’audio chevauchant le plan précédent. 4 Pour terminer le montage scindé, affichez séparément les données audio du plan précédent, puis effectuez l’une des opérations suivantes : •• Faites glisser le point d’arrivée du plan précédent vers la gauche de sorte que les deux plans audio ne se chevauchent plus. Chapitre 11 Montage avancé 282 •• Ajustez le niveau audio (fondu) de l’un des deux plans de sorte que le chevauchement des plans audio soit naturel. 5 Si vous souhaitez désactiver l’affichage séparé des données audio pour « remettre en ordre » les plans que vous venez de manipuler, effectuez l’une des opérations suivantes : •• choisissez Présentation > Condenser tous les plans. •• Sélectionnez le plan dans la timeline, puis choisissez Plan > Condenser l’audio/la vidéo (ou appuyez sur ctrl + S). •• Double-cliquez sur la forme d’onde audio du plan. Lors de la lecture de cette partie de la timeline, vous pouvez entendre l’homme commencer à parler avant l’affichage de son gros plan. Vous pouvez donc utiliser les montages scindés pour créer des transitions transparentes entre deux plans consécutifs. Création d’un montage scindé à l’aide de raccourcis clavier Vous pouvez créer rapidement des montages scindés à l’aide des raccourcis clavier. Dans cet exemple, l’audio du gros plan de l’homme s’étend au gros plan de la femme de sorte à créer une coupe en J. 1 Confirmez que les deux plans adjacents disposent de poignées de média suffisantes. Dans le cas contraire, réalisez un trim des plans (raccourcir) pour créer les poignées en question. 2 Pour étendre l’audio (afficher l’audio à part) des deux plans adjacents, procédez de l’une des manières suivantes : •• Dans la timeline, sélectionnez les plans dont vous voulez étendre l’audio, puis choisissez Plan > Développer l’audio/la vidéo (ou appuyez sur ctrl + S). Chapitre 11 Montage avancé 283 •• Double-cliquez sur la forme d’onde audio du plan. 3 Placez la tête de lecture sur le point de montage situé entre les deux plans. Tête de lecture sur le point de montage Pour assurer un placement précis de la tête de lecture, faites appel aux raccourcis clavier : •• Pour placer la tête de lecture sur le point de montage précédent : appuyez sur Point-virgule (;) ou sur la touche Flèche vers le haut. •• Pour placer la tête de lecture sur le point de montage suivant : appuyez sur Apostrophe (’) ou sur la touche Flèche vers le bas. 4 Procédez de l’une des manières suivantes : •• Pour sélectionner les deux bords du point de montage audio : appuyez sur Maj + Barre oblique inverse (\). •• Pour sélectionner les deux bords du point de montage vidéo : appuyez sur Barre oblique inverse (\). Point de montage audio sélectionné Chapitre 11 Montage avancé 284 5 Procédez de l’une des manières suivantes pour effectuer un montage roll du point de montage audio ou vidéo : •• Pour déplacer le point de montage à gauche ou à droite : appuyez sur Virgule (,) ou Point (.) respectivement. •• Pour déplacer le point de montage de 10 images vers la gauche ou vers la droite : appuyez respectivement sur Maj + Virgule (,) ou sur Maj + Point (.). •• Pour ajouter ou soustraire du montage actif par le biais du timecode : appuyez sur la touche Plus (+) ou Moins (–), saisissez la durée de timecode, puis appuyez sur Retour. Le champ de saisie du timecode (avec des nombres bleus) apparaît dans le panneau de contrôle de la barre d’outils pendant que vous tapez. Pour en savoir plus sur la saisie de valeurs de timecode, consultez la section Navigation à l’aide du timecode à la page 151. Point de montage originalPoint de montage déplacé Lors de la lecture de cette partie de la timeline, vous pouvez entendre l’homme commencer à parler avant l’affichage de son gros plan. Vous pouvez donc utiliser les montages scindés pour créer des transitions transparentes entre deux plans consécutifs. Réalisation de montages à trois points Présentation du montage à trois points Le montage à trois points vous permet d’utiliser des points de départ et d’arrivée définis dans le navigateur d’événements et la timeline pour spécifier la durée d’un plan et son emplacement dans la timeline. Le montage à trois points tire son nom du fait que seuls trois points de montage sont nécessaires pour définir la partie du plan source à utiliser et l’emplacement de ce plan dans la timeline. Final Cut Pro déduit automatiquement le quatrième point de montage. Le résultat du montage dépend de la répartition des trois points définis dans le navigateur d’événements et dans la timeline : deux points de départ et un point d’arrivée ou un point de départ et deux points d’arrivée. Vous pouvez utiliser le montage à trois points avec les types de montage suivants : •• Insérer •• Connecter •• Écraser Avec chacun de ces types de montage, vous pouvez également effectuer des montages à trois points à rebours, dans lesquels le point d’arrivée (et non le point de départ) est aligné sur la position du skimmer ou de la tête de lecture dans le navigateur d’événements ou la timeline. Vous pouvez également réaliser des montages à deux points dans lesquels les points de départ et d’arrivée sont déduits d’après la position du skimmer et la durée du plan. Chapitre 11 Montage avancé 285 Pour réaliser des montages à trois points, il est important de savoir effectuer des sélections et utiliser le skimmer et la tête de lecture. Pour en savoir plus sur les sélections, consultez Sélection d’une plage à la page 100 et Sélection d’un ou plusieurs plans à la page 98. Pour en savoir plus sur le skimmer et la tête de lecture, consultez Présentation de la lecture et du survol à la page 78. Le montage à trois points de base se déroule en trois étapes : Étape 1 : définition des points de montage de la sélection source dans le navigateur d’événements Indiquez quelle partie d’un plan vous souhaitez placer dans la timeline. Pour ce faire, définissez les points de départ et d’arrivée. Si vous souhaitez ne définir qu’un point de départ dans le navigateur d’événements, positionnez le skimmer (ou la tête de lecture) à l’endroit où vous voulez que le montage commence. Dans ce cas, le point d’arrivée est déterminé d’après les points de départ et d’arrivée définis dans la timeline ou d’après la fin du plan. Vous pouvez également sélectionner plusieurs plans dans le navigateur d’événements ; dans ce cas, la durée totale des données source détermine les points de départ et d’arrivée. Étape 2 : définition de points de montage dans un scénario dans la timeline Indiquez l’endroit où vous voulez que le plan apparaisse dans la timeline en définissant des points de départ et d’arrivée dans le scénario principal ou dans un scénario connecté. Si les points de départ et d’arrivée sont tous deux définis dans la timeline, ils déterminent la durée du montage, quelle que soit la durée définie dans le navigateur d’événements. Si aucun point de départ ou d’arrivée n’est défini dans la timeline, Final Cut Pro utilise la position du skimmer comme point de départ du montage. Si le skimmer est absent, Final Cut Pro utilise la position de la tête de lecture. Important : À quelques exceptions près, le montage à trois points nécessite des sélections de plage (et non des sélections de plan). Étape 3 : ajout du plan ou de la sélection source à la timeline Vous pouvez opter pour un montage par insertion, connexion ou écrasement. Important : Les points de départ et d’arrivée définis dans la timeline sont toujours prioritaires sur ceux définis dans le navigateur d’événements. Cela signifie que si vous définissez des points de départ et d’arrivée dans la timeline, ceux-ci déterminent la durée du montage, quels que soient les points de départ et d’arrivée définis dans le navigateur d’événements. Cela vous permet de limiter votre montage à une section spécifique de la timeline. Vous devez garder un certain nombre de facteurs à l’esprit lorsque vous réalisez un montage à trois points. Points de montage définis Résultats •• Points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements •• Point de départ de destination défini dans la timeline Le point de départ de la sélection source dans le navigateur d’événements est aligné sur le point de départ de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. •• Point de départ de la sélection source défini dans le navigateur d’événements •• Points de départ et d’arrivée de destination définis dans la timeline Le point de départ de la sélection source dans le navigateur d’événements est aligné sur le point de départ de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de destination définis dans la timeline. Remarque : Ce montage nécessite la sélection d’une plage dans la timeline. Pour ce faire, vous pouvez utiliser l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. Chapitre 11 Montage avancé 286 Points de montage définis Résultats •• Points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements •• Point d’arrivée de destination défini dans la timeline Le point d’arrivée de la sélection source dans le navigateur d’événements est aligné sur le point d’arrivée de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. Cette méthode est appelée « backtiming » d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan se termine à un endroit précis du projet. •• Point d’arrivée de la sélection source défini dans le navigateur d’événements •• Points de départ et d’arrivée de destination définis dans la timeline Le point d’arrivée de la sélection source dans le navigateur d’événements est aligné sur le point d’arrivée de destination défini dans la timeline, et la durée du montage est déterminée d’après les points de départ et d’arrivée de destination définis dans la timeline. Cette méthode est appelée « backtiming » d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan se termine à un endroit précis du projet. Remarque : Ce montage nécessite la sélection d’une plage dans la timeline. Pour ce faire, vous pouvez utiliser l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. Exemples de montage à trois points Dans Final Cut Pro, vous pouvez réaliser des montages précis en combinant trois (voire deux) points de montage définis dans le navigateur d’événements et la timeline. Pour en savoir plus, consultez Présentation du montage à trois points à la page 284. Voici quelques exemples de réalisation de montages à trois points. Exemple : réalisation d’un montage à trois points La méthode la plus simple pour réaliser un montage à trois points consiste à définir les points de départ et d’arrivée de la sélection source dans le navigateur d’événements, puis à indiquer le point de départ de destination dans votre projet en positionnant le skimmer (ou la tête de lecture) dans la timeline. 1 Définissez les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. Point de départPoint d’arrivée Chapitre 11 Montage avancé 287 2 Dans la timeline, positionnez le skimmer (ou la tête de lecture, si le skimmer est absent) à l’endroit où vous voulez que le plan commence dans votre projet (point de départ de destination). Positionnez le skimmer à l’emplacement où vous souhaitez que le plan commence dans le projet. 3 Pour ajouter la sélection source au projet à l’aide d’un montage par écrasement, appuyez sur la touche D. Le nouveau plan commence à l’emplacement où se trouvait le skimmer. La partie de votre sélection source située entre les points de départ et d’arrivée apparaît dans la timeline ; elle commence au niveau du skimmer. En ne définissant que trois points, à savoir les points de départ et d’arrivée de la sélection source dans le navigateur d’événements et le point de départ de destination dans la timeline, vous avez un contrôle total du montage. Exemple : réalisation d’un montage à trois points à rebours Vous pouvez réaliser un montage à trois points en définissant les points de départ et d’arrivée de la sélection source dans le navigateur d’événements et un point d’arrivée (au lieu d’un point de départ) de destination dans la timeline. Cette technique s’appelle le backtiming d’un plan. Vous pouvez y avoir recours pour vous assurer qu’un plan donné se termine à un endroit précis d’un projet, sur un temps musical. Dans le montage obtenu, le point d’arrivée des données de la sélection effectuée dans le navigateur d’événements est aligné sur le point d’arrivée défini dans la timeline, et le reste de la sélection source apparaît à gauche. 1 Définissez les points de départ et d’arrivée de la sélection source dans le navigateur d’événements. Point de départPoint d’arrivée Chapitre 11 Montage avancé 288 2 Dans la timeline, positionnez le skimmer (ou la tête de lecture, si le skimmer est absent) à l’endroit où vous voulez que le plan se termine dans votre projet. Positionnez le skimmer là où le plan doit se terminer. 3 Effectuez l’une des opérations suivantes : •• Pour effectuer un backtiming de la sélection avec un montage par connexion : appuyez sur Maj + Q. •• Pour effectuer un backtiming de la sélection avec un montage par écrasement : appuyez sur Maj + D. Votre sélection source est montée dans le projet de telle sorte que le point d’arrivée de ses données soit aligné sur le point d’arrivée que vous avez défini dans la timeline. Le nouveau plan se termine à l’emplacement où se trouvait le skimmer. Le reste du plan écrase les données situées à gauche du point d’arrivée sur la durée déterminée par les points de départ et d’arrivée de la sélection source définis dans le navigateur d’événements. Exemple : réalisation d’un montage à trois points avec plusieurs plans Vous pouvez réaliser des montages à trois points avec plusieurs plans à la fois. 1 Dans le navigateur d’événements, sélectionnez au moins deux plans. (Ne sélectionnez pas une plage au sein d’un même plan.) Pour en savoir plus sur la sélection de plusieurs plans, consultez Sélection d’un ou plusieurs plans à la page 98. Trois plans sont sélectionnés en vue d’être placés dans le scénario. Aucune sélection de plage n’est définie. Chapitre 11 Montage avancé 289 2 Dans la timeline, définissez un point de départ de destination en positionnant le skimmer à l’endroit où vous voulez que le plan ou le groupe de plans commence dans votre projet. Positionnez le skimmer là où le groupe de plans doit commencer. 3 Pour ajouter les plans sélectionnés au projet à l’aide d’un montage par écrasement, appuyez sur la touche D. Le nouveau groupe de plans commence depuis le skimmer.La tête de lecture se place à la fin des nouveaux plans. L’ensemble du groupe de plans sélectionnés dans le navigateur d’événements est monté dans le projet. Remarque : Les plans sont ajoutés dans l’ordre dans lequel vous les avez sélectionnés. Comme vous avez utilisé un montage par écrasement, tous les éléments de plan déjà présents dans le projet sont écrasés par les plans sélectionnés dans le navigateur d’événements sur la durée de ces derniers. Vous pouvez également réaliser un montage à trois points à partir de plusieurs plans dans la timeline. Pour sélectionner une plage sur plusieurs plans dans la timeline, utilisez l’outil Sélection de plage ou les touches I et O. Pour en savoir plus sur les sélections de plage, consultez Sélection d’une plage à la page 100. Exemple : réalisation d’un montage à deux points Vous pouvez réaliser un montage sans effectuer aucune sélection dans le navigateur d’événements ou la timeline. C’est ce qu’on appelle un montage à deux points. Dans ce cas, Final Cut Pro se base sur le plan actuel dans le navigateur d’événements, de la position du skimmer ou de la tête de lecture à la fin du plan, et sur le projet dans la timeline, en avançant à partir de la position du skimmer ou de la tête de lecture. Vous pouvez également réaliser des montages à deux points à rebours, dans lesquels Final Cut Pro se base sur le plan actuel dans le navigateur d’événements et sur le projet dans la timeline, en reculant à partir de la position du skimmer ou de la tête de lecture. Chapitre 11 Montage avancé 290 Dans les deux cas, la durée du montage est déterminée par la position du skimmer ou de la tête de lecture et la fin du plan dans le navigateur d’événements. 1 Pour définir un point de départ pour la sélection source dans le navigateur d’événements, placez le skimmer ou la tête de lecture à l’endroit où vous voulez que le montage commence (mais n’effectuez aucune sélection). L’emplacement de la tête de lecture du navigateur d’événements détermine le point d’entrée de la sélection source. 2 Pour définir un point de départ de destination dans la timeline, placez le skimmer ou la tête de lecture à l’endroit où vous voulez que le montage commence (mais n’effectuez aucune sélection). L’emplacement du skimmer sur la timeline constitue le point de départ cible. 3 Pour ajouter le plan au projet à l’aide d’un montage par écrasement, appuyez sur la touche D. Le nouveau plan commence au niveau du skimmer. Le nouveau plan commence à l’emplacement où se trouvait le skimmer. Chapitre 11 Montage avancé 291 Essai de plans à l’aide des auditions Présentation des auditions Dans Final Cut Pro, vous pouvez regrouper des plans connexes dans des ensembles, appelés auditions, vous permettant de choisir celui à utiliser. Vous pouvez créer une audition composée de différents plans pour tester plusieurs prises ou constituée de plusieurs versions du même plan pour effectuer le preview d’effets divers. Dans le navigateur d’événements et la timeline, les auditions se présentent sous la forme de plans affichant une icône Audition dans le coin supérieur gauche. Icône d’une audition dans le navigateur d’événements Icône d’une audition dans la timeline La pellicule de l’audition affiche le plan actuellement sélectionné, que l’on appelle le meilleur élément. Tous les autres plans de l’audition sont appelés plans alternatifs. Vous pouvez ouvrir une audition pour afficher le plan sélectionné et les plans alternatifs. Autres plansPlan sélectionné Les auditions vous permettent de conserver vos montages alternatifs sans que cela n’ait d’influence sur les autres plans dans la timeline. Lorsque vous ne visionnez pas les différents plans d’une audition, celle-ci se comporte comme un plan individuel. Vous pouvez appliquer un trim à une audition, insérer des transitions entre des auditions et d’autres plans, et ajouter des mots-clés et des marqueurs. Vous pouvez conserver une audition contenant des plans alternatifs aussi longtemps que cela est nécessaire. Chapitre 11 Montage avancé 292 Après avoir passé en revue les plans de l’audition et choisi celui qui convient le mieux à votre projet, vous pouvez finaliser l’audition ; elle est alors supprimée et le meilleur élément reste dans la timeline sous forme de plan individuel. Celui-ci conserve la position de l’audition dans la timeline ainsi que tous les mots-clés et marqueurs appliqués à l’audition. Création d’auditions pour essayer des plans Vous pouvez créer des auditions dans le navigateur d’événements puis les ajouter à la timeline, ou les créer directement dans la timeline. Lorsque vous créez des auditions dans la timeline, vous pouvez regrouper des plans connexes ou plusieurs versions du même plan (par exemple, pour tester plusieurs effets ou plusieurs titres dans le tiers inférieur). Icône d’une audition dans le navigateur d’événements Icône d’une audition dans la timeline Création d’auditions dans le navigateur d’événements mm Sélectionnez les plans à inclure dans l’audition, puis choisissez Plan > Audition > Créer (ou appuyez sur cmd + Y). Création d’auditions dans la timeline mm Pour créer une audition avec des plans connexes : Faites glisser un plan ou un groupe de plans du navigateur d’événements vers un plan dans la timeline, puis choisissez une option d’audition dans le menu contextuel. L’option « Ajouter à l’audition » crée une audition dans laquelle le meilleur élément est le plan existant dans la timeline. L’option « Remplacer et ajouter à l’audition » utilise le plan que vous faites glisser comme meilleur élément. Important : Si une transition est appliquée au plan existant dans la timeline et que le meilleur élément de la nouvelle audition ne dispose pas de suffisamment de données pour cette transition, celle-ci est soit raccourcie, soit supprimée. mm Pour créer une audition avec une copie d’un plan, avec les effets appliqués : Sélectionnez un plan dans la timeline, puis choisissez Plan > Audition > Dupliquer comme audition. L’audition créée contient le plan sélectionné ainsi qu’une copie présentant tous les effets appliqués à l’original. Chapitre 11 Montage avancé 293 mm Pour créer une audition avec une copie de la version originale d’un plan, sans les effets appliqués : Sélectionnez un plan dans la timeline, puis choisissez Plan > Audition > Dupliquer l’original (ou appuyez sur Commande + Maj. + Y). L’audition créée contient le plan sélectionné ainsi qu’une copie sans les effets appliqués à l’original. mm Pour créer une audition avec une copie de la version originale d’un plan, avec les effets appliqués et les attributs à partir d'un autre plan : Sélectionnez un plan dans la timeline qui possède les attribuer que vous souhaitez copier et choisissez Édition > Copier (ou appuyez sur Commande + C). Puis, sélectionnez le plan que vous souhaitez transformer en audition et choisissez Plan > Audition > Dupliquer et coller les effets (ou appuyez sur Commande + Option + Y). L’audition créée contient le plan sélectionné ainsi qu’une copie présentant les effets et les attributs copiés à partir du premier plan. Ouverture d’une audition Après avoir créé une audition, vous pouvez facilement l’ouvrir et examiner son contenu. Procédez de l’une des manières suivantes : mm Choisissez Plan > Audition > Ouvrir (ou appuyez sur la touche Y). mm Cliquez sur l’icône Audition. Icône d’audition La fenêtre Audition s’ouvre ; vous pouvez y prévisualiser vos plans et choisir le meilleur élément. Ajout et suppression de plans dans les auditions Lorsque vous créez des auditions pour tester plusieurs plans ou plusieurs versions d’un plan avec des effets différents, vous pouvez ajouter et supprimer des plans à tout moment. Dans le navigateur d’événements et la timeline, vous pouvez ajouter et dupliquer des plans dans une audition. Dans la timeline, lorsqu’une audition contient les plans que vous voulez tester, vous pouvez l’utiliser pour prévisualiser les plans ou les effets dans votre projet. Ajout de plans à une audition dans le navigateur d’événements mm Pour ajouter des plans à une audition dans le navigateur d’événements : Sélectionnez l’audition et les plans que vous voulez y ajouter, puis choisissez Plan > Audition > Créer (ou appuyez sur cmd + Y). Sélectionnez l’audition.Sélectionnez les plans à ajouter à l’audition. Chapitre 11 Montage avancé 294 mm Pour dupliquer un plan au sein d’une audition dans le navigateur d’événements : Cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition pour ouvrir la fenêtre Audition, sélectionnez le plan à dupliquer, puis cliquez sur Dupliquer. Sélectionnez le plan à copier, puis cliquez sur Dupliquer. Une nouvelle version du plan sélectionné apparaît dans la fenêtre Audition. Ajout de plans à une audition dans la timeline mm Pour ajouter un plan à une audition en conservant le plan existant dans la timeline comme meilleur élément : faites glisser un plan du navigateur d’événements vers l’audition dans la timeline et choisissez « Ajouter à l’audition » dans le menu contextuel. mm Pour ajouter un plan à une audition en faisant de celui-ci le meilleur élément : faites glisser un plan du navigateur d’événements vers l’audition dans la timeline et choisissez « Remplacer et ajouter à l’audition » dans le menu contextuel. Important : Si une transition est appliquée au plan existant dans la timeline et que le meilleur élément de la nouvelle audition ne dispose pas de suffisamment de données pour cette transition, celle-ci est soit raccourcie, soit supprimée. mm Pour dupliquer un plan au sein d’une audition : cliquez sur l’icône Audition affichée dans le coin supérieur gauche de l’audition pour ouvrir la fenêtre Audition, sélectionnez le plan à dupliquer, puis cliquez sur Dupliquer (ou sur Commande + Maj + Y). Sélectionnez le plan à copier, puis cliquez sur Dupliquer. Une nouvelle version du plan sélectionné apparaît dans la fenêtre Audition. mm Pour ajouter une copie de la version originale d’un meilleur élément d'audition, avec les effets appliqués et les attributs à partir d'un autre plan : Sélectionnez un plan dans la timeline qui possède les attribuer que vous souhaitez copier et choisissez Édition > Copier (ou appuyez sur Commande + C). Puis, sélectionnez l'audition et choisissez Plan > Audition > Dupliquer et coller les effets (ou appuyez sur Commande + Option + Y). Suppression d’un plan d’une audition 1 Pour ouvrir l’audition contenant le plan que vous voulez supprimer, cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition. 2 Dans la fenêtre Audition, sélectionnez le plan à supprimer puis appuyez sur Supprimer. Le plan est alors supprimé de l’audition. Chapitre 11 Montage avancé 295 Utilisation d’auditions pour essayer des plans dans votre projet Vous pouvez créer une audition pour tester les plans qu’elle contient et déterminer celui qui convient le mieux à votre projet. Bien que le flux de production d’audition soit différent d’un projet à un autre, la procédure générale reste la même. Vous créez une audition contenant un ensemble de prises, d’effets ou de traitements de texte alternatifs, puis vous choisissez le meilleur plan pour le montage en le sélectionnant comme meilleur élément. Lorsque vous êtes sûr de votre choix, vous finalisez l’audition, ce qui a pour effet de la dissoudre en laissant le meilleur élément dans la timeline. Selon votre flux de production, vous pouvez tester les plans de vos auditions et aplatir celles-ci au fur et à mesure, ou vous pouvez laisser les auditions dans la timeline pour pouvoir présenter des montages alternatifs à un client. Remarque : Les commandes d’audition ne peuvent être utilisées qu’avec une seule audition sélectionnée à la fois. Il est par exemple impossible de finaliser plusieurs auditions sélectionnées. Passage en revue des plans d’une audition dans la timeline 1 Dans la timeline, sélectionnez l’audition contenant les plans que vous voulez passer en revue, puis ouvrez-la en choisissant Plan > Audition > Ouvrir (ou en appuyant sur la touche Y). Le plan situé sous le projecteur au centre de la fenêtre correspond à la meilleure image. 2 Dans la fenêtre Audition, sélectionnez le meilleur élément, puis appuyez sur la barre d’espace (ou sur les touches cmd + ctrl + Y) pour le lire. Chapitre 11 Montage avancé 296 3 Pour lire un autre plan dans le visualiseur, sélectionnez un plan à droite ou à gauche du meilleur élément (ou appuyez sur la touche fléchée vers la droite ou la gauche). L’autre plan devient la nouvelle meilleure image et se lit dans le visualiseur. L’icône représentant l’étoile indique la meilleure image précédente. Conseil : Pour parcourir et lire rapidement des plans alternatifs, sélectionnez une audition fermée dans la timeline, appuyez sur la barre d’espace, puis sur ctrl + Flèche gauche pour lire les plans situés à gauche de l’élément sélectionné ou sur ctrl + Flèche droite pour lire ceux de droite. 4 Une fois que vous avez trouvé le plan que vous voulez utiliser, assurez-vous qu’il est sélectionné sous le spot, puis cliquez sur Terminé. 5 Si vous êtes sûr de votre choix et que vous voulez finaliser l’audition, choisissez Plan > Audition > Finaliser l’audition (ou appuyez sur Maj + Option + Y). L’audition est alors dissoute en laissant le meilleur élément dans la timeline. Le plan sélectionné comme meilleur élément conserve les éventuels mots-clés ou marqueurs affectés à l’audition. Essai de plusieurs effets sur un plan dans la timeline Vous pouvez tester différents effets sur un plan dans la timeline en créant une audition et en ajoutant des effets à des copies de ce plan. Cette technique vous permet de visualiser chaque effet dans le contexte des plans précédant et suivant l’audition dans la timeline. 1 Dans la timeline, sélectionnez le plan sur lequel vous voulez essayer différents effets. 2 Choisissez Plan > Audition > Dupliquer comme audition (ou appuyez sur Option + Y). 3 Recommencez l’étape 2 pour chaque effet que vous voulez tester. 4 Pour ouvrir la fenêtre Audition, cliquez sur l’icône affichée dans le coin supérieur gauche de l’audition (ou appuyez sur la touche Y). 5 Pour ouvrir le navigateur d’effets, cliquez sur le bouton Effets dans la barre d’outils (ou appuyez sur cmd + 5). 6 Dans la fenêtre Audition, sélectionnez la version du plan à laquelle vous voulez appliquer l’effet. Chapitre 11 Montage avancé 297 7 Dans le navigateur d’effets, sélectionnez l’effet que vous voulez tester et faites-le glisser sur le plan dans la fenêtre Audition. Faites glisser un effet du navigateur d’effets sur un plan dans la fenêtre Audition. 8 Recommencez les étapes 6 et 7 jusqu’à ce que vous ayez appliqué tous les effets que vous voulez tester. 9 Examinez l’impact de chaque effet sur le plan dans la timeline en sélectionnant un plan à droite ou à gauche du meilleur élément. Cliquez sur un autre plan pour le lire dans le visualiseur. Conseil : Pour parcourir et lire rapidement les plans alternatifs, appuyez sur ctrl + Flèche gauche pour lire les plans situés à gauche de l’élément sélectionné ou sur ctrl + Flèche droite pour lire ceux de droite. 10 Une fois que vous avez choisi l’effet que vous voulez utiliser, sélectionnez le plan avec cet effet dans la fenêtre Audition, puis cliquez sur Terminé. 11 Si vous êtes sûr de votre choix et que vous voulez finaliser l’audition, choisissez Plan > Audition > Finaliser l’audition (ou appuyez sur Maj + Option + Y). L’audition est alors dissoute et l’effet choisi est appliqué au plan dans la timeline. Chapitre 11 Montage avancé 298 Conseil : Pour vous permettre de gagner du temps, Final Cut Pro peut dupliquer automatiquement un plan dans la timeline et appliquer un effet à la copie. Pour ce faire, faites glisser un effet du navigateur d’effets vers le plan dans la timeline tout en maintenant enfoncée la touche ctrl. Vous pouvez également appliquer un effet à chaque plan d’une audition en faisant glisser l’effet du navigateur d’effets vers l’audition dans la timeline tout en maintenant enfoncées les touches Option et ctrl. Dans les deux cas, vous devez commencer à faire glisser l’effet depuis le navigateur d’effets, puis appuyer sur les touches au moment d’ajouter l’effet au plan. Resynchronisation de plans pour créer des effets de vitesse Présentation de la resynchronisation de plans Vous pouvez ajuster les réglages de vitesse d’un plan pour créer des effets d’accéléré ou de ralenti. Vous pouvez également inverser un plan, rembobiner un segment d’un plan, appliquer des effets de vitesse variable (également appelés effets de rampe de vélocité) à une sélection de plans et créer des ralentis instantanés. Par défaut, Final Cut Pro conserve la tonalité à chaque ajustement de la vitesse, mais vous pouvez désactiver cette fonctionnalité pour accentuer l’effet de vitesse. Vous ne pouvez pas appliquer de changements de vitesse à des images fixes, des générateurs, des titres et des thèmes dans Final Cut Pro. Modification de la vitesse du plan Dans Final Cut Pro, vous pouvez appliquer des changements de vitesse constants ou variables à vos plans tout en préservant la tonalité de l’audio. Remarque : les réglages de vitesse ne sont appliqués qu’à une occurrence spécifique du plan sélectionné. Ils ne sont pas appliqués au fichier multimédia source de ce plan sur le disque. Pour créer un fichier multimédia auquel les effets de vitesse sont appliqués, exportez le plan sous forme de séquence QuickTime. Pour en savoir plus, consultez Partage de projets, de plans et de plages à la page 395. Changement de vitesse constant Lorsque vous appliquez un changement de vitesse constant à une sélection de plage ou à un plan complet, la vitesse de lecture de l’ensemble de la sélection est modifiée selon le même pourcentage. Par exemple, si vous appliquez un réglage de vitesse de 25 pour cent à la sélection, celle-ci est lue intégralement au ralenti. Chapitre 11 Montage avancé 299 La vitesse constante modifie également la durée d’un plan. Si un changement de vitesse constant entraîne une diminution ou une augmentation de la durée d’un plan dans votre projet, tous les plans suivants sont décalés vers l’avant ou l’arrière. Si vous choisissez une vitesse de 50 pour cent, la durée du plan est doublée. À l’inverse, si vous optez pour une vitesse de 200 pour cent, le plan est deux fois moins long. Par exemple, si vous réglez la vitesse de lecture d’un plan de 5 secondes sur 50 pour cent, Final Cut Pro ajoute des images au plan pour que celui-ci dure 10 secondes et soit lu plus lentement. Si vous réglez la vitesse du plan sur 200 pour cent, Final Cut Pro supprime des images de sorte que le plan ne dure plus que 5 secondes et soit lu considérablement plus vite. Plan identique avec vitesse réglée sur 50 pour cent (à présent long de 10 secondes) Plan de 5 secondes 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez modifier la vitesse. 2 Procédez de l’une des manières suivantes : •• Pour appliquer un réglage de vitesse prédéfini : choisissez Lente ou Rapide dans le menu local Resynchronisation de la barre d’outils (illustré ci-dessous), puis sélectionnez une vitesse dans le sous-menu. •• Pour appliquer un réglage de vitesse personnalisé : choisissez « Afficher l’éditeur de resynchronisation » dans le menu local Resynchronisation (ou appuyez sur cmd + R) pour afficher l’éditeur de resynchronisation au-dessus de la sélection dans la timeline, puis faites glisser la poignée de resynchronisation. Chapitre 11 Montage avancé 300 Si vous faites glisser la poignée de resynchronisation vers la droite, la vitesse de la sélection diminue, sa durée augmente et la barre affichée au-dessus d’elle dans la timeline devient orange. Faites glisser la poignée de resynchronisation vers la droite pour créer un effet de ralenti. Si vous faites glisser la poignée de resynchronisation vers la gauche, la vitesse de la sélection augmente, sa durée diminue et la barre affichée au-dessus d’elle dans la timeline devient bleue. Faites glisser la poignée de resynchronisation vers la gauche pour créer un effet d’accéléré. Changement de vitesse variable Pour faire varier la vitesse d’un plan dans le temps, en avant ou en arrière, vous pouvez appliquer un changement de vitesse variable (également appelé effet de rampe de vélocité). Les changements de vitesse variables créent des effets de lecture sophistiqués grâce auxquels les sujets semblent passer aisément d’une vitesse à une autre, avec des transitions nettes ou progressives entre chaque changement. Ces types d’effets sont fréquemment utilisés dans les vidéos musicales et les spots publicitaires, et ils peuvent être créés directement dans la timeline. Pour appliquer des effets de vitesse variable, vous devez diviser un plan en segments de vitesse réglés sur des pourcentages de vitesse précis. 1 Dans la timeline, sélectionnez une plage d’un plan ou un plan complet auquel vous voulez appliquer un effet de rampe de vélocité. 2 Procédez de l’une des manières suivantes : •• Pour réduire progressivement la vitesse : choisissez Rampe de vélocité > jusqu’à 0 % dans le menu local Resynchronisation de la barre d’outils. Chapitre 11 Montage avancé 301 •• Pour augmenter progressivement la vitesse : choisissez Rampe de vélocité > depuis 0 % dans le menu local Resynchronisation de la barre d’outils. La sélection est divisée en quatre segments ayant chacun un pourcentage de vitesse différent pour créer l’effet de rampe. Si une plus grande précision est requise, vous pouvez faire glisser manuellement l’une des quatre poignées de resynchronisation pour définir la vitesse voulue. Faites glisser une poignée de resynchronisation pour modifier le pourcentage de vitesse d’un segment de rampe de vélocité. Conserver la tonalité dans les plans resynchronisés Par défaut, Final Cut Pro conserve la tonalité d’un plan qui a été resynchronisé. Toutefois, si vous souhaitez accentuer l’effet de resynchronisation en autorisant les variations de la tonalité en fonction de l’ajustement de la vitesse, vous pouvez désactiver cette fonctionnalité. 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez modifier la vitesse. 2 Choisissez Conserver la tonalité dans le menu local Resynchronisation de la barre d’outils. Une coche à gauche du nom de la commande indique que la fonctionnalité Conserver la tonalité est activée. Choisissez à nouveau Conserver la tonalité pour la désactiver. Modification de l’image de fin d’un segment de vitesse Vous pouvez changer l’image de fin d’un segment de vitesse dans la timeline. Lorsque vous faites glisser la poignée de resynchronisation d’un segment de vitesse, vous ajustez la vitesse de ce segment, vous n’effectuez pas de trim. La commande « Modifier l’image de source de fin » vous permet d’appliquer un trim au point de fin (image de fin) d’un segment. 1 Dans la timeline, sélectionnez un plan contenant des segments de vitesse. 2 Pour afficher l’éditeur de resynchronisation au-dessus du plan dans la timeline, choisissez Éditeur de resynchronisation dans le menu local Resynchronisation de la barre d’outils (ou appuyez sur cmd + R). Chapitre 11 Montage avancé 302 3 Cliquez sur le triangle en regard du pourcentage de vitesse d’un segment de vitesse, puis choisissez « Modifier l’image de source de fin » dans le menu local. Une icône de pellicule apparaît au-dessus de l’image de fin du segment rapide. 4 Pour changer l’image de fin, faites glisser l’icône de pellicule vers la gauche ou la droite. Icône Pellicule Pendant le glissement, le visualiseur affiche l’image de fin actuelle. Adaptation de la vitesse d’un plan à celle du projet Si vous avez appliqué des effets de vitesse à l’aide de votre caméra, la vitesse d’origine des données source risque de ne pas correspondre à celle des données source des autres plans de votre projet dans la timeline. Toutefois, vous pouvez modifier le plan dont la vitesse d’origine diffère pour l’adapter aux autres plans présents dans la timeline. 1 Dans la timeline, sélectionnez le plan dont vous voulez modifier la vitesse pour la faire correspondre à celle des autres plans de votre projet. 2 Choisissez Adapter la vitesse dans le menu local Resynchronisation de la barre d’outils. Lissage d’un plan ralenti à l’aide de préréglages de qualité vidéo Pour lisser le mouvement apparent d’un plan lu au ralenti, vous pouvez lui appliquer une fusion d’images ou une analyse du flux optique. 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez modifier la qualité vidéo. 2 Choisissez un réglage Qualité vidéo dans le menu local Resynchronisation de la barre d’outils. •• Normale : réglage par défaut. Les images sont dupliquées et aucune fusion d’images n’est appliquée au plan ralenti. Ne nécessite aucun rendu. Chapitre 11 Montage avancé 303 •• Fusion d’images : ajoute des images intermédiaires en fusionnant les pixels des images voisines. La lecture des plans ralentis créés avec le réglage Fusion d’images semble plus fluide que celle des plans créés avec le réglage Normale (duplication). Un rendu est nécessaire. •• Flux optique : ajoute des images intermédiaires à l’aide d’un algorithme de flux optique, qui analyse le plan pour déterminer la direction du mouvement des pixels puis dessine partiellement les nouvelles images en fonction des résultats de l’analyse du flux optique. Seule la portion du plan utilisée dans le projet (données situées entre les points de départ et d’arrivée du plan) est analysée. Un rendu est nécessaire. Remarque : Plus il y a d’animation dans un plan, plus l’analyse et le rendu prendront de temps. Inversion ou rembobinage des plans Outre la possibilité de modifier la vitesse d’un plan, vous pouvez également ajouter des effets directionnels : •• Inverser : inverse l’ordre des images du plan de sorte que la dernière image soit lue en premier. •• Rembobiner : ajoute un segment dupliqué de la sélection de plage ou du plan, rembobine ce segment dupliqué à une vitesse de 1x, 2x ou 4x, puis lit le segment de plan d’origine en avant et à vitesse normale. Inversion d’un plan 1 Dans la timeline, sélectionnez un plan complet ou un groupe de plans dont vous voulez inverser le contenu. 2 Choisissez Inverser le plan dans le menu local Resynchronisation de la barre d’outils. La barre verte avec des flèches pointant vers la gauche au-dessus de la sélection dans la timeline indique que le plan est inversé. 3 Si vous voulez modifier la vitesse du plan inversé, faites glisser la poignée de resynchronisation vers la gauche pour l’augmenter ou vers la droite pour la diminuer. Segment inversé Faites glisser la poignée de resynchronisation pour modifier la vitesse du plan inversé. 4 Pour visualiser l’effet d’inversion, lisez le plan ou la sélection inversé(e). Rembobinage d’une sélection de plage ou d’un plan 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez rembobiner le contenu. Chapitre 11 Montage avancé 304 2 Choisissez Rembobiner dans le menu local Resynchronisation de la barre d’outils (illustré ci-dessous), puis sélectionnez une vitesse dans le sous-menu. La sélection est dupliquée, ajoutée à la suite de la sélection d’origine, puis inversée à la vitesse choisie. Une autre copie de la sélection de la timeline suit la section inversée et est lue en avant à la vitesse d’origine de la sélection. 3 Si vous voulez modifier la vitesse de la section rembobinée ou des sections précédant et suivant celle-ci, faites glisser la poignée de resynchronisation de la section vers la gauche pour augmenter la vitesse ou vers la droite pour la diminuer. Faites glisser une poignée de resynchronisation pour modifier la vitesse. 4 Lancez la lecture du plan pour visualiser l’effet de rembobinage. Création de ralentis instantanés Vous pouvez appliquer un ralenti instantané à une sélection de plage au sein d’un plan ou à un plan complet. Final Cut Pro duplique la plage ou le plan et ajoute les images dupliquées à la suite de la sélection sous la forme d’un nouveau segment. Vous pouvez ensuite modifier la vitesse de ce nouveau segment pour obtenir l’effet de ralenti instantané recherché. Création d’un ralenti instantané 1 Dans la timeline, sélectionnez une plage ou un plan complet dont vous voulez utiliser le contenu pour créer un ralenti instantané. 2 Choisissez Ralenti instantané dans le menu local Resynchronisation de la barre d’outils. Une copie de la plage ou du plan est ajoutée à la suite de la sélection et lue en avant à la vitesse d’origine de la sélection. (Par défaut, la vitesse de lecture du ralenti instantané est réglée sur 100 pour cent.) Chapitre 11 Montage avancé 305 3 Si vous voulez modifier la vitesse du segment de ralenti instantané, faites glisser la poignée de resynchronisation vers la gauche pour l’augmenter ou vers la droite pour la diminuer. Plan d’origine (désormais un segment) Segment de ralenti instantané avec réglage de ralenti manuel Faites glisser la poignée de resynchronisation pour modifier la vitesse du segment de ralenti instantané. 4 Pour visualiser l’effet de ralenti instantané, lancez la lecture de la sélection d’origine et du segment de ralenti instantané. Création d’un segment de suspension Dans Final Cut Pro, vous pouvez suspendre une image donnée pour créer une image fixe, ce qui a pour effet d’arrêter temporairement l’action à l’écran. Par défaut, Final Cut Pro ajoute une image fixe, appelée segment de suspension, au niveau du skimmer ou de la tête de lecture, mais vous pouvez modifier à tout moment la durée de l’image en question. Une autre solution consiste à créer des plans d’arrêt sur image à part dans Final Cut Pro. Une des différences clés entre les images figées et les segments de suspension est que ces derniers restent intégrés au plan d’origine et que leur durée peut être ajustée au sein du plan. Pour en savoir plus, consultez Création d’images figées à la page 120. Important : L’ajout d’un segment de suspension à un plan augmente la durée de ce dernier. Création d’un segment de suspension à image fixe 1 Dans la timeline, effectuez l’une des opérations suivantes : •• Sélectionnez le plan contenant l’image que vous voulez suspendre, puis placez le skimmer ou la tête de lecture sur cette image. •• Sélectionnez une plage au sein d’un plan dans la timeline. 2 Choisissez Suspendre dans le menu local Resynchronisation de la barre d’outils (ou appuyez sur Maj + H). Si vous avez sélectionné un plan, un segment de suspension de 2 secondes est ajouté à celui-ci au niveau du skimmer ou de la tête de lecture. Si vous avez sélectionné une plage, un segment de suspension dont la durée correspond à celle de la plage est créé. La première image (celle la plus à gauche) de la plage est utilisée comme image fixe. Chapitre 11 Montage avancé 306 3 Si vous voulez modifier la durée du segment de suspension, faites glisser la poignée de resynchronisation du segment vers la droite pour l’augmenter ou vers la gauche pour la diminuer. Faites glisser la poignée de resynchronisation pour modifier la durée du segment de suspension. 4 Pour visualiser l’effet du segment de suspension, lancez la lecture du plan dans la timeline. Restauration de la vitesse normale des plans resynchronisés Vous pouvez restaurer la vitesse de lecture normale (100 pour cent) d’une sélection de plage ou d’un plan à tout moment. La restauration de la vitesse supprime en même temps l’ensemble des effets directionnels et des suspensions appliqués à la sélection. Restauration de la vitesse de lecture en avant à 100 pour cent d’une plage ou d’un plan 1 Dans la timeline, sélectionnez une plage, un plan complet ou un groupe de plans dont vous voulez restaurer la vitesse d’origine. 2 Choisissez Normale 100 % dans le menu local Resynchronisation de la barre d’outils. Adaptation des tailles d’images et des fréquences d’images Final Cut Pro gère automatiquement les réglages du projet. Cela signifie que vous pouvez utiliser plusieurs types de média ayant des tailles d’image (ou résolutions) et des fréquences d’images différentes dans le même projet. Lorsque vous ajoutez le premier plan vidéo à votre projet, Final Cut Pro définit automatiquement le format, la taille d’image et la fréquence d’images de l’ensemble du projet en fonction des propriétés de ce premier plan (ou, plus exactement, en fonction des propriétés du fichier multimédia source de ce plan). Vous pouvez à tout moment modifier les réglages du projet, et vous pouvez contrôler, plan par plan, la façon dont Final Cut Pro adapte la fréquence d’images et la taille d’image d’un plan pour les faire correspondre aux réglages du projet. Toutes les informations relatives au projet de cette section s’appliquent également aux plans composés, qui peuvent posséder leurs propres réglages de projet. Vous pouvez ajouter des plans entrelacés à des projets progressifs (non entrelacés) et des plans progressifs à des projets entrelacés. Pour ajouter un plan entrelacé à un projet progressif, suivez les instructions ci-dessous. Final Cut Pro accepte automatiquement les plans progressifs dans les projets entrelacés. Chapitre 11 Montage avancé 307 Gardez les points suivants à l’esprit lorsque vous travaillez avec plusieurs formats et tailles d’image : •• Choisissez les propriétés vidéo et audio de votre projet en fonction de la façon dont vous prévoyez de partager votre séquence finale. Par exemple, si vous montez un projet avec un média de format mixte et que vous prévoyez de le partager en HD 1080p, définissez ses propriétés vidéo sur HD 1080p. •• Si vous ne savez pas encore quel sera le format de distribution final, vous devez au moins déterminer la fréquence d’images de votre projet avant de le créer. En effet, le format et la taille d’image de votre projet peuvent être modifiés facilement à tout moment, ce qui n’est pas le cas de la fréquence d’images, dont la modification peut entraîner le décalage dans le temps de tous les points de montage de votre projet. •• Si vous possédez un plan dont les propriétés audio et vidéo correspondent à celles du format dans lequel vous prévoyez de partager votre projet, ajoutez-le en premier à ce dernier. Final Cut Pro crée automatiquement les réglages correspondants du projet. Cela vous permet de gagner du temps en vous évitant d’avoir à modifier ultérieurement les réglages de votre projet. Conseil : Si le premier plan que vous ajoutez à un projet est un clip audio ou une image fixe, Final Cut Pro vous invite à définir les propriétés vidéo de votre projet. Annulez le montage, ajoutez un plan vidéo dont le fichier multimédia source présente les propriétés vidéo dont vous avez besoin pour votre projet, puis ajoutez le plan non vidéo à ce dernier. Choix d’une méthode d’adaptation de la taille d’image Vous pouvez choisir la façon dont Final Cut Pro modifie la taille d’image d’un plan pour la faire correspondre aux réglages de taille d’image du projet. Par exemple, Final Cut Pro peut modifier la taille d’image du plan de façon à l’ajuster en fonction de la dimension d’image la plus grande du projet ou à remplir l’intégralité de l’image du projet (ce qui entraîne généralement un rognage), ou il peut laisser la taille d’image du plan telle quelle. 1 Ajoutez à la timeline un plan dont la taille d’image ne correspond pas aux réglages de taille d’image (résolution) du projet actuel. 2 Sélectionnez le plan dans la timeline. 3 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît. 4 Choisissez une méthode d’adaptation de la taille d’image dans le menu local Type de la section Adaptation spatiale de l’inspecteur vidéo. •• Adapter : réglage par défaut. Adapte le plan au réglage de taille d’image du projet sans rogner la vidéo du plan. Des barres noires apparaissent sur les côtés des images ne correspondant pas à la taille d’image (résolution) du projet. Dans le cas d’un plan de définition standard (SD) dans un projet haute définition (HD), Final Cut Pro augmente l’échelle du plan SD pour l’adapter à la taille d’image du projet HD. Dans le cas d’un plan HD dans un projet SD, Final Cut Pro réduit l’échelle du plan HD pour l’adapter à la taille d’image du projet SD. Chapitre 11 Montage avancé 308 •• Remplir : adapte la vidéo du plan de sorte qu’elle occupe la totalité de la taille d’image du projet. Dans le cas d’un plan SD dans un projet HD, Final Cut Pro augmente l’échelle du plan SD pour l’adapter à la taille d’image du projet HD. La dimension la plus grande du plan est rognée pour permettre à la dimension la plus petite de remplir l’écran. Dans le cas d’un plan HD dans un projet SD, Final Cut Pro réduit l’échelle du plan HD pour l’adapter à la taille d’image du projet SD. La dimension la plus petite du plan est rognée pour permettre à la dimension la plus grande de remplir l’écran. •• Aucune : laisse la taille d’image du plan telle quelle. Si la taille d’image du plan est supérieure à celle du projet, le plan est rogné. Si la taille d’image du plan est inférieure à celle du projet, des barres noires apparaissent autour du plan. Choix d’une méthode d’adaptation de la fréquence d’images Lorsque la fréquence d’images d’un plan diffère de celle du projet, Final Cut Pro utilise une méthode d’échantillonnage d’image pour modifier la fréquence d’images du plan afin de la faire correspondre à celle du projet. Vous pouvez sélectionner la méthode d’échantillonnage d’image utilisée par Final Cut Pro pour modifier la fréquence d’images du plan. La méthode choisie dépend de l’importance que vous attachez à l’élimination des à-coups et autres défauts visuels. 1 Ajoutez à la timeline un plan dont la fréquence d’images ne correspond pas aux réglages de fréquence d’images du projet actuel. 2 Sélectionnez le plan dans la timeline. 3 Pour ouvrir l’inspecteur vidéo, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Vidéo en haut de la fenêtre qui apparaît. 4 Choisissez une méthode d’adaptation de la fréquence d’images dans le menu local Échantillonnage d’image de la section « Adaptation de la fréquence » de l’inspecteur vidéo. Remarque : Si le plan sélectionné possède la même fréquence d’images que celle des réglages du projet, la section « Adaptation de la fréquence » ne s’affiche pas dans l’inspecteur vidéo. •• Plancher : réglage par défaut. Final Cut Pro tronque à l’entier inférieur le plus proche lors de son calcul pour faire correspondre la fréquence d’images du plan à celle du projet. •• Voisin le plus proche : Final Cut Pro arrondit à l’entier le plus proche lors de son calcul pour faire correspondre la fréquence d’images du plan à celle du projet. L’option « Voisin le plus proche » réduit les défauts aux dépens des à-coups visuels. Un rendu est nécessaire. •• Fusion d’images : crée des images intermédiaires en fusionnant les pixels des images voisines. La lecture des plans ralentis créés avec le réglage Fusion d’images semble plus fluide que celle des plans créés avec le réglage Plancher ou « Voisin le plus proche ». Ce réglage offre une meilleure réduction des à-coups mais peut engendrer des défauts visuels. Un rendu est nécessaire. •• Flux optique : type de fusion d’images utilisant un algorithme de flux optique pour créer des images intermédiaires. Final Cut Pro analyse le plan pour déterminer la direction du mouvement des pixels puis dessine partiellement les nouvelles images en fonction des résultats de l’analyse du flux optique. L’option Flux optique offre une meilleure réduction des à-coups visuels et Final Cut Pro consacre relativement beaucoup de temps à la correction des défauts. Chapitre 11 Montage avancé 309 Ajouter un plan entrelacé à un projet non entrelacé (progressif) Certains formats vidéo utilisent une méthode de balayage qui divise une image vidéo en deux trames, chacune d’elles étant constituée de lignes paires et impaires alternées, balayées à différents moments. Si vous souhaitez ajouter un plan entrelacé à un projet progressif, Final Cut Pro peut désentrelacer le plan pour qu’il soit reproduit à pleine résolution et exempt des lignes dentelées associées aux plans entrelacés dans les projets progressifs. 1 Procédez de l’une des manières suivantes : •• Dans le navigateur d’événements, sélectionnez les plans entrelacés que vous souhaitez ajouter à un projet progressif. •• Dans la timeline, sélectionnez les plans entrelacés que vous avez ajoutés à un projet progressif. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Dans l’inspecteur d’informations, choisissez la présentation Réglages dans le menu local Présentation Métadonnées. 4 Cochez la case Désentrelacer. Remarque : En sélectionnant le réglage Désentrelacer, la fréquence d’images des plans sélectionnés double. Par exemple, si les plans entrelacés originaux possèdent une fréquence d’images de 29,97 ips, les plans désentrelacés passent à 59,94 ips. Gardez cela à l’esprit lorsque vous définissez les réglages audio et vidéo de votre projet. Conseil : Pour confirmer l’absence de défauts liés à l’entrelacement, vous pouvez appuyer sur Flèche gauche ou Flèche droite pour naviguer entre les plans dans la timeline, une image après l’autre. 5 Choisissez Final Cut Pro > Préférences, cliquez sur Lecture, puis sélectionnez Haute qualité dans le menu local Qualité de lecture. Les plans sont alors reproduits et fonctionnent comme des plans progressifs. Selon la configuration de votre ordinateur, le rendu en arrière-plan peut être nécessaire. Réglage de métrage anamorphosé Certains caméscopes et dispositifs d’enregistrement vidéo filment dans les proportions d’écran large 16/9 mais enregistrent les données à travers des proportions 4/3. Parfois, les balise de métadonnées permettant une lecture en 16/9 du fichier vidéo manquent ou sont incorrectement définies. Dans Final Cut Pro, vous pouvez définir cette balise de sorte que la vidéo puisse être lue correctement dans des proportions en 16/9 pour écrans larges. Remarque : Cette option n’est applicable qu’aux (et n’apparaît que pour les) formats en définition standard. 1 Dans le navigateur d’événements ou dans la timeline, sélectionnez les plans SD pour lesquels vous souhaitez ajuster le réglage d’anamorphose. Chapitre 11 Montage avancé 310 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Choisissez la présentation Réglages dans le menu local Présentation Métadonnées situé en bas de l’inspecteur d’informations. 4 Dans le menu local Remplacement anamorphosé, choisissez Écran large. Les plans peuvent dès lors être reproduits et fonctionnent avec les proportions en 16/9 à écran large. Utilisation de rôles pour gérer des plans Présentation des rôles Les rôles sont des étiquettes de métadonnées que vous associez à des plans dans le navigateur d’événements ou la timeline, afin d’obtenir un moyen souple et performant de gérer votre flux de production de montage. Final Cut Pro vous permet d’utiliser des rôles pour organiser vos plans dans des événements et des projets, contrôler l’apparence de la timeline ou exporter des fichiers vidéo ou audio (également appelés stems) séparément en vue de la distribution, du mixage audio ou de la postproduction. Lorsque vous importez des plans (vidéo, audio ou images fixes), Final Cut Pro analyse les métadonnées de plan existantes pour attribuer l’un des cinq rôles par défaut aux composants vidéo et audio de chaque plan : Vidéo, Titres, Dialogue, Musique et Effets. Par exemple, si un fichier de média source intègre une balise de métadonnées iTunes « genre », Final Cut Pro attribue le rôle Musique au plan obtenu. Final Cut Pro attribue les rôles Vidéo et Dialogue aux plans contenant aussi bien de la vidéo et que de l’audio. Vous pouvez utiliser des rôles pour les flux de production suivants : •• Réaffectation de rôles : vous pouvez visualiser et réaffecter les rôles d’un plan dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Consultez Affichage et réattribution de rôles à la page 311. Vous pouvez aussi créer des rôles et des sous-rôles personnalisés pour organiser davantage vos plans. •• Visualiser des plans en fonction du rôle : l’index de la timeline vous permet d’organiser des plans en fonction du rôle, d’activer ou de désactiver des rôles et de mettre des plans en surbrillance ou de les minimiser en vue de leur affichage dans la timeline. Vous pouvez par exemple identifier facilement tous vos plans de dialogue et les lire isolément par rapport aux autres plans audio. Consultez Affichage des plans en fonction du rôle dans la timeline à la page 316. •• Exporter des stems : Il est possible d’exporter des rôles sous forme de stems soit dans un fichier QuickTime multipiste combiné, soit dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Consultez Préférences de destinations à la page 441. Chapitre 11 Montage avancé 311 Affichage et réattribution de rôles Vous pouvez afficher et modifier les rôles attribués aux plans dans l’index de la timeline, le navigateur d’événements, l’inspecteur d’informations ou le menu Modifier. Tenez compte des éléments suivants lorsque vous utilisez des rôles : •• Chaque plan doit avoir reçu au moins un rôle (les plans à contenu audio et vidéo possèdent toujours un rôle audio et un rôle vidéo). Les images fixes reçoivent par défaut le rôle Vidéo, mais vous pouvez créer un rôle personnalisé (image fixe) et l’attribuer à vos images fixes. •• Il est impossible d’attribuer des rôles Vidéo à des plans ne contenant que de l’audio ou des rôles Audio à des plans ne contenant que de la vidéo. •• Il est possible d’attribuer des rôles aux composants audio ou vidéo d’un plan, mais pas à une plage de plans ni à une portion de plan. •• Vous avez également la possibilité d’afficher et de réattribuer le rôle pour un composant audio dans l’inspecteur d’informations (ou via le menu Modifier lorsque son plan de ce composant se trouve dans la timeline). •• Vous pouvez attribuer des rôles différents à chaque instance d’un plan. Ainsi, les plans que vous ajoutez à la timeline depuis le navigateur d’événements ou que vous copiez d’un événement à l’autre ou au sein de la timeline, constituent des instances de plan (des copies) indépendantes les unes des autres. Affichage et réattribution de rôles dans le navigateur d’événements 1 Dans le navigateur d’événements en présentation par liste, sélectionnez un ou plusieurs plans. Remarque : Si la colonne Rôles n’est pas visible dans le navigateur d’événements, cliquez sur l’en-tête d’une colonne en maintenant la touche ctrl enfoncée et choisissez Rôles dans le menu contextuel. 2 Dans la colonne Rôles, cliquez sur le rôle attribué à un plan pour afficher un menu contextuel présentant les rôles disponibles. 3 Pour changer l’attribution des rôles dans les plans sélectionnés, choisissez d’autres rôles dans le menu contextuel. Affichage et réattribution de rôles dans l’inspecteur d’informations 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements ou la timeline. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. Chapitre 11 Montage avancé 312 3 Dans l’inspecteur d’informations, cliquez sur le menu local Rôles pour accéder aux rôles disponibles. 4 Pour changer l’attribution des rôles dans les plans sélectionnés, choisissez d’autres rôles dans le menu local Rôles. Affichage et réattribution de rôles dans l’index de la timeline 1 Pour ouvrir l’index de la timeline, cliquez sur le bouton Index de la timeline situé dans le coin inférieur gauche de la fenêtre principale de Final Cut Pro (ou appuyez sur Commande + Maj + 2). 2 Pour ouvrir la fenêtre Plans, cliquez sur le bouton Plans en haut de l’index de la timeline. 3 Si la colonne Rôles n’est pas visible dans la fenêtre Plans, cliquez sur l’en-tête d’une colonne en maintenant la touche ctrl enfoncée et choisissez Rôles dans le menu contextuel. 4 Sélectionnez un ou plusieurs plans dans la fenêtre Plans. 5 Pour changer l’attribution des rôles dans les plans sélectionnés, cliquez sur le rôle attribué et choisissez d’autres rôles dans le menu contextuel. Chapitre 11 Montage avancé 313 Affichage et réattribution de rôles dans le menu Modifier 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements ou la timeline. 2 Choisissez Modifier > Attribuer des rôles, puis sélectionnez un rôle dans le sous-menu. Une coche apparaît en regard du rôle que vous avez choisi. Affichage et réattribution du rôle d’un composant audio 1 Sélectionnez un plan dans la timeline, puis choisissez Plan > Développer les composants audio (ou appuyez sur Option + Contrôle + S). Composants audio 2 Sélectionnez un composant audio. 3 Pour changer l’attribution du rôle pour le composant sélectionné, procédez de l’une des manières suivantes : •• Choisissez Modifier > Attribuer des rôles, puis sélectionnez un rôle dans le sous-menu. Une coche apparaît en regard du rôle que vous avez choisi. •• Ouvrez l’inspecteur d’informations, puis choisissez un autre rôle dans le menu local Rôles. Une coche apparaît en regard du rôle que vous avez choisi. Pour en savoir plus sur les composants audio, consultez À propos des canaux audio et des composants audio à la page 165. Affichage et réattribution de rôles dans des plans composés Les plans composés reflètent les rôles des plans d’origine qui les constituent. Vous pouvez afficher et réattribuer les rôles des plans à l’intérieur d’un plan composé, mais vous ne pouvez pas attribuer des rôles au plan composé lui-même. 1 Sélectionnez un plan composé dans le navigateur d’événements ou la timeline. 2 Pour afficher les rôles attribués ou pour attribuer un rôle à chaque plan à l’intérieur du plan composé, procédez de l’une des manières suivantes : •• Colonne Rôles dans le navigateur d’événements en présentation par liste : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans le navigateur d’événements » ci-dessus. •• Menu local Rôles dans l’inspecteur d’informations : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans l’inspecteur d’informations » ci-dessus. •• Colonne Rôles dans la fenêtre Plans de l’index de la timeline : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans l’index de la timeline » ci-dessus. •• cmd Attribuer des rôles : Suivez les instructions présentées dans la section « Affichage et réattribution de rôles dans le menu Modifier » ci-dessus. Chapitre 11 Montage avancé 314 Lorsque vous attribuez un rôle à un plan composé (le conteneur), le rôle est attribué à tous les plans à l’intérieur de ce plan composé. Pour attribuer des rôles différents à certains plans du plan composé, vous pouvez ouvrir le plan composé afin de le modifier, puis attribuer individuellement des rôles à des plans du plan composé. Pour en savoir plus sur les plans composés, consultez Présentation des plans composés à la page 266. Création de sous-rôles et de rôles personnalisés Vous pouvez créer, outre les cinq rôles par défaut (Vidéo, Titres, Dialogue, Musique et Effets), des sous-rôles et des rôles personnalisés. Important : Soyez prudent lorsque vous créez des sous-rôles et des rôles personnalisés. Les rôles personnalisés (ainsi que leurs noms) ne peuvent pas être modifiés ou supprimés de la liste des rôles. Vous pouvez toutefois changer à tout moment les attributions de rôle à des plans. Création de rôles personnalisés 1 Pour ouvrir l’éditeur de rôle, procédez de l’une des manières suivantes : •• Choisissez Modifier > Modifier les rôles. •• Dans le navigateur d’événements en présentation par liste ou dans la fenêtre Plans de l’index de la timeline, cliquez sur un rôle dans la colonne Rôles, puis choisissez Modifier les rôles dans le menu contextuel. •• Après avoir sélectionné un plan dans le navigateur d’événements ou dans la timeline, ouvrez l’inspecteur d’informations, puis choisissez Modifier les rôles dans le menu local Rôles. 2 Choisissez le type de rôle dans le menu local Ajouter un rôle situé dans le coin inférieur gauche de l’éditeur de rôle. Le nouveau rôle apparaît en bas de la colonne Rôle. Chapitre 11 Montage avancé 315 3 Saisissez un nom pour le nouveau rôle. Le nouveau rôle apparaît dans la liste des rôles, afin que vous puissiez l’attribuer à n’importe quel plan. Création de sous-rôles Les sous-rôles vous permettent d’organiser différents rôles au sein d’un rôle ; vous pouvez par exemple créer un sous-rôle Bruitage au sein du rôle Effets ou un rôle Sous-titres espagnols dans le rôle Titres. 1 Pour ouvrir l’éditeur de rôle, procédez de l’une des manières suivantes : •• Choisissez Modifier > Modifier les rôles. •• Dans le navigateur d’événements en présentation par liste ou dans la fenêtre Plans de l’index de la timeline, cliquez sur un rôle dans la colonne Rôles, puis choisissez Modifier les rôles dans le menu contextuel. •• Après avoir sélectionné un plan dans le navigateur d’événements ou dans la timeline, ouvrez l’inspecteur d’informations, puis choisissez Modifier les rôles dans le menu local Rôles. Chapitre 11 Montage avancé 316 2 Sélectionnez un rôle dans la colonne Rôle, puis cliquez sur le bouton Ajouter un sous-rôle (signe plus) sous la colonne Sous-rôle. 3 Saisissez un nom pour le sous-rôle. Le nouveau sous-rôle demeure dans la liste Sous-rôle et apparaît en dessous de son rôle parent dans les listes de rôles présentes dans Final Cut Pro. Lorsque vous attribuez des sous-rôles à des plans dans la timeline, ces sous-rôles apparaissent également dans l’index de la timeline. Sous-rôles Affichage des plans en fonction du rôle dans la timeline Vous pouvez utiliser la fenêtre Rôles de l’index de la timeline pour afficher et lire des plans en fonction de leur rôle dans la timeline. Tous les plans vidéo et audio sont organisés en fonction soit des rôles par défaut (Vidéo, Titres, Dialogue, Musique ou Effets), soit de rôles ou de sous-rôles que vous avez créés. Il est possible de désactiver certains rôles afin de suspendre la lecture de tous les plans auxquels ces rôles ont été attribués. Vous pouvez, par exemple, désactiver tous les rôles sauf le rôle Dialogue pour ne lire que les plans de dialogue, puis activer le rôle Musique pour écouter la bande son du film en même temps que les dialogues. Les rôles vous offrent un moyen très efficace d’organiser et de prévisualiser des plans avant de les exporter sous forme de fichiers en vue de leur diffusion ou de la postproduction audio. Remarque : L’activation ou la désactivation des rôles dans l’index de la timeline n’a pas d’effet sur les réglages d’exportation ni sur les réglages de plan dans le navigateur d’événements, la timeline ou les inspecteurs. Chapitre 11 Montage avancé 317 Activation ou désactivation des rôles 1 Dans l’index de la timeline, cliquez sur le bouton Rôles. 2 Dans la fenêtre Rôles, cochez les cases en regard des rôles ou des sous-rôles que vous voulez activer. Désélectionnez les cases en regard des rôles ou des sous-rôles que vous voulez désactiver. Les rôles activés sont affichés en couleur dans la timeline, tandis que les rôles désactivés sont affichés en gris. Si vous désactivez tous les rôles vidéo ou tous les rôles audio, la partie respective des plans audio-vidéo est également affichée en gris. Les plans auxquels un rôle actif est assigné apparaissent en couleur.Les plans auxquels un rôle inactif est assigné apparaissent en gris.Rôles actifs 3 Pour prévisualiser des plans en fonction de leur rôle, effectuez la lecture de votre projet. Seuls les plans ayant des rôles activés sont lus. Mise de rôles en surbrillance dans la timeline 1 Dans l’index de la timeline, cliquez sur le bouton Rôles. Chapitre 11 Montage avancé 318 2 Dans la fenêtre Rôles, cliquez sur le nom du rôle à mettre en surbrillance. Les plans ayant reçu ce rôle sont mis en surbrillance dans la timeline. Cela inclut à la fois les plans actifs (en couleur) et les plans inactifs (en gris). Rôle sélectionnéLes plans auxquels un rôle sélectionné est assigné apparaissent en surbrillance. Conseil : Pour mettre en surbrillance plusieurs rôles à la fois, sélectionnez-les en maintenant la touche Maj enfoncée s’ils sont contigus ou la touche cmd si ce n’est pas le cas. Réduction des plans en fonction du rôle Pour dégager de l’espace dans la timeline afin de pouvoir mieux visualiser et manipuler des plans, vous pouvez réduire les plans correspondant à certains rôles. Ces plans sont alors affichés en plus petit dans la timeline. 1 Dans l’index de la timeline, cliquez sur le bouton Rôles. 2 Dans la fenêtre Rôles, cliquez sur le bouton de réduction en regard du rôle dont vous souhaitez réduire les plans. Bouton MinimiserPlan minimiséLes rôles ayant été minimisés. Il est possible également de personnaliser l’affichage des plans dans la timeline en modifiant leur apparence et leur hauteur et en déterminant s’ils doivent être visualisés par leur nom ou leur rôle. Consultez Ajustement des réglages de la timeline à la page 147. Chapitre 11 Montage avancé 319 Utilisation de rôles pour exporter des stems Lorsque vous exportez votre travail, vous pouvez utiliser des rôles pour déterminer les détails de vos fichiers de sortie. Ce processus est souvent utilisé lorsqu’il s’agit de livrer des fichiers correspondant à certaines spécifications de diffusion ou de remettre des stems en vue du mixage ou de la postproduction. Vous pouvez exporter des rôles dans un fichier QuickTime multipiste combiné ou dans des fichiers audio ou vidéo séparés. Durant le processus d’exportation, vous pouvez attribuer des sorties mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Préférences de destinations à la page 441. Utilisation de fichiers XML pour transférer des projets et des événements Final Cut Pro peut importer ou exporter des fichiers XML (eXtensible Markup Language). Vous pouvez utiliser des documents XML (fichiers texte ASCII incluant des éléments balisés) pour transférer les détails de vos événements et de vos projets entre Final Cut Pro et des applications tierces, des périphériques et des outils de gestion de ressources multimédias incapables de reconnaître les événements ou les projets Final Cut Pro. Les options d’importation et d’exportation XML sont décrites en détail dans la documentation destinée aux développeurs XML Final Cut Pro. Pour en savoir plus, consultez la page consacrée aux applications Apple du site web Apple Developer à l'adresse http://developer.apple.com/fr/appleapplications. Importation au format XML dans Final Cut Pro Vous pouvez générer des fichiers XML avec d’autres applications, puis les importer dans Final Cut Pro. Lorsque vous importez un fichier XML dans Final Cut Pro, des plans, des événements et des projets sont automatiquement générés dans Final Cut Pro. 1 Dans Final Cut Pro, choisissez Fichier > Importer > XML. 2 Naviguez ensuite jusqu’au fichier XML à importer, puis cliquez sur Importer. Final Cut Pro traite le fichier XML et génère des plans, des événements et des projets dans la bibliothèque d’événements et la bibliothèque de projets. Exportation au format XML depuis Final Cut Pro Vous pouvez exporter des événements et des projets sous forme de fichiers XML. 1 Dans la bibliothèque d’événements ou la bibliothèque de projets, choisissez un ou plusieurs événements ou projets à exporter sous forme de fichiers XML. 2 Choisissez Fichier > Exporter le fichier XML. 3 Dans la fenêtre qui apparaît, naviguez jusqu’au dossier de votre disque dur où vous voulez enregistrer les fichiers XML, puis cliquez sur Enregistrer. Chapitre 11 Montage avancé 320 Montage de plans multicam Présentation du montage multicam Vous pouvez exploiter Final Cut Pro pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. Par exemple, si vous filmez un concert en direct ou un mariage avec quatre caméras, vous pouvez synchroniser le métrage de chaque angle dans un même plan multicam et effectuer des coupes entre les angles en temps réel. Les différents angles d’un plan multicam sont synchronisés par un point de synchronisation commun, une image qu’il vous est possible de reconnaître (visiblement ou à l’oreille) pour chacun des angles que vous synchronisez. Lorsque vous ajoutez un plan multicam à la timeline, l’angle qui s’affiche dans le visualiseur au moment où vous procédez à la lecture de votre projet s’appelle l’angle actif. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. Angle 1 Angle 2 Angle actif Angle 3 Angle 4 Point de synchronisation icône Plan multicam L’utilisation de plans multicam dans Final Cut Pro assure un processus polyvalent et fluide. À tout moment, vous pouvez ajouter ou supprimer des angles d’un plan multicam, et adapter facilement la synchronisation entre eux. Vous pouvez aussi grouper des éléments de métrage non associés pour le montage en temps réel (vidéos musicales, par exemple). Par exemple, si vous montez une vidéo musicale, vous avez la possibilité d’ajouter plusieurs angles d’images abstraites et d’effectuer des coupes à des moments précis de la musique. Il est en outre possible d’exploiter des photos (d’un appareil photo) dans un plan multicam. Si les informations de date et heure (Contenu créé) correspondent au contenu des autres angles, les photos sont automatiquement ajustées sur la durée de sorte à « remplir » l’angle. Les plans multicam présentent les caractéristiques suivantes : •• Vous ne pouvez créer de plans multicam que dans le navigateur d’événements, à partir de plans d’événements existants. •• Vous devez effectuer des coupes et adapter les plans multicam dans l’éditeur d’angles, lequel ressemble à la timeline. Chapitre 11 Montage avancé 321 •• Lorsque vous ajoutez un plan multicam à la timeline, une relation directe et active s’établit entre le plan multicam « parent » dans le navigateur d’événements et le plan multicam « enfant » sur la timeline. Plans de l’événementProjet 3Projet 1Plan enfantPlans enfantsPlan enfantProjet 2Plan multicam parent •• Si vous ouvrez un plan multicam dans l’éditeur d’angles (que ce soit depuis le navigateur d’événements ou depuis la timeline), il s’agit en fait du plan multicam parent qui s’ouvre depuis le navigateur d’événements. Toute modification apportée à un plan multicam dans l’éditeur d’angles est transmise à l’intégralité de ses plans enfants, dans tous les projets. Ces changements comprennent les réglages de synchronisation ou de trim, la resynchronisation de la vitesse des plans, les effets vidéo ou audio tels que l’étalonnage, ainsi que les angles ajoutés ou supprimés. Par exemple, si vous supprimez un angle d’un plan multicam parent, il est alors supprimé de tous les plans enfants. Pour en savoir plus sur l’éditeur d’angles, consultez la section Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles à la page 337. Flux de production de montage multicam Le processus à suivre pour la création d’un projet multicam est décrit ci-après. Ces procédures sont présentées dans un ordre chronologique approximatif. Vous pouvez par conséquent les réorganiser pour répondre aux besoins de votre flux de production. Tournage d’un événement avec plusieurs caméras et enregistrement des informations de synchronisation Un plan multicaméra utilise plusieurs caméras pour enregistrer le même sujet ou événement sous des angles et à des distances différents. Dans le cas de projets multicam, il peut s’avérer judicieux de régler la date, l’heure et le fuseau horaire sur votre caméscope ou tout autre équipement d’enregistrement avant le tournage. Cela fournit des informations utiles à Final Cut Pro lors du processus de création automatique des plans multicam. Dans les plans multicaméra professionnels, chaque caméscope ou magnétoscope reçoit le même timecode à partir d’un générateur de timecode maître. Vous pouvez aussi effectuer une synchronisation fixe sur le générateur de timecode de chaque caméscope au début du plan. Si vous utilisez un caméscope numérique grand public incompatible avec le timecode externe, vous devez enregistrer un signal visuel ou sonore, tel que la fermeture d’un clap ou le flash d’une caméra, sur toutes les caméras. Ce signal vous permet de synchroniser les angles dans vos plans multicam. Dans la mesure où vous pouvez vous servir de la fonctionnalité sophistiquée de synchronisation audio automatique de Final Cut Pro pour vous apporter toute la précision nécessaire à la synchronisation multicam, il convient d’enregistrer l’audio sur chaque caméscope et équipement d’enregistrement utilisés dans votre production multicam. (À noter que des enregistrements audio nets produisent les meilleurs résultats.) Chapitre 11 Montage avancé 322 Importation de média pour un montage multicam Bien que l’importation de média pour les projets multicam soit identique à celle pour tout autre projet, des étapes intermédiaires lors de l’importation sont à même de vous aider à simplifier le flux de production multicam. Attribution du nom des caméras et des angles multicam Les balises de métadonnées « Nom de la caméra » et « Angle de caméra » vous permettent d’automatiser et d’organiser votre flux de production multicam. Il est conseillé (mais cependant facultatif) d’appliquer ces balises à vos plans d’événements avant de créer un plan multicam. Création de plans multicam Vous devez créer des plans multicam à partir de plans d’événements sélectionnés (comme c’est le cas pour les auditions et les plans composés dans le navigateur d’événements). Que vous réalisiez cette étape manuellement ou que Final Cut Pro s’en charge automatiquement, la création d’un plan multicam suppose trois étapes essentielles : •• la création d’angles (lesquels contiennent un ou plusieurs plans chacun), •• la réorganisation de l’ordre des plans dans chaque angle, •• la synchronisation des angles à travers un point de synchronisation commun. Si vous connaissez le type de métadonnées comprises dans votre média source, vous pouvez créer manuellement des plans multicam plus rapidement que par les automatisations proposées. Pour en savoir plus, consultez Attribution du nom des caméras et des angles multicam à la page 323 et Création de plans multicam dans le navigateur d’événements à la page 324. Coupe et passage d’un angle à l’autre dans le visualiseur d’angle Après avoir créé un plan multicam, il vous est possible de visionner simultanément tous les angles dans le visualiseur d’angle tout en passant ou en coupant en temps réel entre les différents angles. Vous pouvez couper et changer les éléments audio et vidéo simultanément ou indépendamment. Par exemple, vous pouvez utiliser l’élément audio de l’angle 1 tout en alternant entre les angles 1 à 4 de la vidéo. Synchronisation et ajustement des angles dans l’éditeur d’angles Vous pouvez ouvrir à tout moment des plans multicam dans l’éditeur d’angles pour adapter la synchronisation et l’ordre des angles ou pour en ajouter ou en supprimer. Vous pouvez aussi passer par l’éditeur d’angles pour réaliser des montages dans les différents plans insérés dans un plan multicam (par exemple, lors de trim, d’étalonnages, d’ajout de transitions, etc.). Montage de plans multicam sur la timeline Vous pouvez passer directement à des angles multicam sur la timeline ou dans l’inspecteur, sans ouvrir le visualiseur d’angle. Bien que les plans multicam présentent des propriétés uniques, il vous est possible de les modifier sur la timeline de la même façon que pour le montage d’autres plans. Importation de média pour un montage multicam Lorsque vous importez du média dans un projet multicam, vous pouvez attribuer un nom au caméscope ou à l’équipement d’enregistrement produisant des fichiers. Final Cut Pro fait appel à la balise « Nom de la caméra » pour trier les plans source au sein d’un plan multicam lors du processus de création automatique des plans multicam. Si vous prévoyez que vos plans multicam compteront de nombreux angles, sélectionnez « Utiliser un média proxy » dans les préférences Lecture pour préserver des performances optimales lors de votre montage multicam. Vous pouvez générer les versions proxy nécessaires de vos plans lors du processus d’importation. Chapitre 11 Montage avancé 323 Si vous ne possédez que quelques angles dans votre montage multicam, vous avez la possibilité de réaliser des versions optimisées de votre média lors de l’importation, par le biais du codec Apple ProRes 422. Si vous préférez, il vous est également possible de sélectionner « Créer des média optimisés pour des plans multicam » dans les préférences Lecture pour générer automatiquement des données optimisées chaque fois que vous créez un plan multicam. Pour en savoir plus, consultez Préférences de lecture à la page 438. Attribution de nom à une caméra Les instructions suivantes expliquent comment ajouter la propriété « Nom de la caméra » lorsque vous importez des médias à partir d’un dispositif à système de fichiers. Il vous est également possible d’ajouter la propriété « Nom de la caméra » a postériori. 1 Branchez votre caméra ou équipement d’enregistrement sur votre ordinateur. 2 Dans Final Cut Pro, choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). 3 Dans la fenêtre Importation des médias, sélectionnez votre caméscope ou autre matériel dans la liste des dispositifs à gauche, s’il ne l’est pas déjà. 4 Cliquez à nouveau dessus, puis attribuez-lui un nom. Final Cut Pro affecte ce nom à la propriété de métadonnées « Nom de la caméra » pour tous les plans que vous importez depuis l’appareil en question. Remarque : les caméscopes et équipements d’enregistrement les plus récents (notamment tous les dispositifs iOS) enregistrent une balise Identifiant Caméra. Final Cut Pro importe automatiquement les métadonnées Identifiant Caméra lorsque vous importez à partir d’un dispositif à système de fichiers et peut exploiter ces informations pour construire automatiquement des angles multicam. Attribution du nom des caméras et des angles multicam Les propriétés « Nom de la caméra » et « Angle de caméra » constituent des balises de métadonnées polyvalentes qui vous permettent d’organiser votre flux de production multicam. Bien qu’il vous soit possible d’attribuer à tout moment des métadonnées à des plans, il s’avère plus logique d’affecter les valeurs aux balises « Angle de caméra » et « Nom de la caméra » avant d’utiliser les plans pour créer les plans multicam. La balise « Angle de caméra » vous permet de déterminer et d’effectuer le suivi des plans apparaissant dans les divers angles. Vous pouvez appliquer la balise « Nom de la caméra » lors de l’importation qui peut être utile dans un grand nombre de cas, par exemple lors de l’étalonnage des couleurs. Final Cut Pro vous permet de créer automatiquement ou manuellement des plans multicam. Si vous utilisez la méthode de création automatique des angles dans le plan multicam, Final Cut Pro recherche les métadonnées dans les plans sélectionnés dans l’ordre suivant : •• Métadonnées « Angle de caméra » •• Métadonnées « Nom de la caméra » •• Métadonnées « Identifiant Caméra » Remarque : Les caméscopes et équipements d’enregistrement les plus récents (notamment tous les dispositifs iOS) génèrent la balise Identifiant Caméra. Final Cut Pro importe automatiquement les métadonnées Identifiant Caméra lorsque vous effectuez une importation à partir d’un dispositif à système de fichiers. Final Cut Pro exploite les métadonnées « Angle de caméra », « Nom de la caméra » et « Identifiant Caméra » pour placer les plans dans le bon angle. Si l’application ne trouve pas ces informations, Final Cut Pro crée alors un angle à part pour chacun des plans sélectionnés. Chapitre 11 Montage avancé 324 Attribution du nom des caméras et des angles à des plans sélectionnés Procédez de l’une des manières suivantes : mm Sélectionnez des plans dans le navigateur d’événements ou sur la timeline, ouvrez l’inspecteur d’informations, puis saisissez du texte dans le champ « Angle de caméra » ou « Nom de la caméra ». mm Dans le navigateur d’événements en présentation par liste, saisissez du texte dans la colonne correspondante pour l’un des plans. Remarque : Si vous utilisez la méthode de création automatique des angles, Final Cut Pro fait appel aux balises « Angle de caméra » dans les plans sélectionnés pour nommer les angles dans le plan multicam résultant. En l’absence de balise « Angle de caméra », Final Cut Pro s’appuie sur les métadonnées « Nom de la caméra », « Nom » (nom du plan) ou « Identifiant Caméra » pour attribuer un nom aux angles. Vous pouvez renommer ces angles dans l’éditeur d’angles. Pour en savoir plus, consultez Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles à la page 337. Création de plans multicam dans le navigateur d’événements La création de plans multicam est semblable à la création d’auditions et de plans composés dans le navigateur d’événements. Les plans multicam peuvent se composer de diverses sources de média (différents formats, fréquences d’images, etc.). Vous pouvez posséder plusieurs plans dans un angle donné d’un plan multicam. Vous pouvez indiquer à Final Cut Pro de créer automatiquement des plans multicam ou procéder manuellement. Si vous connaissez le type de métadonnées comprises dans votre média multicam, vous pouvez créer manuellement des plans multicam plus rapidement que par les automatisations proposées. Les méthodes automatiques s’appuient sur une technologie sophistiquée de synchronisation audio automatique pour assurer la précision de la synchronisation (mais aux dépens du temps de traitement). Il est recommandé de désactiver « Utiliser l’audio pour la synchronisation » lorsque cette option n’est pas nécessaire. Par exemple, si le timecode exact est enregistré dans chaque plan, Final Cut Pro peut créer votre plan multicam automatiquement sans passer par la fonctionnalité de synchronisation audio. Création automatique d’un plan multicam 1 Dans le navigateur d’événements, sélectionnez les plans à inclure dans le plan multicam. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Nouveau plan multicam. •• Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan multicam dans le menu contextuel. 3 Dans la fenêtre qui s’affiche, attribuez un nom au plan multicam dans le champ Nom. 4 Si les réglages multicam automatiques ne sont pas affichés, cliquez sur « Utiliser les réglages automatiques ». Les réglages multicam automatiques s’affichent. Remarque : Les réglages automatiques sont affichés par défaut, sauf si le dernier plan multicam créé comportait des réglages personnalisés. Chapitre 11 Montage avancé 325 5 Pour synchroniser automatiquement les angles grâce aux données de forme d’onde audio, sélectionnez « Utiliser l’audio pour la synchronisation ». Cette option permet des ajustements de synchronisation précis en s’appuyant sur les formes d’onde audio de chaque angle. Cette technologie est identique à celle de synchronisation audio utilisable pour synchroniser automatiquement les plans en un plan composé. Point de synchronisation Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage. 6 Cliquez sur OK. Final Cut Pro crée un plan multicam dans l’événement et place des copies des plans sélectionnés dans le nouveau plan multicam. icône Plan multicam Création d’un plan multicam à l’aide de réglages personnalisés 1 Dans le navigateur d’événements, sélectionnez les plans à inclure dans le plan multicam. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Nouveau plan multicam. •• Cliquez sur la sélection tout en maintenant la touche ctrl enfoncée, puis choisissez Nouveau plan multicam dans le menu contextuel. 3 Dans la fenêtre qui s’affiche, attribuez un nom au plan multicam dans le champ Nom. 4 Si les réglages multicam personnalisés ne sont pas affichés, cliquez sur « Utiliser les réglages personnalisés ». Les réglages personnalisés s’affichent. Chapitre 11 Montage avancé 326 Remarque : Les réglages automatiques sont affichés par défaut, sauf si le dernier plan multicam créé comportait des réglages personnalisés. 5 Dans le menu local Assembler les angles, choisissez le mode de création des angles dans le plan multicam : •• Automatique : Final Cut Pro crée les angles automatiquement. •• Angle de caméra : Final Cut Pro crée les angles dans le plan multicam en fonction de la propriété Angle de caméra des plans sélectionnés. •• Nom de la caméra : Final Cut Pro crée les angles dans le plan multicam en fonction de la propriété Nom de caméra des plans sélectionnés. •• Plans : Final Cut Pro crée un angle pour chaque plan sélectionné à l’aide de leur propriété Nom afin d’attribuer un nom à l’angle. 6 Dans le menu local « Classement des angles du plan », choisissez le mode de tri des angles dans le plan multicam : •• Automatique : Final Cut Pro trie les plans dans chaque angle automatiquement. S’il existe plusieurs plans par angle, Final Cut Pro insère plans vides entre les plans, le cas échéant, pour obtenir le contrôle du temps et l’espacement adéquats. •• Timecode : Final Cut Pro organise dans chaque angle les plans à l’aide de leur timecode. Si vous avez enregistré le timecode dans vos plans, choisissez donc cette option. Elle s’avère plus rapide et plus précise en termes d’images pour l’agencement des plans. •• Contenu créé : Final Cut Pro trie les plans dans chaque angle à l’aide des informations de date et d’heure enregistrées par votre caméscope ou équipement d’enregistrement vidéo. La fonctionnalité Contenu créé peut positionner les plans avec une précision d’une seconde (sachant que, dans la plupart des caméscopes, l’unité la plus petite inscrite dans les informations de date et d’heure correspond à la seconde). Si vous choisissez cette commande de tri des plans, vous aurez probablement besoin de synchroniser manuellement vos angles dans l’éditeur d’angles pour que votre plan multicam adopte une précision par image. Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. 7 Dans le menu local Synchronisation des angles, choisissez le mode de synchronisation des angles dans le plan multicam : •• Automatique : Final Cut Pro synchronise automatiquement les angles (par le biais d’une ou plusieurs des méthodes suivantes). •• Timecode : Final Cut Pro synchronise les angles en fonction du timecode enregistré dans les plans. Pour en savoir plus sur l’enregistrement du timecode, consultez Flux de production de montage multicam à la page 321. 01:00:00:0001:00:00:00 01:00:00:0001:00:00:00Point de synchronisation Chapitre 11 Montage avancé 327 •• Contenu créé : Final Cut Pro synchronise les angles à l’aide des informations de date et d’heure enregistrées par votre caméscope ou équipement d’enregistrement vidéo. Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. 12 h 59 12 h 59 12 h 59 12 h 59 Point de synchronisation •• Début du premier plan : Final Cut Pro utilise la première image de chaque angle comme point de synchronisation Point de synchronisation Conseil : la méthode de « Début du premier plan » s’avère utile pour exploiter uniquement des sélections sur des plages précises de vos plans source. Dans le navigateur d’événements, ajoutez des mots-clés ou le classement Favori à des sélections de plages à utiliser, afin de filtrer ou rechercher des plans ultérieurement. Si vous créez votre plan multicam, Final Cut Pro n’utilise que le média affiché dans la présentation filtrée. •• Premier marqueur sur l’angle : Final Cut Pro utilise le premier marqueur de chaque angle comme point de synchronisation Point de synchronisation Conseil : cette méthode vous permet d’utiliser le premier marqueur pour définir une région pouvant être affinée par le biais de l’option « Utiliser l’audio pour la synchronisation » (décrite ci-dessous). En d’autres termes, vous n’avez pas besoin de placer le marqueur avec précision, seulement suffisamment près de l’endroit voulu pour que la fonctionnalité de synchronisation audio automatique puisse synchroniser les angles suivants. 8 Pour synchroniser automatiquement les angles grâce aux données de forme d’onde audio, sélectionnez « Utiliser l’audio pour la synchronisation ». Chapitre 11 Montage avancé 328 Cette option permet des ajustements de synchronisation précis en s’appuyant sur les formes d’onde audio de chaque angle. Cette technologie est identique à celle de synchronisation audio utilisable pour synchroniser automatiquement les plans en un plan composé. Point de synchronisation Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage. 9 Si vous voulez que le timecode du plan multicam commence à une valeur autre que la valeur la plus faible dans les plans sélectionnés (ce qui est le comportement par défaut), saisissez une valeur de timecode dans le champ Timecode de début. 10 Si vous cherchez à modifier les réglages des propriétés vidéo, sélectionnez Personnalisé dans la section Propriétés vidéo, puis adaptez les réglages à vos besoins. Remarque : Par défaut, Final Cut Pro analyse les plans sélectionnés et configure ces réglages d’après les propriétés de plan les plus courantes parmi ces plans. 11 Si vous cherchez à modifier les réglages audio ou de rendu, sélectionnez Personnalisé dans la section « Propriétés audio et de rendu », puis adaptez les réglages à vos besoins. 12 Cliquez sur OK. Final Cut Pro crée un plan multicam dans l’événement et place des copies des plans sélectionnés dans le nouveau plan multicam. icône Plan multicam Chapitre 11 Montage avancé 329 Coupe et passage d’un angle à l’autre dans le visualiseur d’angle Après avoir créé un plan multicam, il vous est possible de visionner simultanément tous les angles dans le visualiseur d’angle tout en passant ou en coupant en temps réel entre les différents angles. Cela vous permet de couper un film entier comme s’il était diffusé en direct, puis d’apporter des réglages plus fins dans la timeline comme vous le feriez pour toute autre projet. Le visualiseur d’angle constitue aussi bien un écran qu’une interface interactive pour effectuer des choix rapides de coupe et de permutation au fur et à mesure de la reproduction de vos plans multicam et de vos projets. Angles apparaissant dans les groupes des angles 2, 4, 9 ou 16. Visualiseur d’angle Lecture d’un plan multicam dans le visualiseur d’angle 1 Pour ouvrir le visualiseur d’angle, procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Affichage du visualiseur > Afficher les angles (ou appuyez sur Commande + Maj + 7). •• Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur. Si vous visualisez un plan multicam dans le navigateur d’événements, vous avez l’option d’afficher le visualiseur d’événements en regard du visualiseur. Pour afficher des angles multicam dans le visualiseur d’événements, procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Affichage du visualiseur d’événements > Afficher les angles. •• Choisissez « Afficher les angles » dans le menu local des options d’affichage du visualiseur situé dans le coin supérieur droit du visualiseur d’événements. Chapitre 11 Montage avancé 330 2 Utilisez le skimmer ou la tête de lecture pour lire un plan multicam dans le navigateur d’événements ou dans la timeline. Le visualiseur d’angle apparaît dans le coin supérieur de la fenêtre de Final Cut Pro. Lire un plan multicam dans le navigateur d’événements ou dans la timeline.Les angles du plan multicam s’affichent dans le visualiseur d’angles.Angle actif Coupe et passage d’un angle à l’autre dans le visualiseur d’angle Vous pouvez couper et passer d’un angle à l’autre « à la volée » (pendant la lecture de votre projet) ou survoler des points précis sur la timeline puis couper et basculer entre les éléments. Vous pouvez aussi utiliser une combinaison des deux méthodes. 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7). 2 Ajoutez à la timeline le plan multicam à couper et y passer. Remarque : la fonctionnalité de coupage et passage ne fonctionne que pour les plans présents dans la timeline. 3 Procédez de l’une des manières suivantes : •• Positionnez la tête de lecture et appuyez sur la barre d’espace pour reproduire le plan multicam. •• Effectuez le survol de la timeline jusqu’à l’image où vous voulez couper et passer à un autre angle. Chapitre 11 Montage avancé 331 4 Dans le visualiseur d’angle, placez le pointeur sur l’angle auquel passer. Au fur et à mesure que vous déplacez le pointeur sur les angles du visualiseur, le pointeur s’adapte en lame de rasoir, ce qui indique qu’une coupe (et un changement d’angle) doit se produire à l’endroit où vous cliquez. Le pointeur devient un outil de lame.L’angle actif est en surbrillance. 5 Procédez de l’une des manières suivantes : •• Pour couper et passer à un angle : cliquez sur l’angle auquel passer. (Vous pouvez aussi appuyer sur la touche d’un chiffre quelconque pour couper et passer à l’angle correspondant du groupe actif. Par exemple, appuyez sur 5 pour couper et passer à l’angle 5 du groupe.) Sur la timeline, le plan multicam actif est alors coupé au niveau de la tête de lecture. La section du plan situé à droite de la tête de lecture se voit remplacée par une nouvelle copie du plan, avec l’angle sur lequel vous avez cliquez comme angle actif. Une coupe apparaît alors sur la timeline au niveau de la tête de lecture. Pour en savoir plus, consultez Montage de plans multicam sur la timeline et l’inspecteur à la page 344. •• Pour y passer : tout en maintenant la touche Option enfoncée, cliquez sur l’angle auquel passer. (Vous pouvez aussi maintenir la touche Option enfoncée et appuyez sur un chiffre pour passer à l’angle correspondant du groupe actif. Par exemple, appuyez sur Option + 5 pour passer à l’angle 5 du groupe.) Remarque : le pointeur se change alors en une main lorsque vous maintenez la touche Option enfoncée, indiquant une simple opération de passage. Sur la timeline, le plan multicam au niveau de la tête de lecture change et affiche l’angle devenu actif. Dans un cas ou l’autre, le visualiseur passe à l’angle que vous avez sélectionné. L’angle actif est mis en surbrillance jaune, bleu ou vert, selon le mode de passage que vous utilisez. Pour en savoir plus, consultez « Permutation indépendante de la vidéo ou de l’audio » ci-après. Permutation indépendante de la vidéo ou de l’audio Par défaut dans un plan multicam, Final Cut Pro change d’angle vidéo et audio en même temps. Vous pouvez cependant configurer Final Cut Pro pour ne changer que la vidéo ou l’audio indépendamment. 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7). Chapitre 11 Montage avancé 332 2 Pour définir le mode de passage, effectuez l’une des opérations suivantes : •• Activer la permutation audio et vidéo : cliquez sur le bouton de mode de passage de gauche, situé dans l’angle supérieur gauche du visualiseur d’angle. Il s’agit du réglage par défaut. Cliquez pour autoriser le passage de la vidéo à l’audio.Une surbrillance en jaune indique que la vidéo et l’audio actifs sont contenus dans un seul plan.Le permutateur d’angles affiche l’angle actif. •• Pour activer le passage à la vidéo uniquement : cliquez sur le bouton de mode de passage central. Seule la vidéo change. L’audio de l’angle d’origine reste actif. Cliquez pour autoriser le passage à la vidéo uniquement. •• Pour activer le passage à l’audio uniquement : cliquez sur le bouton de mode de passage de droite. Seul l’audio change. La vidéo de l’angle d’origine reste active. Cliquez pour autoriser le passage à l’audio uniquement. 3 Procédez de l’une des manières suivantes : •• Pour couper et passer à un angle : cliquez sur un angle dans le visualiseur d’angle. •• Pour y passer : tout en maintenant la touche Option enfoncée, cliquez sur un angle dans le visualiseur d’angle. Chapitre 11 Montage avancé 333 Si vous avez sélectionné le mode de passage limité à la vidéo ou à l’audio uniquement, un cadre bleu indique alors l’angle vidéo actif, tandis qu’un cadre vert indique l’angle audio actif. Bouton Activer uniquement la vidéoBouton Activer uniquement l’audioL’angle vidéo actif est mis en surbrillance en bleu.L’angle audio actif est mis en surbrillance en vert.Le permutateur d’angles affiche les angles actifs. Conseil : Après avoir activé la fonction limitée à l’audio, il vous est possible d’ajouter à l’angle actif des composants audio à partir d’angles inactifs, ou de supprimer des composants audio de l’angle actif. Maintenez simplement appuyées les touches Commande + Option et cliquez sur un angle inactif pour ajouter son audio à l’angle actif. Vous pouvez également maintenir appuyées les touches Commande + Option et cliquer sur un angle actif pour supprimer son audio. Pour en savoir plus, consultez l’exemple « Ajout ou suppression des composants audio d’un plan multicam » dans Exemples de montage audio multicanal à la page 187. Visionnage et accès aux groupes d’angles Selon le réglage d’affichage du visualiseur d’angle choisi, vous pouvez afficher 2, 4, 9 ou 16 angles simultanément. Ces ensembles d’angles sont connus sous le nom de groupes. Le sélecteur de groupe de Final Cut Pro constitue un outil performant pour l’affichage des groupes d’angles et la navigation entre ceux-ci dans un plan multicam. 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7). Chapitre 11 Montage avancé 334 2 Placez le skimmer ou la tête de lecture pour lire un plan multicam dans le navigateur d’événements ou dans la timeline. Le sélecteur de groupe apparaît alors sous forme de grille en bas du visualiseur d’angle. L’angle actif est indiqué en jaune, en bleu ou en vert. Le permutateur de groupe affiche le nombre d’angles et ceux qui sont actifs. 3 Dans le menu local Réglages (dans le coin supérieur droit du visualiseur d’angle), choisissez le nombre d’angles à afficher dans chaque groupe. Menu local Réglages dans l’angle supérieur droit du visualiser d’angles. Si le nombre d’angles de votre plan multicam dépasse la valeur du réglage d’affichage du visualiseur d’angle, Final Cut Pro crée des groupes supplémentaires et les affiche sous forme de grilles distinctes. Voici quelques exemples de combinaisons de groupes d’angles : •• Trois groupes de 4 angles chacun, avec le dernier angle actif situé dans le troisième groupe, ce dernier étant affiché : •• Un groupe de 16 angles, avec le dernier angle actif : Chapitre 11 Montage avancé 335 •• Un groupe de 9 angles et un autre de 7 angles avec le premier groupe affiché : 4 Pour parcourir les groupes d’angles, procédez de l’une des manières suivantes : •• Pour afficher les angles d’un groupe dans le visualiseur d’angles : cliquez sur le sélecteur de groupe pour le groupe. •• Pour afficher le groupe précédent : Appuyez sur les touches Maj + Option + Point-virgule (;). •• Pour afficher le groupe suivant : Appuyez sur les touches Maj + Option + Apostrophe (’). Incrustations dans le visualiseur d’angle Pour chaque angle qui figure dans le visualiseur d’angle, vous pouvez afficher les superpositions vidéo avec le timecode et soit le nom du plan, soit celui de l’angle. Nom de l’angleTimecode 1 Pour ouvrir le visualiseur d’angle, choisissez Fenêtre > Afficher le visualiseur > Afficher les angles (ou appuyez sur cmd + Maj + 7). 2 Pour choisir une option d’affichage, procédez de l’une des manières suivantes : •• Pour afficher le timecode pour les plans de chaque angle : choisissez Timecode dans le menu local Réglages situé dans le coin supérieur droit du visualiseur d’angle. (Choisissez Timecode à nouveau pour désactiver l’affichage du timecode.) Menu local Réglages dans l’angle supérieur droit du visualiser d’angles. •• Pour afficher le nom des plans de chaque angle : dans le menu local Réglages, choisissez Pseudonyme > Plan. •• Pour afficher le nom de chaque angle : dans le menu local Réglages, choisissez Pseudonyme > Angle. •• Pour désactiver les pseudonymes : dans le menu local Réglages, choisissez Pseudonyme > Aucun. Chapitre 11 Montage avancé 336 Ajustement de l’affichage du visualiseur d’angle Vous pouvez adapter l’affichage du visualiseur d’angle selon vos besoins. mm Pour régler le nombre d’angles dans le visualiseur d’angle : dans le menu local Réglages situé dans le coin supérieur droit du visualiseur d’angle, choisissez 2 angles, 4 angles, 9 angles ou 16 angles. Visualiseur d’angles dans le réglage d’affichage 9 anglesMenu local Réglages mm Pour adapter la taille du visualiseur d’angle et du visualiseur principal : faites glisser la séparation entre eux. Faites glisser la limite vers la droite. Faites glisser la limite vers la gauche. Chapitre 11 Montage avancé 337 mm Pour organiser le visualiseur d’angle en une colonne : faites glisser la séparation vers la gauche, puis la barre d’outils de Final Cut Pro vers le bas pour agrandir verticalement la zone du visualiseur. (Cette présentation en colonne n’est disponible que dans les présentations de 2 angles et de 4 angles.) Faites glisser la limite vers la gauche.Faites glisser la barre d’outils vers le bas. Synchronisation et ajustement des angles et des plans dans l’éditeur d’angles Vous pouvez ouvrir à tout moment des plans multicam dans l’éditeur d’angles pour adapter la synchronisation et l’ordre des angles, pour définir l’angle de contrôle ou pour en ajouter ou en supprimer. Remarque : si vous ouvrez un plan multicam dans l’éditeur d’angles (que ce soit depuis le navigateur d’événements ou depuis la timeline), il s’agit en fait du plan multicam parent qui s’ouvre. Toute modification réalisée dans l’éditeur d’angles est transmise à l’intégralité des plans enfants du plan multicam en question pour chaque projet. Pour en savoir plus, consultez Création de plans multicam dans le navigateur d’événements à la page 324. L’éditeur d’angles vous permet de monter plusieurs plans en un même plan multicam (un peu comme pour un plan composé). Les nombreuses modifications que vous pouvez apporter dans l’éditeur d’angles comprennent les montages élémentaires et le trim ainsi que les effets que vous devez ajouter habituellement dans la timeline, par exemple les étalonnages et les transitions. Vous pouvez copier et coller les plans dans l’Éditeur d’angles. Les plans sont collés de manière séquentielle comme montages par écrasement et seulement dans l’angle de contrôle. Conseil : avant de pouvoir monter des plans multicam dans l’éditeur d’angles, sauvegardez-les dans le navigateur d’événements pour conserver des copies de sauvegarde non altérées. Vous ne pouvez pas couper et passer d’un angle à l’autre depuis l’éditeur d’angles. Vous ne pouvez pas non plus connecter de plans, en reproduire en solo, utiliser l’éditeur de précision, effectuer des suppressions Ripple ou encore faire appel aux commandes « Détacher l’audio » et « Scinder les éléments de plan ». Ouverture d’un plan multicam dans l’éditeur d’angles Procédez de l’une des manières suivantes : mm Double-cliquez sur un plan multicam dans le navigateur d’événements. mm Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel. Chapitre 11 Montage avancé 338 L’éditeur d’angles s’ouvre sur la zone de la timeline, en bas de la fenêtre de Final Cut Pro. Bien que semblable à la timeline, l’éditeur d’angles propose une interface à part dédiée au montage des angles et des plans au sein des plans multicam. Chaque angle dans le plan multicam se présente sur une rangée propre dans l’éditeur d’angles. L’éditeur d’angle s’affiche dans la zone de la timeline. Configuration du contrôle vidéo et audio dans l’éditeur d’angles Dans l’éditeur d’angles, il vous est possible de définir n’importe quel angle comme angle de contrôle. Il s’agit de l’angle qui se trouve dans le visualiseur lorsque le plan multicam est lu dans l’éditeur d’angles. Vous avez également la possibilité de contrôler l’audio d’un nombre d’angles quelconque simultanément. L’angle de contrôle permet de synchroniser ceux repris dans l’éditeur d’angles. Il n’est cependant pas identique à l’angle actif (celui affiché dans la timeline). Vous ne pouvez pas couper et passer d’un angle à l’autre depuis l’éditeur d’angles. Remarque : le réglage du bon angle de contrôle s’avère important pour les deux commandes de synchronisation décrites plus loin dans cette section : « Synchroniser avec l’angle de contrôle » et « Synchronisation de l’angle avec l’angle de contrôle à l’aide de l’audio ». 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes : •• Double-cliquez sur un plan multicam dans le navigateur d’événements. •• Tout en maintenant la touche enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Pour définir un angle comme angle de contrôle, effectuez l’une des opérations suivantes : •• Cliquez sur l’icône Contrôle vidéo, qui se trouve à gauche de l’angle. •• Choisissez « Définir l’angle de contrôle » à partir du menu local en regard du nom de l’angle. •• Appuyez sur Maj + V lors du survol de l’angle. Chapitre 11 Montage avancé 339 L’icône Contrôle vidéo devient alors blanche et l’angle tout entier se voit encadré en gris clair. L’angle se lit dans le visualiseur lorsque vous reproduisez le plan multicam dans l’éditeur d’angles. Vous ne pouvez définir qu’un seul angle vidéo de contrôle à la fois. Cliquez pour définir l’angle de contrôle. 3 Pour activer le contrôle audio pour un angle, procédez de l’une des manières suivantes : •• Cliquez une fois sur l’icône Contrôle audio. (Pour désactiver le contrôle audio, cliquez à nouveau dessus.) •• Choisissez Contrôler l’audio à partir du menu local en regard du nom de l’angle. (Pour désactiver le contrôle audio, choisissez à nouveau Contrôler l’audio.) •• Appuyez sur Maj + A lors du survol de l’angle. (Pour désactiver le contrôle audio, appuyez à nouveau sur Maj + A.) Contrôle audio activéContrôle audio désactivé Les réglages du contrôle n’influent sur aucun angle actif. Ils modifient simplement ce qui est reproduit dans le visualiseur lorsque vous travaillez dans l’éditeur d’angles. Chapitre 11 Montage avancé 340 Conseil : vous pouvez faire appel au contrôle audio pour vérifier la synchronisation des différents angles dans un plan multicam. Ouvrez le plan dans l’éditeur d’angles, puis activez le contrôle audio pour plusieurs angles. Vous pouvez dès lors entendre si les angles sont synchronisés ou si vous devez les ajuster davantage. Réglage manuel de la synchronisation d’un plan multicam Une fonction principale de l’éditeur d’angles est d’assurer un moyen simple de corriger les angles désynchronisés de vos plans multicam. Les instructions ci-dessous décrivent comment synchroniser les angles en localisant les points de synchronisation puis en les faisant glisser manuellement pour les aligner. 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes : •• Double-cliquez sur un plan multicam dans le navigateur d’événements. •• Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Accédez à un point de synchronisation dans l’un des angles désynchronisés en effectuant le survol de l’angle dans l’éditeur d’angles. Au fur et à mesure du survol, l’angle s’affiche dans le côté gauche du visualiseur (au lieu du visualiseur d’angle). Les points de synchronisation peuvent correspondre à des signaux vidéo ou audio (tels qu’un clap de fin ou le claquement d’une porte). 3 Retrouvez le point de synchronisation correspondant dans les angles à synchroniser sur l’angle d’origine. Pour simplifier ce processus, vous pouvez ajouter des marqueurs aux points de synchronisation pour vous guider sur le plan visuel et indiquer des points d’alignement. 4 Faites glisser les plans horizontalement sur les rangées de l’éditeur d’angles pour aligner verticalement les points de synchronisation. Point de synchronisationPoint de synchronisationFaites glisser le plan pour aligner les points de synchronisation. Chapitre 11 Montage avancé 341 Si un angle contient plusieurs plans, vous pouvez facilement sélectionner tous les plans de l’angle afin de les déplacer tous à la fois. Pour ce faire, choisissez « Sélectionner les plans dans l’angle » à partir du menu local en regard du nom de l’angle. Pour sélectionner tous les plans dans un angle, choisissez « Sélectionnez les plans dans l’angle » Vous pouvez faire glisser les plans horizontalement pour les déplacer ensemble. Lorsque tous les plans de l’angle sont sélectionnés, vous pouvez tous les faire glisser ensemble. Réglage automatique de la synchronisation d’un plan multicam Les instructions ci-dessous décrivent deux méthodes automatiques de synchronisation des angles dans un plan multicam. 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes : •• Double-cliquez sur un plan multicam dans le navigateur d’événements. •• Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Dans l’angle désynchronisé, cliquez sur le menu local situé à droite du nom de l’angle, puis choisissez l’une des options suivantes : •• Synchroniser avec l’angle de contrôle : cette option entraîne l’ouverture d’un double affichage dans le visualiseur, reprenant l’image au niveau du skimmer à gauche et celle au niveau de la tête de lecture de l’angle de contrôle à droite. Dans l’angle désynchronisé, effectuez un survol jusqu’à une image, puis cliquez pour synchroniser l’angle au niveau de la tête de lecture. Tous les plans dans l’angle se déplacent ensemble pour aligner l’image sur laquelle vous avez cliquée avec la tête de lecture. Pour fermer le double affichage du visualiseur, cliquez sur Terminé. Chapitre 11 Montage avancé 342 •• Synchroniser l’angle avec l’angle de contrôle : cette option compare les formes d’onde audio dans l’angle sélectionné aux formes d’onde dans l’angle de contrôle, puis déplace les plans dans l’angle sélectionné pour les synchroniser avec celles de l’angle de contrôle. Cette technologie est identique à celle de synchronisation audio utilisable pour analyser et synchroniser automatiquement les plans en un plan composé. Si vous sélectionnez des plans dans un ou plusieurs angles avant de choisir cette option, le nom de la commande dans le menu local devient « Synchroniser la sélection avec l’angle de contrôle ». Lorsque vous choisissez cette option, Final Cut Pro déplace tous les plans sélectionnés pour les synchroniser avec ceux de l’angle de contrôle. S’il existe une sélection dans l’angle de contrôle, cette option n’est pas disponible. AVERTISSEMENT : Cette option n’effectue pas de Ripple des plans vers l’avant. Si les plans sont déplacés vers un emplacement de la timeline déjà occupé par des plans, les plans déplacés écrasent les anciens. Remarque : certains enregistrements audio ne sont pas adaptés à l’usage de cette fonctionnalité. Cette option peut entraîner des temps de traitement longs pendant lesquels Final Cut Pro est indisponible et bloque ainsi le montage. Tri des angles dans un plan multicam Vous pouvez modifier l’ordre dans lequel les angles apparaissent dans le visualiseur d’angle et l’éditeur d’angles. Remarque : Si vous avez déjà commencé un montage multicam sur un plan multicam dans la timeline, changer l’ordre des angles n’influe en rien sur l’angle choisi pour chaque montage et effectuer des coupes et des passages. 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes : •• Double-cliquez sur un plan multicam dans le navigateur d’événements. •• Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel. Chapitre 11 Montage avancé 343 2 À droite de l’éditeur d’angles, faites glisser les rangées d’angles verticalement à l’aide des poignées de glissement pour les réorganiser. Utilisez les poignées pour réorganiser les angles. Les angles présents dans l’éditeur et le visualiseur adoptent le nouveau tri. Ajout, suppression ou renommage d’angles dans un plan multicam 1 Pour ouvrir l’éditeur d’angles, procédez de l’une des manières suivantes : •• Double-cliquez sur un plan multicam dans le navigateur d’événements. •• Tout en maintenant la touche ctrl enfoncée, cliquez sur un plan multicam dans le navigateur d’événements ou sur la timeline, puis choisissez « Ouvrir dans l’éditeur d’angles » dans le menu contextuel. 2 Procédez de l’une des façons suivantes : •• Pour supprimer un angle : choisissez Supprimer l’angle dans le menu local situé à droite du nom de l’angle. L’angle est alors supprimé de l’éditeur d’angles, du visualiseur d’angle et de tous les plans enfants du plan multicam. Important : la suppression d’un angle actif influe sur les montages de votre projet. L’angle supprimé est remplacé par un vide noir dans tous les projets. •• Pour ajouter un angle : choisissez Ajouter un angle dans le menu local situé à droite du nom de l’angle. Un nouvel angle vide apparaît dans l’éditeur d’angles et dans le visualiseur d’angle. •• Pour renommer un angle : sur la partie de gauche de l’éditeur d’angles, cliquez sur le nom de l’angle à renommer. Lorsque le texte apparaît en surbrillance, attribuez le nouveau nom. Ce dernier s’affiche dans l’éditeur d’angles et, si les superpositions sont activées, dans le visualiseur d’angle. Chapitre 11 Montage avancé 344 Montage de plans multicam sur la timeline et l’inspecteur Vous pouvez passer directement à des angles de plan multicam sur la timeline ou dans l’inspecteur d’informations, sans ouvrir le visualiseur d’angle. Les plans multicam fonctionnent en règle générale dans la timeline comme tout autre plan standard. Vous pouvez ajouter des effets vidéo et audio, des transitions et des marqueurs, attacher des plans connectés et appliquer des effets de resynchronisation. Vous pouvez appliquer des montages scindés aux plans multicam et les monter dans l’éditeur de précision. Vous avez la possibilité d’imbriquer des plans multicam en plans composés et dans des scénarios. Les plans multicam présentent cependant des caractéristiques uniques dans la timeline : •• Vous pouvez afficher le nom des angles vidéo et audio actifs dans le plan multicam repris sur la timeline. •• Les points de montage de coupe et de passage apparaissent sous forme de lignes en pointillé sur la timeline. Il s’agit de coupes (dans lesquelles le contenu vidéo ou audio d’un côté ou d’un autre du point de montage est continu). Dans un montage multicam, les coupes indiquent que le contenu d’un côté ou de l’autre du point de montage provient du même plan multicam. Une ligne en pointillé noire indique que différents angles du même plan multicam se trouvent d’un côté ou d’un autre du point de montage. Avant la coupe, l’angle est « voiture à gauche » Point de montage standardAprès la coupe, l’angle est « voiture à droite »Un point de montage de transit s’affiche à l’emplacement de la tête de lecture. Chapitre 11 Montage avancé 345 Dans le cas de coupes et passages de vidéo seule ou d’audio seul, le point de montage peut être mixte (lignes noire et blanche en pointillé). Par exemple, si vous effectuez une coupe et un passage de vidéo seule, une ligne en pointillé noire apparaît pour la vidéo et une blanche s’affiche pour l’audio. Les lignes noires en pointillé indiquent que les angles de par et d’autre du point de montage sont différents mais proviennent du même plan multicam.Une ligne blanche en pointillé indique que l’angle est le même de par et d’autre du point de montage. •• Lorsque vous placez le pointeur sur une coupe multicam, le pointeur se transforme en outil Trim, indiquant que la coupe sera un montage roll (car tout autre type de montage rompt la relation entre les plans de chaque côté du point de montage de coupe et de passage sur la timeline). •• De nombreux montages (tels que les montages scindés, les marqueurs, les plans connectés et les effets de resynchronisation) conservent leur place dans un plan multicam sur la timeline, même après un changement d’angle. Certaines opérations de montage sont cependant associées directement à l’angle actif et ne sont pas conservées si vous le modifier. Il s’agit : •• des effets vidéo et audio, •• des animations avec des images clés (avec volume et balance), •• des attributions de rôles. Passage d’angles sur la timeline 1 Sur la timeline, tout en maintenant la touche ctrl enfoncée, cliquez sur le plan multicam sur lequel passer. 2 Procédez de l’une des manières suivantes : •• Pour changer d’angle vidéo : choisissez « Activer l’angle vidéo » dans le menu contextuel, puis dans le sous-menu l’angle auquel vous voulez passer. •• Pour changer d’angle audio : choisissez « Activer l’angle audio » dans le menu contextuel, puis dans le sous-menu l’angle auquel vous voulez passer. Le plan passe donc à l’angle vidéo ou audio sélectionné. Chapitre 11 Montage avancé 346 Passage d’angles dans l’inspecteur Le changement d’angles dans l’inspecteur vous permet de passer d’un angle à l’autre pour plusieurs plans multicam sélectionnés simultanément. 1 Sélectionnez le ou les plans multicam pour lesquels changer l’angle. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, procédez de l’une des manières suivantes : •• Pour changer d’angle vidéo : dans le menu local « Activer l’angle vidéo », choisissez l’angle auquel passer. •• Pour changer d’angle audio : dans le menu local « Activer l’angle audio », choisissez l’angle auquel passer. Affichage du nom des angles vidéo et audio actifs sur la timeline Vous pouvez indiquer à Final Cut Pro d’afficher le nom des angles vidéo et audio actifs dans le plan multicam sur la timeline au format suivant : V : nom de l’angle vidéo | A : nom de l’angle audio. Angle vidéo actifAngle audio actif mm cliquez sur le bouton Apparence du plan situé dans le coin inférieur droit de la timeline, puis choisissez « Noms ou angles du plan » dans le menu local Afficher. Conseils et astuces applicables aux montages multicam Les conseils suivants contribuent à optimiser votre flux de production multicam : •• Réglez la date, l’heure et le fuseau horaire sur votre caméscope ou équipement d’enregistrement avant le tournage destiné à votre projet multicam. Cela fournit des informations utiles à Final Cut Pro lors du processus de création automatique des plans multicam. Remarque : vous pouvez à tout moment modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. •• Dans la mesure où vous pouvez vous servir de la fonctionnalité sophistiquée de synchronisation audio automatique de Final Cut Pro pour vous apporter toute la précision nécessaire à la synchronisation multicam, il convient d’enregistrer l’audio sur chaque caméscope et équipement d’enregistrement utilisés dans votre production multicam. (À noter que des enregistrements audio nets produisent les meilleurs résultats.) •• Avant de pouvoir monter des plans multicam dans l’éditeur d’angles, sauvegardez-les dans le navigateur d’événements pour conserver des copies de sauvegarde non altérées. •• Pour vérifier la synchronisation d’angles précis dans un plan multicam, ouvrez le plan dans l’éditeur d’angles, puis activez le contrôle audio pour plusieurs angles. Vous pouvez dès lors entendre si les angles sont synchronisés ou si vous devez les ajuster davantage. Chapitre 11 Montage avancé 347 •• Si les performances s’amenuisent grandement lorsque vous travaillez sur un projet multicam, effectuez l’une des opérations suivantes : •• Indiquez à Final Cut Pro de procéder à la lecture proxy en sélectionnant l’option « Utiliser un média proxy » dans les Préférences Lecture. La lecture proxy vous permet de reproduire simultanément un nombre plus important d’angles. Pour utiliser la lecture proxy, vous devez posséder des versions proxy de votre média ou en créer. Pour en savoir plus sur la création de versions proxy, consultez la section Transcodage des fichiers de média à la page 415. •• Assurez-vous que l’option « Créer des médias optimisés pour des plan multicam » est sélectionnée dans les préférences Lecture. Pour en savoir plus, consultez Préférences de lecture à la page 438. Cette option transcode la vidéo au format du codec Apple ProRes 422, ce qui assure de meilleures performances lors du montage multicam. Cette option est activée par défaut. Si le format original de la caméra peut être monté en offrant de bons résultats, vous pouvez alors décocher cette case. •• Assurez-vous que le disque dur hébergeant vos plans source multicam est suffisamment rapide pour reproduire l’intégralité de votre média en une seule fois. Il vous est possible de vérifier les performances du disque dur en choisissant Final Cut Pro > Préférences, puis en sélectionnant « Avertir lors de l’omission d’images à cause d’une mauvaise performance du disque dur ». Pour savoir si quelque chose d’autre provoque des problèmes de lecture, sélectionnez « Avertir lors de l’omission d’images durant la lecture ». •• Vous pouvez exploiter des photos (tirées d’un appareil photo) dans un plan multicam. Si les informations de date et heure (Contenu créé) correspondent au contenu des autres angles, les photos sont automatiquement ajustées sur la durée de sorte à « remplir » l’angle. 12 348 Incrustation Présentation de l’incrustation Il arrive que vous deviez combiner deux plans pour créer une image comportant des parties de chacun d’eux. Une méthode courante pour combiner deux plans consiste à utiliser un traitement d’incrustation, dans lequel la vidéo du plan supérieur (premier plan) est traitée pour éliminer une couleur ou une valeur de luminance donnée dans certaines zones, puis combinée à celle du plan inférieur (arrière-plan). L’incrustation vous permet, par exemple, de prendre un plan vidéo d’une personne se tenant devant un fond vert et de remplacer ce dernier par une scène de rue pour donner l’impression que la personne se trouve dans la rue. Ce type d’incrustation s’obtient à l’aide de l’un des deux effets d’incrustateur disponibles dans Final Cut Pro : •• Incrustateur : cet effet d’incrustation chromatique général est optimisé pour l’incrustation sur fond vert ou bleu mais peut être utilisé avec n’importe quelle couleur. Consultez Utilisation des incrustations chromatiques à la page 348. •• Incrustateur en luminance : cet effet est conçu pour générer des caches basés sur la luminosité de l’image : vous choisissez de supprimer les zones blanches ou noires et indiquez si les zones grises doivent être partiellement transparentes. Consultez Utilisation des incrustations en luminance à la page 359. En plus de ces effets d’incrustation, vous pouvez avoir besoin de recourir à un cache, à un effet de positionnement et à un étalonnage pour vous assurer que la vidéo du premier plan reste naturelle après son incrustation sur l’arrière-plan. Pour en savoir plus, consultez Finalisation de l’incrustation à la page 364. Un autre moyen de combiner deux plans consiste à utiliser pour le plan de premier plan un canal alpha ou de cache définissant les parties du plan à conserver et celles à remplacer par le plan d’arrière-plan. Ce procédé est courant lors de l’utilisation d’animations ou de logos générés sur ordinateur. Pour en savoir plus, consultez Présentation du compositing à la page 367. Utilisation des incrustations chromatiques Pour créer une bonne incrustation chromatique, le plus délicat est de tourner la vidéo à incruster, et en particulier d’utiliser un fond adapté et bien éclairé offrant une couleur uniforme à supprimer. Il existe de nombreuses options spécialisées pour le fond d’incrustation chromatique, de la peinture contenant des additifs hautement réfléchissants aux vêtements ou feuilles de papier spécialement conçus à cet effet. Il est en outre important d’utiliser la meilleure caméra dont vous disposez et d’éviter d’avoir recours à un format vidéo hautement compressé tel que DV ou MPEG-2. Incrustation et compositing Chapitre 12 Incrustation et compositing 349 Dans les exemples ci-dessous, la femme va être incrustée sur une scène de rue. Les pieds de projecteur seront abordés à la section Finalisation de l’incrustation à la page 364. Application de l’effet d’incrustation chromatique 1 Sur la timeline, ajoutez le plan de premier plan (plan d’incrustation chromatique contenant la couleur à supprimer) au scénario principal. 2 Faites glisser le plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en chrominance) de sorte qu’il soit connecté sous le plan de premier plan dans le scénario principal. Avant-plan Arrière-plan attaché sous forme de plan connecté Pour plus d’informations sur les plans connectés, consultez Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. 3 Sélectionnez le plan de premier plan dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils. Conseil : pour obtenir les meilleurs résultats possibles, positionnez également la tête de lecture sur un point du plan de premier plan affichant la quantité maximale de la couleur à incruster. 4 Dans le navigateur d’effets, sélectionnez l’effet Incrustateur. Conseil : Saisissez « incrustateur » dans le champ de recherche du navigateur d’effets pour trouver rapidement l’effet Incrustateur. Chapitre 12 Incrustation et compositing 350 5 Procédez de l’une des manières suivantes : •• Faites glisser l’effet sur le plan de premier plan de la timeline auquel vous voulez l’appliquer. •• Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné. L’effet Incrustateur analyse automatiquement la vidéo pour détecter une couleur dominante bleue ou verte, puis se configure pour supprimer la couleur. Si l’incrustation obtenue n’est pas correcte ou si vous voulez l’améliorer, vous pouvez ajuster l’effet d’incrustation chromatique. Ajustement de l’effet d’incrustation chromatique Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique. 1 Dans la timeline, sélectionnez le plan de premier plan auquel l’effet Incrustateur a été appliqué, puis ouvrez l’inspecteur vidéo. Des commandes permettant de modifier et d’améliorer l’effet Incrustateur apparaissent. 2 Si l’outil Sélectionner n’est pas actif, choisissez-le dans le menu local Outils de la barre d’outils (ou appuyez sur la touche A). 3 Pour améliorer l’incrustation à l’aide des commandes disponibles dans le visualiseur, effectuez l’une des opérations suivantes en utilisant les commandes Affiner la tonalité et Force : •• Pour identifier des zones du plan de premier plan dans lesquelles la couleur d’incrustation chromatique apparaît toujours : cliquez sur la vignette Exemple de couleur dans l’inspecteur vidéo, puis tracez un rectangle dans le visualiseur sur la zone où la couleur d’incrustation chromatique doit être supprimée. Chapitre 12 Incrustation et compositing 351 Remarque : Par défaut, l’effet Incrustateur applique un élagage qui affiche en gris tout restant de frange de la couleur d’arrière-plan (fond bleu ou vert) à laquelle vous appliquez la transparence. Pour voir la couleur d’origine, définissez le paramètre Niveau de débordement sur 0 %. Faites glisser sur une zone où la couleur de colorimétrie n’est pas entièrement retirée. Pour améliorer l’incrustation, vous pouvez faire glisser le rectangle afin d’ajuster sa position ou ses coins pour adapter sa taille. Vous pouvez ensuite faire glisser d’autres rectangles sur n’importe quelle zone où la couleur d’incrustation chromatique apparaît toujours. Conseil : Sélectionnez Cache (bouton central) dans la zone Afficher de l’inspecteur vidéo pour afficher le cache créé par l’incrustateur chromatique. Cela peut permettre de détecter plus facilement les zones qui ne sont pas correctement incrustées. •• Pour ajuster avec précision des zones difficiles, telles que les cheveux ou des reflets : cliquez sur la vignette Rechercher les bords dans l’inspecteur vidéo, tracez une ligne sur la zone difficile dans le visualiseur (avec une extrémité dans la zone à conserver et l’autre dans la zone à supprimer), puis faites glisser la poignée de la ligne pour affiner l’adoucissement du contour. Faites glisser pour régler la frange de l’adoucissement. Les raccourcis clavier suivants vous permettent d’effectuer vos manipulations directement dans le visualiseur : •• Pour procéder au réglage de l’exemple de couleur : tracez un rectangle tout en maintenant la touche Maj enfoncée. •• Pour procéder au réglage des bords (contour) : tracez une ligne tout en maintenant la touche Commande enfoncée. •• Pour supprimer le réglage Exemple de couleur ou Bords : cliquez sur un rectangle Exemple de couleur ou sur une ligne Bords tout en maintenant la touche Option enfoncée, ou sélectionnez la commande et appuyez sur la touche Supprimer. Chapitre 12 Incrustation et compositing 352 •• Pour choisir une autre couleur si l’effet d’incrustation n’a pas pris la bonne : réglez le paramètre Force sur 0 (pour remplacer l’échantillonnage de couleurs initial et automatique). Utilisez ensuite Exemple de couleur pour indiquer la couleur à supprimer. Sélectionnez Composite (bouton gauche) dans la zone Afficher pour afficher le plan de premier plan combiné au plan d’arrière-plan. •• Pour adapter le degré de similitude, déterminé par l’incrustation, entre une couleur sur l’image en premier plan et celle de l’incrustation chromatique par défaut : utilisez le curseur Force pour régler la tolérance (transparence principal) de l’échantillonnage automatique de l’effet d’incrustation. La valeur par défaut est égale à 100 %. La réduction de cette valeur réduit la gamme de couleur échantillonnée, provoquant ainsi une transparence moindre dans l’image incrustée. À l’inverse, l’augmentation de la valeur Force étend la gamme de couleurs échantillonnée, permettant ainsi une transparence plus poussée dans l’image incrustée. Le paramètre Force s’avère utile pour récupérer les zones semi-transparentes telles que les cheveux, la fumée ou les reflets. 4 Pour un ajustement précis de l’incrustation, utilisez les options de présentation : Original (premier plan non traité)Cache (signal alpha basé sur le premier plan créé par l’incrustateur)Nom du bouton Présentation sélectionnéMontage composite (premier plan combiné à l’arrière-plan) •• Composite : affiche l’image composite finale, avec le sujet de premier plan incrusté sur le plan d’arrière-plan. Il s’agit de la présentation par défaut. •• Cache : affiche le cache en niveaux de gris, ou canal alpha, généré par l’opération d’incrustation. Les zones blanches sont opaques (la vidéo de premier plan est opaque), les zones noires sont transparentes (le premier plan est totalement invisible) et les différentes nuances de gris représentent les différents niveaux de transparence (la vidéo de l’arrière-plan est combinée avec celle du premier plan). L’affichage du cache permet de détecter plus facilement les espaces indésirables dans l’incrustation ou les zones qui ne sont pas assez transparentes. •• Original : affiche l’image de premier plan d’origine non incrustée. 5 Pour affiner le cache, utilisez les commandes suivantes : •• Remplir les espaces : l’augmentation de la valeur de ce paramètre permet d’accroître l’opacité des régions présentant une transparence marginale au sein de l’incrustation. Cette commande est utile lorsque vous êtes satisfait des bords de votre incrustation mais qu’il reste au sein de celle-ci des espaces indésirables que vous ne parvenez pas à éliminer à l’aide du paramètre Force sans affecter les bords. Chapitre 12 Incrustation et compositing 353 •• Distance des bords : permet d’ajuster la distance du bord du sujet incrusté jusqu’à laquelle l’effet Remplir les espaces peut s’étendre. La réduction de la valeur du paramètre rapproche la zone remplie du cache du contour du sujet, aux dépens de la translucidité au niveau du contour. L’augmentation de sa valeur écarte du contour la zone remplie du cache. Une trop grande distance des contours peut entraîner un effet de translucidité indésirable au sein de parties du sujet censées être opaques. 6 Pour supprimer une couleur quelconque en arrière-plan apparaissant (effet de débordement) sur l’image de premier plan, ajustez le Niveau de débordement. 7 Pour inverser l’opération d’incrustation, en conservant la couleur d’arrière-plan et en supprimant l’image de premier plan, sélectionnez Inverser. 8 Pour mélanger l’effet d’incrustation avec la version sans incrustation, ajustez la commande Mixage. Pour en savoir plus sur les ajustements avancés de l’incrustation chromatique, reportez-vous aux instructions suivantes. Ajustements avancés de l’incrustation chromatique Les commandes suivantes sont proposées dans les cas d’incrustation qui s’avèrent difficiles ou pour la correction fine de problèmes spécifiques : •• Appliquer une couleur à la sélection : ces commandes sont prévues pour être utilisées après avoir commencé une incrustation à l’aide de l’échantillonnage automatique ou des outils Exemple de couleur et Bords. (Vous pouvez cependant ignorer ces outils et créer une incrustation par le biais du mode Manuel décrit ci-dessous.) Les commandes graphiques Colorimétrie et Luminance fournissent un moyen d’affiner avec précision la gamme des teintes, la saturation et la luminosité de l’image définissant le cache incrusté. •• Outils Cache : ces commandes permettent d’affiner le cache de transparence généré par les paramètres précédemment définis. Ces paramètres ne modifient pas la plage de valeurs échantillonnées pour créer un cache incrusté. Ils altèrent en fait le cache généré par les commandes de base et avancées de l’effet d’incrustation, vous permettant ainsi de réduire, d’agrandir, d’adoucir ou d’inverser le cache pour obtenir un meilleur composite. •• Enveloppe de lumière : ces commandes sont prévues pour la fusion des valeurs de couleur et de luminosité à partir de la couche de l’arrière-plan de votre composite et la couche du premier plan incrusté. Elles vous permettent de simuler l’interaction de l’éclairage de l’environnement avec le sujet incrusté, donnant ainsi l’impression que la lumière à l’arrière-plan enveloppe un sujet. Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique. 1 Dans la timeline, sélectionnez le plan de premier plan auquel l’effet Incrustateur a été appliqué, puis ouvrez l’inspecteur vidéo. Des commandes permettant de modifier et d’améliorer l’effet Incrustateur apparaissent. Chapitre 12 Incrustation et compositing 354 2 Cliquez sur « Appliquer une couleur à la sélection » pour révéler les commandes suivantes : •• Graphique : propose deux options pour définir l’usage des graphiques réglables des commandes Colorimétrie et Luminance pour affiner une incrustation : •• Boîtes de défilement : sélectionnez cette option pour limiter les commandes Colorimétrie et Luminance afin d’ajuster l’adoucissement (la transparence des contours) dans le cache que vous créez. Dans ce mode, il vous est impossible d’adapter manuellement la tolérance (la transparence principale), laquelle se détermine par l’échantillonnage automatique de l’effet d’incrustation et par tout rectangle Exemple de couleur ajouté dans le visualiseur. Pour augmenter la tolérance du cache, ajoutez d’autres rectangles Exemple de couleur ou réglez le curseur Force.) •• Manuel : sélectionnez cette option pour limiter les commandes Colorimétrie et Luminance afin d’ajuster l’adoucissement (la transparence des contours) et la tolérance (la transparence principale) dans le cache que vous créez. Assurez-vous que le curseur Force est défini sur une valeur supérieure à 0 avant de passer en mode Manuel ; dans le cas contraire, les commandes Colorimétrie et Luminance se trouvent désactivées. Lorsque vous passez en mode Manuel, les outils Affiner la tonalité et le curseur Force se désactivent, mais les échantillons que vous avez réalisés à l’aide de ces commandes contribuent toujours au cache. Important : en passant en mode Manuel, il est conseillé de ne pas revenir au mode Boîtes de défilement. Pour obtenir les meilleurs résultats possibles, commencez l’incrustation d’une image par le biais des outils Exemple de couleur et Bords en mode Boîtes de défilement. Activez par la suite le mode Manuel s’il vous semble nécessaire d’affiner votre cache à l’aide des commandes Colorimétrie et Luminance. Cependant, si vous revenez au mode Boîtes de défilement, vous êtes susceptible de constater des associations inattendues de valeurs échantillonnées en plus et animées avec des images clés, ce qui peut s’avérer difficile à contrôler. Chapitre 12 Incrustation et compositing 355 •• Colorimétrie : faites glisser les deux graphiques sur la roue des couleurs en question pour régler la gamme isolée des teintes et de saturations contribuant à définir le cache incrusté. Le mode sélectionné contrôle quels graphiques présents dans la roue des couleurs sont réglables. Le graphique extérieur contrôle l’adoucissement (la transparence des contours) du cache que vous créez et peut être réglé en mode Boîtes de défilement ou en mode Manuel. Le graphique intérieur contrôle la tolérance (la transparence principale) et n’est ajustable qu’en mode Manuel. Faites glisser un des côtés de l’un des deux graphiques pour développer ou contracter la bordure du graphique en question, ce qui respectivement ajoute ou soustrait de la gamme des teintes et des saturations contribuant à l’incrustation. En mode Manuel, il vous est également possible de faire glisser le graphique de tolérance vers l’intérieur pour adapter sa position générale dans la roue des couleurs. À gauche de la roue des couleurs se trouve un petit graphique affichant la pente de la rotation chromatique, à savoir l’adoucissement relatif du contour du cache dans les régions les plus affectées par la commande Colorimétrie. Le glissement du curseur Rotation chromatique (décrit ci-dessous) influe sur la forme de la pente. Conseil : il est possible d’effectuer un zoom avant et d’adapter la balance autour de la commande Colorimétrie afin d’ajuster les graphiques avec plus de précision. Pour agrandir la commande Colorimétrie, placez le pointeur sur la roue des couleurs, puis faites glisser, tout en maintenant la touche Z enfoncée, à gauche pour effectuer un zoom arrière ou à droite pour un zoom avant. Pour effectuer la balance dans la commande Colorimétrie, maintenez la touche H enfoncée tout en faisant glisser le pointeur de la souris dans la roue des couleurs dans le sens voulu. Pour rétablir le zoom et recentrer la commande Colorimétrie, placez le pointeur sur la commande Colorimétrie et appuyez sur Maj + Z. •• Luminance : faites glisser les poignées réglables dans le dégradé de gris pour modifier la gamme isolée du canal de luminance (la gamme de luminosité et celle d’obscurité) qui contribue également à définir le cache incrusté. Les poignées supérieures (qui n’apparaissent qu’en mode Manuel) permettent de régler la tolérance (la transparence principale) de la contribution du canal de luminance à l’incrustation. Les poignées inférieures ajustent l’adoucissement (la transparence des contours) de la contribution du canal de luminance à l’incrustation. Le mode Graphique régit quelles poignées sont réglables. En mode Boîtes de défilement, vous avez la possibilité de n’ajuster que les poignées inférieures d’adoucissement, ce qui influe sur les gammes de luminosité et d’obscurité et, par conséquent, sur la transparence des contours du cache. En mode Manuel, il vous est également possible de régler les poignées de tolérance supérieures, ce qui modifie la transparence principale dans le canal de luminance du cache. Par défaut, la pente des côtés gauche et droit de la représentation graphique de la luminance marque une légère courbe en « S ». Vous pouvez modifier la forme de la courbe en ajustant le curseur « Rotation de la luminance » (décrit ci-dessous). Remarque : les poignées d’adoucissement de luminance peuvent s’étendre au-delà des limites extérieures de la commande Luminance. Ce comportement, dû à la précision en virgule flottante de l’effet d’incrustation, est parfaitement normal. Pour révéler et déplacer les poignées au-delà des limites, faites glisser la courbe de la pente sur la représentation graphique de la luminance. •• Rotation chromatique : ce curseur vous permet d’adapter la linéarité de la pente de la rotation chromatique (dans la petite représentation graphique à gauche de la commande Colorimétrie). La rotation chromatique modifie l’adoucissement du cache aux contours des régions que la commande Colorimétrie affecte le plus. Réduire cette valeur accroît la linéarité de la pente de la représentation graphique, ce qui adoucit le contour du cache. À l’inverse, augmenter cette valeur accentue la pente, ce qui renforce le contour du cache. Chapitre 12 Incrustation et compositing 356 •• Rotation de la luminance : ce curseur vous permet d’adapter la linéarité de la pente de rotation de la luminance (les extrémités de la courbe de luminance en forme de cloche reprise dans la commande Luminance). La rotation de luminance modifie l’adoucissement du cache aux contours des régions que la commande Luminance affecte le plus. Réduire cette valeur accroît la linéarité de la pente située entre les poignées supérieures et inférieures de la commande Luminance, ce qui adoucit le contour du cache. À l’inverse, l’augmentation cette valeur accroît les variations de la courbe, accentuant et rendant ainsi le contour du cache plus abrupt. •• Corriger la vidéo : cochez cette case pour appliquer le lissage au niveau des sous-pixels aux composantes de colorimétrie de l’image, réduisant les contours en dents de scie résultant de l’incrustation de média comprimé par le biais de la méthode du sous-échantillonnage chromatique 4:2:0, 4:1:1 ou 4:2:2. Bien que cochée par défaut, cette option peut être désactivée si le lissage au niveau des sous-pixels dégrade la qualité de vos incrustations. 3 Cliquez sur Outils Cache pour révéler les commandes suivantes : •• Niveaux : utilisez cette commande de dégradé de gris pour adapter le contraste du cache incrusté, en faisant glisser les trois poignées prévues pour définir le point noir, le point blanc et la pondération (la répartition des valeurs de gris entre le point noir et le point blanc). Le réglage du contraste d’un cache peut s’avérer utile pour manipuler les zones translucides de l’incrustation afin de les rendre plus opaques (en réduisant le point blanc) ou plus translucides (en augmentant le point noir). Faire glisser la poignée Pondération vers la droite entraîne le rognage des régions translucides de l’incrustation, tandis que la faire glisser vers la gauche rend les régions translucides de l’incrustation plus opaques. •• Noir, Blanc, Pondération : cliquez sur le triangle d’affichage situé dans la rangée Niveaux pour révéler les curseurs des paramètres Noir, Blanc et Pondération. Ceux-ci reflètent les réglages des poignées Niveaux décrites ci-dessus et vous permettent d’animer avec des images clés les trois paramètres Niveaux (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). Animer avec des images clés les paramètres Noir, Blanc et Pondération contribue à atteindre une meilleure incrustation pouvant s’adapter à des conditions d’écran bleu ou vert changeantes. •• Condenser/Développer : faites appel à ce curseur pour manipuler le contraste du cache et influer ainsi simultanément sur la translucidité et sur la taille du cache. Faites glisser le curseur vers la gauche pour marquer plus encore les régions translucides tout en réduisant le cache. À l’inverse, faites glisser le curseur vers la droite pour rendre les régions translucides plus opaques tout en développant le cache. •• Adoucir : utilisez ce curseur pour rendre le cache incrusté flou, en adoucissant d’une même amplitude le contour. •• Érosion : faites glisser ce curseur vers la droite pour augmenter progressivement la transparence du contour de la partie opaque de l’incrustation en partant de l’intérieur. Chapitre 12 Incrustation et compositing 357 4 Cliquez sur Élagage pour révéler les commandes suivantes : •• Contraste du débordement : utilisez cette commande de dégradé de gris pour adapter le contraste de la couleur à supprimer, à l’aide des poignées Point noir et Point blanc (et de leur curseur correspondant). La modification du contraste du débordement peut réduire la frange grise autour d’un sujet au premier plan. La poignée Point noir (à gauche de la commande du dégradé) éclaire la frange des bords trop sombre pour obtenir une vidéo composite réussie. La poignée Point blanc (située à droite de la commande du dégradé) obscurcit la frange des bords s’avérant trop claire. En fonction du degré de neutralisation du débordement par le curseur Niveau de débordement, ces commandes peuvent avoir un effet plus ou moins marqué sur le sujet. •• Noir, Blanc : cliquez sur le triangle d’affichage situé dans la rangée Contraste du débordement pour révéler les curseurs pour les paramètres des Point noir et Point blanc. Ces curseurs, qui reflètent les réglages des poignées Contraste du débordement décrites ci-dessus, vous permettent d’animer avec des images clés les paramètres Point noir et Point blanc (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). •• Nuance : ce curseur permet de restaurer la couleur naturelle du sujet incrusté au premier plan. Dans la mesure où les commandes Élagage éliminent le débordement bleu ou vert en désaturant les franges subtiles bleues ou vertes et les reflets sur le sujet, le curseur Nuance vous permet d’ajouter des teintes afin de rétablir la couleur naturelle du sujet. Une utilisation excessive de ce paramètre provoque un surnuançage du sujet par la complémentaire de la teinte à supprimer (magenta en cas d’usage de fond vert, orange en cas de fond bleu). •• Saturation : faites appel à ce curseur pour modifier la gamme des teintes introduite par le curseur Nuance (lorsque ce dernier est utilisé à des niveaux modérés). 5 Cliquez sur Enveloppe de lumière pour révéler les commandes suivantes : •• Grandeur : utilisez ce curseur pour contrôler l’effet global d’enveloppe de lumière, en réglant la profondeur à laquelle l’enveloppe de lumière doit s’étendre sur le premier plan. •• Intensité : permet d’ajuster les niveaux gamma pour éclaircir ou obscurcir l’interaction du contour enveloppé par le sujet incrusté au premier plan. •• Opacité : passez par ce curseur pour effectuer un fondu plus ou moins prononcé de l’effet d’enveloppe de lumière. Chapitre 12 Incrustation et compositing 358 •• Mode : utilisez ce menu local pour choisir la méthode de compositing chargée de fusionner les valeurs de l’arrière-plan échantillonné et le contour du sujet incrusté. Cinq modes vous sont proposés : •• Normale : fusionne de façon uniforme les valeurs claires et sombres sur la couche de l’arrière-plan d’une part, et les contours de la couche du premier plan incrusté d’autre part. •• Éclaircissement : compare les pixels qui se chevauchent entre les couches du premier plan et de l’arrière-plan, puis conserve les plus clairs. Cette option est pratique pour créer un effet d’enveloppe de lumière sélectif. •• Superposition : superpose les parties les plus claires de la couche de l’arrière-plan sur les zones enveloppées de la couche du premier plan incrusté. Cette option est adaptée à un effet d’enveloppe de lumière agressif. •• Incrustation : associe la couche de l’arrière-plan et les zones enveloppées de la couche du premier plan incrusté de sorte que les parties sombres chevauchantes deviennent plus sombres, les zones claires deviennent plus claires et les couleurs s’intensifient. •• Lumière crue : semblable au mode de compositing Incrustation, à la différence que les couleurs sont désactivées. Animation de l’effet d’incrustation chromatique Pour compenser les variations des conditions dans le plan de premier plan, vous pouvez effectuer des ajustements Exemple de couleur et Rechercher les bords en plusieurs endroits du plan. Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation chromatique. 1 Positionnez la tête de lecture de la timeline au début du plan. 2 Utilisez les outils Exemple de couleur et Rechercher les bords (décrits plus haut) pour créer une bonne incrustation chromatique. 3 Placez la tête de lecture de la timeline sur un point ultérieur du plan où les conditions d’éclairage ou de l’arrière-plan changent, rendant l’incrustation chromatique inacceptable. 4 Utilisez à nouveau les outils Exemple de couleur et Rechercher les bords pour créer une bonne incrustation chromatique. 5 Pour effectuer des ajustements en d’autres endroits, recommencez les étapes 3 et 4 autant de fois que nécessaire. 6 Pour déplacer la tête de lecture d’un point d’ajustement à un autre, utilisez les flèches « Aller à l’échantillon ». Lors de la lecture du plan, les réglages Exemple de couleur et Rechercher les bords varient de façon fluide d’un point d’échantillon à un autre. Pour un plus grand contrôle, vous pouvez ajouter des images clés pour la plupart des autres réglages de la section Incrustateur de l’inspecteur vidéo. Pour en savoir plus sur l’utilisation d’images clés, consultez la section Présentation de l’animation vidéo à la page 256. Remarque : les images clés pour les graphiques de colorimétrie et luminance dans les commandes « Appliquer une couleur à la sélection » n’apparaissent que dans l’inspecteur vidéo et non dans l’éditeur d’animation vidéo sur la timeline. Chapitre 12 Incrustation et compositing 359 Utilisation des incrustations en luminance Les incrustations en luminance permettent de réaliser un compositing d’un plan de premier plan sur un plan d’arrière-plan en fonction des niveaux de luminance de la vidéo. Ce type d’incrustation est particulièrement utile pour les images fixes, telles que l’image d’un logo sur un arrière-plan noir ou des graphismes générés par ordinateur. Dans les exemples ci-dessous, cette image de compteur de vitesse va être incrustée sur une scène de voiture en extérieur pour créer un effet de réflexion. Application de l’effet d’incrustation en luminance 1 Dans la timeline, placez la tête de lecture sur le point du plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en luminance) où vous voulez que l’incrustation commence. 2 Dans le navigateur d’événements, sélectionnez la partie du plan de premier plan (plan à incruster en luminance contenant la couleur noire ou blanche à supprimer) que vous voulez incruster sur l’arrière-plan, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q). Plan de premier planPlan d’arrière-plan Pour en savoir plus sur cette façon de connecter des plans, consultez la section Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. Chapitre 12 Incrustation et compositing 360 3 Sélectionnez le plan de premier plan dans la timeline, puis cliquez sur le bouton Effets de la barre d’outils. 4 Dans le navigateur d’effets, sélectionnez l’effet Incrustateur en luminance. Conseil : Saisissez « incrustateur » dans le champ de recherche du navigateur d’effets pour trouver rapidement l’effet Incrustateur en luminance. 5 Procédez de l’une des manières suivantes : •• Faites glisser l’effet sur le plan de premier plan de la timeline auquel vous voulez l’appliquer. •• Double-cliquez sur la vignette de l’effet pour l’appliquer au plan sélectionné. L’effet Incrustateur en luminance se configure automatiquement pour supprimer la vidéo noire. Si l’incrustation obtenue n’est pas correcte ou si vous voulez l’améliorer, vous pouvez ajuster l’effet d’incrustation en luminance. Ajustement de l’effet d’incrustation en luminance Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation en luminance. 1 Dans la timeline, sélectionnez le plan auquel l’effet Incrustateur en luminance a été appliqué. 2 Ouvrez l’inspecteur vidéo. La section Effets de l’inspecteur vidéo propose des paramètres permettant d’ajuster l’effet Incrustateur en luminance. 3 Pour inverser l’incrustation et supprimer les zones blanches au lieu des zones noires du plan de premier plan, sélectionnez Inverser. 4 Pour ajuster les valeurs de blanc et de noir du plan, faites glisser les poignées situées aux extrémités de la vignette de dégradé. Par défaut, ces poignées sont réglées de façon à fournir une incrustation linéaire dans laquelle le niveau de luminance contrôle de façon linéaire la transparence du premier plan, où 100 % blanc représente une opacité totale et 0 % noir une transparence totale, et 25 % gris conserve 25 pour cent de l’image de premier plan. Faites glisser les commandes de blanc et de noir pour modifier les valeurs auxquelles la vidéo de premier plan est totalement opaque ou transparente. Chapitre 12 Incrustation et compositing 361 5 Pour ajuster l’adoucissement des bords, réglez la commande « Rotation de la luminance ». Plus la valeur est élevée, plus les bords sont prononcés, ce qui élimine toute transparence partielle, tandis qu’une valeur faible permet de tirer parti de l’éventuel anticrénelage ou adoucissement des bords. 6 Pour un ajustement précis de l’incrustation, utilisez les options de présentation : Original (premier plan non traité)Cache (signal alpha basé sur le premier plan créé par l’incrustateur)Montage composite (premier plan combiné à l’arrière-plan)Nom du bouton Présentation sélectionné •• Composite : affiche l’image composite finale, avec le sujet de premier plan incrusté sur le plan d’arrière-plan. Il s’agit de la présentation par défaut. •• Cache : affiche le cache en niveaux de gris, ou canal alpha, généré par l’opération d’incrustation. Les zones blanches sont opaques, les zones noires sont transparentes et les différentes nuances de gris représentent les différents niveaux de transparence. L’affichage du canal alpha permet de détecter plus facilement les espaces indésirables dans l’incrustation ou les zones qui ne sont pas assez transparentes. •• Original : affiche l’image d’origine non incrustée. 7 Pour ne pas toucher au texte ou aux graphismes légèrement crénelés de l’image, ce qui peut améliorer les bords, sélectionnez Conserver RVB. 8 Pour mélanger l’effet d’incrustation avec la version sans incrustation, ajustez la commande Mixage. Pour en savoir plus sur les ajustements avancés de l’incrustation en luminance, reportez-vous aux instructions suivantes. Ajustements avancés de l’incrustation en luminance Les commandes suivantes sont proposées dans les cas d’incrustation qui s’avèrent difficiles ou pour la correction fine de problèmes spécifiques : •• Outils Cache : ces commandes permettent d’affiner le cache de transparence généré par les paramètres précédemment définis. Ces paramètres ne modifient pas la plage de valeurs échantillonnées pour créer un cache incrusté. Ils altèrent en fait le cache généré par les commandes de base et avancées de l’effet d’incrustation, vous permettant ainsi de réduire, d’agrandir, d’adoucir ou d’inverser le cache pour obtenir un meilleur composite. •• Enveloppe de lumière : ces commandes sont prévues pour la fusion des valeurs de couleur et de luminosité à partir de la couche de l’arrière-plan de votre composite et la couche du premier plan incrusté. Elles vous permettent de simuler l’interaction de l’éclairage de l’environnement avec le sujet incrusté, donnant ainsi l’impression que la lumière à l’arrière-plan enveloppe un sujet. Dans la procédure suivante, on considère que vous avez déjà appliqué l’effet d’incrustation en luminance. Chapitre 12 Incrustation et compositing 362 1 Dans la timeline, sélectionnez le plan auquel l’effet Incrustateur en luminance a été appliqué. 2 Ouvrez l’inspecteur vidéo. La section Effets de l’inspecteur vidéo propose des paramètres permettant d’ajuster l’effet Incrustateur en luminance. 3 Cliquez sur Outils Cache pour révéler les commandes suivantes : •• Remplir les espaces : l’augmentation de la valeur de ce paramètre permet d’accroître l’opacité des régions présentant une transparence marginale au sein de l’incrustation. Cette commande est utile lorsque vous êtes satisfait des bords de votre incrustation mais qu’il reste au sein de celle-ci des espaces indésirables que vous ne parvenez pas à éliminer à l’aide du paramètre « Rotation de la luminance » sans affecter les bords. •• Distance des bords : permet d’ajuster la distance du bord du sujet incrusté jusqu’à laquelle l’effet Remplir les espaces peut s’étendre. La réduction de la valeur du paramètre rapproche la zone remplie du cache du contour du sujet, aux dépens de la translucidité au niveau du contour. L’augmentation de la valeur de ce paramètre éloigne la zone remplie du cache du contour, ce qui peut faire apparaître des régions de translucidité indésirable au sein de parties du sujet censées être opaques. •• Niveaux : utilisez cette commande de dégradé de gris pour adapter le contraste du cache incrusté, en faisant glisser les trois poignées prévues pour définir le point noir, le point blanc et la pondération (la répartition des valeurs de gris entre le point noir et le point blanc). Le réglage du contraste d’un cache peut s’avérer utile pour manipuler les zones translucides de l’incrustation afin de les rendre plus opaques (en réduisant le point blanc) ou plus translucides (en augmentant le point noir). Faire glisser la poignée Pondération vers la droite entraîne le rognage des régions translucides de l’incrustation, tandis que la faire glisser vers la gauche rend les régions translucides de l’incrustation plus opaques. Chapitre 12 Incrustation et compositing 363 •• Noir, Blanc, Pondération : cliquez sur le triangle d’affichage situé dans la rangée Niveaux pour révéler les curseurs des paramètres Noir, Blanc et Pondération. Ceux-ci reflètent les réglages des poignées Niveaux décrites ci-dessus et vous permettent d’animer avec des images clés les trois paramètres Niveaux (via le bouton « Ajouter une image clé » situé à droite de chaque curseur). Animer avec des images clés les paramètres Noir, Blanc et Pondération contribue à atteindre une meilleure incrustation pouvant s’adapter à des conditions d’écran bleu ou vert changeantes. •• Condenser/Développer : faites appel à ce curseur pour manipuler le contraste du cache et influer ainsi simultanément sur la translucidité et sur la taille du cache. Faites glisser le curseur vers la gauche pour marquer plus encore les régions translucides tout en réduisant le cache. À l’inverse, faites glisser le curseur vers la droite pour rendre les régions translucides plus opaques tout en développant le cache. •• Adoucir : utilisez ce curseur pour rendre le cache incrusté flou, en adoucissant d’une même amplitude le contour. •• Érosion : faites glisser ce curseur vers la droite pour augmenter progressivement la transparence du contour de la partie opaque de l’incrustation en partant de l’intérieur. 4 Cliquez sur Enveloppe de lumière pour révéler les commandes suivantes : •• Grandeur : utilisez ce curseur pour contrôler l’effet global d’enveloppe de lumière, en réglant la profondeur à laquelle l’enveloppe de lumière doit s’étendre sur le premier plan. •• Intensité : permet d’ajuster les niveaux gamma pour éclaircir ou obscurcir l’interaction du contour enveloppé par le sujet incrusté au premier plan. •• Opacité : passez par ce curseur pour effectuer un fondu plus ou moins prononcé de l’effet d’enveloppe de lumière. •• Mode : utilisez ce menu local pour choisir la méthode de compositing chargée de fusionner les valeurs de l’arrière-plan échantillonné et le contour du sujet incrusté. Cinq modes vous sont proposés : •• Normale : fusionne de façon uniforme les valeurs claires et sombres sur la couche de l’arrière-plan d’une part, et les contours de la couche du premier plan incrusté d’autre part. •• Éclaircissement : compare les pixels qui se chevauchent entre les couches du premier plan et de l’arrière-plan, puis conserve les plus clairs. Cette option est pratique pour créer un effet d’enveloppe de lumière sélectif. •• Superposition : superpose les parties les plus claires de la couche de l’arrière-plan sur les zones enveloppées de la couche du premier plan incrusté. Cette option est adaptée à un effet d’enveloppe de lumière agressif. •• Incrustation : associe la couche de l’arrière-plan et les zones enveloppées de la couche du premier plan incrusté de sorte que les parties sombres chevauchantes deviennent plus sombres, les zones claires deviennent plus claires et les couleurs s’intensifient. •• Lumière crue : semblable au mode de compositing Incrustation, à la différence que les couleurs sont désactivées. Chapitre 12 Incrustation et compositing 364 Finalisation de l’incrustation Il arrive souvent que l’image de premier plan contienne des objets que vous ne voulez pas voir apparaître dans le composite final. Il peut s’agir d’éléments de production tels que des perches de microphone, des pieds de projecteur ou encore les bords de la toile de fond d’incrustation chromatique. Vous pouvez également être amené à redimensionner ou à repositionner l’objet de premier plan pour l’ajuster à l’arrière-plan. Pour finir, vous pouvez utiliser l’outil d’étalonnage pour régler l’aspect du premier plan afin de le faire correspondre à celui de l’arrière-plan. Final Cut Pro comprend des effets que vous pouvez utiliser à ces fins. Utilisation de l’effet Masque 1 Dans la timeline, placez la tête de lecture sur le point du plan d’arrière-plan (plan sur lequel vous voulez superposer le plan à incruster en chrominance) où vous voulez que l’incrustation commence. 2 Dans le navigateur d’événements, sélectionnez la partie du plan de premier plan (plan à incruster en chrominance contenant la couleur à supprimer) que vous voulez incruster sur l’arrière-plan, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q). Avant-planArrière-plan attaché sous forme de plan connecté Pour en savoir plus sur cette façon de connecter des plans, consultez la section Connexion de plans pour ajouter des prises, des titres et des effets de son synchronisés à la page 110. 3 Sélectionnez le plan de premier plan. Dans l’exemple ci-dessus, les pieds de projecteur doivent être supprimés. Chapitre 12 Incrustation et compositing 365 4 Dans la barre d’outils, cliquez sur le bouton Effets. 5 Dans le navigateur d’effets, double-cliquez sur l’effet Masque pour l’appliquer au plan de premier plan sélectionné. Conseil : Saisissez « masque » dans le champ de recherche du navigateur d’effets pour trouver rapidement l’effet Masque. 6 Ajustez les quatre coins du masque pour rogner les objets à supprimer, à savoir les pieds de projecteur dans notre cas. Lors de l’ajustement du masque, veillez à laisser les ombres et autres détails qui permettront de rendre l’incrustation plus réaliste par la suite. Chapitre 12 Incrustation et compositing 366 7 Appliquez l’effet d’incrustation approprié au plan de premier plan. Le compositing du premier plan sur l’arrière-plan est terminé. Utilisation de l’outil Transformation pour positionner l’image de premier plan Dans la procédure suivante, on considère que vous avez déjà configuré une incrustation mais que vous devez repositionner l’image de premier plan. 1 Sélectionnez le plan de premier plan dans la timeline. 2 Dans le coin inférieur gauche du visualiseur, choisissez Transformer dans le menu local, puis déplacez l’image à l’emplacement souhaité. Dans l’exemple ci-dessus, il peut être intéressant de déplacer la femme vers la gauche. Chapitre 12 Incrustation et compositing 367 Vous pouvez également redimensionner l’image. 3 Cliquez sur Terminé dans le visualiseur une fois que vous avez terminé de repositionner l’image de premier plan. Compositing Présentation du compositing Le compositing consiste à combiner des parties d’au moins deux plans vidéo en une seule image. Il existe différentes façons de combiner des images vidéo dans Final Cut Pro : •• Transitions : toutes les transitions vidéo consistent à combiner la fin d’un plan avec le début du plan suivant, les deux plans apparaissant donc en même temps pendant la transition. •• Incrustation : toutes les incrustations consistent à réaliser un compositing d’une image de premier plan sur une image d’arrière-plan. •• Canaux alpha : de nombreux plans vidéo générés par ordinateur présentent un canal alpha (masque intégré) définissant avec précision les zones du plan faisant l’objet d’un compositing sur un plan d’arrière-plan. Ces canaux ne nécessitent aucune configuration d’incrustation et fonctionnent en général automatiquement. De nombreux effets (tels que Transformation et Distorsion), générateurs (tels que Formes et Timecode) et titres utilisent les canaux alpha. •• Compositing : chaque plan vidéo de la timeline possède un ensemble de réglages Compositing que vous pouvez utiliser pour combiner des plans sans avoir recours aux effets d’incrustation. Utilisation des canaux alpha Les canaux alpha permettent de réaliser facilement un compositing d’une image sur une autre. À l’aide d’une application comme Motion, logiciel Apple conçu pour fonctionner avec Final Cut Pro, vous pouvez créer des images fixes et des plans vidéo possédant des canaux alpha. Les canaux alpha peuvent être considérés comme ayant un incrustateur intégré : en effet, lorsque vous utilisez les effets d’incrustation, vous créez un masque qui est utilisé de la même manière qu’un plan ayant un canal alpha est utilisé pour le compositing. Chapitre 12 Incrustation et compositing 368 Vous trouverez ci-dessous un exemple de plan avec canal alpha montrant l’image qui remplit le canal alpha. Ci-dessous l’image du canal alpha : les zones blanches définissent les zones de la vidéo faisant l’objet d’un compositing sur l’arrière-plan. Les zones grises (qui correspondent à l’ombre dans cet exemple) définissent les parties partiellement transparentes de l’image. Voici comment se présente le composite final sur un plan d’arrière-plan. Chapitre 12 Incrustation et compositing 369 Utilisation d’un plan avec un canal alpha 1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter le plan avec canal alpha. 2 Sélectionnez le plan ayant un canal alpha dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q). 3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter au-dessus du scénario principal. Plan connecté (premier plan du montage composite)Plan du scénario principal (arrière-plan du montage composite) Le plan est monté en composite au-dessus du plan vidéo du scénario principal, avec le canal alpha contrôlant l’opacité de son plan. Vous pouvez également utiliser les poignées de fondu du réglage Opacité pour ajuster l’opacité du plan de premier plan. Utilisation des réglages de compositing Les réglages Compositing offrent de nombreuses options pour combiner deux images. Vous pouvez effectuer un simple ajustement pour combiner uniformément deux images ou choisir des réglages utilisant le contenu vidéo pour déterminer la façon dont les images doivent être combinées. Utilisation du réglage Opacité 1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter un plan au-dessus du scénario principal. 2 Sélectionnez le plan à ajouter dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q). 3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter. Par défaut, le nouveau plan masque complètement le plan du scénario principal. 4 Pour rendre le nouveau plan partiellement transparent, sélectionnez-le dans la timeline, puis ajustez la commande Opacité dans la section Compositing de l’inspecteur vidéo. Chapitre 12 Incrustation et compositing 370 Plus la valeur Opacité est proche de 0 pour cent, plus le plan situé au-dessus du scénario principal est transparent. Vous pouvez également utiliser les poignées de fondu Opacité de l’éditeur d’animation vidéo pour ajuster l’opacité du plan composite, ou ajouter des images clés pour que la valeur d’opacité change en des points précis. Choix d’un mode de fusion 1 Positionnez la tête de lecture dans la timeline à l’endroit où vous voulez ajouter un plan au-dessus du scénario principal. 2 Sélectionnez le plan à ajouter dans le navigateur d’événements, puis choisissez Édition > Connecter au scénario principal (ou appuyez sur la touche Q). 3 Pour voir les plans composites, placez la tête de lecture au sein du plan que vous venez d’ajouter. Par défaut, le nouveau plan masque complètement le plan du scénario principal. 4 Sélectionnez une option dans le menu local Mode de fusion de la section Compositing de l’inspecteur vidéo. De nombreux réglages de mode de fusion sont disponibles ; celui que vous devez utiliser dépend du contenu vidéo et de l’apparence que vous voulez obtenir. Vous pouvez par ailleurs ajuster la commande Opacité pour rendre le réglage de mode de fusion plus subtil. 13 371 Présentation de l’étalonnage Dans tout travail de postproduction, l’étalonnage constitue généralement l’une des dernières étapes de finalisation d’un programme monté. Vous pouvez réaliser l’étalonnage de votre métrage pour de nombreuses raisons : •• pour vous assurer que les éléments clés de votre programme (comme les tons de peau) présentent l’apparence souhaitée ; •• pour harmoniser les couleurs tous les plans d’une scène ; •• pour corriger des erreurs de balance de couleurs et d’exposition ; •• pour donner une tonalité particulière, comme pour rendre les scènes plus chaudes ou au contraire plus froides ; •• pour créer un contraste ou des effets spéciaux en manipulant les couleurs et l’exposition. Les outils d’étalonnage de Final Cut Pro permettent de contrôler avec précision l’apparence de chaque plan de votre projet, y compris les images fixes, grâce au réglage de la balance des couleurs, ainsi que des niveaux d’ombres, de tons intermédiaires et de hautes lumières de chaque plan. Final Cut Pro inclut également plusieurs outils automatisés vous permettant de modifier la balance et d’étalonner rapidement la couleur dans des plans. Dans Final Cut Pro, vous pouvez : •• équilibrer automatiquement les couleurs : d’un simple clic, neutralisez toute dominante de couleur et augmentez le contraste de l’image Consultez Présentation de la balance des couleurs à la page 372. •• harmoniser automatiquement la couleur et l’apparence d’un plan : en deux clics, harmonisez les couleurs d’un ou de plusieurs plans avec celles d’un autre plan de votre choix Consultez Correspondance automatique des couleurs entre les plans à la page 374. •• ajuster manuellement les couleurs, la saturation et l’exposition : corrigez manuellement la couleur d’ensemble du plan ou utilisez des masques de couleur ou de forme pour limiter l’étalonnage à une gamme de couleurs ou à une zone de l’image – vous pouvez même ajouter plusieurs étalonnages manuels à un plan Consultez Présentation de l’étalonnage manuel à la page 375. •• enregistrer les réglages d’étalonnage et les appliquer à d’autres plans : enregistrez les réglages d’étalonnage d’un plan et appliquez-les à d’autres plans dans le projet ou issus d’autres projets Consultez Enregistrement et application de préréglages d’étalonnage à la page 385. Bien que ces fonctionnalités soient indépendantes les unes des autres, vous pouvez désactiver puis activer l’une ou l’autre pour voir quel effet elle a, car l’ordre dans lequel vous les utilisez est important. Généralement, il est recommandé d’utiliser ces fonctionnalités dans l’ordre suivant : balance des couleurs, correspondance des couleurs, et (le cas échéant) étalonnage manuel. Final Cut Pro inclut également plusieurs instruments vidéo que vous pouvez utiliser lorsque vous étalonnez manuellement votre vidéo. Les instruments permettent de contrôler avec précision les niveaux de luminance et de colorimétrie de vos plans vidéo. Étalonnage Chapitre 13 Étalonnage 372 Analyse et balance automatique des couleurs Présentation de la balance des couleurs Final Cut Pro prévoie une fonctionnalité de balance automatique des couleurs. Cette fonctionnalité de Final Cut Pro échantillonne les zones les plus sombres et les claires du canal de luminance de l’image et ajuste celles-ci afin de neutraliser toute dominante de couleur dans l’image. De plus, Final Cut Pro ajuste l’image pour augmenter le contraste, de telle façon que la prise de vue occupe la gamme de luminance la plus large possible. L’image vidéo utilisée comme image référence dépend du fait que le plan a déjà subi une analyse des couleurs ou pas : •• Si le plan a subi une analyse des couleurs, soit pendant l’importation soit dans le navigateur d’événements : Le processus d’analyse extrait les informations de balance des couleurs pour l’ensemble du plan. Si vous ajoutez une partie du plan ou l’ensemble du plan à un projet, la fonctionnalité de balance des couleurs choisit l’image dans le plan du projet qui est la plus proche d’un équilibre adéquat. Ceci signifie que si vous ajoutez plusieurs plans partiels à partir du même plan dans le navigateur d’événements du projet, chaque plan se voit alors équilibré d’après les informations d’analyse pour sa propre section de média. •• Si le plan n’a pas subi d’analyse de couleurs et si vous équilibrez ses couleurs : Vous pouvez définir l’image de référence d’un plan sélectionné dans la timeline en plaçant la tête de lecture sur cette image dans le plan. Si la tête de lecture se trouve sur un autre plan ou si vous avez sélectionné un plan dans le navigateur d’événements, l’image du milieu du plan est utilisée. Analyse de la balance des couleurs d’un plan Pour équilibrer automatiquement les couleurs d’un plan, Final Cut Pro utilise une seule image du plan comme image de référence et calcule la correction nécessaire avant de l’appliquer à l’ensemble du plan. Analyser la balance des couleurs d’un plan permet à Final Cut Pro de choisir une image représentative comme image de référence de la balance des couleurs du plan. Vous pouvez analyser la balance des couleurs d’un plan lors de son importation, que vous l’importiez depuis une caméra ou un fichier, ou que vous le fassiez glisser directement sur la timeline depuis une fenêtre du Finder. Vous pouvez également analyser sa balance des couleurs à tout moment dans le navigateur d’événements. L’analyse de la balance des couleurs d’un plan peut prendre de plusieurs secondes pour les plans les plus courts à plusieurs minutes pour les plus longs. Le processus d’analyse prend en outre plus de temps si vous analysez les personnes et les problèmes de stabilisation. Une fois la balance des couleurs d’un plan analysée, vous pouvez activer ou désactiver la correction de la balance des couleurs à tout moment. Par défaut, cette correction est désactivée pour les plans figurant dans le navigateur d’événements et activés pour ceux figurant dans la timeline, s’ils ont été analysés. Pour en savoir plus sur l’activation et la désactivation de la correction de la balance des couleurs, que ce soit dans le navigateur d’événements ou dans la timeline, consultez la section Équilibrage des couleurs d’un plan à la page 373. Analyse de la balance des couleurs pendant l’importation de fichiers 1 Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). 2 Sélectionnez les fichiers à importer, puis « Analyser la balance des couleurs » dans la section Vidéo de la fenêtre. 3 Cliquez sur Importer. Les fichiers sont importés et analysés en vue de détecter les problèmes de balance des couleurs. Chapitre 13 Étalonnage 373 Analyse de la balance des couleurs pour les plans glissés depuis le Finder sur la timeline 1 Sélectionnez Final Cut Pro > Préférences (ou appuyez sur les touches Commande + virgule). 2 Dans la fenêtre Préférences de Final Cut Pro, cliquez sur le bouton Importer et sélectionnez « Analyser la balance des couleurs » dans la section Vidéo. Tous les plans que vous faites glisser directement sur la timeline à partir du Finder sont analysés. Remarque : Lorsque vous modifiez ce réglage dans la fenêtre Préférences, le réglage est également modifié dans toutes les autres fenêtres incluant l’option « Analyser la balance des couleurs ». Analyse de la balance des couleurs pour les plans dans le navigateur d’événements Lorsque vous analysez la balance des couleurs des plans dans le navigateur d’événements, tous les plans qui ont été analysés pendant l’importation sont ignorés. 1 Sélectionnez un ou plusieurs plans dans le navigateur d’événements. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Analyser et corriger. •• Cliquez sur l’un des plans sélectionnés en maintenant la touche Contrôle enfoncée, puis choisissez Analyser et corriger dans le menu contextuel. 3 Dans la fenêtre qui apparaît, sélectionnez « Analyser la balance des couleurs » dans la section Vidéo, puis cliquez sur OK. Équilibrage des couleurs d’un plan Le réglage de balance des plans dans Final Cut Pro active et désactive automatiquement la correction de la balance des couleurs, que le plan se trouve dans le navigateur d’événements ou dans la timeline. L’image utilisée comme image de référence correspond soit à une image choisie pendant l’analyse de la balance des couleurs, soit à l’image sur laquelle se trouve la tête de lecture dans la timeline, soit à l’image du milieu du plan. Pour en savoir plus, consultez Présentation de la balance des couleurs à la page 372. Activation ou désactivation de la correction de la balance des couleurs d’un plan 1 Sélectionnez un ou plusieurs plans dans la timeline ou le navigateur. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Couleur de balance (ou appuyez sur Commande + Option + B). •• Choisissez Couleur de balance dans le menu local Améliorations de la barre d’outils. •• Dans la section Couleur de l’inspecteur vidéo, cochez ou décochez la case Balance. Cliquez ici pour activer ou désactiver la balance. État d’analyse de la balance Chapitre 13 Étalonnage 374 Correspondance automatique des couleurs entre les plans Votre projet utilise certainement de la vidéo provenant de nombreuses sources. La fonctionnalité Correspondance des couleurs permet de s’assurer que toutes les scènes prises dans un même lieu présentent le même aspect. Correspondance des couleurs entre les plans 1 Sélectionnez dans la timeline un ou plusieurs plans que vous voulez ajuster. 2 Procédez de l’une des manières suivantes : •• Choisissez Modifier > Correspondance des couleurs (ou appuyez sur Commande + Option + M). •• Choisissez Correspondance des couleurs dans le menu local Améliorations de la barre d’outils. •• Dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton Choisir en regard de Correspondance des couleurs. Le visualiseur s’adapte pour afficher l’image sur laquelle se trouve la tête de lecture de la timeline à droite et l’image sur laquelle se trouve le pointeur à gauche. Le plan sur lequel se trouve le pointeur représente la source de concordance des couleurs. Cliquer pour effectuer le preview de la concordance des couleurs. Le plan sélectionné sur la timeline correspond à la cible de concordance des couleurs. 3 Faites défiler des plans de la timeline ou du navigateur d’événements afin de trouver une image avec l’aspect de couleur que vous voulez respecter, puis cliquez pour prévisualiser cet aspect une fois appliqué au plan sélectionné. Vous pouvez cliquer sur une variété de plans jusqu’à ce que vous trouviez l’aspect que vous voulez. Conseil : Vous pouvez importer une image fixe ayant l’aspect que vous voulez, même si elle n’est pas liée à votre projet, pour pouvoir reprendre l’aspect de ses couleurs. 4 Pour accepter l’aspect actuel, cliquez sur Appliquer la correspondance dans la fenêtre Correspondance des couleurs. Chapitre 13 Étalonnage 375 Le visualiseur revient à sa configuration normale et les plans de la timeline sélectionnés adoptent le nouvel aspect. Activation ou désactivation des corrections de correspondance des couleurs Vous pouvez désactiver les corrections de correspondance des couleurs qui ont été appliquées à un plan. Cette opération peut être utile pour voir la différence entre le plan original et le plan corrigé. 1 Dans la timeline, sélectionnez un plan pour lequel les corrections de correspondance des couleurs ont été appliquées. 2 Cliquez sur la case Correspondance des couleurs dans la section Couleur de l’inspecteur vidéo. Ajustement manuel des couleurs Présentation de l’étalonnage manuel Final Cut Pro inclut un outil d’étalonnage manuel que vous pouvez utiliser pour accomplir une large variété d’effets d’étalonnage et d’amélioration des couleurs : •• Appliquez un étalonnage à l’ensemble de l’image : ajustez la teinte de la couleur, la saturation et l’exposition pour l’ensemble de l’image du plan. Consultez Étalonnage sur toute l’image à la page 375. •• Choisissez une couleur dans l’image à étalonner : par exemple, choisissez un objet de couleur claire, comme une chemise ou une voiture, puis utilisez les réglages d’étalonnage pour annuler ou modifier la couleur. Consultez Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur à la page 378. •• Choisissez une zone de l’image à étalonner : tracez un ou plusieurs masques de forme, puis appliquez l’étalonnage à l’intérieur ou à l’extérieur des masques. Vous pouvez en outre faire changer la position des masques au fil de la lecture du plan. Consultez Ciblage de zones spécifiques à l’aide de masques de forme à la page 380. Vous pouvez également appliquer plusieurs étalonnages à un seul plan et utiliser les masques de formes associés un masque de couleur. Par exemple, il vous est possible d’utiliser un étalonnage pour définir l’aspect général de couleur du plan, un deuxième étalonnage pour cibler et changer une couleur donnée et un troisième pour cibler une autre couleur ou une zone définie par un masque de forme. Consultez les sections Application de plusieurs étalonnages à la page 384 et Ajout de masques de formes à un masque de couleur à la page 383. Vous pouvez effectuer des ajustements manuels de couleur par le biais de la carte accélératrice. Étalonnage sur toute l’image Faites appel à la carte accélératrice pour ajuster manuellement la couleur, la saturation et l’exposition d’un plan. Étalonnage manuel de toute l’image d’un plan 1 Sélectionnez un plan dans la timeline, puis procédez de l’une des façons suivantes : •• Choisissez Fenêtre > Aller à > Afficher le réglage colorimétrique (ou appuyez sur les touches Commande + 6). •• Choisissez « Afficher le réglage colorimétrique » dans le menu local Améliorations de la barre d’outils. Chapitre 13 Étalonnage 376 •• Cliquez sur le bouton Réglage colorimétrique dans la section Couleur de l’inspecteur vidéo. (Lorsque vous avez effectué des ajustements du réglage colorimétrique, le bouton change de couleur.) •• Cliquez sur le coin supérieur gauche d’un plan dans la timeline et choisissez « Réglage de la couleur » dans le menu local. Cliquez sur cette icône pour revenir à l’inspecteur vidéo.Cliquez sur le bouton Réinitialiser pour annuler les ajustements opérés dans la fenêtre.Sélectionnez l’étalonnage à utiliser.Faites glisser les commandes pour modifier les valeurs.Utilisez les curseurs pour modifier les valeurs.Passez par le menu local Action pour créer ou choisir un préréglage d’étalonnage. 2 Si le plan contient plusieurs étalonnages appliqués, choisissez l’étalonnage à ajuster dans le menu local Correction dans le coin supérieur droit de la carte accélératrice. 3 Pour ajouter ou supprimer une teinte de couleur, cliquez sur Couleur (ou appuyez sur Commande + Contrôle + C), puis faites glisser les commandes sur la fenêtre Couleur. •• Pour ajuster la teinte pour l’ensemble de l’image : faites glisser la commande Global (la grande commande grise). •• Pour ajuster la teinte dans les zones les plus sombres de l’image : faites glisser la commande Ombres (la commande noire). •• Pour ajuster la teinte dans les tons intermédiaires : faites glisser la commande Tons intermédiaires (la petite commande grise). •• Pour ajuster la teinte dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières (la commande blanche). En faisant glisser les commandes vers le haut, vous ajoutez de la couleur à la vidéo ; à l’inverse, en les faisant glisser vers le bas, vous retirez la couleur (en y ajoutant la couleur opposée). Pour choisir la couleur à ajouter ou à retirer, faites glisser les commandes horizontalement. Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des curseurs correspondants. Conseil : Pour déplacer verticalement la commande Carte accélératrice sélectionnée, appuyez sur les touches Flèche vers le haut ou Flèche vers le bas. Dans la fenêtre Couleur, vous pouvez également utiliser la touche Flèche vers la gauche ou Flèche vers la droite pour déplacer la commande sélectionnée horizontalement. Chapitre 13 Étalonnage 377 4 Pour ajuster le niveau de colorimétrie du plan, cliquez sur Saturation (ou appuyez sur Commande + Contrôle + S), puis faites glisser les commandes sur la fenêtre Saturation. •• Pour ajuster la saturation pour l’ensemble de l’image : faites glisser la commande Global vers la gauche. •• Pour ajuster la saturation dans les zones les plus sombres de l’image : faites glisser la commande Ombres. •• Pour ajuster la saturation dans les tons intermédiaires : faites glisser la commande Tons intermédiaires. •• Pour ajuster la saturation dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières. Faites glisser les commandes vers le haut pour augmenter le niveau de colorimétrie ou vers le bas pour le réduire. Ces commandes ne se déplacent pas horizontalement. Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des cases de valeur correspondantes. 5 Pour ajuster le niveau de luminance du plan, cliquez sur Exposition (ou appuyez sur Commande + Contrôle + E), puis faites glisser les commandes sur la fenêtre Exposition. •• Pour ajuster l’exposition pour l’ensemble de l’image : faites glisser la commande Global vers la gauche. •• Pour ajuster l’exposition dans les zones les plus sombres de l’image : faites glisser la commande Ombres. •• Pour ajuster l’exposition dans les tons intermédiaires (similaire à une commande gamma) : faites glisser la commande Tons intermédiaires. •• Pour ajuster l’exposition dans les zones les plus claires de l’image : faites glisser la commande Hautes lumières. Faites glisser les commandes vers le haut pour augmenter le niveau de luminance ou vers le bas pour le réduire. Ces commandes ne se déplacent pas horizontalement. Vous pouvez également sélectionner la commande et saisir les valeurs numériques à l’aide des cases de valeur correspondantes. Vous pouvez utiliser l’éditeur de commandes afin d’affecter un raccourci clavier pour activer ou désactiver les étalonnages lorsque vous ajustez le réglage colorimétrique, et pour attribuer des raccourcis clavier à de nombreuses autres fonctions de réglage colorimétrique. Pour en savoir plus, consultez Affichage des raccourcis clavier dans l’éditeur de commandes à la page 474. Réinitialisation et désactivation de l’étalonnage par la carte accélératrice 1 Dans la timeline, sélectionnez un plan dont vous voulez supprimer les étalonnages. 2 Dans le réglage colorimétrique, effectuez l’une des opérations suivantes : •• Pour réinitialiser la commande sélectionnée à sa position neutre : Appuyez sur la touche Supprimer. •• Pour réinitialiser toutes les commandes d’une fenêtre à leur position neutre : cliquez sur le bouton Réinitialiser dans le coin supérieur droit de la fenêtre. Chapitre 13 Étalonnage 378 •• Pour réinitialiser les trois fenêtres Carte accélératrice à leur position neutre : dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton Réinitialiser à droite du réglage Correction. Cliquez sur cette case pour activer ou désactiver l’étalonnage.Bouton de réinitialisation des réglages colorimétriques •• Pour désactiver les corrections de la carte accélératrice sans les réinitialiser : dans la section Couleur de l’inspecteur vidéo, décochez la case de la correction. L’activation et la désactivation des corrections permettent de voir plus rapidement et plus facilement l’effet de vos ajustements. Choix d’une couleur spécifique comme cible à l’aide d’un masque de couleur Un masque de couleur permet d’isoler une couleur particulière de l’image. Vous pouvez appliquer un masque de couleur à un plan pour corriger une couleur spécifique, pour exclure cette couleur des corrections du reste de l’image, ou les deux. Par exemple, vous pouvez masquer une chemise de couleur claire en arrière-plan qui distrait l’attention du sujet principal d’un plan. L’utilisation d’un masque de couleur pour contrôler l’étalonnage vous permet de sélectionner une couleur, puis d’ajuster cette couleur individuellement (réduction, amélioration ou changement) ou d’ajuster tout sauf cette couleur (par exemple, ajouter une teinte ou réduire les niveaux de luminosité ou de colorimétrie). Ajout d’un masque de couleur à un étalonnage 1 Dans la timeline, sélectionnez un plan avec une couleur que vous voulez désactiver ou améliorer. 2 Cliquez sur le bouton « Ajouter un masque de couleur » dans la section Couleur de l’inspecteur vidéo. Cliquez sur l’icône pour ajouter un masque de couleur. La section Masque de couleur apparaît. Couleur sélectionnée du masqueLorsque le bouton est en surbrillance, utilisez la pipette pour sélectionner la couleur du masque dans le visualiseur.Définit l’adoucissement du contour Chapitre 13 Étalonnage 379 3 Dans le visualiseur, placez la pipette sur une couleur que vous voulez isoler dans l’image, puis faites glisser la souris pour sélectionner la couleur. Faites glisser le point actif pour sélectionner la couleur à masquer. Lorsque vous faites glisser la pipette, deux cercles concentriques apparaissent. La taille du cercle extérieur détermine la gamme des variations de la couleur sélectionnée qui sont incluses dans le masque de couleur. Lorsque vous modifiez la taille du cercle extérieur, l’image devient monochrome, à l’exception de la couleur que vous sélectionnez. Vous pouvez faire glisser un nouveau cercle de sélection autant de fois que vous le voulez, pour obtenir de meilleurs résultats. Remarque : Lorsque vous cessez de faire glisser la souris, l’image reprend son aspect d’origine, mais les effets du masque de couleur que vous avez créé deviennent visibles dès que vous commencez à ajuster le réglage colorimétrique. Vous pouvez ensuite revenir à l’inspecteur vidéo et utiliser la pipette pour ajuster le masque de couleur, si nécessaire. 4 Pour modifier la gamme de variations de couleur incluse dans le masque, procédez de l’une des façons suivantes : •• Pour ajouter des nuances de couleur : maintenez la touche Maj enfoncée, placez la pipette sur une couleur que vous voulez ajouter au masque, puis faites glisser pour sélectionner la couleur. •• Pour retirer des nuances de couleur : maintenez la touche Option enfoncée, placez la pipette sur une couleur que vous voulez retirer du masque, puis faites glisser pour sélectionner la couleur. 5 Pour ajuster le contour du masque de couleur, faites glisser le curseur Adoucissement. Pour que le visualiseur affiche temporairement le masque de couleur, maintenez la touche Option enfoncée puis faites glisser la commande Adoucissement : la couleur blanche indique les zones entièrement opaques du masque, la couleur noire les zones situées à l’extérieur du masque, et les niveaux de gris les zones transparentes du masque. 6 Pour ajuster les réglages d’étalonnage du masque de couleur, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.) 7 Procédez de l’une des manières suivantes : •• Pour appliquer un étalonnage à la couleur sélectionnée : cliquez sur « Inscrit dans le masque ». •• Pour appliquer un étalonnage à tout sauf la couleur sélectionnée : cliquez sur Masque extérieur. Vous pouvez étalonner les zones situées à l’intérieur et à l’extérieur du masque, chaque zone possédant son propre ensemble de commandes de réglage colorimétrique. Par exemple, vous pouvez sélectionner « Inscrit dans le masque » pour améliorer la couleur ciblée, puis sélectionner « Masque extérieur » pour assombrir tout le reste. 8 Ajustez les commandes de la carte accélératrice pour créer l’effet recherché. Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375. Chapitre 13 Étalonnage 380 Pour limiter la zone de l’image affectée par un masque de couleur, vous pouvez ajouter un masque de forme. Pour en savoir plus, consultez Ajout de masques de formes à un masque de couleur à la page 383. Ciblage de zones spécifiques à l’aide de masques de forme Un masque de forme définit une zone dans l’image pour que vous puissiez appliquer les étalonnages soit à l’intérieur, soit à l’extérieur de cette zone. Par exemple, vous pouvez être amené à accentuer le visage d’un sujet en assombrissant la zone qui l’entoure. Vous pouvez ajouter plusieurs masques de forme pour définir différentes zones. Il vous est également possible d’animer les formes pour qu’elles suivent une zone lors d’un panoramique de la caméra ou un objet qui se déplace pendant la lecture du plan. Ajout d’un masque de forme 1 Dans la timeline, sélectionnez un plan contenant une zone dont vous voulez désactiver ou améliorer la couleur. 2 Cliquez sur le bouton « Ajouter un masque de forme » dans la section Couleur de l’inspecteur vidéo. Cliquez sur l’icône pour ajouter un masque de forme. Une zone Masque de forme apparaît. Cliquez sur ce bouton pour afficher ou masquer les commandes de masque de forme à l’écran. Chapitre 13 Étalonnage 381 3 Pour ajuster la forme par défaut qui apparaît dans le visualiseur, procédez de l’une des façons suivantes : Faites glisser cette poignée pour que la forme adopte une forme rectangulaire.Faites glisser le bord extérieur pour contrôler l’atténuation.Faites glisser l’une de ces poignées pour modifier la largeur ou la hauteur de la forme.Faites glisser le cercle central pour déplacer la forme.Faites glisser cette poignée pour faire pivoter la forme. •• Pour positionner la forme : faites glisser son centre. •• Pour ajuster la largeur ou la hauteur de la forme : faites glisser les poignées situées sur les quatre points à 90 degrés (en haut, en bas, à gauche ou à droite) du cercle intérieur. Vous pouvez maintenir enfoncée la touche Maj pendant que vous faites glisser une poignée pour que tous les côtés soient redimensionnés proportionnellement. •• Pour contrôler la rondeur de la forme : faites glisser la poignée vers la gauche de la poignée supérieure du cercle intérieur. •• Pour faire pivoter la forme : faites glisser la poignée de rotation (à l’opposé du centre). •• Pour contrôler l’atténuation du contour de la forme : faites glisser le cercle extérieur. Lorsque le cercle extérieur est à proximité du cercle intérieur, le contour est prononcé et la transition vers les étalonnages que vous appliquez est brutale ; lorsque le cercle extérieur est à distance du cercle intérieur, le contour s’adoucit et la transition est plus progressive. •• Pour masquer les commandes du masque : dans la section Couleur de l’inspecteur vidéo, cliquez sur le bouton des commandes à l’écran Masque de forme de la zone Masque de forme. 4 Pour ajuster les réglages d’étalonnage du masque de forme, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.) 5 Procédez de l’une des manières suivantes : •• Pour appliquer un étalonnage à la zone de forme : cliquez sur « Inscrit dans le masque ». •• Pour appliquer un étalonnage à tout, à l’exception de la zone de forme : cliquez sur Masque extérieur. Vous pouvez étalonner les zones situées à l’intérieur et à l’extérieur du masque, chaque zone possédant son propre ensemble de commandes de réglage colorimétrique. Par exemple, vous pouvez sélectionner « Inscrit dans le masque » pour améliorer la zone de la forme, puis sélectionner « Masque extérieur » pour assombrir tout le reste. 6 Ajustez les commandes de la carte accélératrice pour créer l’effet recherché. Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375. Chapitre 13 Étalonnage 382 7 Pour ajouter des formes à l’étalonnage, cliquez à nouveau sur le bouton « Ajouter un masque de forme » dans la zone de l’étalonnage de l’inspecteur vidéo. Une autre forme par défaut apparaît dans le visualiseur et la forme d’origine est estompée. Vous pouvez sélectionner et continuer à configurer la forme d’origine en cliquant sur son centre. Suppression d’un masque de forme 1 Dans l’inspecteur vidéo, sélectionnez l’élément Masque de forme à supprimer. Sélectionnez un élément de masque de forme et appuyez sur suppr. 2 Appuyez sur la touche Supprimer. Remarque : Si tous les masques de forme de l’étalonnage sont supprimés, les étalonnages « Inscrit dans le masque » sont appliqués à l’ensemble de l’image. Animation d’un masque de forme Vous pouvez utiliser des images clés pour animer un masque de forme afin qu’il suive le mouvement d’un objet à l’écran. 1 Pour ajouter un masque de forme, suivez les instructions de la rubrique « Ajout d’un masque de forme » ci-dessus. 2 Dans la timeline, placez la tête de lecture sur le plan contenant le masque de forme, au niveau de l’image où vous voulez que la forme commence à bouger. 3 Positionnez le masque de forme dans sa position de départ dans le visualiseur. 4 Dans l’inspecteur vidéo, cliquez sur le bouton Image clé. Cliquez ici pour ajouter une image clé. Une image clé est ajoutée au niveau de la tête de lecture. Vous pouvez le voir dans la timeline en appuyant sur les touches Contrôle + V pour ouvrir l’éditeur Animation vidéo. L’image clé s’affiche dans la section Couleur sous la forme d’un losange au niveau de la tête de lecture. Indicateur d’image clé Chapitre 13 Étalonnage 383 5 Placez la tête de lecture sur le point suivant dans le plan, à l’endroit où vous voulez définir la position du masque de forme, repositionner le masque de forme et ajouter la seconde image clé. 6 Pour repositionner le masque de forme dans le plan, continuez d’ajouter des images clés jusqu’à ce que vous ayez défini le mouvement voulu de la forme. Après avoir ajouté toutes les images clés, vous pouvez lancer la lecture du plan et voir le masque de forme se déplacer entre elles. Pour en savoir plus sur l’utilisation d’images clés, consultez la section Présentation de l’animation vidéo à la page 256. Ajout de masques de formes à un masque de couleur Souvent, lorsque vous créez un masque de couleur, davantage de zones de la vidéo sont affectées par celui-ci que nécessaire. Par exemple, supposons que vous vouliez étalonner une voiture rouge sur le côté gauche de l’écran et ne pas toucher à un panneau de stop rouge à droite. Dans ce cas, vous pouvez ajouter un ou plusieurs masques de forme pour limiter le masque de couleur aux zones définies par les masques de forme. Ajout d’un masque de forme à un masque de couleur 1 Sélectionnez un plan dans la timeline et utilisez l’inspecteur vidéo pour y ajouter un masque de couleur. 2 Appliquez un étalonnage à l’aide de la carte accélératrice et notez les zones de la vidéo que vous ne voulez pas que le masque de couleur modifie. Pour en savoir plus sur l’utilisation de la carte accélératrice, consultez la section Étalonnage sur toute l’image à la page 375. 3 Dans l’inspecteur vidéo, cliquez sur le bouton « Ajouter un masque de forme » dans l’étalonnage contenant le masque de couleur. Cliquez sur l’icône pour ajouter un masque de forme à l’étalonnage. 4 Ajustez le masque de forme de sorte qu’il chevauche la partie du masque de couleur que vous voulez utiliser. 5 Pour ajuster les réglages d’étalonnage, cliquez sur le bouton Réglage colorimétrique dans l’inspecteur vidéo. (Une fois que vous avez ajusté le réglage colorimétrique, le bouton change de couleur.) 6 Effectuez l’une des opérations suivantes : •• Pour n’appliquer des retouches d’étalonnage qu’aux zones dans lesquelles le masque de couleur et le masque de forme se chevauchent : Sélectionnez « Inscrit dans le masque » au bas du réglage colorimétrique. •• Pour appliquer des retouches d’étalonnage à l’extérieur des zones dans lesquelles le masque de couleur et le masque de forme se chevauchent : sélectionnez Masque extérieur. Si nécessaire, vous pouvez ajouter des masques de forme, voire les animer. Chapitre 13 Étalonnage 384 Application de plusieurs étalonnages Vous pouvez appliquer plusieurs étalonnages à un plan pour cibler des problèmes spécifiques. Il est par exemple possible d’utiliser un étalonnage pour masquer une chemise orange clair et un autre pour améliorer la couleur verte de la pelouse. Les masques de couleur sont créés en fonction des couleurs originales du plan. Par exemple, si le premier étalonnage supprime toute la colorimétrie du plan, le second étalonnage peut créer un masque de couleur selon une couleur d’origine du plan. Application de plusieurs étalonnages à un plan 1 Sélectionnez un plan dans la timeline. 2 Pour ajouter un élément d’étalonnage supplémentaire, cliquez sur le bouton Ajouter une connexion dans l’inspecteur vidéo. Cliquez sur ce bouton pour ajouter un étalonnage. Par défaut, la section Couleur contient le premier élément d’étalonnage manuel (Correction 1) ainsi que les éléments Balance et Correspondance des couleurs. Les éléments d’étalonnage que vous ajoutez s’intitulent Correction 2, Correction 3, etc. Chaque élément d’étalonnage possède son propre bouton Réglage colorimétrique. Lorsque vous cliquez sur l’un d’eux, le réglage colorimétrique s’ouvre avec les réglages de l’étalonnage en question. Vous pouvez également choisir un étalonnage dans le réglage colorimétrique à l’aide du menu local situé dans le coin supérieur droit. Remarque : Si vous avez appliqué plusieurs corrections à un plan, vous pouvez les faire glisser dans l’inspecteur vidéo pour modifier leur ordre. La modification de l’ordre de traitement peut offrir différents résultats. Affichage des images clés d’étalonnage dans la timeline Si un plan contient plusieurs étalonnages avec des masques de forme animés, vous pouvez afficher les images clés du ou des masques de forme d’un étalonnage dans l’éditeur d’animation vidéo au-dessus du plan dans la timeline. 1 Dans la timeline, sélectionnez un plan auquel ont été appliqués plusieurs étalonnages avec des masques de forme animés. 2 Choisissez Plan > Afficher l’animation vidéo (ou appuyez sur Contrôle + V). 3 Dans le menu local Couleur, choisissez l’étalonnage que vous voulez voir : •• Pour afficher un composite d’images clés à partir de tous les étalonnages : choisissez l’étalonnage voulu et, si le plan contient plusieurs masques de forme, choisissez celui que vous voulez afficher. Chapitre 13 Étalonnage 385 •• Pour afficher les images clés à partir d’un masque de forme spécifique dans un étalonnage : choisissez l’étalonnage voulu et, si le plan contient plusieurs masques de forme, choisissez celui que vous voulez afficher. Lorsque vous choisissez une correction donnée, Correction 2 par exemple, ses images clés s’affichent en blanc et les images clés des autres corrections en gris foncé. Ajout d’une transition entre des étalonnages Vous pouvez utiliser une transition pour qu’un plan vidéo passe d’un étalonnage à un autre. Par exemple, si vous voulez qu’une scène mette progressivement en valeur les deux personnages principaux, vous pouvez utiliser une transition pour passer en fondu du plan normal au plan avec masques de forme et appliquer un étalonnage pour assombrir l’image en dehors des masques. Important : Assurez-vous que l’option Données disponibles est sélectionnée dans le menu local « Appliquer les transitions utilisant » de la fenêtre Montage des préférences de Final Cut Pro. Pour en savoir plus sur ce réglage, consultez la section Création des transitions à la page 213. Configuration d’un plan pour changer de transition 1 Passez temporairement à l’outil Lame de rasoir en maintenant la touche B enfoncée. 2 Dans la timeline, cliquez sur un plan vidéo à l’endroit où vous voulez passer d’un étalonnage à un autre. Le plan se divise en deux. 3 Appliquez un étalonnage différent à chaque plan. Vous pouvez aussi laisser un plan sans étalonnage et en appliquer un à l’autre. L’étalonnage peut représenter une teinte franche, un changement d’exposition ou tout autre ajustement visible. 4 Sélectionnez le point de montage entre les deux plans et appuyez sur les touches Commande + T pour insérer un fondu enchaîné. Pendant la lecture du plan, le premier étalonnage laisse progressivement la place au second au passage du point de montage. Enregistrement et application de préréglages d’étalonnage Final Cut Pro vous permet d’enregistrer les réglages d’étalonnage d’un plan sous un préréglage, ce qui facilite son application à d’autres plans du même projet ou d’un autre. Final Cut Pro inclut plusieurs préréglages que vous pouvez utiliser en plus de ceux que vous créez. Remarque : Les préréglages d’étalonnage enregistrent uniquement les réglages de Couleur, de Saturation et d’Exposition. Ils ne permettent pas d’enregistrer les réglages du masque, notamment si les options « Inscrit dans le masque » ou Masque extérieur sont sélectionnées. Enregistrement d’un préréglage d’étalonnage 1 Dans la timeline, sélectionnez un plan comportant l’aspect d’étalonnage que vous voulez enregistrer et ouvrez la carte accélératrice. 2 Dans le menu local Action situé dans le coin inférieur droit de la carte accélératrice, choisissez Enregistrer. 3 Attribuez un nom au préréglage, puis cliquez sur OK. Chapitre 13 Étalonnage 386 Application d’un préréglage d’étalonnage 1 Sélectionnez un plan dans la timeline et ouvrez la carte accélératrice. 2 Dans le menu local Action situé dans le coin inférieur droit de la carte accélératrice, choisissez un préréglage. Les ajustements du préréglage s’appliquent à la sélection. Une fois le préréglage appliqué, vous pouvez modifier les réglages à l’aide de la carte accélératrice. Activation et désactivation des ajustements iMovie Lors du montage d’un projet dans iMovie, vous pouvez ajuster différents attributs vidéo, comme l’exposition, la luminosité et la saturation, dans le navigateur de projets. Si vous importez un projet iMovie contenant ces ajustements dans Final Cut Pro, les ajustements sont conservés et apparaissent dans la zone Couleur de l’inspecteur vidéo sous la forme d’un élément iMovie. Bien que vous ne puissiez pas modifier les ajustements ajoutés dans iMovie, vous pouvez choisir de les appliquer au plan ou pas. Remarque : Les ajustements vidéo que vous effectuez sur les plans dans le navigateur d’événements d’iMovie ne sont pas conservés et n’apparaissent pas dans Final Cut Pro. Activation ou désactivation des ajustements iMovie d’un plan mm Dans la timeline, sélectionnez un plan pour lequel les ajustements iMovie sont appliqués, et cochez ou décochez la case iMovie dans la zone Couleur de l’inspecteur vidéo. Cliquez sur cette case pour activer ou désactiver les ajustements iMovie. Remarque : Les ajustements iMovie apparaissent uniquement dans la timeline mais pas dans le navigateur d’événements. Pour en savoir plus sur l’importation de projets iMovie, consultez la section Importation à partir d’iMovie à la page 35. Mesure de niveaux vidéo Présentation des instruments vidéo Les studios de télédiffusion fixent des valeurs maximales de luminance et de colorimétrie autorisées pour la diffusion. Si un programme vidéo dépasse ces limites, une distorsion de l’image risque de se produire : couleurs débordant les unes sur les autres, blancs et noirs ternis ou encore signal vidéo empiétant sur l’audio et entraînant une distorsion perceptible du son. Dans tous ces cas, le dépassement des niveaux standard entraîne une qualité de transmission inacceptable. Lors de l’étalonnage des plans de votre projet, vous pouvez utiliser les instruments vidéo de Final Cut Pro pour vous assurer que les niveaux de luminance et de colorimétrie de votre vidéo sont compris dans la plage des paramètres considérés comme adaptés à la télédiffusion ou acceptables. Chapitre 13 Étalonnage 387 Même si votre projet n’est pas destiné à la diffusion, l’utilisation des instruments vidéo constitue une étape importante de votre flux de production. Si les moniteurs que vous utilisez n’affichent pas les couleurs de façon cohérente ou si vous travaillez sur les mêmes plans depuis un moment, il se peut que vous vous soyez habitué à voir une dominante de couleur ou des niveaux de noir légèrement incorrects. Les instruments vous fournissent une mesure exacte des niveaux de luminance et de colorimétrie de vos plans pour que vous puissiez ajuster de façon plus pertinente vos réglages d’étalonnage de Final Cut Pro. Final Cut Pro propose les vidéoscopes suivants : •• oscilloscope, •• vecteurscope, •• histogramme. Utilisation des instruments vidéo Par défaut, les vidéoscopes s’affichent à gauche de l’image vidéo dans le visualiseur et dans le visualiseur d’événements. Chaque visualiseur n’affiche qu’un instrument à la fois. Ouverture d’un instrument 1 Procédez de l’une des manières suivantes : •• Pour ouvrir un instrument vidéo dans le visualiseur : Choisissez Fenêtre > Affichage du visualiseur > Afficher les instruments vidéo (ou appuyez sur Commande + 7). •• Pour ouvrir un instrument vidéo dans le visualiseur d’événements : choisissez Fenêtre > Affichage du visualiseur d’événements > Afficher les instruments vidéo. Que ce soit dans le visualiseur comme dans le visualiseur d’événements, vous pouvez aussi « Afficher les instruments vidéo » à partir du menu local des options du visualiseur qui se trouve dans le coin supérieur droit. Vous pouvez utiliser les mêmes commandes pour fermer l’instrument vidéo. 2 Choisissez l’instrument pour afficher la section supérieure du menu local Réglages. Choisissez dans le menu local Réglages l’instrument à utiliser.Menu local des options du visualiseur 3 Après avoir choisi un instrument, sélectionnez les options d’affichage dans la section inférieure du menu local Réglages. Remarque : Il peut s’avérer pratique d’afficher les instruments sous l’image vidéo dans le visualiseur d’événements. Pour ce faire, choisissez Présenter verticalement dans le menu local Réglages du visualiseur d’événements. Pour en savoir plus, consultez Lecture et survol du média dans le visualiseur d’événements à la page 83. Chapitre 13 Étalonnage 388 Options d’affichage de l’oscilloscope L’oscilloscope indique les niveaux relatifs de luminance et de colorimétrie du plan en cours d’étude. Ces valeurs s’affichent de gauche à droite et reflètent la répartition relative de ces niveaux de gauche à droite dans l’image. Les crêtes et creux des formes d’onde affichées correspondent aux tâches lumineuses et aux zones sombres de votre image. Les formes d’onde sont également de couleur afin d’identifier facilement les éléments de la vidéo. Le menu local Réglages dans le coin supérieur droit de l’oscilloscope fournit de nombreuses options d’affichage : •• Parade RVB : se présente sous la forme de trois oscilloscopes simultanés affichant respectivement les composantes rouge, vert et bleu de la vidéo. Les formes d’onde sont de couleur rouge, verte et bleue afin d’être facilement identifiables. L’instrument Parade RVB est utile pour comparer les niveaux relatifs de rouge, de vert et de bleu de deux plans. Si un plan comporte plus de bleu qu’un autre, l’oscilloscope affiche une forme d’onde bleue élevée pour le plan contenant plus de bleu et une forme d’onde bleue en creux pour l’autre plan. Chapitre 13 Étalonnage 389 •• Incrustation RVB : associe les formes d’onde pour les composantes de couleur rouge, verte et bleue d’un affichage. •• Rouge : affiche uniquement le canal de couleur rouge. •• Vert : affiche uniquement le canal de couleur verte. •• Bleu : affiche uniquement le canal de couleur bleue. •• Luminance : affiche uniquement la composante de luminance de la vidéo. •• Colorimétrie : affiche uniquement la composante de colorimétrie de la vidéo et affiche des couleurs correspondant à celles de la vidéo. Chapitre 13 Étalonnage 390 •• Parade Y’CbCr : présente trois affichage de forme d’onde l’un à côté de l’autre pour la luminance, le Cb (le canal de différence de couleur des nuances bleues) et le Cr (le canal de différence de couleur des nuances rouges). Les formes d’onde sont teintées en blanc (luminance), en magenta (pour le Cb) et en jaune (pour le Cr) afin d’identifier facilement chaque composant. •• IRE : affiche la plage du signal vidéo en unités IRE. •• Millivolts : affiche la plage du signal vidéo en millivolts. •• Guides : active ou désactive la grille de l’oscilloscope et les valeurs numériques. •• Monochrome : réduit l’intensité et désature l’affichage de l’instrument pour empêcher les distractions visuelles et les problèmes de perception des couleurs dans votre suite de finalisation des couleurs. •• Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument. Options d’affichage du vecteurscope Le vecteurscope indique la distribution de la couleur dans votre image sur une échelle circulaire. La couleur de votre vidéo est représentée par un ensemble de points reliés qui se trouvent dans cette échelle. L’angle autour de l’échelle correspond à la teinte affichée, tandis que les cibles indiquent les couleurs primaires (rouge, vert et bleu) et secondaires (jaune, cyan et magenta). La distance entre le centre de l’échelle et l’anneau externe représente la saturation de la couleur affichée. Le centre de l’échelle correspond à une saturation nulle, l’anneau externe à une saturation maximale. Chapitre 13 Étalonnage 391 Le vecteurscope permet de connaître la teinte et l’intensité des différentes couleurs de l’image. Lorsque vous saurez identifier les couleurs de vos plans sur le vecteurscope, vous serez en mesure d’identifier les points de divergence de deux images et de les corriger afin de les harmoniser autant que possible. Le menu local Réglages dans le coin supérieur droit du vecteurscope fournit de nombreuses options d’affichage : •• 100 % : définit le niveau de colorimétrie de référence pour les cibles des mires (les carrés représentant chaque couleur dans un signal de test de couleur standard) sur une colorimétrie saturée à 100 %. Utilisez cette option lorsque votre média source utilise des mires de 100 pour cent comme référence. •• 133% : définit le niveau de colorimétrie de référence pour les cibles des mires sur une colorimétrie saturée à 75 %. Utilisez cette option lorsque votre média source utilise des mires de 75 pour cent comme référence. •• Vecteur : utilise un niveau de teinte de colorimétrie normal, le rouge étant situé dans la partie supérieure. •• Mark3 : utilise un niveau de teinte de colorimétrie à 90 degrés, le rouge étant situé sur le côté droit. •• Afficher/masquer l’indicateur de teinte de peau : affiche ou masque la diagonale qui représente la colorimétrie de teinte de la peau humaine, qui se situe entre les cibles de mires jaune et rouge. •• Monochrome : réduit l’intensité et désature l’affichage de l’instrument pour empêcher les distractions visuelles et les problèmes de perception des couleurs dans votre suite de finalisation des couleurs. •• Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument. Options d’affichage de l’histogramme L’histogramme fournit une analyse statistique de l’image en calculant le nombre total de pixels de chaque couleur ou le niveau de luminance, et en créant un graphique qui reprend le nombre de pixels à chaque pourcentage de luminance ou de couleur. Chaque unité incrémentielle de l’échelle de gauche à droite représente un pourcentage de luminance ou de couleur, et la hauteur de chaque segment du graphique de l’histogramme indique le nombre de pixels correspondant à ce pourcentage. Chapitre 13 Étalonnage 392 Le menu local Réglages dans le coin supérieur droit de l’histogramme fournit de nombreuses options d’affichage : •• Luminance : affiche uniquement la composante de luminance de la vidéo. La hauteur du graphique de chaque degré de l’échelle représente le nombre de pixels de l’image pour ce pourcentage de luminance, par rapport à toutes les autres valeurs. Par exemple, si une image comporte peu de tons clairs, l’histogramme affiche un grand groupe de valeurs dans les tons intermédiaires. À l’aide de l’histogramme de luminance, vous pouvez rapidement comparer la luminance de deux plans afin d’harmoniser les noirs, les tons intermédiaires et les blancs. La forme de l’histogramme permet également de déterminer le contraste dans une image. Une image à faible contraste affiche un groupe de valeurs concentré sur le centre du graphique. À titre de comparaison, une image au contraste extrêmement élevé affiche une distribution plus répartie des valeurs sur toute la largeur du graphique. •• Incrustation RVB : associe les formes d’onde pour les composantes de couleur rouge, verte et bleue d’un affichage. Si l’image étudiée présente des niveaux équivalents de deux couleurs ou plus, la couleur associée apparaît : •• Des niveaux équivalents de vert et de bleu apparaissent comme du cyan. •• Des niveaux équivalents de vert et de rouge apparaissent comme du jaune. •• Des niveaux équivalents de rouge et de bleu apparaissent comme du magenta. •• Des niveaux équivalents de rouge, de vert et de bleu apparaissent comme du gris. Chapitre 13 Étalonnage 393 •• Parade RVB : Présente trois graphiques qui affichent votre vidéo sous la forme de composantes séparées de rouge, de vert et de bleu. Les formes d’onde sont de couleur rouge, verte et bleue afin d’être facilement identifiables. Vous pouvez utiliser la présentation Parade RVB pour comparer la répartition relative de chaque canal de couleur sur la plage de couleurs globale de l’image. Par exemple, les images avec une dominante de couleur rouge présente soit un graphique rouge largement plus élevé, soit des graphiques vert et bleu plus faibles. •• Rouge : affiche uniquement le canal de couleur rouge. •• Vert : affiche uniquement le canal de couleur verte. •• Bleu : affiche uniquement le canal de couleur bleue. •• Luminosité : définit la luminosité ou l’obscurité relative de l’affichage de l’instrument. 14 394 Présentation du partage de projets Final Cut Pro fournit un grand nombre de destinations, c’est-à-dire de réglages d’exportation préconfigurés, que vous pouvez utiliser pour générer la sortie de votre projet ou plan. Par exemple, vous pouvez exporter un projet ou un plan sous forme de séquence QuickTime, l’exporter en vue de son visionnage sur des dispositifs Apple tels que l’iPhone et l’iPad, le publier sur des sites web comme Facebook et YouTube, ou encore le graver sur disque. Chacune de ces options fait appel à une destination différente. Lorsque vous ouvrez Final Cut Pro pour la première fois, un ensemble de destinations par défaut apparaît dans le sous-menu Partager du menu Fichier et dans le menu local Partager. Les détails sur chaque destination de l’ensemble par défaut sont répertoriés dans le tableau ci-dessous. Destination Permet de DVD Graver votre projet sur un DVD en définition standard. Fichier original (par défaut) Exporter un projet en tant que fichier de séquence QuickTime. La destination du fichier original est celle par défaut. Vous pouvez l’ouvrir en appuyant sur Commande + E. YouTube Vimeo Facebook Publier le projet à travers un compte sur un de ces sites web. Partage de votre projet Chapitre 14 Partage de votre projet 395 Destination Permet de Dispositifs Apple 720p Exporter des fichiers pour l’iPhone et l’iPod. Dispositifs Apple 1080p Exporter des fichiers pour l’iPad. Vous avez la possibilité de remplacer en toute simplicité l’ensemble par défaut de destinations par vos propres destinations personnalisées. Pour modifier des destinations et en créer, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Il vous est également possible de créer un lot de destinations pour exporter plusieurs types de sortie en une seule fois. Pour en savoir plus, consultez Utilisation de destinations à la page 447. Pour personnaliser davantage votre sortie, vous pouvez faire appel à Compressor, l’application professionnelle de transcodage. Pour en savoir plus, consultez Exportation d’un projet par le biais de Compressor à la page 403. Partage de projets, de plans et de plages Vous pouvez partager un projet ou un plan, en entier ou en partie (dans ce dernier cas, la section est indiquée par une sélection de plage). Il vous est également possible de partager les rôles d’un projet, en exportant chaque rôle sous forme de stem à part. Si vous comptez par la suite exporter les mêmes rôles d’un projet ou plan à un autre, vous pouvez enregistrer vos réglages sous forme de préréglage. Dans la mesure où le transcodage nécessaire pour créer le fichier partagé se réalise en arrière-plan, vous pouvez continuer à travailler sur vos projets dans Final Cut Pro après le partage. (N’oubliez pas que les modifications que vous apportez à un projet après que le processus de transcodage a commencé ne sont pas prises en compte dans les fichiers en sortie.) Partage d’un projet, d’un plan ou d'une plage 1 Procédez de l’une des manières suivantes : •• Sélectionnez un projet dans la bibliothèque de projets. •• Sélectionnez un plan dans le navigateur d’événements. •• Sélectionnez une plage dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements. 2 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Partager, puis une destination dans le sous-menu. Chapitre 14 Partage de votre projet 396 •• Cliquez sur le bouton Partager dans la barre d’outils, puis choisissez une destination dans le menu local. 3 Dans la fenêtre qui s’affiche, procédez comme suit : Placez le pointeur sur l’image pour survoler la vidéo.Attributs du projetInformations sur le fichier •• Placez le pointeur sur l’image pour survoler la vidéo. •• Dans la fenêtre Infos de droite, visualisez et modifiez les attributs du projet ou du plan, tels que le titre et la description. Important : Par défaut, le champ de titre répertorie le nom du projet ou du plan. La modification du titre n’entraîne pas celle du nom du projet ou du plan correspondant, qui reste celui utilisé pour le fichier exporté. Tous les attributs associés au projet ou au plan sont ainsi inclus dans le fichier généré en sortie. Vous pouvez modifier les attributs qui apparaissent dans la fenêtre Infos. Pour en savoir plus, consultez Modification des attributs de partage à la page 400. •• Les informations relatives au fichier à exporter sont reprises en bas de la fenêtre et mentionnent notamment la taille d’image et la fréquence d’images, les canaux audio et l’échantillonnage, le type de fichier en sortie et la taille du fichier. Chapitre 14 Partage de votre projet 397 Pour certaines destinations, vous pouvez afficher la liste des appareils capables de reproduire le fichier exporté. Pour afficher les appareils compatibles, placez le pointeur sur l’icône Compatibilité située dans le coin inférieur droit. Placez le pointeur sur l’icône pour afficher les appareils compatibles. 4 Pour afficher les réglages de la destination, cliquez sur Réglages. Ceux-ci s’affichent dans la fenêtre homonyme. Au besoin, modifiez les réglages de la destination. Remarque : Si vous modifiez les réglages de la destination, les modifications sont alors enregistrées comme réglages par défaut pour la destination. Pour en savoir plus, consultez Préférences de destinations à la page 441. 5 Cliquez sur Partager ou sur Suivant. Le bouton qui s’affiche s’adapte en fonction de la destination choisie. Si vous cliquez sur Suivant, attribuez un nom au fichier, choisissez un emplacement où l’enregistrer, puis cliquez sur Enregistrer. Il vous est possible de contrôler la progression du transcodage dans la fenêtre Tâches en arrière-plan, puis continuer à travailler dans Final Cut Pro pendant le transcodage du fichier. Une fois le transcodage terminé, le fichier résultant s’ouvre dans l’application indiquée dans le menu local « Ouvrir avec » de la fenêtre Réglages, est enregistré à l’emplacement choisi ou, si vous avez utilisé une destination web, est téléchargé sur le site web. Vous pouvez afficher et retrouver les projets partagés dans l’inspecteur de partage. Pour en savoir plus, consultez Accès, annonce et affichage de l’emplacement des projets partagés à la page 405. Remarque : Si vous avez ajouté des marqueurs de chapitre à votre projet, leurs vignettes sont alors placées à l’emplacement qui convient au moment du partage sur disque (DVD et Blu-ray) et aux formats M4V, QuickTime et MP4 (en cas de lecture dans iTunes, QuickTime Player et sur des dispositifs Apple). Pour en savoir plus, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160 et , à l'adresse http://help.apple.com/compressor. Chapitre 14 Partage de votre projet 398 Partage des rôles sous forme de fichiers à part Vous pouvez exporter un ou plusieurs rôles d’un projet ou d’un plan sous forme de stems. Par exemple, vous pouvez exporter les effets de dialogue, de musique et sonores à partir d’un projet sous forme de fichiers de média distincts en attribuant des rôles aux effets de dialogue, de musique et sonores puis en exportant ces rôles. Vous pouvez exporter des rôles sous forme soit d’un fichier QuickTime multipiste combiné, soit de fichiers audio ou vidéo séparés. Vous pouvez en outre attribuer une sortie mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus, consultez Présentation des rôles à la page 310. 1 Procédez de l’une des manières suivantes : •• Sélectionnez un projet dans la bibliothèque de projets. •• Sélectionnez un plan dans le navigateur d’événements. •• Sélectionnez une plage dans un projet dans la timeline ou dans un plan situé dans le navigateur d’événements. 2 Choisissez Fichier > Fichier master (ou cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Fichier master dans le menu local). Remarque : Vous pouvez également choisir une autre destination que vous avez créée en fonction du fichier master ou de la destination Exporter le fichier. 3 Cliquez sur le bouton Réglages, puis indiquer les réglages suivants : •• Format : Choisissez un format de masterisation (Vidéo et audio, Vidéo seulement, Audio seulement). •• Codec vidéo : le codec source est repris par défaut. En fonction de votre média source, il vous est possible de choisir un autre codec. •• Résolution : la résolution (d’après le métrage source) est fournie. En fonction de votre média source, il vous est possible de choisir une autre résolution. •• Formats de fichiers audio : le format source est répertorié par défaut. En fonction de votre média source, il vous est possible de choisir un autre format audio. •• Inclure les marqueurs de chapitre : cochez la case pour inclure les marqueurs de chapitre avec le ou les fichiers exportés. •• Ouvrir avec : choisissez l’opération que vous souhaitez voir s’exécuter une fois l’exportation terminée. 4 Dans le menu local « Rôles en tant que », choisissez les rôles à exporter. Remarque : Les options proposées dans ce menu local s’adaptent en fonction de votre sélection dans les menus locaux Format et Format de fichier audio. •• Séquence QuickTime : exporte l’intégralité des rôles inclus dans le projet sous forme de séquence QuickTime unique. Si vous choisissez cette option, ignorez l’étape 5. •• Rôles en tant que séquence QuickTime multipiste : exporte les rôles précisés sous forme de séquence QuickTime unique. •• Rôles en tant que fichiers séparés : exporte chacun des rôles vidéo et audio indiqués en tant que fichiers séparés. •• Rôles vidéo uniquement en tant que fichiers séparés : exporte chacun des rôles vidéo indiqués en tant que fichiers séparés. •• Rôles audio uniquement en tant que fichiers séparés : exporte chacun des rôles audio indiqués en tant que fichiers séparés. Chapitre 14 Partage de votre projet 399 5 Pour spécifier les rôles à exporter, effectuez l’une des opérations suivantes : •• Pour ajouter un rôle aux fichiers à exporter : cliquez sur Ajouter un fichier vidéo ou Ajouter un fichier audio, puis choisissez un rôle dans le menu local. Si vous ajoutez un rôle audio, vous pouvez également choisir le format de canaux à donner au rôle (Mono, Stéréo ou Surround). Pour en savoir plus, consultez Configuration des canaux audio à la page 176. Si vous avez choisi « Rôles en tant que séquence QuickTime multi-pistes » dans le menu local « Rôles en tant que », le bouton « Ajouter un fichier vidéo » est estompé. •• Pour supprimer un rôle des fichiers à exporter : placez le pointeur sur le rôle à supprimer, puis cliquez sur le bouton Supprimer (–) affiché à droite du menu local. Ces rôles seront exportés. 6 Cliquez sur Suivant, attribuez un nom au fichier, choisissez un emplacement où l’enregistrer, puis cliquez sur Enregistrer. Il vous est possible de contrôler la progression du transcodage dans la fenêtre Tâches en arrière-plan, puis continuer à travailler dans Final Cut Pro pendant le transcodage du fichier. Une fois le transcodage terminé, le fichier résultant s’ouvre dans l’application indiquée dans le menu local « Ouvrir avec » de la fenêtre Réglages ou est enregistré à l’emplacement choisi. Vous pouvez afficher et retrouver les projets partagés dans l’inspecteur de partage. Pour en savoir plus, consultez Accès, annonce et affichage de l’emplacement des projets partagés à la page 405. Enregistrement d’un préréglage personnalisé Après avoir créé une liste personnalisée de rôles à partager, vous pouvez l’enregistrer en tant que préréglage personnalisé. 1 Configurez vos options de partage en suivant les instructions reprises ci-dessus dans la section « Partage des rôles sous forme de fichiers à part ». 2 Dans le menu local « Rôles en tant que », effectuez l’une des opérations suivantes : •• Pour enregistrer un nouveau préréglage : choisissez Enregistrer sous, attribuez un nom au préréglage, puis cliquez sur Enregistrer. Chapitre 14 Partage de votre projet 400 •• Pour enregistrer un préréglage que vous avez modifié : choisissez Enregistrer. •• Pour enregistrer un préréglage en tant que nouveau préréglage : choisissez Enregistrer sous, attribuez un nom au préréglage, puis cliquez sur Enregistrer. •• Pour renommer un préréglage : choisissez Renommer, attribuez un nouveau nom au préréglage, puis cliquez sur Enregistrer. Remarque : Le mot « modifié » apparaît à la suite des noms des préréglages personnalisés que vous avez modifiés. Les préréglages personnalisés que vous créez apparaissent en bas du menu local « Rôles en tant que ». Les préréglages personnalisés sont enregistrés dans le dossier /Utilisateurs/nom_utilisateur/Séquences/Final Cut Events/Export Presets/. Suppression d’un préréglage personnalisé Vous pouvez supprimer les préréglages personnalisés que vous avez créés. 1 Sélectionnez un projet ou plan, cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Fichier master dans le menu local. 2 Dans la fenêtre Partager, cliquez sur le bouton Réglages et, dans le menu local « Rôles en tant que », choisissez le préréglage personnalisé à supprimer. Les préréglages personnalisés sont répertoriés en bas du menu local. Après avoir choisi un préréglage, une coche apparaît en regard de son nom. 3 Dans le menu local « Rôles en tant que », choisissez Supprimer. Modification des attributs de partage Les attributs de partage représentent des métadonnées de projet et de plan, inclus avec les fichiers exportés. Vous pouvez afficher et modifier les attributs partagés dans l’inspecteur de partage. Champs d’attributs Chapitre 14 Partage de votre projet 401 Affichage et modification des attributs de partage pour un plan ou un projet 1 Sélectionnez un plan ou un projet. 2 Pour ouvrir l’inspecteur de partage, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton Partage situé en haut de la fenêtre qui s’affiche. 3 Si les attributs de la sélection ne s’affichent pas, placez le pointeur sur Attributs, puis cliquez sur Afficher. Cliquez sur Afficher. 4 Saisissez le nouveau texte dans le champ d’un attribut. Si vous saisissez un mot ou une expression ayant été défini en tant qu’attribut, ce dernier (un mot ou une expression dans une bulle bleue) apparaît après la fin de la saisie. Champs d’attributs Modification des champs d’attribut affichés dans l’inspecteur de partage 1 Sélectionnez un plan ou un projet. 2 Ouvrez l’inspecteur de partage. Chapitre 14 Partage de votre projet 402 L’inspecteur de partage contient un menu local vous permettant de personnaliser les champs d’attributs. Cliquez pour afficher les options permettant la personnalisation des champs d’attributs. 3 À l’aide du menu local Attributs, effectuez l’une des opérations suivantes : •• Pour ajouter un champ d’attribut : cochez la case du nom de champ. Les champs portant une coche s’affichent dans l’inspecteur de partage et sont exportés avec votre plan ou projet. Les champs qui s’affichent dans l’inspecteur de partage présentent une coche. •• Pour supprimer un champ d’attribut : décochez la case du nom de champ. •• Pour n’afficher que les champs d’attributs Final Cut Pro par défaut : choisissez Afficher les champs par défaut. Choisir cette option entraîne l’affichage des seuls champs Titre, Description, Créateur et Mots-clés. Important : Les champs par défaut ne peuvent pas être supprimés. •• Pour enregistrer les champs d’attributs sélectionnés comme ensemble par défaut : choisissez Enregistrer comme réglages par défaut. •• Pour afficher votre ensemble par défaut de champs d’attributs : choisissez Mettre à jour aux valeurs par défaut. Modification automatique des attributs affichés dans un champ de l’inspecteur de partage Vous pouvez définir les attributs qui apparaissent automatiquement dans un champ d’attribut. 1 Dans l’inspecteur de partage, choisissez « Modifier les champs de partage » dans le menu local Attributs. Chapitre 14 Partage de votre projet 403 2 Dans la fenêtre qui s’affiche, sélectionnez un champ d’attribut dans la liste de gauche. Les attributs affectés au champ sélectionné s’affichent dans le champ Format. Sélectionnez un champ d’attribut.Champ FormatLes options pour le champ apparaissent au milieu de la fenêtre. 3 Pour modifier le champ d’attribut sélectionné, effectuez l’une des opérations suivantes : •• Pour ajouter un attribut : faites glisser un attribut (un mot ou une expression dans une bulle bleue) du milieu de la fenêtre sur le champ Format. Vous avez également la possibilité de saisir le nom de l’attribut dans le champ. •• Pour ajouter du texte : saisissez un mot ou une expression dans le champ Format situé dans la partie supérieure de la fenêtre. •• Pour créer un attribut de nom personnalisé : saisissez un mot ou une expression dans le champ Nom personnalisé en bas de la fenêtre, puis faites glisser l’attribut Nom personnalisé sur le champ Format. Conseil : Dans la mesure où l’attribut de nom personnalisé apparaît dans le champ Format sous l’appellation « Nom personnalisé », vous pouvez l’utiliser pour des expressions ou des phrases longues tout en pouvant consulter facilement les autres attributs et texte dans le champ Format. •• Pour supprimer un attribut ou texte : sélectionnez l’attribut ou texte et appuyez sur Supprimer. Lors de l’ajout et de la suppression des attributs, l’exemple (repris sous le champ Format) s’actualise d’après vos modifications. 4 Lorsque vous avez fini, cliquez sur OK. Exportation d’un projet par le biais de Compressor Les destinations proposées dans Final Cut Pro offrent de nombreuses options pour l’exportation de projets et de plans. Si vous avez besoin de plus amples options, vous pouvez faire appel à Compressor, l’application professionnelle de transcodage conçue pour fonctionner directement avec Final Cut Pro, pour créer des réglages d’exportation hautement personnalisés. Par exemple, les commandes de redimensionnement et de resynchronisation de Compressor vous permettent de procéder à des réglages très fins de la taille d’image et de la fréquence d’images dans vos fichiers de sortie. Chapitre 14 Partage de votre projet 404 Envoi d’un projet à Compressor 1 Sélectionnez un projet dans la bibliothèque de projets, un plan dans le navigateur d’événements ou une plage dans un projet ou plan. 2 Choisissez Fichier > Envoyer à Compressor. Remarque : La commande Envoyer à Compressor est estompée si Compressor n’est pas installé sur le même ordinateur que Final Cut Pro. Compressor s’ouvre sur un nouveau lot contenant une tâche avec le média du projet ou du plan. 3 Configurez la tâche en ajoutant les réglages nécessaires, puis cliquez sur Soumettre. Pour en savoir plus sur la configuration des tâches et des réglages, consultez l’. Aide Compressor à l'adresse http://help.apple.com/compressor. État des projets partagés Présentation de l’état de projets partagés Lorsque vous publiez ou partagez votre projet par le biais de l’une des options de partage, une icône de partage apparaît dans la timeline et dans la bibliothèque de projets pour indiquer que le projet est publié. Icône de partage Icône de partage Vous pouvez cliquer sur l’icône reprise dans la bibliothèque de projets pour ouvrir l’inspecteur de partage. L’inspecteur de partage affiche où et quand le projet est publié, et prévoit également un menu local composé de commandes complémentaires pour les options de partage prenant en charge ces commandes. Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé. Chapitre 14 Partage de votre projet 405 Si vous apportez des modifications au projet, un symbole apparaît en regard de l’icône de partage, ce qui indique que le projet a été modifié depuis son dernier partage. L’icône indique que le projet a été modifié après sa dernière publication. Accès, annonce et affichage de l’emplacement des projets partagés Vous pouvez passer par les options présentes dans l’inspecteur de partage pour ouvrir un projet partagé sur une destination web ou pour envoyer un courrier électronique annonçant la mise en ligne du projet. Il vous est également possible de localiser le fichier d’un projet partagé dans le Finder. Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé. Ouverture de l’inspecteur de partage mm Cliquer sur l’icône de partage relative au projet, présente dans la bibliothèque de projets. Icône de partage Affichage du projet à son emplacement de partage mm Dans l’inspecteur de partage, choisissez Visiter dans le menu local de l’élément partagé. Remarque : Tous les éléments partagés ne disposent pas d’un menu local. Création d’un courrier électronique pour annoncer le partage d’un projet 1 Dans l’inspecteur de partage, choisissez « Recommander à un ami » dans le menu local de l’élément partagé. Remarque : Tous les éléments partagés ne disposent pas d’un menu local. 2 Dans Mail, adaptez le courrier électronique généré selon vos besoins, puis cliquez sur Envoyer. Celui-ci mentionne un lien vers le projet publié et un titre. Chapitre 14 Partage de votre projet 406 Localisation d’un projet partagé dans le Finder Dans l’inspecteur de partage, procédez de l’une des manières suivantes : mm Si le projet a été partagé une fois et qu’un seul élément partagé s’affiche : Cliquez sur l’icône de loupe. mm Si le projet a été partagé plusieurs fois : cliquez sur Afficher pour visualiser les éléments partagés, puis sur l’icône de la loupe pour l’élément à retrouver. Remarque : Tous les éléments partagés ne disposent pas d’une icône représentant une loupe. Pour en savoir plus sur les fichiers partagés, consultez Emplacement de vos fichiers de média et de projet à la page 407. Suppression de projets partagés Il se peut que vous soyez amené à supprimer un projet partagé de son site web ou autre cible finale. Dans certains cas, Final Cut Pro peut être en mesure de le supprimer automatiquement ; dans d’autres, il se peut que vous deviez le faire manuellement. Mais dans tous les cas de figure, le projet doit être mis à jour afin qu’il n’indique plus qu’il est partagé sur la cible. Suppression d’un film de sa cible 1 Ouvrez l’inspecteur de partage en cliquant sur l’icône de partage du projet, présente dans la bibliothèque de projets. 2 Dans l’inspecteur de partage, choisissez Supprimer dans le menu local de l’élément partagé. Cliquez sur cette flèche pour ouvrir le menu local de l’élément partagé. Une fenêtre propose alors les options de l’élément partagé en question. Remarque : Tous les éléments partagés ne disposent pas d’un menu local. 3 En fonction des options présentent dans la fenêtre, procédez de l’une des manières suivantes : •• Pour que Final Cut Pro supprime le projet de la destination, saisissez votre mot de passe pour le site web que vous avez partagé, puis cliquez sur OK. •• Supprimez le projet manuellement de la cible, puis cliquez sur Terminé. Remarque : Pour supprimer un film de CNN iReport, vous devez contacter le site web pour demander la suppression du film. L’état de publication de l’élément partagé est alors supprimé du projet. 15 407 Présentation de la gestion de média De manière générale, toute tâche relative au traitement de vos fichiers de média est considérée comme de la gestion de média. La gestion de média comprend les éléments présentés ci-dessous : •• l’importation de média depuis des caméras, des disques de stockage externe ou tout autre dispositif – Consultez Présentation de l’importation à la page 21. •• Le transcodage de vos fichiers de média source dans des formats, optimisés ou proxy, en haute qualité et pratiques à manipuler. Consultez Transcodage des fichiers de média à la page 415. •• la sauvegarde, la consolidation et le déplacement de projets – Consultez Avant de déplacer ou de copier des événements et des projets à la page 419. •• la création d’archives de caméra – Consultez Création et gestion des archives de caméra à la page 429. •• la reconnexion de plans à des fichiers de média – Consultez Reconnexion de plans à des fichiers de média à la page 410. Certaines de ces tâches peuvent être accomplies dans Final Cut Pro, d’autres dans le Finder et certaines requièrent des manipulations aussi bien dans Final Cut Pro que dans le Finder. Emplacement de vos fichiers de média et de projet Lorsque vous créez un événement ou un projet, les dossiers de ce nouvel élément sont placés dans l’un des deux emplacements détaillés ci-dessous. •• Si le nouvel événement ou le nouveau projet se trouve sur votre système : les dossiers se trouvent dans le dossier Séquences de votre répertoire de départ (/Utilisateurs/nom d’utilisateur/Séquences/). Il s’agit de l’emplacement par défaut pour vos fichiers Final Cut Pro. •• Si le nouvel événement ou le nouveau projet est situé sur un périphérique de stockage externe connecté : les dossiers sont placés au niveau principal, la racine, de votre dispositif. Gestion des fichiers de média Chapitre 15 Gestion des fichiers de média 408 •• Si le nouvel événement ou le nouveau projet est enregistré sur un périphérique de stockage connecté à un réseau local : les dossiers peuvent se trouver sur n’importe quel dossier que vous avez ajouté à partir d’un réseau de stockage SAN. Lorsque vous créez un événement sur votre système local, un dossier est créé pour cet événement : /Utilisateurs/nom d’utilisateur/Séquences/Final Cut Events/nom de l’événement/ Le dossier [nom de l’événement] peut contenir un ou plusieurs des éléments présentés ci-dessous. Le contenu de ces dossiers varie en fonction des options sélectionnées lors de l’importation ou dans les préférences Importation. Ces fichiers sont utilisés et gérés par Final Cut Pro et ne doivent par conséquent pas êtres déplacés, modifiés ou supprimés. •• Fichier d’événement : Les fichiers d’événements de Final Cut Pro portent le nom de CurrentVersion.fcpevent. •• Fichiers d’analyse : ce dossier contient les fichiers d’analyse associés aux fichiers de média. •• Média d’origine : ce dossier contient les fichiers originaux importés depuis votre caméra ou votre disque dur ou les fichiers alias renvoyant vers les fichiers originaux situés à un autre emplacement. •• Fichiers de rendu : ce dossier contient les fichiers de rendu associés aux fichiers de média. •• Média transcodé : si vous choisissez de créer des médias optimisés ou proxy, les fichiers transcodés créés sont placés dans ce dossier. •• Versions précédentes : si vous mettez des événements à jour pour les ouvrir avec une nouvelle version de l’application, Final Cut Pro sauvegarde d’abord des copies des événements originaux dans ce dossier. •• Copies de sauvegarde : ce dossier contient une copie de sauvegarde de chaque événement. Il s’agit uniquement d’une copie de CurrentVersion.fcpevent (le fichier d’événement) et non des fichiers de média source associés. Final Cut Pro met la copie de sauvegarde à jour toutes les 15 minutes (s’il détecte un changement dans l’événement). Cette copie de sauvegarde est automatiquement exploitable par Final Cut Pro en cas de problème, bien qu’improbable, à l’ouverture de l’événement. Chapitre 15 Gestion des fichiers de média 409 De même, lorsque vous créez un projet Final Cut Pro, un dossier est créé pour ce projet : /Utilisateurs/nom d’utilisateur/Séquences/Final Cut Projects/nom du projet/ Le dossier [nom du projet] contient les éléments détaillés ci-après. Ces fichiers sont utilisés et gérés par Final Cut Pro et ne doivent par conséquent pas êtres déplacés, modifiés ou supprimés. •• Fichier de projet : les fichiers de projet Final Cut Pro portent le nom de CurrentVersion.fcpproject. •• Fichiers de rendu : ce dossier contient les fichiers de rendu associés au projet. •• Versions précédentes : si vous mettez des projets à jour pour les ouvrir avec une nouvelle version de l’application, Final Cut Pro sauvegarde d’abord des copies des projets originaux dans ce dossier. •• Copies de sauvegarde : ce dossier contient une copie de sauvegarde de chaque projet. Il s’agit uniquement d’une copie de CurrentVersion.fcpproject (le fichier du projet) et non de fichiers de média quelconques. Final Cut Pro met la copie de sauvegarde à jour toutes les 15 minutes (s’il détecte un changement dans le projet). Cette copie de sauvegarde est automatiquement exploitable par Final Cut Pro en cas de problème, bien qu’improbable, à l’ouverture du projet. •• Éléments partagés : ce dossier contient les fichiers du projet. Conseil : Pour retrouver rapidement le fichier de média source d’un plan, sélectionnez-le puis choisissez Fichier > Afficher dans le Finder (ou appuyez sur Commande + Maj + R). Gestion de vos fichiers de média Affichage des informations relatives à un plan L’inspecteur d’informations fournit un résumé des informations relatives à un plan. Vous pouvez par conséquent y trouver des informations relatives à l’état du fichier de média d’un plan, notamment l’emplacement du fichier, ses représentations du média disponible, l’événement dans lequel le plan est situé et celui auquel il fait référence. Chapitre 15 Gestion des fichiers de média 410 Affichage des informations relatives à un plan 1 Sélectionnez un plan dans le navigateur d’événements ou dans la timeline. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Choisissez « Afficher l’état du fichier » dans le menu local Action situé dans la partie inférieure de l’inspecteur d’informations. Reconnexion de plans à des fichiers de média Dans Final Cut Pro, les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Final Cut Pro effectue automatiquement le suivi des liens entre les plans et les fichiers de média. Il se présente cependant des cas où il est nécessaire de reconnecter manuellement les plans aux fichiers de média. Des fichiers de média modifiés ou recréés en dehors de Final Cut Pro représentent un cas courant. C’est le cas par exemple si vous transférez des fichiers à étalonner, que vous recevez ensuite une nouvelle version de ces fichiers, puis que vous devez reconnecter les plans dans votre événement ou votre projet à ces nouvelles versions. La reconnexion manuelle peut aussi s’avérer nécessaire en cas de fichiers de média manquants. Par exemple, si vous déplacez ou renommez des fichiers dans le Finder, ou si vous déplacez un événement ou un projet, vous devez reconnecter les plans de l’événement ou du projet (représentés sous forme de cadres rouges dotés d’un triangle jaune évoquant un signal d’alerte) aux fichiers. Dans un cas comme dans l’autre, la reconnexion manuelle permet de pointer les plans dans Final Cut Pro vers les bons fichiers sur votre disque dur. Les métadonnées dans les plans reconnectés sont conservées. Les fichiers ainsi reconnectés peuvent avoir une résolution et un codec différents des fichiers originaux, mais doivent avoir un type de média identique. (En d’autres termes, vous ne pouvez pas reconnecter un plan vidéo à un fichier audio.) Les fichiers reconnectés doivent également présenter la même fréquence d’images et des canaux audio semblables que les fichiers originaux. Enfin, les nouveaux fichiers (reconnectés) peuvent en outre correspondre à des versions des fichiers originaux auxquels un trim a été appliqué, mais ils doivent alors avoir une durée suffisante de sorte à couvrir l’intégralité des plans se référant aux fichiers sous-jacents. Dans la mesure où la reconnexion des plans d’événements et des plans de projet se caractérise par des effets différents sur vos événements et vos projets, ceux-ci sont abordés séparément ci-dessous. Chapitre 15 Gestion des fichiers de média 411 Reconnexion de plans d’événements à des fichiers de média Si vous reconnectez des plans d’événements à des fichiers de média sur votre disque dur, tous les plans correspondants (y compris ceux inclus dans d’autres projets ou événements) sont mis à jour pour assurer la connexion avec les nouveaux fichiers de média. En d’autres termes, si vous avez utilisé un plan d’événement dans plusieurs projets (ou événements), chacun de ces projets et événements est reconnecté au nouveau fichier de média. Si les anciens fichiers se trouvent dans le dossier Média d’origine, ils sont alors placés dans la Corbeille. Cette opération est irréversible. 1 Dans le navigateur d’événements, sélectionnez les plans à reconnecter ou sélectionnez un événement entier dans la bibliothèque d’événements. 2 Choisissez Fichier > Relier les fichiers d’événement. La fenêtre Relier les fichiers s’affiche alors. Par défaut, cette fenêtre ne reprend que les plans ou les événements manquants. 3 Pour recenser tous les éléments de la sélection, sélectionnez Tous. 4 Procédez de l’une des manières suivantes : •• Pour retrouver tous les fichiers correspondants : cliquez sur Tout localiser. •• Pour localiser certains fichiers répondant aux critères : sélectionnez les éléments dans la liste, puis cliquez sur Localiser. 5 Dans la fenêtre qui s’affiche, accédez à l’un des fichiers à reconnecter ou au dossier les contenant. Chapitre 15 Gestion des fichiers de média 412 Le texte repris en bas de la fenêtre indique le nombre d’instances trouvées dans votre liste originale susceptibles de correspondre aux éléments (en s’appuyant uniquement sur le nom des fichiers). Texte indiquant le nombre de correspondances trouvées. Remarque : Final Cut Pro identifie les occurrences en fonction de leur proximité dans la structure des répertoires et de leur nom de fichier. Par exemple, si vos fichiers originaux se trouvent dans deux dossiers adjacents, Final Cut Pro recherche dans les dossiers adjacents au fichier choisi et reconnecte tous les fichiers correspondants dans le chemin d’accès relatif. Si vos fichiers originaux s’intitulent « Fichier1 », « Fichier2 », « Fichier3 », etc., et que vous avez choisi de les reconnecter à un fichier appelé « Fichier1_A », Final Cut Pro recherche alors les fichiers nommés « Fichier2_A », « Fichier3_A », etc., pour les reconnecter aux éléments restants mentionnés dans votre liste. 6 Cliquez sur Sélectionner. Final Cut Pro analyse les fichiers pour confirmer que tous les attributs (en plus du nom de fichier) correspondent à des éléments intégrant la sélection d’origine. Les résultats de l’analyse sont illustrés ci-dessous dans la liste de fichiers originaux, par exemple, « 3 sur 3 fichiers trouvés ». 7 Cliquez sur le triangle d’affichage en regard des résultats de l’analyse pour afficher la liste des fichiers anciens (repris à gauche) et les nouveaux fichiers correspondants (mentionnés à droite). Si un fichier n’est pas vraiment concordant, sélectionnez-le dans la liste et appuyez sur Supprimer. L’élément est alors replacé dans la liste d’origine en haut de la fenêtre Relier les fichiers. Chapitre 15 Gestion des fichiers de média 413 Les éléments sans autre résultat sont conservés dans la liste d’origine supérieure. Vous pouvez poursuivre et en rechercher d’autres en les sélectionnant et en répétant les étapes 4 à 6. 8 Si vous voulez dupliquer les fichiers de média correspondants pour les placer dans le dossier Final Cut Events (Événements Final Cut) sur votre ordinateur, cochez la case « Copier les fichiers dans le dossier Final Cut Events ». 9 Pour connecter les plans d’événements aux nouveaux fichiers de média, cliquez sur Relier les fichiers. Tous les plans correspondants (y compris ceux inclus dans d’autres projets ou événements) sont mis à jour pour assurer la connexion avec les nouveaux fichiers de média. Reconnexion de plans de projet à des fichiers de média Contrairement à la reconnexion de plans d’événements, la reconnexion des plans de projet à des fichiers de média sur votre disque dur se limite à la mise à jour des plans dans le projet sélectionné. Les nouveaux plans sont ajoutés à l’événement par défaut du projet en cours. Cette opération est irréversible. 1 Dans la timeline, sélectionnez les plans à reconnecter ou un projet dans la bibliothèque de projets. 2 Choisissez Fichier > Relier les fichiers de projet. La fenêtre Relier les fichiers s’affiche alors. Par défaut, cette fenêtre ne reprend que les plans manquants. 3 Pour recenser tous les éléments de la sélection, sélectionnez Tous. 4 Procédez de l’une des manières suivantes : •• Pour retrouver tous les fichiers correspondants : cliquez sur Tout localiser. •• Pour localiser certains fichiers répondant aux critères : sélectionnez les éléments dans la liste, puis cliquez sur Localiser. Chapitre 15 Gestion des fichiers de média 414 5 Dans la fenêtre qui s’affiche, accédez à l’un des fichiers à reconnecter ou au dossier les contenant. Le texte repris en bas de la fenêtre indique le nombre d’instances trouvées dans votre liste originale susceptibles de correspondre aux éléments (en s’appuyant uniquement sur le nom des fichiers). Texte indiquant le nombre de correspondances trouvées. Remarque : Final Cut Pro identifie les occurrences en fonction de leur proximité dans la structure des répertoires et de leur nom de fichier. Par exemple, si vos fichiers originaux se trouvent dans deux dossiers adjacents, Final Cut Pro recherche dans les dossiers adjacents au fichier choisi et reconnecte tous les fichiers correspondants dans le chemin d’accès relatif. Si vos fichiers originaux s’intitulent « Fichier1 », « Fichier2 », « Fichier3 », etc., et que vous avez choisi de les reconnecter à un fichier appelé « Fichier1_A », Final Cut Pro recherche alors les fichiers nommés « Fichier2_A », « Fichier3_A », etc., pour les reconnecter aux éléments restants mentionnés dans votre liste. 6 Cliquez sur Sélectionner. Final Cut Pro analyse les fichiers pour confirmer que tous les attributs (en plus du nom de fichier) correspondent à des éléments intégrant la sélection d’origine. Les résultats de l’analyse sont illustrés ci-dessous dans la liste de fichiers originaux, par exemple, « 4 sur 4 fichiers trouvés ». 7 Cliquez sur le triangle d’affichage en regard des résultats de l’analyse pour afficher la liste des fichiers anciens (repris à gauche) et les nouveaux fichiers correspondants (mentionnés à droite). Chapitre 15 Gestion des fichiers de média 415 Si un fichier n’est pas vraiment concordant, sélectionnez-le dans la liste et appuyez sur Supprimer. L’élément est alors replacé dans la liste d’origine en haut de la fenêtre Relier les fichiers. Les éléments sans autre résultat sont conservés dans la liste d’origine supérieure. Vous pouvez poursuivre et en rechercher d’autres en les sélectionnant et en répétant les étapes 4 à 6. 8 Pour connecter les plans de projet aux nouveaux fichiers de média, cliquez sur Relier les fichiers. Seuls les plans inclus dans le projet en cours sont mis à jour et reconnectés aux nouveaux fichiers de média. Les nouveaux plans sont ajoutés à l’événement par défaut du projet. Tous les autres événements et projets sont conservés tels quels. Transcodage des fichiers de média Final Cut Pro peut reproduire de nombreux formats de médias. Consultez Formats de média pris en charge à la page 45 pour en retrouver la liste complète. Final Cut Pro fournit aussi des options pour le transcodage de votre média en le convertissant dans un autre format ou en modifiant ses réglages. •• Créer un média optimisé : cette option transcode la vidéo au format de codec Apple ProRes 422, lequel assure de meilleures performances lors du montage, des temps de rendu réduits et une qualité colorimétrique supérieure lors du compositing. Si le format original de la caméra peut être monté en offrant de bons résultats, cette option est estompée. •• Créer un média proxy : cette option entraîne la création de fichiers proxy vidéo et d’images fixes. vidéo transcodée au format du codec Apple ProRes 422 (Proxy), qui offre des fichiers de haute qualité, utiles pour le montage déconnecté en respectant la taille, la fréquence et la proportion d’image originales. Final Cut Pro crée des versions proxy (dans la moitié de la résolution) de qualité moyenne pour améliorer les performances lors du montage. Les fichiers vidéo proxy occupent sensiblement moins d’espace disque, vous offrant souvent la possibilité de travailler sur un ordinateur portable même si celui-ci dispose d’une mémoire et de prestations inférieures à celles d’un ordinateur de bureau. Les images fixes sont transcodées en fichiers JPEG (si le fichier original ne contient pas d’informations de canal alpha) ou PNG (dans le cas contraire). Les fichiers proxy d’images fixes assurent un traitement et un rendu plus rapides lorsque l’image d’origine s’avère volumineuse. Remarque : Pour de meilleures performances d’importation et de lecture, Final Cut Pro transcode automatiquement tous les fichiers audio MP3 en fichiers audio WAV. Lors du transcodage de fichiers, Final Cut Pro conserve toujours le média original en vue de son utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de média originaux, de média proxy et de média transcodés, consultez Emplacement de vos fichiers de média et de projet à la page 407. Vous pouvez également créer des médias optimisés et proxy lors de la procédure d’importation ou une fois le média importé à l’aide du navigateur d’événements. Il vous est aussi possible de créer un fichier proxy pour un plan à l’aide de l’inspecteur d’informations. Une fois le transcodage terminé, les fichiers sont enregistrés dans le dossier de l’événement approprié. Consultez Emplacement de vos fichiers de média et de projet à la page 407 pour en savoir plus. Le réglage de lecture sélectionné dans les préférences Montage de Final Cut Pro définit si Final Cut Pro utilise un média proxy, votre média original ou un média optimisé lors de la lecture. Consultez Modification du nom et des propriétés d’un projet à la page 89 pour en savoir plus. Chapitre 15 Gestion des fichiers de média 416 Transcodage de fichiers de média lors de l’importation Lors de l’importation, Final Cut Pro crée un fichier alias qui redirige sur l’emplacement original du fichier de média ou une copie du fichier de média original. Une fois les fichiers importés, le transcodage, l’optimisation et l’analyse s’exécutent à l’arrière-plan. 1 Procédez de l’une des manières suivantes : •• Pour importer un fichier à partir d’un enregistrement à système de fichier compatible ou d’un périphérique de stockage, ou à partir de votre disque dur : branchez le dispositif sur votre ordinateur, allumez-le, choisissez Fichier > Importer > Média (ou appuyez sur Commande + I), accédez au média à importer et sélectionnez-le, puis cliquez sur Importer. •• Pour importer un fichier à partir d’un caméscope à bande : connectez l’appareil à votre ordinateur, allumez-le et réglez-le sur le mode VTR ou VCR. Choisissez ensuite Fichier > Importer > Média, puis cliquez sur Importer. •• Pour importer des fichiers à partir d’une archive : Choisissez Fichier > Importer > Média. Sélectionnez ensuite une archive de caméra dans la liste de gauche, cliquez sur Ouvrir une archive et localisez les fichiers que vous souhaitez importer. Cliquez enfin sur Importer. 2 Dans la fenêtre qui apparaît, choisissez comment vous voulez organiser les médias importés dans votre bibliothèque d’événements : •• Pour ajouter les médias importés à un événement existant : sélectionnez « Ajouter à l’événement existant » et choisissez celui-ci dans le menu local. •• Pour créer un événement : sélectionnez « Créer un nouvel événement » et saisissez un nom (par exemple, « Mariage de Pierre et Sandra ») dans le champ de texte. Utilisez le menu local « Enregistrer dans » pour choisir le disque sur lequel vous voulez stocker l’événement. Pour en savoir plus sur les événements, consultez Présentation des événements et des plans à la page 55. 3 Sélectionnez une ou plusieurs options de transcodage. Final Cut Pro transcode les fichiers en arrière-plan, une fois l’importation terminée. 4 Cliquez sur Importer. L’importation peut prendre quelques minutes, selon les options que vous avez choisies à l’étape 3. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Transcodage des plans après l’importation 1 Cliquez sur un ou plusieurs plans dans le navigateur d’événements tout en maintenant la touche Contrôle enfoncée et choisissez Transcoder le média dans le menu contextuel. 2 Dans la fenêtre qui s’affiche, cochez la case « Créer un média optimisé », la case « Créer un média proxy » ou les deux, puis cliquez sur OK. Remarque : Si le format original de la caméra peut être monté en offrant de bons résultats, l’option « Créer un média optimisé » apparaît alors estompée. La procédure de transcodage peut prendre un certain temps, en fonction des options que vous avez choisies. Vous pouvez voir l’état de tous les processus en cours en arrière-plan dans la fenêtre Tâches d’arrière-plan. Remarque : Les fichiers audio MP3 issus de projets créés avec des versions de Final Cut Pro antérieures à 10.0.4 peuvent être transcodés manuellement en fichiers audio WAV à l’aide de ce processus. Chapitre 15 Gestion des fichiers de média 417 Transcodage automatique des fichiers de média lors de leur glissement dans Final Cut Pro Lorsque vous faites glisser un média depuis le Finder sur un événement ou sur la timeline dans Final Cut Pro, celui-ci est automatiquement organisé, transcodé et analysé en fonctions des réglages d’importation définis dans les préférences de Final Cut Pro. 1 Pour configurer les options relatives à l’analyse par Final Cut Pro : a Choisissez Final Cut Pro > Préférences. b Dans la fenêtre Préférences qui s’affiche, cliquez sur Importer. c Sélectionnez la ou les options d’analyse vidéo et audio que vous souhaitez appliquer à votre média. d Lorsque vous avez terminé, fermez la fenêtre Préférences. 2 Pour importer un ou plusieurs fichiers, sélectionnez un fichier (ou cliquez sur plusieurs fichiers en maintenant la touche Commande enfoncée) dans le Finder et faites-le glisser sur un événement ou sur la timeline. Génération d’un fichier proxy depuis l’inspecteur d’informations Les fichiers proxy occupent sensiblement moins d’espace disque. Dans certains cas, l’utilisation de fichiers proxy peut vous permettre de travailler sur un ordinateur portable, même si celui-ci possède une mémoire et une puissance de calcul moindres qu’un ordinateur de bureau. Vous pouvez vérifier si vous possédez un fichier proxy pour un plan en affichant les informations relatives au plan dans l’inspecteur d’informations. Si le fichier en question ne présente aucun fichier proxy dans l’inspecteur d’informations, un triangle rouge s’affiche. Si aucun proxy n’a été créé pour un plan, un triangle rouge s’affiche. Vous pouvez créer un fichier proxy pour un plan en procédant comme suit. 1 Sélectionnez un plan dans le navigateur d’événements. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur de la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Sélectionnez « Afficher l’état du fichier » dans le menu local Action . Chapitre 15 Gestion des fichiers de média 418 4 Cliquez sur le bouton Générer un proxy dans la section « Représentations du média disponible » de la zone d’état du fichier. Le fichier proxy est créé et un cercle vert apparaît en regard de l’élément proxy dans la section « Représentations du média disponible » pour indiquer que le fichier proxy du plan est disponible. Affichage des tâches d’arrière-plan Dans Final Cut Pro, de nombreuses tâches s’exécutent à l’arrière-plan. •• Importation •• Transcodage •• Optimisation et analyse vidéo et audio •• Rendu •• Partage Final Cut Pro gère automatiquement les tâches d’arrière-plan. Vous n’avez donc rien à faire pour les lancer ou les interrompre. Si vous souhaitez afficher la progression des procédures exécutées en arrière-plan, ouvrez la fenêtre Tâches d’arrière-plan. Les tâches en cours d’exécution et leur pourcentage d’exécution s’affichent dans la fenêtre. Important : Si vous utilisez activement Final Cut Pro et que des tâches sont en cours d’exécution en arrière-plan, celles-ci s’interrompent. Les tâches reprennent lorsque vous n’utilisez pas Final Cut Pro. Affichage des tâches en cours d’exécution en arrière-plan 1 Procédez de l’une des manières suivantes : •• Choisissez Fenêtre > Tâches d’arrière-plan (ou appuyez sur les touches Commande + 9). •• Dans la barre d’outils, cliquez sur le bouton Tâches en arrière-plan. 2 Pour afficher les tâches en cours d’exécution dans chaque section, cliquez sur le triangle d’affichage. Chapitre 15 Gestion des fichiers de média 419 Mise en pause ou reprise d’une tâche dans la fenêtre Tâches en arrière-plan mm Cliquez sur le bouton Pause ou Reprendre . Annulation d’une tâche dans la fenêtre Tâches en arrière-plan mm Cliquez sur le bouton Annuler . Suppression des fichiers de rendu pour libérer de l’espace disque Les fichiers de rendu du projet et des plans sont conservés dans les dossiers Final Cut Events et Final Cut Projects. Avec le temps, ces fichiers peuvent devenir volumineux et occuper de l’espace disque. Si vous souhaitez libérer de l’espace disque, vous pouvez supprimer les fichiers de rendu inutilisés ou supprimer tous les fichiers de rendu d’un plan composé ou d’un projet Final Cut Pro particulier. Suppression des fichiers de rendu du projet 1 Sélectionnez un projet dans la bibliothèque de projets. 2 Choisissez Fichier > Supprimer les fichiers de rendu du projet. 3 Dans la fenêtre qui s’affiche, choisissez de supprimer « Fichiers de rendu inutilisés seulement » ou « Tous les fichiers de rendu », puis cliquez sur OK. Suppression des fichiers de rendu d’un événement 1 Sélectionnez un événement dans le navigateur d’événements. 2 Choisissez Fichier > Supprimer les fichiers de rendu d’événement. 3 Dans la fenêtre qui s’affiche, choisissez de supprimer « Fichiers de rendu inutilisés seulement » ou « Tous les fichiers de rendu », puis cliquez sur OK. Gestion de vos fichiers d’événements et de projets Avant de déplacer ou de copier des événements et des projets Si vous souhaitez réaliser le montage d’un projet sur un autre ordinateur ou sauvegarder un projet ou des événements sur un périphérique de stockage externe, vous pouvez les déplacer ou les copier. Avant de déplacer ou de copier un projet, il est recommandé de consolider ses médias et de les sauvegarder. Par défaut, les fichiers de média importés dans Final Cut Pro restent à leur emplacement original. Lorsque vous importez des médias dans Final Cut Pro vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. La création de ces copies (à utiliser exclusivement dans Final Cut Pro) permet d’éviter que les fichiers soient déplacés par inadvertance et deviennent indisponibles dans Final Cut Pro. Si un fichier utilisé par Final Cut Pro est déplacé, Final Cut Prosignale le plan avec une icône de fichier manquant. Si vous considérez qu’il existe une possibilité que les fichiers de média soient déplacés ou supprimés, il est recommandé de créer une copie du média. Chapitre 15 Gestion des fichiers de média 420 Remarque : Si vous importez des fichiers alors que la case « Copier les fichiers dans le dossier Final Cut Events » est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez ou copiez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. Consolidation des fichiers de média d’un projet Lors de la création d’un projet dans Final Cut Pro, vous pouvez utiliser des médias situés à différents endroits, y compris votre ordinateur local et des périphériques de stockage externe. Si les médias utilisés dans le projet sont situés sur différents disques durs, vous pouvez consolider tous les médias du projet sur le disque dur où se trouve le projet. Regroupement à un seul emplacement des plans d’un projet 1 Localisez le projet que vous souhaitez consolider dans la bibliothèque de projets. 2 Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis choisissez « Consolider les médias du projet » dans le menu contextuel. Si une fenêtre s’affiche déclarant qu’il n’y a aucun élément à consolider, cela signifie que tous vos fichiers de média sont déjà consolidés et stockés sur un disque. 3 Sélectionnez une option pour définir le déroulement de la consolidation. •• Copier les événements référencés : duplique les événements référencés (et tous les plans contenus dans ceux-ci) dans l’emplacement de votre projet. Cette option s’avère utile si vous utilisez le même média dans plusieurs projets ou si vous n’avez pas terminé l’ajout de plans de l’événement à votre projet. •• Déplacer les événements référencés : déplace tous les événements référencés sur l’emplacement de votre projet. Si d’autres projets utilisent les plans de l’événement en cours de consolidation, ces projets n’ont alors pas accès à l’événement. Cette option peut s’avérer utile si les plans de l’événement sont utilisés uniquement dans le projet en cours de consolidation. •• Copier seulement les plans utilisés : duplique uniquement les fichiers de média utilisés dans le projet. Cette option ne concerne que les médias utilisés dans le projet (et non tous les plans des événements référencés par le projet). Elle permet de conserver plus d’espace disque. •• Champ « Nouveau nom de l’événement » : si vous choisissez « Copier seulement les plans utilisés », vous pouvez créer un événement destiné à héberger le média consolidé. Si vous ne spécifiez pas de nom pour le nouvel événement, le nom du projet lui est attribué. Chapitre 15 Gestion des fichiers de média 421 4 Cliquez sur OK. Final Cut Pro consolide les médias à l’aide de la méthode sélectionnée. Le ou les événements apparaissent sur le même disque dur que le projet. Vous pouvez aussi faire appel à la commande « Organiser les fichiers d’événements » pour copier tous les fichiers de média externes qu’un événement utilise dans son dossier d’événement. Pour en savoir plus, consultez Organisation des fichiers lors de l’importation à la page 41. Sauvegarde des projets, des événements et de votre bibliothèque de projets La sauvegarde de vos projets, de votre bibliothèque de projets et de vos événements représente une étape essentielle du flux de production. Certaines intervenants exécutent des sauvegardes quotidiennes ou hebdomadaires, d’autres lorsqu’un projet est terminé. Pour protéger votre média, il est recommandé de sauvegarder sur un périphérique de stockage ou une partition différente de celle sur laquelle vous stockez vos fichiers de média utilisés avec Final Cut Pro. Remarque : Final Cut Pro conserve une seule copie de sauvegarde de chaque événement et projet. Il s’agit uniquement des copies de l’événement en cours et des fichiers de projet et non des fichiers de média source associés. Final Cut Pro met les copies de sauvegarde à jour toutes les 15 minutes, s’il détecte un changement dans un événement ou un projet. Pour en savoir plus, consultez Emplacement de vos fichiers de média et de projet à la page 407. Sauvegarde de votre projet dans Final Cut Pro 1 Connectez un périphérique de stockage externe disposant d’assez d’espace pour contenir votre projet et vos fichiers de média et vérifiez qu’il apparaît dans le Finder. 2 Cliquez sur votre projet dans la bibliothèque de projets tout en maintenant la touche Contrôle enfoncée, puis choisissez Dupliquer le projet dans le menu contextuel. 3 Dans la fenêtre qui s’affiche, attribuez un nom au nouveau projet (dupliqué), puis choisissez votre périphérique de stockage externe dans le menu local Emplacement. 4 Sélectionnez une option pour indiquer ce qui doit être dupliqué : •• Dupliquer le projet : duplique les fichiers spécifiques du projet que vous avez sélectionnés. Cette option est utile, par exemple, si vous utilisez les mêmes plans dans plusieurs projets et que vous pensez sauvegarder vos événements séparément (par exemple dans votre copie de sauvegarde de l’ensemble de votre bibliothèque de projets ou de vos événements). Cette option ne crée pas de copie de média d’événement. •• Dupliquer le projet et les événements référencés : duplique le projet et tout événement auquel celui-ci se réfère. Cette option comprend touts les médias contenus dans les événements référencés. Cette option est particulièrement utile si vous souhaitez conserver les médias non utilisés en vue de leur utilisation ultérieure. •• Dupliquer le projet et les plans utilisés : copie le projet ainsi que les plans utilisés dans le projet. Lorsque vous sélectionnez cette option, il vous est possible de choisir entre copier tous les plans et leur média ou copier seulement les plans multicam et composés sans les médias associés. La première méthode crée une copie de sauvegarde de votre projet avec l’intégralité de son média. La deuxième méthode entraîne la sauvegarde du projet et crée des copies de travail indépendantes des plans multicam et composés qui ne changent pas si vous mettez les copies d’origine à jour dans votre projet. •• Tous les plans utilisés : duplique le projet et copie dans un nouvel événement tous les plans et le média exploité dans le projet. Lorsque vous sélectionnez cette option, vous devez attribuer un nom au nouvel événement. Chapitre 15 Gestion des fichiers de média 422 En sélectionnant cette option, vous dupliquez l'intégralité du fichier multimédia original pour tout plan utilisé dans le projet, pas uniquement la portion affichée dans la timeline. Si les fichiers utilisés dans le projet ont été importés en tant que fichiers de référence (alias pointant vers des fichiers multimédias conservés hors du dossier d'événements de Final Cut), les fichiers de référence sont copiés, mais pas les fichiers multimédias originaux. •• Plans multicam et composés uniquement : crée une copie du projet et les plans parents nécessaires aux plans multicam ou composés intégrant le projet. En d’autres termes, les copies de sauvegarde des plans multicam et des plans composés ne sont pas liées aux copies parentes d’origine et ne sont par conséquent pas mis à jour lorsque les originaux parents sont modifiés. Cette option vous permet d’enregistrer une copie de travail d’un projet et d’éviter les modifications accidentelles apportées aux plans multicam ou composés dans cette copie. Cette option ne duplique pas le média et génère par conséquent un ensemble de fichiers de sauvegarde plus compact économisant l’espace de stockage. Vous pouvez fournir un nom au nouvel événement destiné à héberger les plans multicam ou composés, ou choisir un événement existant à partir du menu local Événement. Pour en savoir plus sur les plans multicam et composés, consultez Présentation des plans composés à la page 266 et Présentation du montage multicam à la page 320. Cette option n’est disponible que si votre projet contient des plans multicam ou composés. 5 Si vous souhaitez inclure les fichiers de rendu (pour que Final Cut Pro n’ait pas à en créer de nouveaux), cochez la case « Inclure les fichiers de rendu ». 6 Cliquez sur OK. Final Cut Pro duplique le projet en s’appuyant sur l’option indiquée. Le projet voit son nom complété d’un chiffre incrémenté (par exemple « film de François1 »), puis s’affiche à l’emplacement indiqué. Dans la plupart des cas, visionner vos événements et vos projets de sauvegarde revient simplement à connecter votre périphérique de stockage à Final Cut Pro et à localiser la copie de sauvegarde de votre projet ou de votre événement dans la bibliothèque de projets. Pour en savoir plus sur la localisation ou l’affichage de votre projet, consultez Problèmes courants relatifs à la gestion des médias à la page 434. Chapitre 15 Gestion des fichiers de média 423 Sauvegarde de votre bibliothèque de projets et de vos événements à l’aide du Finder Pour créer une seule copie de sauvegarde de votre bibliothèque de projets et de vos événements, vous pouvez copier les dossiers Final Cut Projects et Final Cut Events sur un périphérique de stockage externe. Si vous réalisez une copie de sauvegarde progressive, créez une structure de dossier qui vous permette de parcourir facilement vos dossiers de sauvegarde. Vous pouvez, par exemple, étiqueter les dossiers selon la date de la copie de sauvegarde. Important : Pour éviter des problèmes, il est primordial que vous placiez les fichiers de sauvegarde dans un dossier, que vous pouvez appeler par exemple « Sauvegardes 2012 Final Cut Pro », qui ne se trouve pas à la racine de votre périphérique de stockage externe. 1 Dans le Finder, accédez et sélectionnez vos dossiers Final Cut Projects et Final Cut Events. Votre dossier Séquences constitue l’emplacement par défaut pour tous les fichiers de projet et d’événement : /Utilisateurs/nom d’utilisateur/Séquences/ Important : Si un projet ou un événement a été déplacé après sa création, il ne se trouve plus à son emplacement par défaut. 2 Faites glisser les dossiers Final Cut Projects et Final Cut Events sur votre périphérique de stockage externe. Les dossiers sont copiés sur votre périphérique de stockage externe. Pour restaurer les événements et les projets que vous avez sauvegardés par le biais du Finder, copiez-les à leur emplacement d’origine dans les dossiers Final Cut Projects et Final Cut Events. Remarque : Lorsque vous importez des médias dans Final Cut Pro, vous avez la possibilité de cocher la case « Copier les fichiers dans le dossier Final Cut Events » ce qui permet de dupliquer les fichiers de média source sur votre disque dur. Si vous importez des fichiers alors que la case est décochée, Final Cut Pro crée alors des fichiers de référence (alias de fichiers) pointant simplement sur les fichiers de média source, sans copier ces derniers. Au moment où vous sauvegardez des événements et des projets utilisant ces fichiers, Final Cut Pro copie uniquement les fichiers de référence (et non les fichiers de média source). Si après avoir sauvegardé votre projet ou événement, vous souhaitez remplacer les fichiers de référence par les fichiers de média source à proprement parler, sélectionnez les événements, puis choisissez Fichier > Organiser les fichiers d’événements. Chapitre 15 Gestion des fichiers de média 424 Montage de votre projet sur un ordinateur différent Si vous êtes amené à devoir travailler sur votre projet et vos fichiers de média sur un autre ordinateur, plusieurs options s’offrent à vous : •• Déplacer le projet : vous pouvez supprimer le projet de son emplacement actuel et le placer ailleurs. Lorsque vous déplacez un projet, vous pouvez déplacer tous les événements utilisés dans le projet, tous les plans utilisés dans le projet ou uniquement le projet. •• Copier le projet : vous pouvez dupliquer le projet et placer la copie dans un autre emplacement. Lorsque vous copiez un projet, vous pouvez copier tous les événements utilisés dans le projet, tous les plans utilisés dans le projet ou uniquement le projet. •• Stocker des projets et des événements sur un emplacement SAN : vous pouvez stocker des fichiers sur un emplacement de réseau SAN, afin de pouvoir y accéder à partir de l’autre ordinateur via le réseau. Remarque : Si vous avez personnalisé un effet, une transition, un titre, un générateur ou un thème quelconque Final Cut Pro, vous devez sauvegarder et déplacer manuellement le dossier des modèles Motion à un emplacement sous ~/Movies/Motion Templates. Déplacement d’un projet et de ses événements référencés vers un autre ordinateur 1 Connectez votre périphérique de stockage externe à l’ordinateur sur lequel votre fichier de projet Final Cut Pro se trouve et vérifiez que le périphérique apparaît dans le Finder. 2 Vérifiez que Final Cut Pro est installé sur l’ordinateur vers lequel vous déplacez les fichiers. 3 Sur l’ordinateur qui contient votre fichier de projet Final Cut Pro, sélectionnez le projet et la bibliothèque d’événements. 4 Choisissez Fichier > Déplacer le projet. 5 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez votre périphérique de stockage externe dans le menu local Emplacement. b Sélectionnez « Déplacer le projet et les événements référencés ». En sélectionnant cette option, vous déplacez le fichier du projet et tous les événements référencés par le projet (ainsi que tous les plans qu’ils contiennent) sur le disque sélectionné dans le menu local Emplacement. Pour en savoir plus sur les options de cette fenêtre, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92. c Cliquez sur OK. L’icône et les événements du projet disparaissent de leur emplacement dans la bibliothèque de projets et la bibliothèque d’événements et s’affichent au-dessous de l’icône de périphérique (indiquant qu’ils ont été déplacés). Chapitre 15 Gestion des fichiers de média 425 6 Fermez Final Cut Pro, puis déconnectez le périphérique de stockage de votre ordinateur. AVERTISSEMENT : Ne débranchez pas de périphérique si Final Cut Pro l’utilise. 7 Connectez le périphérique de stockage à l’ordinateur vers lequel vous souhaitez déplacer votre projet et vérifiez que le périphérique apparaît dans le Finder. 8 Ouvrez Final Cut Pro, puis ouvrez la bibliothèque de projets. Le projet déplacé apparaît dans la bibliothèque de projets en dessous du périphérique de stockage connecté. Remarque : Si le périphérique de stockage ne s’affiche pas dans la bibliothèque de projets, consultez la section Problèmes courants relatifs à la gestion des médias à la page 434. 9 Pour faire passer le projet du périphérique de stockage au nouvel ordinateur, sélectionnez-le, puis choisissez Fichier > Déplacer le projet. 10 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez le nouvel ordinateur dans le menu local Emplacement. b Sélectionnez « Déplacer le projet et les événements référencés ». c Cliquez sur OK. L’icône et les événements du projet disparaissent du périphérique de stockage externe et s’affichent sous le disque de démarrage (icône représentant une maison) dans la bibliothèque de projets et l’événement contenant les médias du projet s’affiche sous le disque de démarrage dans la bibliothèque d’événements. Copie d’un projet et de ses plans vers un autre ordinateur 1 Connectez votre périphérique de stockage externe à l’ordinateur sur lequel votre fichier de projet Final Cut Pro se trouve et vérifiez que le périphérique apparaît dans le Finder. 2 Vérifiez que Final Cut Pro est installé sur l’ordinateur vers lequel vous copiez les fichiers. 3 Sur l’ordinateur qui contient votre fichier de projet Final Cut Pro, sélectionnez le projet et la bibliothèque d’événements. 4 Cliquez sur votre projet tout en maintenant la touche Contrôle enfoncée et choisissez Dupliquer le projet dans le menu contextuel. Chapitre 15 Gestion des fichiers de média 426 5 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez votre périphérique de stockage externe dans le menu local Emplacement. b Sélectionnez « Dupliquer le projet et les plans utilisés ». Cette option permet de copier les fichiers de projet et les fichiers de média utilisés par le fichier de projet. Pour en savoir plus sur les options de cette fenêtre, consultez la section Organisation des projets dans la bibliothèque de projets à la page 92. c Saisissez un nom évocateur dans le champ « Nouveau nom de l’événement ». Si vous n’indiquez pas de nom pour l’événement, il reprend alors le même que celui de votre projet. d Cliquez sur OK. L’icône et les événements du projet s’affichent sous l’icône du périphérique de stockage (indiquant qu’ils ont été copiés et déplacés à un nouvel emplacement). 6 Fermez Final Cut Pro, puis débranchez le périphérique de stockage de votre ordinateur. Remarque : Il est impossible de débrancher un périphérique si Final Cut Pro l’utilise. 7 Connectez le périphérique de stockage à l’ordinateur vers lequel vous souhaitez déplacer votre projet et vérifiez que le périphérique apparaît dans le Finder. 8 Ouvrez Final Cut Pro, puis ouvrez la bibliothèque de projets. Le projet copié apparaît dans la bibliothèque de projets en dessous du périphérique de stockage connecté. Remarque : Si le périphérique de stockage ne s’affiche pas dans la bibliothèque de projets, consultez la section Problèmes courants relatifs à la gestion des médias à la page 434. 9 Pour copier les fichiers de projet et de média du périphérique de stockage vers le nouvel ordinateur, faites glisser le projet sur l’icône du dossier de départ dans la bibliothèque de projets. 10 Dans la fenêtre qui s’affiche, procédez comme suit : a Choisissez le nouvel ordinateur dans le menu local Emplacement. b Sélectionnez « Dupliquer le projet et les événements référencés ». Chapitre 15 Gestion des fichiers de média 427 c Cliquez sur OK. Le projet s’affiche au-dessous du disque de démarrage (icône représentant une maison) dans la bibliothèque de projets et l’événement contenant les médias du projet s’affiche au-dessous du disque de démarrage dans la bibliothèque d’événements. Vous pouvez maintenant localiser votre projet dans la bibliothèque de projets et commencer le montage. Toute modification se voit enregistrée dans la copie située sur le disque de démarrage du nouvel ordinateur. Si une icône d’avertissement s’affiche, par exemple pour signaler un média ou un projet manquant ou si vous ne trouvez pas votre projet dans la bibliothèque de projets Final Cut Pro, complétez les étapes dans la tâche pour vérifier que celle-ci s’est exécutée correctement. Pour en savoir plus, consultez Problèmes courants relatifs à la gestion des médias à la page 434. Utilisation d’un emplacement SAN pour monter votre projet sur un autre ordinateur Vous pouvez commencer à monter un projet à travers un réseau en utilisant un emplacement SAN, puis poursuivre votre travail à partir d’un autre ordinateur via le même emplacement SAN. Pour mettre l’emplacement SAN à la disposition des autres ordinateurs du réseau, utilisez la commande Supprimer pour déconnecter l’emplacement SAN de l’ordinateur original. 1 Suivez la procédure d’ajout d’un emplacement SAN décrite dans Utilisation d’emplacements SAN pour des événements et des projets à la page 428. 2 Créez un projet sur l’emplacement SAN ou copiez ou déplacez votre projet dans l’emplacement SAN. 3 Pour supprimer l’emplacement SAN et le mettre à la disposition des autres ordinateurs du réseau, sélectionnez l’emplacement SAN dans la bibliothèque d’événements ou la bibliothèque de projets, puis choisissez Fichier > Supprimer l’emplacement SAN. L’emplacement SAN disparaît alors de la bibliothèque d’événements et de la bibliothèque de projets 4 Pour accéder à l’emplacement SAN à partir de l’autre ordinateur, suivez la procédure d’ajout d’un emplacement SAN décrite dans Utilisation d’emplacements SAN pour des événements et des projets à la page 428. Chapitre 15 Gestion des fichiers de média 428 Veillez à accéder au même dossier que celui utilisé à l’étape 1. L’emplacement SAN apparaît sous forme d’emplacement de stockage dans la bibliothèque d’événements et dans la bibliothèque de projets sur le deuxième ordinateur. Vous pouvez à présent utiliser cet ordinateur pour monter n’importe quel événement ou projet stocké sur cet emplacement SAN. Utilisation d’emplacements SAN pour des événements et des projets Vous pouvez enregistrer vos événements et vos projets sur un réseau de stockage SAN. Ces emplacements de stockage en réseau vous offrent un plus grand nombre d’options pour le stockage de vos fichiers de données et la rationalisation de votre flux de production à travers un réseau local haute vitesse. Bien qu’il soit possible d’accéder à des emplacements SAN à partir de différents ordinateurs sur un réseau, un emplacement SAN ne peut être utilisé que par une seule copie installée de Final Cut Pro à la fois. Si vous disposez d’événements ou de projets stockés sur un emplacement SAN, vous devez supprimer cet emplacement dans Final Cut Pro pour le mettre à la disposition des autres ordinateurs du réseau. La fonction d’emplacement SAN nécessite un volume SAN, tel qu’un volume Xsan connecté via le protocole FCP (Fibre Channel Protocol). Ajout d’un emplacement SAN 1 Choisissez Fichier > Ajouter un emplacement SAN. 2 Dans la fenêtre qui apparaît, naviguez jusqu’à un dossier situé sur un périphérique de stockage ou un ordinateur connecté au réseau. Le dossier que vous avez sélectionné apparaît sous la forme d’un emplacement de stockage dans la bibliothèque d’événements et dans la bibliothèque de projets. Emplacement SAN sur votre réseau. Vous pouvez utiliser l’emplacement SAN comme n’importe quel autre périphérique de stockage affiché dans la bibliothèque d’événements et dans la bibliothèque de projets. Vous pouvez, par exemple, créer des événements ou des projets sur l’emplacement SAN, ou bien, y copier et déplacer des événements ou des projets. Suppression d’un emplacement SAN 1 Sélectionnez l’emplacement SAN à supprimer dans la bibliothèque d’événements ou la bibliothèque de projets. 2 Choisissez Fichier > Supprimer l’emplacement SAN. L’emplacement SAN disparaît alors de la bibliothèque d’événements et de la bibliothèque de projets et devient (avec tous les événements ou projets qu’il contient) disponible pour les autres utilisateurs Final Cut Pro du réseau. Chapitre 15 Gestion des fichiers de média 429 Création et gestion des archives de caméra Vous avez la possibilité de créer une archive de caméra (copie de sauvegarde) du contenu de votre caméra ou caméscope. (Il est important de noter que vous ne pouvez pas créer d’archive pour un signal vidéo en direct, tel que celui produit par une caméra iSight.) Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. Puisque vous pouvez importer des médias dans Final Cut Pro à partir d’une archive, il peut s’avérer utile d’archiver le média sur votre matériel si vous souhaitez effectuer l’une des actions suivantes : •• vider rapidement le contenu de votre caméra ou de votre caméscope pour avoir la possibilité d’enregistrer immédiatement d’autre contenu et ne pas devoir attendre une importation dans Final Cut Pro, qui peut prendre un certain temps •• importer le média archivé sur plusieurs ordinateurs sans devoir le conserver sur le caméscope ; •• garder une archive du média d’une caméra que vous pouvez parcourir facilement sans avoir à l’importer dans Final Cut Pro. Consultez la section Accès aux médias sur une archive ou une image disque à la page 40 pour en savoir plus sur l’importation de média dans Final Cut Pro depuis une archive de caméra. Archivage du média sur votre caméra ou caméscope à système de fichiers 1 Si vous souhaitez enregistrer l’archive sur un périphérique de stockage externe, branchez-le sur votre ordinateur. 2 Branchez ensuite votre caméra ou caméscope sur votre ordinateur à l’aide du câble prévu à cet effet et activez l’appareil. Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. Le nom de ce mode de transfert varie selon le modèle de votre matériel. Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope. Remarque : Si vous connectez un caméscope DVD à votre Mac, il se peut que l’application Lecteur DVD s’ouvre. Si cela se produit, il vous suffit de fermer l’application. 3 Dans Final Cut Pro, cliquez sur le bouton Importation de médias situé complètement à gauche de la barre d’outils (ou appuyez sur Commande + I). Chapitre 15 Gestion des fichiers de média 430 4 Dans la fenêtre Importation des médias qui s’affiche, sélectionnez le périphérique dont vous souhaitez archiver le contenu dans la liste de caméras située sur la gauche. Modifiez l’apparence des plans à l’aide de ces commandes.Le média sur le support s’affiche à cet endroit.Commandes de lecture 5 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre. 6 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive. 7 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK. Remarque : Il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. L’archive de caméra est conservée sur votre disque dur. Vous pouvez monter les archives comme s’il s’agissait d’un caméscope à système de fichiers et parcourir leur contenu ou importer les médias des archives de caméra dans Final Cut Pro. Pour en savoir plus, consultez Accès aux médias sur une archive ou une image disque à la page 40. Remarque : Lorsque le disque contenant l’archive est connecté, il s’affiche automatiquement dans la liste d’archives de caméra dans Final Cut Pro. Archivage du média sur votre caméra ou caméscope à système de bande 1 Si vous souhaitez enregistrer l’archive sur un périphérique de stockage externe, branchez-le sur votre ordinateur. 2 Branchez ensuite votre caméra ou caméscope sur votre ordinateur à l’aide du câble prévu à cet effet et activez l’appareil. Si vous utilisez un caméscope, faites-le passer en mode de connexion PC. Le nom de ce mode de transfert varie selon le modèle de votre matériel. Il se peut que votre caméscope passe automatiquement en mode de « connexion » si vous activez le mode lecture lorsqu’il est connecté à votre ordinateur. Pour en savoir plus, consultez la documentation fournie avec votre caméscope. Chapitre 15 Gestion des fichiers de média 431 3 Dans Final Cut Pro, effectuez l’une des opérations suivantes : •• Choisissez Fichier > Importer > Média (ou appuyez sur Commande + I). •• Cliquez sur le bouton Média à l’extrémité gauche de la barre d’outils. 4 Dans la fenêtre Importation des médias qui s’affiche, sélectionnez le périphérique dont vous souhaitez archiver le contenu dans la liste de caméras située sur la gauche. 5 Cliquez sur le bouton Créer une archive situé dans le coin inférieur gauche de la fenêtre. 6 Dans le champ « Créer une archive de caméra », saisissez un nom pour l’archive. 7 Choisissez un emplacement dans le menu local Destination pour enregistrer l’archive, puis cliquez sur OK. Remarque : Pour protéger votre média, il est recommandé d’enregistrer votre archive sur un disque ou une partition différente de celle sur laquelle vous stockez vos fichiers de médias utilisés avec Final Cut Pro. Final Cut Pro lance l’archivage à partir de la position sur la bande. L’archivage se poursuit jusqu’à ce que : •• la fin de la bande soit atteinte ; •• vous interrompiez manuellement l’archivage en cliquant sur Arrêter l’importation ou Fermer (pour fermer la fenêtre Importation des médias). L’archive de caméra est conservée sur votre disque dur. Vous pouvez monter les archives comme s’il s’agissait d’un caméscope à système de fichiers et parcourir leur contenu ou importer les médias des archives de caméra dans Final Cut Pro. Pour en savoir plus, consultez Accès aux médias sur une archive ou une image disque à la page 40. Chapitre 15 Gestion des fichiers de média 432 Lorsque le disque contenant l’archive est connecté, il s’affiche automatiquement dans la liste d’archives de caméra dans Final Cut Pro, pour autant que l’archive se trouve dans l’un des deux emplacements suivants : •• /Utilisateurs/nom d’utilisateur/Séquences/Final Cut Camera Archives/ •• La racine du disque de démarrage Déplacement ou copie d’une archive de caméra 1 Dans le Finder, sélectionnez l’archive de caméra que vous souhaitez déplacer ou copier. 2 Procédez de l’une des manières suivantes : •• Pour déplacer l’archive de caméra sur votre disque local : faites glisser l’archive de caméra sur son nouvel emplacement. •• Pour copier l’archive de caméra sur votre disque local : en maintenant la touche Option enfoncée, faites glisser l’archive de caméra sur un nouvel emplacement sur votre disque local. •• Pour copier l’archive de caméra sur un périphérique de stockage externe : faites glisser l’archive de caméra vers un emplacement sur votre périphérique de stockage externe. Suppression d’une archive de caméra Les archives de caméra sont peu volumineuses comparées à d’autres fichiers de média et n’ont, par conséquent, souvent pas de raison d’être supprimées. Toutefois, vous pouvez supprimer une archive de caméra à tout moment. 1 Dans le Finder, sélectionnez une archive de caméra. 2 Maintenez la touche Contrôle enfoncée et choisissez « Placer dans la Corbeille » dans le menu local qui s’affiche. 3 Tout en maintenant la touche Contrôle enfoncée, cliquez sur l’icône de la Corbeille située dans le Dock, puis choisissez Vider la Corbeille dans le menu contextuel. Important : Vider la corbeille supprime définitivement l’archive de caméra. Solutions aux problèmes communs des gestions des médias Icônes d’avertissement Lorsque des images s’affichent en rouge avec un triangle d’avertissement jaune dans la timeline ou dans l’événement, Final Cut Pro vous signale en fait qu’une partie de votre projet ou de votre événement est manquante. Plusieurs raisons peuvent expliquer la disparition de plans, d’événements, de fichiers de média et d’effets : le déplacement de projets et d’événements d’un ordinateur à un autre et la gestion active du dossier Events (Événements) ou Projects (Projets) de Final Cut Pro à l’aide du Finder sont deux des principales explications. Pour en savoir plus sur l’emplacement des événements, des plans, des projets et des fichiers, consultez la section Emplacement de vos fichiers de média et de projet à la page 407. Icône Alerte Description Événements et plans Final Cut Pro Événement manquant Le dossier de l’événement n’est pas disponible. Cet avertissement s’affiche si votre événement a été placé dans la Corbeille, si celui-ci ou un projet a été déplacé ou si vous avez consolidé le média d’un autre projet. Chapitre 15 Gestion des fichiers de média 433 Icône Alerte Description Plan manquant Un plan utilisé dans un projet Final Cut Pro ou dans un événement n’est pas disponible. Cet avertissement s’affiche si le plan a été placé dans la Corbeille, si celui-ci ou un événement a été déplacé ou si vous avez consolidé le média d’un autre projet. Caméra manquante Aucune caméra contenant des fichiers utilisés dans Final Cut Pro n’est connectée à votre système. Pour ne pas recevoir cet avertissement, créez une copie du média lorsque vous l’importez. Consultez Organisation des fichiers lors de l’importation à la page 41 pour en savoir plus. Fichiers de média Fichier manquant Un fichier n’est pas disponible dans le Finder. Cet avertissement s’affiche si le fichier a été déplacé ou renommé dans le Finder, si un événement ou un projet a été déplacé ou si vous avez consolidé le média d’un autre projet. Fichier modifié Un fichier de média a été modifié par une application autre que Final Cut Pro. Fichier proxy manquant Un fichier proxy créé par Final Cut Pro ne se trouve pas à son emplacement prévu dans le Finder. Consultez Transcodage des fichiers de média à la page 415 pour en savoir plus. Effets Final Cut Pro Effet manquant Un effet est manquant dans Final Cut Pro. Générateur manquant Un générateur est manquant dans Final Cut Pro. Titre manquant Un titre est manquant dans Final Cut Pro. Transition manquante Une transition est manquante dans Final Cut Pro. Chapitre 15 Gestion des fichiers de média 434 Problèmes courants relatifs à la gestion des médias Cette section décrit des problèmes courants relatifs à la gestion de média et leurs solutions. Si un projet ne s’affiche pas sur votre périphérique de stockage externe mm Assurez-vous que les dossiers Final Cut Projects et Final Cut Events se trouvent à la racine du périphérique de stockage. mm Si le périphérique de stockage ne s’affiche pas dans la liste des appareils de la bibliothèque de projets, vous pouvez copier ou déplacer manuellement les dossiers Final Cut Projects et Final Cut Events vers le dossier Séquences. mm Vous pouvez également ajouter manuellement différents dossiers de projets ou d’événements indépendamment à tout dossier Final Cut Projects ou Final Cut Events. Pour en savoir plus, consultez Présentation de la gestion de média à la page 407. Si vous importez directement un fichier d’un disque dur et changez son nom dans le Finder Il se peut qu’un avertissement lié à un fichier manquant s’affiche si vous en déplacez ou en renommez un dans le Finder. mm Dans le Finder, réattribuez le nom du fichier qu’il possédait à l’origine dans le navigateur d’événements. Si vous avez annulé une importation Si vous avez annulé une importation et que vous n’avez pas importé un plan entier, celui-ci est signalé par une icône représentant une caméra dans son coin inférieur gauche. Icône de caméra mm Suivez les instructions reprises dans le paragraphe « Réimportation d’un plan » de la section Importation à partir des caméras à système de fichiers à la page 22. Si votre ordinateur semble ralentir lorsque Final Cut Pro réalise des tâches de gestion du média Final Cut Pro enregistrant automatiquement toutes les modifications que vous apportez à un projet, ce dernier est alors à jour lorsque vous relancez Final Cut Pro à l’issue d’une coupure de courant. Si Final Cut Pro effectuait des tâches de gestion du média à l’arrière-plan, vous pouvez alors redémarrer ces processus manuellement à l’aide des commandes « Organiser les fichiers d’événements » et « Organiser les fichiers de projet ». 1 Sélectionnez le ou les événements de votre choix dans la bibliothèque d’événements ou un projet dans la bibliothèque de projets. Chapitre 15 Gestion des fichiers de média 435 2 Procédez de l’une des manières suivantes : •• Pour redémarrer les tâches de gestion d’arrière-plan pour un événement sélectionné : Choisissez Fichier > Organiser les fichiers d’événements. •• Pour redémarrer les tâches de gestion d’arrière-plan pour un projet sélectionné : choisissez Fichier > Organiser les fichiers de projet. Si votre caméra DSLR n’est pas reconnue par Final Cut Pro mm Suivez les instructions dans Importation à partir d’un appareil photo numérique à la page 31. 16 436 Présentation des préférences et des métadonnées Dans Final Cut Pro, il vous est possible de modifier les réglages de préférences pour indiquer comment votre média source s’importe dans l’application, le mode de reproduction de vos plans et le type de montage applicable à vos plans dans la timeline. Vous pouvez aussi afficher et modifier les renseignements associés à un plan donné, appelées les métadonnées d’un plan. Ces métadonnées comprennent des informations relatives aux fichiers de média source d’un plan ainsi que celles que vous ajoutez au plan, par exemple des notes. Pour en savoir plus, consultez Affichage et modification des métadonnées de plans à la page 451. Préférences Final Cut Pro Modification des réglages de préférences Une préférence modifie le comportement d’une fonctionnalité particulière de Final Cut Pro. La plupart de ces réglages de préférences peuvent être activés ou désactivés à tout moment. Les sections suivantes décrivent les préférences de Final Cut Pro de façon plus détaillée. Ouverture des préférences de Final Cut Pro mm Choisissez Final Cut Pro > Préférences (ou appuyez sur Commande + Virgule), puis cliquez sur le bouton d’une fenêtre en haut de la fenêtre pour l’ouvrir. Copie des préférences Final Cut Pro entre ordinateurs Vous pouvez copier les réglages des préférences de Final Cut Pro vers un autre Mac sur lequel Final Cut Pro est aussi installé afin que les réglages soient identiques sur les deux ordinateurs. 1 Le fichier contenant les réglages des préférences se trouve à l’emplacement suivant : /Utilisateurs/nom d’utilisateur/Bibliothèque/Préférences/com.apple.FinalCut.plist 2 Copier le fichier des réglages des préférences au même emplacement sur un autre Mac. Si nécessaire, remplacez toute autre version du fichier à cet emplacement. Préférences et métadonnées Chapitre 16 Préférences et métadonnées 437 Modification des préférences Les préférences Montage influent sur les comportements liés au montage dans Final Cut Pro. Contrôle du temps •• Contrôle du temps : utilisez ce menu local pour choisir le mode de mesure du temps pour Final Cut Pro. Les changements apportés à ce réglage affectent l’affichage du temps (pour l’emplacement du skimmer ou de la tête de lecture) dans le panneau de contrôle repris au milieu de la barre d’outils, ainsi que les opérations de trim et de navigation dans Final Cut Pro. Les options suivantes vous sont proposées : •• Affichage du timecode •• Affichage du timecode avec sous-images •• Durée en nombre d’images •• Durée en secondes Timeline •• Afficher les commentaires détaillés sur le trimming : cochez cette case pour activer la présentation de deux fenêtres juxtaposées dans le visualiseur pour bénéficier d’un retour plus précis sur un point de montage lorsque deux plans contigus sont manipulés. Par exemple, pour un simple montage Ripple ou Roll, cet affichage reprend le point d’arrivée du plan de gauche et le point de départ du plan de droite. •• Placer la tête de lecture après l’opération de montage : cochez cette case pour que la tête de lecture se place automatiquement sur la timeline à la fin du dernier montage. Par exemple, si vous insérez un plan entre deux autres sur la timeline, la tête de lecture se place automatiquement entre le plan inséré et celui immédiatement suivant. Unités de l’inspecteur •• Unités de l’inspecteur : ce menu local vous permet de définir l’affichage des valeurs dans les commandes de l’inspecteur pour les effets Transformation, Rognage et Distorsion. •• Pixels : sélectionnez ce réglage pour afficher les valeurs exprimées en pixels. •• Pourcentages : sélectionnez ce réglage pour afficher les valeurs exprimées en pourcentages. Chapitre 16 Préférences et métadonnées 438 Audio •• Afficher les formes d’onde de référence : cochez cette case pour modifier l’apparence de l’arrière-plan de la partie audio d’un plan de sorte à afficher les formes d’onde de référence. Une forme d’onde de référence affiche la résolution maximale de la forme d’onde audio active. En faisant appel à un facteur d’annulation sur la tonalité, les formes d’onde de référence permettent de distinguer la forme du son plus clairement. Lorsque la forme d’onde active change de forme (par exemple, se réduit lorsque le volume d’un plan est faible), celle de référence reste intégralement visible pour faciliter le montage. Images fixes •• Durée de montage de x secondes : utilisez cette case de valeur pour régler la durée de montage en secondes par défaut des images fixes et des plans d’arrêt sur image. Transitions •• Durée de x secondes : utilisez cette case de valeur pour régler la durée en secondes par défaut des transitions. Avertissements de dialogue •• Tout réinitialiser : cliquez sur ce bouton pour réinitialiser l’affichage de toutes les zones de dialogue d’avertissement. Préférences de lecture Les préférences de lecture influent sur les performances en lecture et de rendu de Final Cut Pro. Rendu •• Rendu en arrière-plan : cochez cette case pour activer les opérations de rendu de Final Cut Pro, qui s’effectuent lorsque le système est inactif. •• Démarrer après : utilisez cette case de valeur pour définir la durée d’inactivité de votre système, exprimée en secondes, avant que le rendu en arrière-plan de Final Cut Pro se lance. Lecture •• Utiliser un média proxy : cliquez sur ce bouton pour exploiter du média proxy de qualité moyenne (converti à la moitié de la résolution d’origine) plutôt que du média en résolution complète lors de la lecture. Choisir cette option augmente les performances de lecture, bien que la qualité vidéo soit moindre. Dans Final Cut Pro, le média proxy est au format Apple ProRes 422 (Proxy). Chapitre 16 Préférences et métadonnées 439 •• Utiliser un média original ou optimisé : ce bouton vous permet d’exploiter du média optimisé pour la lecture. Si aucun média optimisé n’est disponible, Final Cut Pro fait appel au média d’origine pour la lecture. Dans ce cas, utilisez le menu local Qualité de lecture pour indiquer d’utiliser toujours le plus haut niveau de qualité vidéo pour la lecture, ou de faire appel à de la vidéo de résolution plus modeste pour bénéficier de meilleures performances en lecture. Dans Final Cut Pro, le média optimisé est au format Apple ProRes 422. •• Qualité de lecture : choisissez Haute qualité dans ce menu local pour donner la priorité à la qualité, ou sélectionnez Meilleures performances pour privilégier les performances. •• Créer des média optimisés pour des plans multicam : cochez cette case pour transcoder automatiquement la vidéo de plans multicam au codec Apple ProRes 422, ce qui assure de meilleures performances lors du montage et des temps de rendu plus courts. •• Avertir lors de l’omission d’images durant la lecture : cochez cette case pour que Final Cut Pro vous avertisse lorsque des images sont abandonnées (Drop-Frame) lors de la lecture. •• Avertir lors de l’omission d’images à cause d’une mauvaise performance du disque dur : cochez cette case pour que Final Cut Pro vous avertisse lorsque des images sont abandonnées (Drop-Frame) pendant la lecture à cause des performances du disque dur. Durée de pre-roll •• Durée de pre-roll : Utiliser la case de valeur pour définir la durée à lire avant une audition ou avant la position du skimmer ou de la tête de lecture lors de l’utilisation de la commande Lire le contexte. Durée de post-roll •• Durée de post-roll : Utiliser la case de valeur pour définir la durée à lire avant une audition ou avant la position du skimmer ou de la tête de lecture lors de l’utilisation de la commande Lire le contexte. Arrière-plan du lecteur •• Arrière-plan du lecteur : utilisez ce menu local pour choisir un modèle pour le visualiseur. La couleur sélectionnée est alors visible dans le cas de plans transparents, entièrement ou en partie, ou de plans ne tenant pas complètement sur l’image. Sortie A/V •• Sortie A/V : utilisez ce menu local pour choisir un équipement audio/vidéo ou un moniteur externe pour la sortie. La sortie A/V nécessite une interface vidéo matérielle et logicielle de tierce partie et n’est disponible que sous OS X Lion 10.7.2 ou ultérieur. Pour en savoir plus, consultez Lecture sur un moniteur externe à la page 85. Chapitre 16 Préférences et métadonnées 440 Préférences d’importation Lorsque vous importez du média dans Final Cut Pro par le biais de la fenêtre Importation des médias, vous pouvez alors personnaliser vos réglages d’importation chaque fois que vous importez des fichiers. Si vous faites glisser cependant du média directement à partir du Finder dans Final Cut Pro, Final Cut Pro s’appuie sur les réglages d’importation que vous avez sélectionnés dans la fenêtre Importer des préférences de Final Cut Pro. Organisation •• Copier les fichiers dans le dossier Final Cut Events : duplique les fichiers de médias et place part la copie dans le dossier Final Cut Events stocké sur votre système. Si vous importez un média depuis un autre disque ou volume, ou si vous voulez conserver une copie de tous les fichiers de média qui ont été importés dans Final Cut Pro au même emplacement, cochez cette case. •• Importer des dossiers sous forme de collections de mots-clés : crée une collection de mots-clés pour chaque dossier dans les fichiers en cours d’importation. Si les fichiers en cours d’importation se trouvent dans des dossiers dont le nom est évocateur, sélectionnez cette option pour conserver l’organisation des fichiers existante dans le Finder. (Il est important de noter que, bien que les collections de mots-clés ne soient pas imbriquées dans la bibliothèque d’événements, chaque fichier obtient une collection de mots-clés pour chaque dossier dans lequel il figure, quelle que soit la profondeur du sous-dossier dans l’arborescence du dossier en question.) Transcodage •• Créer un média optimisé : cette option transcode la vidéo au format de codec Apple ProRes 422, lequel assure de meilleures performances lors du montage, des temps de rendu réduits et une qualité colorimétrique supérieure lors du compositing. Si le format original de la caméra peut être monté en offrant de bons résultats, cette option est estompée. •• Créer un média proxy : cette option permet de transcoder de la vidéo au format du codec Apple ProRes 422 (Proxy), ce qui génère des fichiers en haute qualité, pratiques pour le montage déconnecté. Les fichiers vidéo proxy occupent sensiblement moins d’espace disque, vous offrant souvent la possibilité de travailler sur un ordinateur portable même si celui-ci dispose de moins de mémoire et de puissance qu’un ordinateur de bureau. Cette option transcode des images fixes en fichiers JPEG (si le fichier original ne possède pas d’informations de canal alpha) ou PNG (dans le cas contraire). Remarque : Lors du transcodage de fichiers, Final Cut Pro conserve toujours le média original en vue de son utilisation ultérieure. Pour en savoir plus sur l’emplacement des fichiers de média originaux, de média proxy et de média transcodés, consultez Emplacement de vos fichiers de média et de projet à la page 407. Chapitre 16 Préférences et métadonnées 441 Vidéo •• Analyser la balance des couleurs : analyse la piste vidéo des plans pour détecter les problèmes de dominante de couleur et de contraste. La balance des couleurs est automatiquement corrigée lorsque vous faites glisser le plan sur la timeline. Vous pouvez corriger les problèmes de balance des couleurs d’un plan inclus dans un événement en activant la fonction Balance dans la section Couleur de l’inspecteur vidéo. Vous pouvez désactiver le réglage automatique de la couleur à tout moment. Dans ce cas, le plan conserve les couleurs enregistrées à l’origine dans le projet. •• Rechercher les personnes : effectue l’analyse des plans pour détecter la présence de personnes et des types de plans. Une fois l’analyse effectuée, les mots-clés suivants sont ajoutés au plan le cas échéant : Une personne, Deux personnes, Groupe, Gros plan, Plan moyen ou Plan élargi. La case « Consolider les résultats de recherche de personnes » simplifie et récapitule tous les mots-clés d’analyse de ce type de recherche. Pour en savoir plus, consultez Options d’analyse des vidéos et des images fixes à la page 49. Si vous procédez à l’analyse pour rechercher des personnes, il est recommandé de cocher également la case « Créer des collections intelligentes après l’analyse ». •• Créer des collections intelligentes après l’analyse : crée une collection intelligente pour chaque mot-clé appliqué lors de l’analyse de plans vidéo pour rechercher des problèmes de stabilisation ou des personnes. Les collections intelligentes s’affichent dans un dossier à l’intérieur de l’événement. Audio •• Analyser et résoudre les problèmes audio : analyse l’audio et corrige automatiquement tout bourdonnement, bruit et problème de tonalité. Vous pouvez à tout moment désactiver les corrections automatiques de l’audio ; dans ce cas, l’audio est lue telle qu’enregistrée à l’origine. •• Scinder l’audio mono et grouper l’audio stéréo : analyse et regroupe les canaux audio en mono double ou en stéréo, selon les résultats de l’analyse. Pour en savoir plus sur les canaux audio, consultez la section Configuration des canaux audio à la page 176. •• Supprimer les canaux silencieux : les canaux audio sont analysés et ceux laissés silencieux sont automatiquement supprimés. Remarque : Il vous est possible de récupérer la configuration audio d’origine après l’importation. Consultez Configuration des canaux audio à la page 176. Préférences de destinations Pour modifier les destinations de partage reprises dans le menu Partager, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Les destinations de la liste Destinations (reprise au côté gauche de la fenêtre Destinations) apparaissent également dans le sous-menu Partager du menu Fichier et dans le menu local qui s’affiche lorsque vous cliquez sur le bouton Partager dans la barre d’outils. Chapitre 16 Préférences et métadonnées 442 Lorsque vous ouvrez Final Cut Pro pour la première fois, un ensemble de destinations par défaut apparaît dans la liste Destinations. Vous avez la possibilité d’ajouter d’autres destinations et en personnaliser au besoin. Pour connaître les destinations que vous pouvez ajouter, sélectionnez Ajouter une destination dans la liste Destinations. Lorsque vous sélectionnez une destination dans la liste Destinations, ses réglages s’affichent à droite. Les réglages disponibles pour chaque destination sont décrits ci-dessous. Pour en savoir plus sur l’ajout et la modification de destinations, consultez Utilisation de destinations à la page 447. DVD et Blu-ray Faites appel à ces destinations pour graver votre projet ou plan sur un DVD en définition standard ou disque compatible Blu-ray, ou pour créer un fichier d’image disque (.img) que vous pouvez copier ensuite sur un lecteur externe ou graver sur disque. Remarque : La destination Blu-ray ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. Les destinations DVD et Blu-ray comprennent les réglages suivants : •• Périphérique de sortie : reprend les dispositifs de sortie adaptés à votre système, notamment les lecteurs optiques et le disque dur de l’ordinateur. Vous pouvez passer par votre disque dur pour créer un fichier d’image disque (.img) que vous pouvez copier ensuite sur un lecteur externe ou graver sur un DVD. •• Couches : affiche les couches disponibles sur le média de destination. •• Automatique : détecte automatiquement le type de disque que vous pouvez utiliser. •• Simple couche : identifie le disque en tant que disque simple couche. Vous pouvez faire appel à cette option pour forcer un disque double couche faisant office de disque simple couche. •• Double couche : identifie le disque en tant que disque double couche. Cette option peut forcer au besoin l’image disque à être formatée en disque double couche si vous choisissez l’option Disque dur pour désigner votre dispositif de sortie. Important : En fonction de la durée du projet, le choix de Double couche en cas d’usage d’un disque simple couche peut entraîner une erreur lors de la gravure du disque. Chapitre 16 Préférences et métadonnées 443 •• Modèle de disque : affiche les modèles de disque proposés. •• Au chargement du disque : affiche l’opération automatique qui s’exécute au moment de la lecture du disque. •• Afficher le menu : affiche le menu principal. •• Lire le film : lance immédiatement la lecture du film. •• Marqueurs : non disponibles pour Blu-ray lors de l'utilisation d'un appareil de sortie AVCHD. Cocher la case pour inclure le texte des marqueurs de chapitre sous forme de sous-titres dans le disque généré en sortie. Les utilisateurs peuvent ainsi passer d’un marqueur de chapitre à l’autre en appuyant sur le bouton Chapitre suivant ou Chapitre précédent sur le lecteur de DVD ou Blu-ray. Pour en savoir plus sur l’utilisation de marqueurs de chapitre, consultez Gestion des marqueurs de chapitre et de leur vignette à la page 160. •• En boucle : disponible uniquement pour les disques Blu-ray. Cochez cette case pour ajouter une icône de lecture en boucle au menu. •• Arrière-plan : cliquez sur le bouton Ajouter pour ajouter un graphisme en arrière-plan. •• Graphique du logo : disponible uniquement pour les disques Blu-ray. cliquez sur le bouton Ajouter pour ajouter un logo. •• Graphique du titre : disponible uniquement pour les disques Blu-ray. cliquez sur le bouton Ajouter pour ajouter un graphisme pour le titre. •• Preview : cliquez sur Menu principal pour afficher un aperçu du menu principal. Cliquez sur Menu Chapitre pour afficher un aperçu du menu des chapitres. Adresse électronique Utilisez cette destination pour envoyer votre projet ou plan par courrier électronique à travers le programme de messagerie électronique Mail d’Apple. La destination Adresse électronique crée automatiquement un courrier électronique qui inclut le fichier exporté. Remarque : La destination Adresse électronique ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. La destination Adresse électronique inclut les réglages suivants : •• Résolution : choisissez une résolution dans le menu local. •• Compression : choisissez « Meilleure qualité » si vous voulez bénéficier d’une compression optimale. Choisissez « Encodage plus rapide » si vous êtes disposé à sacrifier de la qualité pour obtenir un traitement plus rapide. YouTube, Vimeo, Facebook et CNN iReport Faites appel à ces destinations pour publier votre projet ou plan à travers votre compte YouTube, Vimeo, Facebook ou CNN iReport. Remarque : La destination CNN iReport ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. Important : Si vous possédez plusieurs comptes pour le même site web, vous devez créer une destination à part pour chaque compte. Après avoir saisi les informations de compte, le nom de la destination se voit complété de celui du compte entre parenthèses, par exemple, « YouTube (nom_utilisateur) ». Si vous le désirez, vous pouvez renommer la destination pour lui attribuer un nom plus évocateur. Chapitre 16 Préférences et métadonnées 444 Les destination web regroupent les réglages suivants : •• Ouvrir une session : la première fois que vous ouvrez une nouvelle destination web, une fenêtre vous permet alors de saisir les informations de votre compte. Si vous saisissez votre nom de compte et votre mot de passe, et cochez la case « Conserver ce mot de passe dans mon trousseau », il ne vous est alors plus nécessaire de ressaisir vos nom et mot de passe par la suite. Après la configuration de départ, vous pouvez cliquer sur le bouton Ouvrir une session dans les réglages de la destination pour saisir à nouveau ou pour modifier les informations de votre compte. •• Résolution : choisissez la résolution par défaut pour la destination. Si la destination est utilisée avec un projet ou un plan présentant une résolution inférieure à celle que vous avez sélectionnée, la résolution s’adapte pour se calquer sur celle du projet ou du plan. •• Compression : choisissez « Meilleure qualité » si vous voulez bénéficier d’une compression optimale. Choisissez « Encodage plus rapide » si vous êtes disposé à sacrifier de la qualité pour obtenir un traitement plus rapide. •• Convertir ce film en film privé : disponible uniquement pour YouTube. Si cette case est cochée, seuls les contacts que vous indiquez dans les paramètres de votre compte YouTube sont alors en mesure de visionner le film. •• Catégorie : disponible uniquement pour YouTube. Choisissez la catégorie YouTube sous laquelle votre film doit figurer. •• Visible par : disponible uniquement pour Facebook et pour Vimeo. Indiquez qui est en mesure de visionner votre film. Enregistrer l’image active et Séquence d’images Passez par ces destinations pour enregistrer l’image fixe d’une image vidéo quelconque de votre projet ou pour enregistrer un ensemble de fichiers d’images fixes, numérotés de façon séquentielle. Remarque : Les destinations Enregistrer l’image active et Séquence d’images ne s’affichent pas par défaut. Pour ajouter l’une de ces deux à la liste Destinations, consultez Utilisation de destinations à la page 447. Les destinations Enregistrer l’image active et Séquence d’images regroupent les réglages suivants : •• Exporter : choisissez un format pour le fichier exporté. •• Mettre l’image à l’échelle pour conserver les proportions : cochez cette case pour adapter l’échelle du fichier de sortie à des pixels carrés et conserver ainsi les proportions d’origine (entraînant par là même une augmentation ou une réduction du nombre de pixels à l’horizontale et à la verticale). La case n’influe que sur les projets usant des formats avec des pixels non-carrés, tels les formats NTSC et PAL. Si la case est décochée (réglage par défaut), le fichier en sortie reprend les proportions pixels et le même nombre de pixels à l’horizontale et à la verticale que la vidéo d’origine. Exportation d’un fichier Remarque : Cette destination sert de base à trois destinations dans l’ensemble par défaut : Fichier master, Dispositifs Apple 720p et Dispositifs Apple 1080p. Lorsque vous créez ou modifiez des destinations dans les préférences de Final Cut Pro, cette destination s’appelle Exporter le fichier. Utilisez cette destination pour exporter votre projet ou plan sous forme de fichier de film (audio + vidéo), de fichier vidéo (sans audio) ou de fichier audio (sans vidéo). Cette destination permet d’exporter des fichiers destinés aux appareils Apple, aux ordinateurs et pour l’hébergement sur le web. Chapitre 16 Préférences et métadonnées 445 Vous pouvez personnaliser la destination Exporter le fichier en choisissant l’une des résolutions proposées en fonction de l’appareil de reproduction prévu. Par exemple, choisissez une résolution de 1280 x 720 pour l’iPhone et l’iPod, et une résolution de 1920 x 1080 pour l’iPad. Vous pouvez aussi exporter un ou plusieurs des rôles utilisés dans votre projet sous forme d’un ou de plusieurs fichiers appelés stems. La destination d’exportation de fichiers inclut les réglages suivants : •• Format : formats de masterisation de listes (Vidéo et audio, Vidéo seulement, Audio seulement) et formats de publication (appareils Apple, Ordinateur, Hébergement web). Votre choix du format détermine les options proposées dans les menus locaux ci-dessous. Important : Lors du partage d’un projet ou plan, vous ne pouvez changer de résolution que pour les formats de publication. •• Codec vidéo : choisissez le codec vidéo à utiliser pour le fichier exporté. (Les choix proposés s’appuient sur le format de média du plan ou du projet source.) •• Résolution : choisissez la résolution par défaut pour la destination. Si la destination est utilisée avec un projet ou un plan présentant une résolution inférieure à celle que vous avez sélectionnée, la résolution s’adapte pour se calquer sur celle du projet ou du plan. •• Formats de fichiers audio : si vous avez choisi Audio seulement dans le menu local Format, indiquez un format audio pour le fichier exporté. Si vous avez choisi une autre option dans le menu local Format, l’élément répertorie le format audio prévu pour le fichier exporté. •• Inclure les marqueurs de chapitre : cochez la case pour inclure les marqueurs de chapitre ajoutés au fichier de sortie du projet. Les utilisateurs peuvent ainsi passer d’un marqueur de chapitre à l’autre en cliquant sur le bouton Chapitre suivant ou Chapitre précédent dans iTunes ou dans QuickTime Player. •• « Une fois terminé », « Ouvrir avec » ou « Ajouter à la liste de lecture » : choisissez l’opération que vous souhaitez voir s’exécuter une fois l’exportation terminée. Vous avez le choix d’ouvrir le fichier exporté dans une application, de l’ajouter à votre bibliothèque iTunes ou de le publier dans le navigateur multimédia. Le nom du menu local s’adapte en fonction de l’option choisie. •• Ne rien faire : choisissez cette option si vous ne voulez pas ouvrir automatiquement le fichier exporté. •• QuickTime Player, iTunes ou autre application : choisissez cette option pour ouvrir le fichier exporté dans l’application par défaut associée à ce type de fichier. Vous pouvez définir ou changer d’application par défaut dans le Finder. Pour en savoir plus, consultez l'aide d’OS X accessible depuis le menu Aide lorsque le Finder est actif. •• Compressor : cette option vous permet d’ouvrir le fichier exporté dans Compressor. Le fichier exporté devient alors la source d’un nouveau lot, ce qui permet de continuer plus facilement à traiter le film du projet. Vous pouvez, par exemple, créer les versions compressées nécessaires pour la distribution, sans passer par Final Cut Pro. Remarque : Cette option n’est disponible que si Compressor est installé sur le même ordinateur que Final Cut Pro. •• Autre : choisissez cette option pour indiquer une autre application pour ouvrir le fichier exporté. Sélectionnez l’application dans la fenêtre qui s’affiche, puis cliquez sur Ouvrir. •• Bibliothèque : choisissez cette option pour ajouter le fichier exporté à votre bibliothèque iTunes. •• Publier sur le navigateur multimédia : cette option permet d’ajouter le fichier exporté au navigateur multimédia pour mettre le fichier de sortie à disposition de Final Cut Pro et d’autres applications pour Mac. Chapitre 16 Préférences et métadonnées 446 •• Rôles en tant que : disponible uniquement si vous avez choisi le format de masterisation (Vidéo et audio, Vidéo seulement ou Audio seulement) dans le menu local Format. Si vous devez exporter votre projet en tant que fichiers de média séparés (par exemple, pour exporter séparément les dialogues, la musique et les effets sonores de votre projet), vous pouvez exporter un ou plusieurs des rôles de votre projet en tant que stems. Vous pouvez créer soit un fichier QuickTime multipiste combiné, soit des fichiers audio ou vidéo séparés, au moyen des rôles audio et vidéo de votre projet ; vous pouvez en outre attribuer une sortie mono, stéréo ou Surround à vos canaux audio. Pour en savoir plus sur les rôles, consultez la section Présentation des rôles à la page 310. Réglages de Compressor Utilisez cette destination pour exporter un projet ou plan en utilisant les réglages de Compressor, l’application professionnelle de transcodage conçue pour fonctionner directement avec Final Cut Pro. Remarque : La destination Réglages de Compressor ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. L’exportation d’un projet à l’aide d’un réglage de Compressor apporte de nombreux avantages qu’offre Compressor sans avoir à ouvrir votre projet dans cette application. Vous pouvez utiliser Compressor pour créer plusieurs fichiers de sortie en une seule opération de partage ou créer des réglages personnalisés qui modifient votre fichier de sortie, pour ajouter par exemple un filigrane à une vidéo. Si vous avez installé Compressor sur votre système, vous pouvez utiliser les réglages de Compressor avec Final Cut Pro. Si quelqu’un vous procure un réglage Compressor alors que l’application n’est pas installée sur votre système, placez le réglage à l’emplacement suivant pour que Final Cut Pro et Compressor puissent y accéder) : /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Compressor/Settings/. Il se peut que vous deviez créer les dossiers Compressor et Settings (des réglages) par le biais du Finder. Conseil : Sous OS X Lion 10.7 et ultérieur, le dossier Bibliothèque au sein de votre dossier de départ est masqué par défaut. Vous pouvez y accéder depuis le Finder en choisissant Aller > Aller au dossier, puis en saisissant ~/Bibliothèque/ dans le champ Aller au dossier. Pour en savoir plus, consultez l'aide d’OS X accessible depuis le menu Aide lorsque le Finder est actif. Diffusion HTTP en direct Faites appel à cette destination pour envoyer de la vidéo et de l’audio à un iPhone, iPad, iPod touch ou un Mac par le biais d’un serveur web. Remarque : La destination « Diffusion HTTP en direct » ne s’affiche pas par défaut. Pour l’ajouter à la liste Destinations, consultez Utilisation de destinations à la page 447. Dans la mesure où la diffusion HTTP en direct adapte de façon dynamique la qualité de lecture du film au débit disponible des réseaux sans fil ou câblés, elle se révèle être un véritable atout lors de la diffusion de données en continu vers une application sous iOS ou un site web écrit en HTML5. Pour obtenir des informations détaillées sur la mise en oeuvre de la diffusion HTTP en direct, consultez le Site web Apple relatif à la diffusion HTTP en direct dédié aux développeurs à l’adresse http://developer.apple.com/fr/resources/http-streaming. Chapitre 16 Préférences et métadonnées 447 La destination « Diffusion HTTP en direct » inclut les réglages suivants : •• Versions à exporter : cochez la case pour chaque type de connexion réseau que vous comptez prendre en charge pour la diffusion en continu. Vous pouvez exporter des fichiers à utiliser avec des dispositifs exploitant une connexion cellulaire, Wi-Fi et haut débit. Lot Il vous est possible de regrouper des ensembles de destinations en un lot pour créer plusieurs types de sortie en une seule étape. Lorsque vous partagez un projet ou un plan par le biais du lot, un fichier pour chaque destination incluse dans le lot est automatiquement généré en sortie. Pour savoir comment créer un lot, consultez Utilisation de destinations à la page 447. Utilisation de destinations Pour modifier les destinations de partage par le biais du menu Partager, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Vous pouvez modifier des destinations, en ajouter des nouvelles, en supprimer et créer des lots de destinations, ce qui vous permet d’exporter plusieurs types de sortie en une seule fois. Vous avez également la possibilité de rétablir l’ensemble par défaut des destinations disponibles lors de la première ouverture de Final Cut Pro. Pour en savoir plus sur le partage de projets et de plans depuis Final Cut Pro, consultez Présentation du partage de projets à la page 394. Création d’une nouvelle destination 1 Procédez de l’une des manières suivantes : •• Choisissez Fichier > Partager > Ajouter une destination. •• Choisissez Final Cut Pro > Préférences, cliquez sur le bouton Destinations dans la partie supérieure de la fenêtre, puis choisissez Ajouter une destination dans la liste Destinations qui se trouve à gauche. •• Sélectionnez un projet ou plan, cliquez sur le bouton Partager dans la barre d’outils, puis choisissez Ajouter une destination dans le menu local. Chapitre 16 Préférences et métadonnées 448 2 Dans la fenêtre Destinations de la fenêtre Préférences, procédez de l’une des manières suivantes : •• faites glisser une destination depuis la zone située à droite de la liste Destinations de gauche (ou double-cliquez sur une destination à droite). Faites glisser une destination dans la liste Destinations.Liste Destinations •• Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis choisissez Dupliquer dans le menu contextuel. La nouvelle destination apparaît sélectionnée dans la liste de gauche et les réglages pour la destination s’affichent à droite. 3 Choisissez les réglages à appliquer à la nouvelle destination. Modifiez les réglages relatifs à la nouvelle destination.Nouvelle destination Chapitre 16 Préférences et métadonnées 449 Si vous avez choisi une destination web, saisissez votre nom d’utilisateur et votre mot de passe dans la fenêtre qui s’affiche, puis cliquez sur OK. Si vous avez coché la case « Conserver ce mot de passe dans mon trousseau », vos nom et mot de passe sont alors sauvegardés afin que votre fichier exporté puisse être téléchargé automatiquement sur le site web. Si vous avez choisi la destination Réglages de Compressor, sélectionnez un réglage de Compressor dans la fenêtre qui apparaît, puis cliquez sur OK. Les réglages regroupent ceux de Compressor livrés avec Final Cut Pro ainsi que tous ceux que vous pouvez avoir ajoutés. Important : Vous pouvez utiliser la destination Réglages Compressor uniquement si Compressor est installé ou si quelqu’un vous fournit un réglage Compressor. Pour en savoir plus sur les réglages dechaque destination, consultez Préférences de destinations à la page 441. Vous avez la possibilité à tout moment de double-cliquer dans la liste Destinations pour saisir un nouveau nom ou utiliser les commandes de droite pour modifier les réglages de la destination. Au fur et à mesure que vous personnalisez la destination, vos modifications s’enregistrent automatiquement. Modification de destinations existantes Remarque : Il vous est également possible de modifier les réglages d’une destination existante lors du partage d’un projet ou d’un plan. Pour en savoir plus, consultez Partage de projets, de plans et de plages à la page 395. 1 Choisissez Final Cut Pro > Préférences, puis cliquez sur Destinations. La fenêtre Destinations s’affiche alors pour répertorier à gauche la liste des destinations. 2 Procédez de l’une des façons suivantes : •• Pour modifier les réglages d’une destination : sélectionnez une destination, puis modifiez ses réglages à droite. Modifiez les réglages relatifs à la destination sélectionnée.Sélectionnez une destination dans la liste Destinations. Chapitre 16 Préférences et métadonnées 450 •• Pour rétablir les réglages d’origine d’une destination : Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis choisissez « Rétablir les réglages d’origine » dans le menu contextuel. Les réglages de la destination reprennent alors leurs valeurs d’origine et s’enregistrent automatiquement. •• Pour renommer une destination : double-cliquez sur une destination dans la liste de gauche, puis saisissez un nouveau nom. •• Pour modifier l’ordre des destinations dans la liste : Faites glisser une destination vers un emplacement différent dans la liste Destinations. Lorsque vous modifiez des destinations, vos modifications s’enregistrent automatiquement. Création d’un lot de destinations Les lots simplifient la création simultanée de plusieurs types de sortie. Un lot héberge un certain nombre de destinations. Lorsque vous partagez un projet ou un plan par le biais du lot, un fichier pour chaque destination incluse dans le lot est automatiquement généré en sortie. 1 Dans la fenêtre Destinations de la fenêtre Préférences, sélectionnez Ajouter une destination dans la liste Destinations, puis double-cliquez sur la destination Lot (ou faites-la glisser de la zone située à droite de la liste Destinations de gauche). Un lot vide apparaît dans cette dernière liste. 2 Pour ajouter des destinations au lot, faites-y glisser les destinations existantes à partir de la liste Destinations, ou sélectionnez Ajouter une destination et faites glisser des destinations sur le lot depuis la zone située à droite. Conseil : Pour créer rapidement un lot à partir des destinations tirées de la liste Destinations, sélectionnez-en une ou plusieurs dans cette dernière liste en cliquant tout en maintenant la touche Contrôle enfoncée, puis choisissez « Nouveau lot d’après la sélection » dans le menu contextuel. Suppression d’une destination Procédez de l’une des manières suivantes : mm Tout en maintenant la touche Contrôle enfoncée, cliquez sur une destination dans la liste Destinations, puis sélectionnez Supprimer dans le menu contextuel. mm Sélectionnez une destination dans la liste Destinations et appuyez sur Commande + Supprimer. mm Sélectionnez une destination dans la liste Destinations, puis cliquez sur le bouton Supprimer (–) sous la liste. Indication d’une nouvelle destination par défaut Une destination porte le nom de la destination par défaut. Elle seule peut être ouverte à l’aide d’un raccourci clavier (Commande + E). Lorsque vous ouvrez Final Cut Pro pour la première fois, la destination du fichier master est celle utilisée par défaut. Vous avez la possibilité de définir en toute simplicité par défaut n’importe quelle autre destination. mm Cliquez sur la destination à définir par défaut tout en maintenant la touche Contrôle enfoncée, puis choisissez Par défaut dans le menu contextuel. Le nom de la nouvelle destination par défaut se voit complété du suffixe « (par défaut) ». Rétablissement de l’ensemble par défaut de destinations fourni avec Final Cut Pro mm Cliquez dans la liste Destinations tout en maintenant la touche Contrôle enfoncée, puis choisissez « Rétablir les réglages par défaut » dans le menu contextuel. Chapitre 16 Préférences et métadonnées 451 Toutes les destinations personnalisées sont alors supprimées et l’ensemble par défaut des destinations s’affiche. Pour retrouver la liste des destinations par défaut, consultez Présentation du partage de projets à la page 394. Partage de destinations entre des utilisateurs de Final Cut Pro mm Pour exporter des destinations depuis votre copie de Final Cut Pro : faites glisser dans le Finder une ou plusieurs destinations depuis la liste Destinations reprise dans la fenêtre des préférences de Final Cut Pro. Le fichier de destination se voit complété de l’extension .fcpxdest. mm Pour importer des destinations dans votre copie de Final Cut Pro : Faites glisser un fichier de destination du Finder sur la liste Destinations. La destination ajoutée apparaît dans la liste Destinations, le sous-menu Partager du menu Fichier et dans le menu local qui s’affiche lorsque vous cliquez sur le bouton Partager dans la barre d’outils. Utilisation de métadonnées Affichage et modification des métadonnées de plans Les informations relatives à vos fichiers de média source, celles enregistrées par la caméra et les autres renseignements de description d’un plan s’appellent les métadonnées. Dans Final Cut Pro, vous pouvez créer vos propres associations de métadonnées à afficher avec vos plans, appelées présentations des métadonnées. Il vous est possible de créer des présentations des métadonnées ou modifier celles fournies avec Final Cut Pro. Final Cut Pro prévoie trois types de métadonnées : •• Données EXIF (Exchangeable Image File, fichier image d’échange) : renseignements que la caméra enregistre et stocke dans le média au moment de la prise de vue, comme la marque et le modèle de la caméra, la taille du fichier, le profil colorimétrique et le nombre de bits par échantillon. •• Données IPTC (International Press Telecommunications Council) : données standardisées utilisées par les agences de presses pour intégrer des mots-clés, des légendes, des avis liés aux droits d’auteur et autres informations au sein même des fichiers de média. •• Métadonnées Final Cut Pro : données à appliquer aux plans dans Final Cut Pro, par exemple le nom des plans, leur classement et les mots-clés. L’inspecteur d’informations vous permet d’afficher et de modifier les métadonnées pour un plan ou un groupe de plans sélectionné dans le navigateur d’événements ou dans la timeline. Bouton d’informations Chapitre 16 Préférences et métadonnées 452 L’inspecteur de partage affiche également les métadonnées de partage qui sont exportées avec un plan ou un projet partagé. Pour en savoir plus, consultez Modification des attributs de partage à la page 400. Affichage des métadonnées d’un plan 1 Sélectionnez un plan. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. Les métadonnées du plan ou du groupe de plans sélectionné s’affichent dans les champs de l’inspecteur d’informations. Passage d’une présentation des métadonnées à l’autre dans l’inspecteur d’informations Vous pouvez modifier les champs de métadonnées qui apparaissent dans l’inspecteur d’informations en choisissant une autre présentation de métadonnées dans le menu local prévu à cet effet. 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez une présentation de métadonnées dans le menu local prévu à cet effet. Menu local Présentation des métadonnées Remarque : Si vous créez des présentations de métadonnées personnalisées, celles-ci apparaissent également dans le menu local. Modification des métadonnées d’un plan 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans le menu local Présentation des métadonnées, choisissez-en une contenant les champs adaptés aux métadonnées que vous souhaitez modifier. 4 Effectuez l’une des opérations suivantes : •• Cliquez sur un champ de texte pour l’activer, puis saisissez le texte à inclure. Remarque : S’il vous est impossible de cliquer sur un champ de texte, cela signifie qu’il n’est pas modifiable. C’est par exemple le cas de certains champs de métadonnées EXIF. •• Choisissez dans le menu local une option adaptée aux métadonnées à modifier. Remarque : vous pouvez également modifier la date et l’heure de la propriété « Contenu créé » relative à vos plans source dans le navigateur d’événements. Pour ce faire, sélectionnez simplement des plans, puis choisissez Modifier > Régler la date et l’heure de création du contenu. Réorganisation des champs dans une présentation de métadonnées mm Dans l’inspecteur d’informations, faites glisser les étiquettes de métadonnées de sorte à établir leur nouvel ordre. Chapitre 16 Préférences et métadonnées 453 Modification de présentations de métadonnées Il vous est possible de créer des présentations des métadonnées ou de modifier celles fournies avec Final Cut Pro. Création d’une présentation de métadonnées 1 Sélectionnez un plan. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet. 4 Dans la fenêtre Présentations des métadonnées, choisissez « Nouvelle présentation des métadonnées » à partir du menu local Action situé en bas à gauche de la fenêtre. 5 Attribuez un nom à la nouvelle présentation de métadonnées et appuyez sur Retour. 6 Pour limiter le nombre de propriétés à un groupe précis, tels que les propriétés EXIF ou les propriétés vidéo, choisissez un groupe dans le menu local Propriétés, repris dans la partie supérieure de la fenêtre. 7 Pour ajouter une propriété à la présentation de métadonnées, cochez la case à gauche de la propriété. Cochez une case pour ajouter une propriété à la présentation des métadonnées. Menu local Action 8 Lorsque les champs de métadonnées attribués à la présentation de métadonnées vous conviennent, cliquez sur OK. La nouvelle présentation de métadonnées est alors ajoutée au menu local prévu à cet effet dans l’inspecteur d’informations. Chapitre 16 Préférences et métadonnées 454 Modification d’une présentation de métadonnées Vous avez la possibilité de modifier la combinaison de métadonnées qui apparaît dans une présentation de métadonnées. Vous pouvez renommer, ajouter ou supprimer les champs de métadonnées, en créer d’autres champs personnalisés et réorganiser l’ordre dans lequel ils s’affichent. 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet. 4 Dans la fenêtre Présentations des métadonnées, sélectionnez celle à modifier, puis effectuez l’une des opérations suivantes : •• Pour renommer la présentation de métadonnées : double-cliquez sur le nom de la présentation de métadonnées dans la colonne de gauche, attribuez-lui un nouveau nom, puis appuyez sur Entrée. •• Pour supprimer des propriétés (et par là même, des champs de métadonnées) de la présentation de métadonnées : dans la colonne Propriété, décochez la case en regard de la propriété à supprimer. •• Pour ajouter des propriétés (et donc, des champs de métadonnées) à la présentation de métadonnées : dans la colonne Propriété, cochez la case en regard de la propriété à ajouter. •• Pour ajouter une propriété personnalisée (champs de métadonnées) à la présentation de métadonnées : choisissez « Ajouter un champ de métadonnées personnalisées » dans le menu local Action , attribuez un nom et une description à la nouvelle propriété, puis cliquez sur OK. 5 Lorsque les champs de métadonnées sont correctement attribués à la présentation de métadonnées sélectionnée, cliquez sur OK. Duplication d’une présentation de métadonnées Si vous voulez créer une présentation de métadonnées contenant la plupart des champs de métadonnées reprises dans une présentation de métadonnées existante, il vous est possible d’économiser du temps en dupliquant la présentation existante puis en la modifiant. 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, choisissez la présentation de métadonnées à dupliquer dans le menu local prévu à cet effet, puis choisissez « Enregistrer la présentation des métadonnées sous » à partir du menu local Présentation des métadonnées. 4 Dans la fenêtre qui s’affiche en haut de la fenêtre de Final Cut Pro, attribuez un nom à la nouvelle présentation de métadonnées, puis cliquez sur OK. La nouvelle présentation de métadonnées apparaît alors dans le menu local prévu à cet effet dans l’inspecteur d’informations. Modifiez la nouvelle présentation selon vos besoins. Suppression d’une présentation de métadonnées 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Dans l’inspecteur d’informations, choisissez une présentation de métadonnées dans le menu local prévu à cet effet. 4 Dans la fenêtre Présentations des métadonnées, choisissez la présentation à supprimer dans la colonne de gauche, puis choisissez « Supprimer la présentation des métadonnées » dans le menu local Action situé dans le coin inférieur gauche. Chapitre 16 Préférences et métadonnées 455 La présentation est alors supprimée de la colonne de gauche dans la fenêtre et du menu local dans l’inspecteur d’informations. Remarque : La suppression d’une présentation de ce type n’entraîne pas celle des métadonnées appliquées à un plan ou à son média source. Modification de noms de plans par lot Lorsque vous importez du média dans Final Cut Pro, les plans portent souvent des noms peu évocateurs, tels que ceux attribués par la caméra. Bien qu’il vous soit possible de renommer des plans indépendamment, vous pouvez aussi réattribution le nom d’une sélection de plans automatiquement sous forme de lot (réattribution de nom par lot) dans le navigateur d’événements, une fois le média importé dans Final Cut Pro. Final Cut Pro fournit des préréglages d’attribution de nom personnalisables pour renommer facilement des groupes conséquents de plans. Modification de noms de plans par lot à l’aide d’un préréglage d’attribution de nom 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Pour ouvrir l’inspecteur d’informations, cliquez sur le bouton Inspecteur prévu sur la barre d’outils (illustré ci-dessous), puis cliquez sur le bouton d’informations situé en haut de la fenêtre qui s’affiche. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez un préréglage d’attribution de nom dans le sous-menu. Les plans sélectionnés dans le navigateur d’événements sont alors renommés. Création d’un préréglage d’attribution de nom Dans la plupart des cas, vous serez amené à créer un préréglage d’attribution de nom et à le personnaliser. Conseil : Le moyen le plus simple de créer un préréglage d’attribution de nom consiste à en dupliquer un existant. Reportez-vous à la tâche suivante pour en savoir plus. 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Nouveau dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », double-cliquez sur Sans titre, attribuez un nom au nouveau préréglage et appuyez sur Retour. Le nouveau préréglage d’attribution du nom apparaît alors dans le sous-menu « Appliquer le nom personnalisé » du menu local Action. Création d’une copie d’un préréglage d’attribution de nom existant Le moyen le plus simple de créer un préréglage d’attribution de nom consiste à dupliquer un préréglage existant, à savoir un préréglage contenant la plupart des options de format de nom à inclure, et à le modifier. 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Ouvrir l’inspecteur d’informations. Chapitre 16 Préférences et métadonnées 456 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », maintenez la touche Contrôle enfoncée tout en cliquant sur le préréglage à dupliquer, puis choisissez Dupliquer dans le menu contextuel. Le préréglage d’attribution de nom dupliqué apparaît sous celui d’origine. 5 Attribuez un nom au préréglage dupliqué et appuyez sur Retour. Il vous est à présent possible de modifier le préréglage selon vos besoins. Modification d’un préréglage d’attribution de nom existant 1 Dans le navigateur d’événements, sélectionnez les plans à renommer. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », ajoutez les libellés de nommage en faisant glisser les éléments des zones « Informations sur le plan », « Date/heure », « Format » et « Caméra » sur le champ Format. Pour supprimer un libellé de nommage, sélectionnez-le dans le champ Format et appuyez sur Supprimer. 5 Réorganisez les libellés dans le champ Format en les faisant glisser. 6 Vous avez la possibilité d’ajouter des caractères entre les libellés de nommage dans ledit champ, tels que des traits de soulignement (_) et des espaces. Chapitre 16 Préférences et métadonnées 457 7 Lorsque le nouveau format du préréglage d’attribution de nom vous convient, cliquez sur OK. Suppression d’un préréglage d’attribution de nom 1 Sélectionnez un plan. 2 Ouvrir l’inspecteur d’informations. 3 Choisissez « Appliquer le nom personnalisé » à partir du menu local Action , puis choisissez Modifier dans le sous-menu. 4 Dans la fenêtre « Préréglages d’attribution de nom », sélectionnez le préréglage à supprimer, puis cliquez sur le bouton Supprimer les préréglages (doté du signe moins). Le préréglage d’attribution de nom est alors supprimé de la fenêtre « Préréglages d’attribution de nom ». 17 458 Présentation des raccourcis clavier et des gestes Multi-Touch Final Cut Pro propose plusieurs moyens pour améliorer votre productivité lors de l’élaboration d’un projet : •• Raccourcis clavier standards : de nombreuses tâches courantes, telles que l’ouverture d’une fenêtre précise ou l’ajout d’un plan, à partir du navigateur d’événements vers la timeline, peuvent être accomplies très rapidement à l’aide d’une ou de plusieurs touches. Consultez la section Raccourcis clavier à la page 458. •• Gestes Multi-Touch : si vous possédez un trackpad ou une souris Multi-Touch, vous pouvez utiliser les gestes Multi-Touch pour effectuer rapidement de nombreuses tâches lors de la création d’un projet. Consultez la section Gestes Multi-Touch à la page 473. •• Raccourcis clavier personnalisés : vous pouvez créer des raccourcis supplémentaires en définissant vos propres raccourcis clavier personnalisés pour les fonctionnalités que vous utilisez souvent, telles que les commandes de réglage colorimétrique. Si vous êtes plus habitué aux raccourcis clavier d’une autre application, l’éditeur de commandes vous permet de substituer ces raccourcis clavier à ceux définis par défaut dans Final Cut Pro. Consultez la section Affichage des raccourcis clavier dans l’éditeur de commandes à la page 474. Raccourcis clavier Vous pouvez passer par les raccourcis clavier pour accomplir rapidement de nombreuses tâches dans Final Cut Pro. Pour utiliser un raccourci clavier, appuyez sur toutes les touches composant le raccourci. Les raccourcis relatifs aux commandes courantes sont répertoriés dans le tableau ci-dessous. Application Commande Raccourci Action Masquer l’application Commande + H Masquer Final Cut Pro Masquer les autres applications Commande + Option + H Masquer toutes les applications excepté Final Cut Pro Personnalisation du clavier Commande + Option + K Ouvrir l’éditeur de commandes Placer dans le Dock Commande + M Placer Final Cut Pro dans le Dock Préférences Commande + Virgule (,) Ouvrir la fenêtre des préférences de Final Cut Pro Quitter Commande + Q Quitter Final Cut Pro Rétablir la modification Commande + Maj + Z Rétablir la dernière commande Annuler la modification Commande + Z Annuler la dernière commande Raccourcis clavier et gestes Chapitre 17 Raccourcis clavier et gestes 459 Montage Commande Raccourci Action Ajouter au scénario E Ajouter la sélection jusqu’à la fin du scénario Audition : Ajouter à l’audition Maj + Contrôle + Y Ajouter le plan sélectionné à l’audition Audition : dupliquer et coller les effets Commande + Option + Y Dupliquer les plans dans l’audition et ajouter des effets Audition : dupliquer comme audition Option + Y Créer une audition avec un plan de la timeline et une version dupliquée du plan, y compris les effets appliqués Audition : dupliquer l’original Commande + Maj + Y Dupliquer le plan d’audition sélectionné sans les effets appliqués Audition : remplacer et ajouter à l’audition Maj + Y Créer une audition et remplacer le plan de la timeline par la sélection Lame de rasoir Commande + B Couper le plan du scénario principal (ou la sélection) au niveau du skimmer ou de la tête de lecture Lame de rasoir sur tout Commande + Maj + B Couper tous les plans à l’emplacement du skimmer ou de la tête de lecture Scinder les éléments de plan Commande + Maj + G Diviser l’élément sélectionné en composants Modifier la durée Contrôle + D Modifier la durée de la sélection Connecter au scénario principal Q Connecter la sélection au scénario principal Connecter à rebours au scénario principal Maj + Q Connecter la sélection au scénario principal, en alignant le point d’arrivée de la sélection sur le skimmer ou la tête de lecture Copier Commande + C Copier la sélection Créer une audition Commande + Y Créer une audition à partir de la sélection Créer un scénario Commande + G Créer un scénario à partir d’une sélection de plans connectés Couper Commande + X Couper la sélection Couper et passer à l’angle 1 du visualiseur 1 Couper et faire basculer le plan multicam sur l’angle 1 du groupe actuel Couper et passer à l’angle 2 du visualiseur 2 Couper et faire basculer le plan multicam sur l’angle 2 du groupe actuel Couper et passer à l’angle 3 du visualiseur 3 Couper et faire basculer le plan multicam sur l’angle 3 du groupe actuel Couper et passer à l’angle 4 du visualiseur 4 Couper et faire basculer le plan multicam sur l’angle 4 du groupe actuel Chapitre 17 Raccourcis clavier et gestes 460 Commande Raccourci Action Couper et passer à l’angle 5 du visualiseur 5 Couper et faire basculer le plan multicam sur l’angle 5 du groupe actuel Couper et passer à l’angle 6 du visualiseur 6 Couper et faire basculer le plan multicam sur l’angle 6 du groupe actuel Couper et passer à l’angle 7 du visualiseur 7 Couper et faire basculer le plan multicam sur l’angle 7 du groupe actuel Couper et passer à l’angle 8 du visualiseur 8 Couper et faire basculer le plan multicam sur l’angle 8 du groupe actuel Couper et passer à l’angle 9 du visualiseur 9 Couper et faire basculer le plan multicam sur l’angle 9 du groupe actuel Supprimer Supprimer Supprimer la sélection de la timeline, refuser la sélection du navigateur d’événements ou supprimer un multicam via les montages Supprimer uniquement la sélection Commande + Option + Supprimer Supprimer la sélection et joindre le ou les plans connectés au plan vide obtenu Tout désélectionner Commande + Maj + A Désélectionner tous les éléments sélectionnés Dupliquer Commande + D Dupliquer la sélection dans le navigateur d’événements Activer/désactiver le plan V Activer ou désactiver la lecture pour la sélection Développer l’audio/la vidéo Contrôle + S Afficher l’audio et la vidéo séparément pour tous les plans sélectionnés Développer/Réduire les composants audio Option + Contrôle + S Développer ou réduire les composants audio pour la sélection dans la timeline Étendre le montage Maj + X Étendre le point de montage sélectionné jusqu’à l’emplacement du skimmer ou de la tête de lecture Étendre la sélection vers le bas Maj + Flèche vers le bas Dans le navigateur d’événements, ajouter le plan suivant à la sélection Étendre la sélection vers le haut Maj + Flèche vers le haut Dans le navigateur d’événements, ajouter le plan précédent à la sélection Finaliser l’audition Maj + Option + Y Dissoudre l’audition et la remplacer par le meilleur élément d’audition Insérer W Insérer la sélection à l’emplacement du skimmer ou de la tête de lecture Chapitre 17 Raccourcis clavier et gestes 461 Commande Raccourci Action Insérer/Connecter une image figée Option + F Insérer une image figée au niveau de la tête de lecture ou du skimmer dans la timeline, ou connecter une image figée du skimmer ou de la tête de lecture dans l’événement à l’emplacement de la tête de lecture dans la timeline Insérer un espace Option + W Insérer un plan vide à l’emplacement du skimmer ou de la tête de lecture Insérer un repère d’emplacement Commande + Option + W Insérer un plan repère d’emplacement au niveau du skimmer ou de la tête de lecture Prélever du scénario Commande + Option + Flèche haut Prélever la sélection du scénario et la connecter aux plans vides résultants Baisser le volume de 1 dB Contrôle + Tiret (-) Baisser le volume audio de 1 dB Déplacer la tête de lecture Contrôle + P Déplacer la tête de lecture en saisissant une valeur de timecode Nouveau plan composé Option + G Créer un plan composé (s’il n’y a pas de sélection, créer un plan composé vide) Pousser la sous-image audio vers la gauche Option + Virgule (,) Déplacer légèrement le point de montage audio d’une sous-image vers la gauche en créant un montage scindé Pousser la sous-image audio vers la gauche de plusieurs Maj + Option + Virgule (,) Déplacer légèrement le point de montage audio de 10 sous-images vers la gauche en créant un montage scindé Pousser la sous-image audio vers la droite Option + point (.) Déplacer légèrement le point de montage audio d’une sous-image vers la droite en créant un montage scindé Pousser la sous-image audio vers la droite de plusieurs Maj + Option + point (.) Déplacer légèrement le point de montage audio de 10 sous-images vers la droite en créant un montage scindé Pousser vers le bas Option + Flèche vers le bas Pousser la valeur de l’image clé sélectionnée vers le bas dans l’éditeur d’animation Pousser vers la gauche Virgule (,) Déplacer légèrement la sélection d’une unité vers la gauche Pousser à gauche de plusieurs Maj + Virgule (,) Déplacer légèrement la sélection de 10 unités vers la gauche Pousser vers la droite Point (.) Déplacer légèrement la sélection d’une unité vers la droite Pousser à droite de plusieurs Maj + point (.) Déplacer légèrement la sélection de 10 unités vers la droite Chapitre 17 Raccourcis clavier et gestes 462 Commande Raccourci Action Pousser vers le haut Option + Flèche vers le haut Pousser la valeur de l’image clé sélectionnée vers le haut dans l’éditeur d’animation Ouvrir une audition Y Ouvrir l’audition sélectionnée Remplacer les connexions Accent grave (`) Remplacer temporairement les connexions des plans sur la sélection Écraser D Écraser au niveau du skimmer ou de la tête de lecture Écraser - à rebours Maj + D Écraser vers l’arrière à partir de l’emplacement du skimmer ou de la tête de lecture Remplacer par le scénario principal Commande + Option + Flèche bas Écraser au niveau du skimmer ou de la tête de lecture dans le scénario principal Coller comme élément connecté Option + V Coller la sélection et la connecter au scénario principal Coller et insérer à la tête de lecture Commande + V Insérer le contenu du Presse-papiers à l’emplacement du skimmer ou de la tête de lecture Angle précédent Maj + Contrôle + Flèche gauche Passer à l’angle précédent dans le plan multicam Angle audio précédent Maj + Option + Flèche gauche Passer à l’angle audio précédent dans le plan multicam Meilleur élément précédent Contrôle + Flèche gauche Sélectionner le plan précédent dans la fenêtre Audition pour le choisir comme le meilleur Angle vidéo précédent Commande + Maj + Flèche gauche Revenir à l’angle vidéo précédent dans le plan multicam Augmenter le volume de 1 dB Contrôle + Égal (=) Augmenter le volume audio de 1 dB Remplacer Maj + R Remplacer le plan sélectionné de la timeline par la sélection du navigateur d’événements Remplacer depuis le début Option + R Remplacer le plan sélectionné de la timeline par la sélection du navigateur d’événements, à partir de son point de départ Remplacer par un vide Maj + Supprimer Remplacer le plan sélectionné de la timeline par un plan vide Tout sélectionner Commande + A Sélectionner tous les plans Sélectionner le plan C Sélectionner le plan sous le pointeur de la timeline Sélectionner le bord audio gauche Maj + crochet ouvrant ([) Pour les plans audio/vidéo dans la présentation étendue, sélectionner le bord gauche du point de montage audio Sélectionner le bord gauche Crochet ouvrant ([) Sélectionner le bord gauche du point de montage Chapitre 17 Raccourcis clavier et gestes 463 Commande Raccourci Action Sélectionner les bords de montage audio gauche et droit Maj + barre oblique inverse (\) Pour les plans audio/vidéo dans la présentation étendue, sélectionner les bords gauche et droit du point de montage audio Sélectionner les bords de montage gauche et droit Barre oblique inverse (\) Sélectionner les bords gauche et droit du point de montage Sélectionner l’angle suivant Maj + Contrôle + Flèche droite Passer à l’angle suivant dans le plan multicam Sélectionner l’angle audio suivant Maj + Option + Flèche droite Passer à l’angle audio suivant dans le plan multicam Sélectionner la meilleure image suivante Contrôle + Flèche droite Sélectionner le prochain plan dans la fenêtre Audition pour le choisir comme le meilleur Sélectionner l’angle vidéo suivant Commande + Maj + Flèche droite Passer à l’angle vidéo suivant dans le plan multicam Sélectionner le bord audio droit Maj + crochet fermant (]) Pour les plans audio/vidéo dans la présentation étendue, sélectionner le bord droit du point de montage audio Sélectionner le bord droit Crochet fermant (]) Sélectionner le bord droit du point de montage Définir une fin de sélection supplémentaire Commande + Maj + O Définition d’un point d’arrivée de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Définir un début de sélection supplémentaire Commande + Maj + I Définition d’un point de départ de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Afficher/Masquer l’éditeur de précision Contrôle + E Lorsqu’un point de montage est sélectionné, afficher ou masquer l’éditeur de précision Magnétisme N Activer ou désactiver la fonction d’alignement automatique Solo Option + S Lire en solo les éléments sélectionnés dans la timeline Média source : audio et vidéo Maj + 1 Activer le mode audio/vidéo pour ajouter à la timeline les sections audio et vidéo de la sélection Média source : audio seulement Maj + 3 Activer le mode audio uniquement pour ajouter à la timeline la section audio de la sélection Média source : vidéo uniquement Maj + 2 Activer le mode vidéo uniquement pour ajouter à la timeline la section audio de la sélection à la timeline Passer à l’angle 1 du visualiseur Option + 1 Faire basculer le plan multicam sur l’angle 1 du groupe actuel Passer à l’angle 2 du visualiseur Option + 2 Faire basculer le plan multicam sur l’angle 2 du groupe actuel Chapitre 17 Raccourcis clavier et gestes 464 Commande Raccourci Action Passer à l’angle 3 du visualiseur Option + 3 Faire basculer le plan multicam sur l’angle 3 du groupe actuel Passer à l’angle 4 du visualiseur Option + 4 Faire basculer le plan multicam sur l’angle 4 du groupe actuel Passer à l’angle 5 du visualiseur Option + 5 Faire basculer le plan multicam sur l’angle 5 du groupe actuel Passer à l’angle 6 du visualiseur Option + 6 Faire basculer le plan multicam sur l’angle 6 du groupe actuel Passer à l’angle 7 du visualiseur Option + 7 Faire basculer le plan multicam sur l’angle 7 du groupe actuel Passer à l’angle 8 du visualiseur Option + 8 Faire basculer le plan multicam sur l’angle 8 du groupe actuel Passer à l’angle 9 du visualiseur Option + 9 Faire basculer le plan multicam sur l’angle 9 du groupe actuel Activer/Désactiver le mode Scénario G Activer ou désactiver la possibilité d’élaborer des scénarios lors du déplacement des plans sur la timeline Appliquer un trim à la fin Option + crochet fermant (]) Appliquer un trim à la fin du plan sélectionné ou du premier plan à l’emplacement du skimmer ou de la tête de lecture Appliquer un trim sur le début Option + crochet ouvrant ([) Appliquer un trim au point de départ du plan à l’emplacement du skimmer ou de la tête de lecture Ajuster à la sélection Option + barre oblique inverse (\) Appliquer un trim aux points de départ et d’arrivée de la plage sélectionnée du plan Effets Commande Raccourci Action Ajouter un tiers inférieur standard Maj + Contrôle + T Connecter un tiers inférieur standard au scénario principal Ajouter un titre standard Contrôle + T Connecter un titre standard au scénario principal Ajouter une transition par défaut Commande + T Ajouter la transition par défaut à la sélection Réglage colorimétrique : réinitialiser les commandes actives Option + Supprimer Réinitialiser toutes les commandes dans la fenêtre active du réglage colorimétrique Réglage colorimétrique : activer la fenêtre Couleur Commande + Contrôle + C Activer la fenêtre Couleur du réglage colorimétrique Réglage colorimétrique : activer la fenêtre Exposition Commande + Contrôle + E Activer la fenêtre Exposition du réglage colorimétrique Réglage colorimétrique : activer la fenêtre Saturation Commande + Contrôle + S Activer la fenêtre Saturation du réglage colorimétrique Chapitre 17 Raccourcis clavier et gestes 465 Commande Raccourci Action Copier les effets Commande + Option + C Copier les effets sélectionnés et leurs réglages Activer/Désactiver la balance des couleurs Commande + Option + B Activer ou désactiver l’étalonnage de balance Reprendre l’audio Commande + Maj + M Correspondance du son entre les plans Respecter les couleurs Commande + Option + M Correspondance des couleurs entre les plans Texte suivant Option + Tab Passer à l’élément de texte suivant Coller les attributs Commande + Maj + V Coller les attributs sélectionnés et leurs réglages à la sélection Coller les effets Commande + Option + V Coller les effets et leurs réglages à la sélection Texte précédent Maj + Option + Tab Passer à l’élément de texte précédent Éditeur de resynchronisation Commande + R Afficher ou masquer l’éditeur de synchronisation Resynchronisation : créer un segment à vitesse normale Maj + N Régler la sélection pour être lue à vitesse normale (100 %) Resynchronisation : suspendre Maj + H Créer un segment « de suspension » de 2 secondes Resynchronisation : réinitialiser Commande + Option + R Réinitialiser la sélection pour être lue à vitesse normale (100 %) Solo de l’animation Maj + Contrôle + V Afficher un effet à la fois dans l’éditeur d’animation vidéo Générales Commande Raccourci Action Supprimer Supprimer Supprimer la sélection de la timeline, refuser la sélection du navigateur d’événements ou supprimer un multicam via les montages Rechercher Commande + F Afficher ou masquer la fenêtre Filtre (dans le navigateur d’événements) ou l’index de la timeline Aller au visualiseur d’événements Commande + Option + 3 Activer le visualiseur d’événements Importer des médias Commande + I Importer des médias depuis un appareil, une caméra ou une archive Placer dans la Corbeille Commande + Supprimer Placer la sélection dans la Corbeille du Finder Nouveau projet Commande + N Création d’un projet Propriétés du projet Commande + J Ouvrir l’inspecteur de propriétés du projet actif Effectuer le rendu de tout Maj + Contrôle + R Lancer toutes les tâches de rendu pour le projet en cours Chapitre 17 Raccourcis clavier et gestes 466 Commande Raccourci Action Effectuer le rendu de la sélection Contrôle + R Démarrer les tâches de rendu pour la sélection Afficher dans le Finder Commande + Maj + R Afficher le fichier média source du plan d’événement sélectionné dans le Finder Marquage Commande Raccourci Action Ajouter un marqueur M Ajouter un marqueur au niveau du skimmer ou de la tête de lecture Ajouter un marqueur et modifier Option + M Ajouter un marqueur et modifier le texte du marqueur Appliquer la balise de mot-clé 1 Contrôle + 1 Appliquer le mot-clé 1 à la sélection Appliquer la balise de mot-clé 2 Contrôle + 2 Appliquer le mot-clé 2 à la sélection Appliquer la balise de mot-clé 3 Contrôle + 3 Appliquer le mot-clé 3 à la sélection Appliquer la balise de mot-clé 4 Contrôle + 4 Appliquer le mot-clé 4 à la sélection Appliquer la balise de mot-clé 5 Contrôle + 5 Appliquer le mot-clé 5 à la sélection Appliquer la balise de mot-clé 6 Contrôle + 6 Appliquer le mot-clé 6 à la sélection Appliquer la balise de mot-clé 7 Contrôle + 7 Appliquer le mot-clé 7 à la sélection Appliquer la balise de mot-clé 8 Contrôle + 8 Appliquer le mot-clé 8 à la sélection Appliquer la balise de mot-clé 9 Contrôle + 9 Appliquer le mot-clé 9 à la sélection Effacer les plages sélectionnées Option + X Annuler la plage sélectionnée Effacer la fin de la plage Option + O Effacer le point d’arrivée de la plage Effacer le début de la plage Option + I Effacer le point de départ de la plage Supprimer le marqueur Contrôle + M Supprimer le marqueur sélectionné Supprimer les marqueurs dans la sélection Maj + Contrôle + M Supprimer tous les marqueurs de la sélection Tout désélectionner Commande + Maj + A Désélectionner tous les éléments sélectionnés Favori F Classer la sélection du navigateur d’événements comme favori Nouvelle collection de mots-clés Commande + Maj + K Créer une collection de mots-clés Nouvelle collection intelligente Commande + Option + N Créer une collection intelligente Outil Sélection de plage R Activer l’outil Sélection par plage Chapitre 17 Raccourcis clavier et gestes 467 Commande Raccourci Action Supprimer tous les mots-clés de la sélection Contrôle + 0 Supprimer tous les mots-clés de la sélection du navigateur d’événements Rôles : Appliquer le rôle Dialogue Option + Contrôle + D Appliquer le rôle Dialogue au plan sélectionné Rôles : Appliquer le rôle Effets Option + Contrôle + E Appliquer le rôle Effets au plan sélectionné Rôles : Appliquer le rôle Musique Option + Contrôle + M Appliquer le rôle Musique au plan sélectionné Rôles : Appliquer le rôle Titres Option + Contrôle + T Appliquer le rôle Titres au plan sélectionné Rôles : appliquer le rôle Vidéo Option + Contrôle + V Appliquer le rôle Vidéo au plan sélectionné Tout sélectionner Commande + A Sélectionner tous les plans Sélectionner la plage de plans X Définir la sélection de plage pour correspondre aux bordures du plan sous le skimmer ou la tête de lecture Définir une fin de plage supplémentaire Commande + Maj + O Définition d’un point d’arrivée de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Définir un début de plage supplémentaire Commande + Maj + I Définition d’un point de départ de sélection de plage supplémentaire au niveau de la tête de lecture ou du skimmer Définir la fin de la plage O Définir le point d’arrivée pour la plage Définir la fin de la plage Contrôle + O Définir le point d’arrivée pour la plage tout en modifiant un champ de texte Définir le début de la plage I Définir le point de départ pour la plage Définir le début de la plage Contrôle + I Définir le point de départ pour la plage tout en modifiant un champ de texte Déclasser U Supprimer les classements de la sélection Organisation Commande Raccourci Action Nouvel événement Option + N Créer un événement Nouveau dossier Commande + Maj + N Créer un dossier Afficher dans le navigateur d’événements Maj + F Afficher le plan sélectionné dans le navigateur d’événements Synchroniser les plans Commande + Option + G Synchroniser les plans d’événements sélectionnés Chapitre 17 Raccourcis clavier et gestes 468 Lecture/Navigation Commande Raccourci Action Audio lors du survol Maj + S Activer et désactiver l’audio lors du survol Audition : preview Commande + Contrôle + Y Lire le meilleur élément en contexte dans la timeline Survol de plan Commande + Option + S Activer ou désactiver le survol de plan Couper/Activer l’audio multicam uniquement Maj + Option + 3 Activer le mode audio uniquement pour la découpe et le basculement multicam Couper/Activer l’audio et la vidéo multicam Maj + Option + 1 Activer le mode audio/vidéo pour la découpe et le basculement multicam Couper/Activer la vidéo multicam uniquement Maj + Option + 2 Activer le mode vidéo uniquement pour la découpe et le basculement multicam Vers le bas Flèche vers le bas Passer à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) suivant Vers le bas Contrôle + Flèche bas Lors de la modification d’un champ de texte, passer à l’élément suivant (dans le navigateur d’événements) ou au point de montage suivant (dans la timeline). Reculer de 10 images Maj + Flèche gauche Reculer la tête de lecture de 10 images Avancer de 10 images Maj + Flèche droite Avancer la tête de lecture de 10 images Aller au début Bouton Début Déplacer la tête de lecture au début de la timeline ou au premier plan dans le navigateur d’événements Aller au groupe suivant Maj + Option + Apostrophe (’) Afficher le groupe d’angles suivant dans le plan multicam ouvert Aller au montage suivant Apostrophe (’) Déplacer la tête de lecture au point de montage suivant dans la timeline Aller à la trame suivante Option + Flèche droite Avancer la tête de lecture à la trame suivante d’un plan entrelacé Avancer d’une image Flèche droite Avancer la tête de lecture sur l’image suivante Passer à la sous-image suivante Commande + Flèche droite Avancer la tête de lecture sur la sous-image audio suivante Revenir au groupe précédent Maj + Option + Point-virgule (;) Afficher le groupe d’angles précédent dans le plan multicam ouvert Aller au montage précédent Point-virgule (;) Reculer la tête de lecture sur le point de montage précédent dans la timeline Chapitre 17 Raccourcis clavier et gestes 469 Commande Raccourci Action Reculer d’une trame Option + Flèche gauche Reculer la tête de lecture à la trame précédente d’un plan entrelacé Reculer d’une image Flèche gauche Reculer la tête de lecture sur l’image précédente Revenir à la sous-image précédente Commande + Flèche gauche Reculer la tête de lecture sur la sous-image audio précédente Aller à la fin de la plage Maj + O Déplacer la tête de lecture à la fin de la sélection par plage Aller au début de la plage Maj + I Déplacer la tête de lecture au début de la plage de sélection Lecture en boucle Commande + L Activer ou désactiver la lecture en boucle Contrôler l’audio Maj + A Activer ou désactiver le contrôle audio pour l’angle ignoré Entrée de timecode négative Tiret (-) Saisir une valeur négative de timecode pour déplacer la tête de lecture vers l’arrière, déplacer un plan en arrière ou appliquer un trim sur une plage ou un plan, en fonction de la sélection opérée Plan suivant Commande + Contrôle + Flèche droite Passer à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) suivant Marqueur suivant Contrôle + Apostrophe (’) Avancer la tête de lecture sur le marqueur suivant Lire le contexte Maj + point d’interrogation (?) Lire autour de l’emplacement de la tête de lecture Lecture rapide L Lecture (appuyer plusieurs fois sur L pour augmenter la vitesse de lecture) Lecture rapide Contrôle + L Lire lors de la modification d’un champ de texte (appuyer plusieurs fois sur L pour augmenter la vitesse de lecture) Lire depuis la tête de lecture Option + barre d’espace Lire à partir de la tête de lecture Lire en plein écran Commande + Maj + F Lire en plein écran à partir du skimmer ou de la tête de lecture Lecture arrière J Lire en arrière (appuyer plusieurs fois sur J pour augmenter la vitesse de lecture) Lecture arrière Contrôle + J Lire en arrière lors de la modification d’un champ de texte (appuyer plusieurs fois sur J pour augmenter la vitesse de lecture) Lecture arrière Maj + barre d’espace Lire en arrière Lire la sélection Barre oblique (/) Lire la sélection Lire jusqu’à la fin Maj + Contrôle + O Lire à partir de la tête de lecture jusqu’à la fin de la sélection Chapitre 17 Raccourcis clavier et gestes 470 Commande Raccourci Action Lecture/Pause Barre d’espace Lancer ou arrêter la lecture Lecture/Pause Contrôle + Barre d’espace Lancer ou mettre en pause lors de la modification d’un champ de texte Entrée de timecode positive Égal (=) Saisir une valeur positive de timecode pour déplacer la tête de lecture vers l’avant, déplacer un plan en avant ou appliquer un trim sur une plage ou un plan, en fonction de la sélection opérée Plan précédent Commande + Contrôle + Flèche gauche Revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent Marqueur précédent Contrôle + Point-virgule (;) Reculer la tête de lecture sur le marqueur précédent Définir l’angle de contrôle Maj + V Définir l’angle ignoré comme angle de contrôle Survol S Activer ou désactiver le survol Arrêter K Arrêter la lecture Arrêter Contrôle + K Arrêter la lecture lors de la modification d’un champ de texte Reculer dans l’historique de la timeline Commande + Crochet ouvrant ([) Revenir en arrière d’un niveau dans l’historique de la timeline Avancer dans l’historique de la timeline Commande + Crochet fermant (]) Avancer d’un niveau dans l’historique de la timeline Vers le haut Flèche vers le haut Revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent Vers le haut Contrôle + Flèche haut Lors de la modification d’un champ de texte, revenir à l’élément (dans le navigateur d’événements) ou au point de montage (dans la timeline) précédent Partage et outils Commande Raccourci Action Partager la destination par défaut Commande + E Partager le projet ou plan sélectionné à l’aide de la destination par défaut Outil de sélection (représenté par la flèche) A Activer l’outil de sélection Outil Lame de rasoir B Activer l’outil Lame de rasoir Outil Rognage Maj + C Activer l’outil Rogner et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan Chapitre 17 Raccourcis clavier et gestes 471 Commande Raccourci Action Outil Distorsion Commande + Maj + D Activer l’outil Distorsion et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan Outil Main H Activer l’outil Main Outil Position P Activer l’outil Position Outil Transformation Maj + T Activer l’outil Transformation et afficher les commandes à l’écran pour le plan sélectionné ou celui au niveau de la tête de lecture et se trouvant au premier plan Outil Trim T Activer l’outil Trim Outil Zoom Z Activer l’outil Zoom Présentation Commande Raccourci Action Apparence du plan : Étiquettes de plan uniquement Option + Contrôle + 6 En fonction du réglage relatif au nom du plan, affiche les plans de la timeline avec leur nom, leur rôle ou leur angle actif. Apparence du plan : Réduction de la taille de la forme d'onde Option + Contrôle + Flèche vers le bas Réduction de la taille des formes d'onde audio pour les plans de la timeline Apparence du plan : Pellicules uniquement Option + Contrôle + 5 Afficher uniquement les plans de la timeline avec des grandes pellicules Apparence du plan : Augmentation de la taille de la forme d'onde Option + Contrôle + Flèche vers le haut Augmentation de la taille des formes d'onde audio pour les plans de la timeline Apparence du plan : Grandes pellicules Option + Contrôle + 4 Afficher les plans de la timeline avec de petites formes d'onde audio et de grandes pellicules Apparence du plan : Grandes formes d'onde Option + Contrôle + 2 Afficher les plans de la timeline avec de grandes formes d'onde audio et de petites pellicules Apparence du plan : Formes d'onde et pellicules Option + Contrôle + 3 Afficher les plans de la timeline avec des grandes formes d'onde audio et des pellicules vidéo de même taille Apparence du plan : Formes d'onde uniquement Option + Contrôle + 1 Afficher uniquement les plans de la timeline avec des grandes formes d'onde audio Réduire la hauteur du plan Commande + Maj + Tiret (-) Réduire la hauteur de plan dans le navigateur d’événements Augmenter la hauteur du plan Commande + Maj + Égal (=) Augmenter la hauteur de plan du navigateur d’événements Afficher un nombre moindre d’images de la pellicule Commande + Maj + Virgule (,) Afficher un nombre moindre d’images de la pellicule dans les plans du navigateur d’événements Chapitre 17 Raccourcis clavier et gestes 472 Commande Raccourci Action Afficher/Masquer l’animation audio Contrôle + A Afficher ou masquer l’éditeur d’animation audio pour les plans sélectionnés Afficher/Masquer les informations du skimmer Contrôle + Y Afficher ou masquer les informations du plan lors du survol dans le navigateur d’événements Afficher/Masquer l’animation vidéo Contrôle + V Afficher ou masquer l’éditeur d’animation vidéo pour les plans sélectionnés de la timeline Afficher un nombre supérieur d’images de la pellicule Commande + Maj + Point (.) Afficher un nombre supérieur d’images de la pellicule dans les plans du navigateur d’événements Afficher une image par pellicule Commande + Maj + Option + Virgule (,) Afficher une image par pellicule Afficher le nom des plans Maj + Option + N Afficher ou masquer les noms des plans dans le navigateur d’événements. Afficher le navigateur d’événements sous forme de pellicule Commande + Option + 1 Activer la présentation en pellicule du navigateur d’événements Afficher le navigateur d’événements en liste Commande + Option + 2 Activer la présentation par liste du navigateur d’événements Zoom avant Commande + Égal (=) Réaliser un zoom avant sur la timeline, le navigateur d’événements ou le visualiseur Zoom arrière Commande + Tiret (-) Réaliser un zoom arrière de la timeline, du navigateur d’événements ou du visualiseur Zoom pour adapter à la fenêtre Maj + Z Redimensionner le contenu pour l’adapter à la taille du navigateur d’événements, au visualiseur ou à la timeline Zoom sur les échantillons Contrôle + Z Activer ou désactiver le zoom sur les échantillons audio Fenêtres Commande Raccourci Action Tâches d’arrière-plan Commande + 9 Afficher ou masquer la fenêtre de tâches d’arrière-plan Aller aux améliorations audio Commande + 8 Afficher l’inspecteur d’améliorations audio Accéder au réglage colorimétrique Commande + 6 Activer le réglage colorimétrique Aller au navigateur d’événements Commande + 1 Activer le navigateur d’événements Aller à l’inspecteur Commande + Option + 4 Activer l’inspecteur sélectionné Aller à la timeline Commande + 2 Activer la timeline Aller au visualiseur Commande + 3 Activer le visualiseur Onglet suivant Contrôle + Tabulation Aller à la fenêtre suivante dans l’inspecteur et le réglage colorimétrique Chapitre 17 Raccourcis clavier et gestes 473 Commande Raccourci Action Onglet précédent Maj + Contrôle + Tabulation Revenir à la fenêtre précédente dans l’inspecteur ou le réglage colorimétrique Afficher l’histogramme Commande + Contrôle + H Afficher l’histogramme dans le visualiseur Afficher le vecteurscope Commande + Contrôle + V Afficher le vecteurscope dans le visualiseur Afficher les formes d’onde vidéo Commande + Contrôle + W Afficher le moniteur de formes d’ondes dans le visualiseur Afficher/Masquer les angles Commande + Maj + 7 Afficher/Masquer le visualiseur d’angle Afficher/Masquer les VU-mètres audio Commande + Maj + 8 Afficher ou masquer les VU-mètres audio Afficher/Masquer le navigateur d’effets Commande + 5 Afficher ou masquer le navigateur d’effets Afficher/Masquer la bibliothèque d’événements Commande + Maj + 1 Afficher ou masquer la bibliothèque d’événements Afficher/Masquer le visualiseur d’événements Commande + Contrôle + 3 Afficher ou masquer le visualiseur d’événements Afficher/masquer l’inspecteur Commande + 4 Afficher ou masquer la fenêtre Inspecteur Afficher/Masquer l’éditeur de mots-clés Commande + K Afficher ou masquer l’éditeur de mots-clés Afficher/Masquer la bibliothèque de projets Commande + 0 Afficher ou masquer la bibliothèque de projets Afficher/Masquer l’index de la timeline Commande + Maj + 2 Afficher ou masquer l’index de la timeline pour le projet ouvert Afficher/Masquer les instruments vidéo Commande + 7 Afficher ou masquer les instruments vidéo dans le visualiseur Gestes Multi-Touch Si votre ordinateur est équipé d’un trackpad Multi-Touch, vous pouvez recourir à des gestes Multi-Touch repris dans le tableau ci-dessous lorsque vous travaillez dans Final Cut Pro. Pour en savoir plus sur les gestes Multi-Touch, consultez la documentation fournie avec votre ordinateur. Geste Action Défilement (à l’aide de deux doigts) : déplace le point actif sur la timeline verticalement ou horizontalement. Défilement (à l’aide de trois doigts) : effectuez un balayage vers le haut pour déplacer la tête de lecture au début de la timeline. À l’inverse, un balayage vers le bas positionne la tête de lecture à la fin de la timeline. Réalisez un balayage horizontal pour déplacer la tête de lecture à gauche ou à droite. Chapitre 17 Raccourcis clavier et gestes 474 Personnalisation des raccourcis clavier Affichage des raccourcis clavier dans l’éditeur de commandes Final Cut Pro met à votre disposition une multitude de commandes de menus et de raccourcis clavier qui vous permettent de contrôler les moindres aspects de votre projet, de la lecture à l’affichage des fenêtres et des inspecteurs, en passant par l’utilisation d’outils. L’éditeur de commandes vous permet de modifier des raccourcis, d’en créer d’autres et d’enregistrer plusieurs ensembles de raccourcis clavier qu’il est possible d’exporter pour les transmettre à autrui. Vous pouvez à l’inverse importer un ensemble de raccourcis qu’un autre utilisateur aura créé. Si vous êtes en outre plus habitué aux raccourcis clavier d’autres applications, l’éditeur de commandes vous permet de substituer ces raccourcis clavier à ceux définis par défaut pour Final Cut Pro. L’éditeur de commandes propose un certain nombre raccourcis clavier pour Final Cut Pro en anglais, en japonais, en français et en allemand. Le système d’exploitation de votre ordinateur détermine la langue d’affichage. Pour apprendre comment modifier la langue utilisée par Final Cut Pro, voir l'aide d'OS X, disponible dans le menu Aide si le Finder est actif. Affichage des raccourcis clavier 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K). L’éditeur de commandes s’affiche alors. 2 Pour rechercher des raccourcis clavier dans l’éditeur de commandes, effectuez l’une des opérations suivantes : •• Cliquez sur une ou plusieurs touches représentées sur le clavier virtuel (ou sur l’un des quatre boutons correspondant aux touches de modification en haut de l’éditeur de commandes). Chapitre 17 Raccourcis clavier et gestes 475 Les groupes de commandes associés à la ou aux touches sélectionnées apparaissent dans le coin inférieur gauche de la fenêtre, tandis qu’une liste répertorie tous les raccourcis claviers qui y sont associés dans la partie inférieure droite de la fenêtre. Sélectionnez une touche pour afficher les groupes de commandes associés à celle-ci. Si vous maintenez une touche de modification quelconque du clavier, les couleurs des touches s’actualisent. Les couleurs de touches correspondent aux classifications des commandes, par exemple les commandes de lecture telles que Lecture/Pause (barre d’espace) sont bleues. La zone Groupes de commandes qui s’affiche à gauche de la liste des commandes reprend en outre une touche de couleur sur lequel vous pouvez cliquer à des fins de référence. •• Saisissez le nom d’une commande, des mots-clés la décrivant ou le nom d’une touche dans le champ de recherche situé en haut à droite de la fenêtre. Les commandes correspondant au terme de recherche sont alors répertoriées dans la liste des commandes placée en bas de la fenêtre. Conseil : Pour afficher les touches qui correspondent aux éléments de la liste des commandes, cliquez sur le bouton de mise en surbrillance du clavier repris à gauche du champ de recherche. Chapitre 17 Raccourcis clavier et gestes 476 Cliquez sur une commande dans la liste pour retrouver ses détails dans la zone « Détail de la commande » située dans le coin inférieur droit de la fenêtre. Commandes trouvées par la rechercheSaisissez un terme à rechercher ici. •• Cliquez sur un groupe de commandes pour filtrer rapidement la liste de commandes et n’afficher que les commandes et les raccourcis clavier de ce groupe. Cliquez sur une commande dans la liste pour retrouver ses détails dans la zone « Détail de la commande » située dans le coin inférieur droit de la fenêtre. Cliquez sur un groupe de commandes pour filtrer rapidement la liste de commandes. Affichage des raccourcis issus d’un autre ensemble de commandes Si votre système prévoit plusieurs ensembles de commandes, vous pouvez facilement basculer de l’un à l’autre. Pour en savoir plus, consultez Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes à la page 478. Procédez de l’une des manières suivantes : mm Choisissez Final Cut Pro > Commandes, puis choisissez dans le sous-menu un ensemble de commandes. La fenêtre de l’éditeur de commandes affiche alors l’ensemble indiqué. Chapitre 17 Raccourcis clavier et gestes 477 mm Si l’éditeur de commandes est déjà ouvert, choisissez un ensemble de commandes dans le menu local situé dans le coin supérieur gauche de la fenêtre. Les ensembles de commandes sont répertoriés en bas du menu local. Modification des raccourcis clavier dans l’éditeur de commandes Vous avez la possibilité de personnaliser en toute simplicité les raccourcis clavier repris dans l’éditeur de commandes. Si vous comptez ajouter quelques commandes personnalisées à l’ensemble par défaut de Final Cut Pro, il vous est possible de créer une copie de ce dernier et d’affecter des raccourcis clavier à certaines des commandes non affectées. Vous pouvez aussi créer un ensemble se limitant à vos commandes. Duplication d’un ensemble de commandes 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K). 2 Si l’ensemble de commandes à dupliquer ne se trouve pas à l’écran, choisissez un autre ensemble dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. 3 Choisissez Dupliquer dans le menu local. 4 Dans la fenêtre qui s’affiche, attribuez un nom à l’ensemble de commandes, puis cliquez sur OK. Le nouvel ensemble dupliqué est alors ajouté au sous-menu Commandes du menu de Final Cut Pro et au menu local prévu dans l’éditeur de commandes. Modification d’un ensemble de commandes Il vous est possible d’ajouter des raccourcis clavier à un ensemble de commandes ou d’en réattribuer certains. 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K). 2 Si l’ensemble de commandes à modifier ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes. 3 Sélectionnez la commande à laquelle vous voulez attribuer le nouveau raccourci clavier en procédant de l’une des manières suivantes : •• Saisissez le nom d’une commande dans le champ de recherche prévu en haut à droite de la fenêtre de l’éditeur de commandes. •• Parcourez la liste de commandes jusqu’à retrouver celle de votre choix. 4 Appuyez sur combinaison de touches à attribuer à la commande (par exemple, Maj + Option + T ou toute autre touche). Remarque : Les touches estompées et barrées sur le clavier virtuel de l’éditeur de commandes sont réservées par le système pour son usage propre et ne peuvent dans ce cas pas être attribuées. Chapitre 17 Raccourcis clavier et gestes 478 Si cette combinaison de touches n’est associée à aucune commande, le clavier virtuel s’actualise pour refléter le nouveau raccourci assigné. Un point gris apparaît sur la ou les touches affectées et une couleur se voit appliquée à la commande si elle fait partie d’un groupe de commandes noté par un code de couleur. Si cette combinaison de touches est déjà associée à une commande, Final Cut Pro affiche le réglage actif et vous invite à confirmer sa modification. 5 Pour enregistrer les modifications apportées à l’ensemble de commandes, cliquez sur le bouton Enregistrer dans le coin inférieur droit de l’éditeur de commandes. Si vous fermez l’éditeur de commandes sans avoir enregistré vos modifications, Final Cut Pro vous invite alors à le faire. Suppression d’un ensemble de commandes 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K). 2 Si l’ensemble de commandes à supprimer ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes. 3 Choisissez Supprimer dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. 4 Dans la fenêtre qui s’affiche, cliquez sur Supprimer. L’ensemble de commandes est alors supprimé. Exportation et importation d’ensembles de raccourcis dans l’éditeur de commandes Une fois enregistré un ensemble de commandes, vous pouvez l’exporter pour disposer d’une copie de sauvegarde ou pour le partager avec un autre utilisateur. Les ensembles de commandes s’enregistrent dans un fichier qu’il est possible d’importer ultérieurement dans Final Cut Pro. Exportation d’un ensemble de raccourcis clavier personnalisés 1 Choisissez Final Cut Pro > Commandes > Personnaliser (ou appuyez sur Commande + Option + K). 2 Si l’ensemble de commandes à exporter ne se trouve pas à l’écran, sélectionnez un autre ensemble dans le menu local situé dans la partie supérieure de l’éditeur de commandes. 3 Procédez de l’une des manières suivantes : •• Choisissez Final Cut Pro > Commandes > Exporter. •• Choisissez Exporter dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. 4 Dans le champ Enregistrer sous, attribuez un nom à l’ensemble de commandes exporté, accédez à l’endroit où vous souhaitez conserver l’ensemble exporté, puis cliquez sur Enregistrer. Le fichier s’enregistre à l’emplacement choisi avec l’extension « .commandset ». Importation d’un ensemble de commandes 1 Procédez de l’une des manières suivantes : •• Choisissez Final Cut Pro > Commandes > Importer. •• Ouvrez l’éditeur de commandes en choisissant Final Cut Pro > Commandes > Personnaliser, puis choisissez Importer dans le menu local situé dans le coin supérieur gauche de l’éditeur de commandes. Chapitre 17 Raccourcis clavier et gestes 479 2 Dans la fenêtre qui apparaît, accédez à l’emplacement où vous avez stocké le fichier d’un ensemble de commandes, sélectionnez-le, puis cliquez sur Ouvrir. Si vous utilisez déjà un ensemble de commandes portant le même nom, une fenêtre vous invite alors à le renommer. Le nouvel ensemble est alors ajouté au sous-menu Commandes du menu de Final Cut Pro et au menu local prévu dans l’éditeur de commandes. 480 4:3 Proportions utilisées pour la transmission vidéo analogique en définition standard (SD). Le rapport de la largeur sur la hauteur de la zone visible de l’image vidéo est de 4:3, ou 1.33. Voir aussi définition standard (SD). 16:9 Proportions écran large utilisée en vidéo. Le rapport de la largeur sur la hauteur de la zone visible de l’image vidéo est de 16:9, ou 1.78. Les proportions 16:9 sont utilisées pour la vidéo haute définition. Voir aussi haute définition (HD). AAC (Advanced Audio Coding) Également appelé MPEG-4 Audio. Méthode standard de compression et d’encodage audio numérique. La qualité des fichiers AAC soutient la comparaison avec celle des CD audio et est généralement supérieure à celle des fichiers MP3 encodés au même débit, voire à des débits supérieurs. AC3 (Audio Codec 3, Advanced Codec 3, Acoustic Coder 3) Format audio compressé Dolby Digital généralement utilisé pour l’encodage du son Surround. AIFF (Audio Interchange File Format) Format de fichier audio multiplateforme mis au point par Apple. Comme les fichiers WAV, les fichiers AIFF incluent des « blocs » d’informations, tels que le bloc de données audio (Sound Data Chunk), qui contient les données d’échantillons proprement dites, et le bloc commun (Common Chunk), qui comporte les informations relatives à la fréquence d’échantillonnage et à la profondeur de bits. canal alpha Canal d’image, en plus des canaux de couleur R, V et B, utilisé pour stocker des données de transparence pour le compositing. Les canaux alpha sont souvent de 8 bits, mais certaines applications gèrent les canaux alpha de 16 bits. Dans Final Cut Pro, le noir correspond à 100 pour cent de transparence, tandis que le blanc représente 100 pour cent d’opacité. Seuls certains formats, tels que Targa, TIFF, PNG, PSD, Apple ProRes 4444 et le codec d’animation QuickTime, prennent en charge les canaux alpha. Voir aussi compositing, RVB. Éditeur d’angles Vous pouvez y ouvrir des plans multicam pour adapter la synchronisation et l’ordre des angles ou pour en ajouter ou en supprimer. Vous pouvez aussi passer par l’éditeur d’angles pour réaliser des montages dans les différents plans insérés dans un plan multicam (par exemple, lors de trim, d’étalonnages, d’ajout de transitions, etc.). Voir aussi plan multicam. Visualiseur d’angle Visualiseur permettant de visionner simultanément tous les angles d’un plan multicam tout en activant ou en coupant vers un autre angle en temps réel. Vous pouvez couper et changer les éléments audio et vidéo simultanément ou indépendamment. Par exemple, vous pouvez utiliser l’élément audio de l’angle 1 tout en alternant entre les angles 1 à 4 de la vidéo. Voir aussi plan multicam. éditeurs d’animation Consultez Éditeur d’animation audio, Éditeur d’animation vidéo. Glossaire Glossaire 481 Apple ProRes Les codecs Apple ProRes combinent de manière inégalée performances de multidiffusion et de montage en temps réel et qualité d’image impressionnante, le tout dans des fichiers de taille réduite. Plus particulièrement, les codecs Apple ProRes ont été conçus pour fonctionner de manière optimale comme codecs haute qualité, hautes performances destinés au montage dans Final Cut Pro, en exploitant totalement le traitement multicoeur et en procurant des modes de décodage rapide en résolution réduite. Tous les codecs de la famille Apple ProRes prennent en charge toutes les dimensions d’image (SD, HD, 2K et 4K) en résolution complète. Le débit de données Apple ProRes varie selon le type de codec, le contenu d’image, la taille d’image et la fréquence d’images. Apple ProRes 4444 Ce codec Apple ProRes procure la meilleure qualité pour les sources 4:4:4:4 et convient aux flux de production impliquant des canaux alpha. Il offre des couleurs RVBA 4:4:4:4 en pleine résolution de qualité Master, visuellement indiscernables du matériel original, avec d’excellentes performances de duplication. Il comprend également un canal alpha mathématiquement sans perte (jusqu’à 16 bits) avec lecture en temps réel, une solution haute qualité de stockage et d’échange de composites et de graphiques animés, ainsi que l’encodage et le décodage direct dans les formats de pixels RVB et Y'CbCr. Ce codec présente un débit de données remarquablement faible par comparaison avec le format HD 4:4:4 sans compression (débit de données cible d’environ 330 Mbps pour les sources 4:4:4 à 1920 x 1080 et 29.97 ips). Voir aussi Apple ProRes. Apple ProRes 422 (HQ) Ce codec Apple ProRes procure le même niveau élevé de qualité visuelle que le codec Apple ProRes 4444, mais pour des sources d’image 4:2:2. Largement adopté dans l’industrie de la postproduction vidéo, le codec Apple ProRes 422 (HQ) permet de préserver sans perte la vidéo HD professionnelle de la plus haute qualité qu’un signal HD-SDI (liaison simple) peut transporter. Il prend en charge les sources vidéo 4:2:2 en pleine largeur à des profondeurs de pixels de 10 bits, sans aucune perte visuelle après de nombreuses opérations de décodage et de réencodage. Le débit de données cible du codec Apple ProRes 422 (HQ) est d’environ 220 Mbps à 1920 x 1080 et 29,97 ips. Voir aussi Apple ProRes. Apple ProRes 422 Ce codec Apple ProRes procure pratiquement tous les avantages du codec Apple ProRes 422 (HQ), mais à 66 % du débit de données de ce dernier et avec des performances de multidiffusion et de montage en temps réel supérieures. Voir aussi Apple ProRes. Apple ProRes 422 (LT) Avec un débit de données cible équivalent à approximativement 70 % de celui du codec Apple ProRes 422 et des dimensions de fichier inférieures de 30 %, ce codec convient parfaitement aux environnements où la capacité de stockage et la bande passante sont limitées. Voir aussi Apple ProRes. Apple ProRes 422 (Proxy) Ce codec Apple ProRes est destiné aux flux de production offline nécessitant de faibles débits de données, mais une vidéo en pleine résolution. Son débit de données cible correspond à environ 30 pour cent de celui du codec Apple ProRes 422. Voir aussi Apple ProRes. proportions Rapport de la largeur sur la hauteur d’une image vidéo à l’écran. La vidéo en définition standard (SD) (utilisée par les téléviseurs classiques) présente des proportions de 4:3. La vidéo haute définition (HD) présente des proportions de 16:9. Éditeur d’animation audio Vous pouvez afficher l’éditeur d’animation audio pour des plans dans la timeline afin d’ajuster les paramètres des effets, de créer des fondus entrants ou sortants, ou de changer les effets dans le temps à l’aide d’images clés. Glossaire 482 composants audio Les fichiers audio peuvent contenir un seul ou plusieurs canaux audio. Final Cut Pro regroupe automatiquement les canaux audio en composants audio en fonction de la configuration des canaux pour le plan. Dans Final Cut Pro, vous pouvez développer la partie audio de plans pour afficher et monter des composants audio jusqu’au niveau des différents canaux. fréquence d’échantillonnage Nombre de fois qu’un signal audio est mesuré, ou échantillonné, par seconde. Plus la fréquence d’échantillonnage est supérieure, plus l’audio est de qualité élevée et plus les fichiers produits sont volumineux. Audio Units Format de filtre audio en temps réel standard des applications audio utilisées sous OS X. formes d’onde audio Les formes d’onde audio sont des représentations visuelles des sons. Leur amplitude et leur longueur varient selon le volume et la durée du son qu’elles représentent. Un son court et marqué, tel qu’un son de percussion, est représenté par une forme d’onde en pic, alors qu’un bruit de foule étouffé présente une forme d’onde plus basse et prolongée. Ces propriétés permettent de trouver plus facilement des points de montage spécifiques au moment d’appliquer un trim à des plans ou d’ajouter des images clés à des effets. audition Dans Final Cut Pro, vous pouvez regrouper des plans connexes dans des ensembles, appelés auditions, vous permettant de choisir celui à utiliser. Vous pouvez créer une audition composée de différents plans pour tester plusieurs prises ou constituée de plusieurs versions du même plan pour effectuer le preview d’effets divers. Dans le navigateur d’événements et la timeline, les auditions se présentent sous la forme de plans affichant une icône Audition dans le coin supérieur gauche. synchronisation audio automatique L’option « Utiliser l’audio pour la synchronisation » dans le processus de création des plans multicam permet d’effectuer des réglages de synchronisation fins ´l’aide des formes d’onde audio qui s’affichent dans les angles d’un plan multicam. Cette technologie est identique à celle de synchronisation audio utilisable pour analyser et synchroniser automatiquement les plans ensemble en un plan composé. AVCHD Format vidéo haute définition (HD) utilisant la compression AVC (Advanced Video Coding) (également appelée MPEG-4 Partie 10 ou H.264). La plupart des lecteurs Blu-ray peuvent lire des disques à laser rouge avec du contenu au format AVCHD, ce qui permet de distribuer de petits projets vidéo HD à l’aide d’un disque à laser rouge standard. fenêtre Tâches d’arrière-plan La fenêtre Tâches d’arrière-plan affiche la progression des tâches d’importation, de transcodage, d’analyse, de rendu et autres. lot Compressor place dans un lot le ou les fichiers multimédias source que vous voulez convertir, ou transcoder, vers un autre format. Chaque fichier de média source crée sa propre tâche. En d’autres termes, un lot peut contenir plusieurs tâches, chacune d’entre elles s’appuyant sur son propre fichier de média source. En outre, chacune possède au moins un réglage qui définit le format du fichier transcodé. débit binaire Nombre de bits par seconde constituant une ressource audio ou vidéo numérique. Plus le débit binaire est élevé, plus la qualité est haute. Toutefois, un débit binaire élevé implique une taille de fichier importante. outil Lame de rasoir Outil de montage permettant de couper des plans dans la timeline. Pour activer l’outil Lame de rasoir, appuyez sur la touche B. Glossaire 483 support à laser bleu Les graveurs et les lecteurs Blu-ray utilisent un laser bleu pour les supports Blu-ray. La couleur bleue possède une longueur d’onde plus courte, ce qui rend possible un stockage plus important de données sur un disque, comparé aux supports laser rouge. filtrage bleu ou vert Voir incrustation chromatique. adapté à la diffusion Les studios de télédiffusion fixent des valeurs maximales de luminance et de chrominance autorisées pour la diffusion. Si une vidéo dépasse ces limites autorisées, une déformation apparaît et la qualité de la transmission obtenue est inacceptable. Vous pouvez utiliser les instruments vidéo de Final Cut Pro pour vous assurer que les niveaux de luminance et de chrominance définis restent dans les limites acceptables. Roll B Terme utilisé pour décrire une séquence alternative à insérer dans les principaux plans utilisés dans un programme. Un Roll B est fréquemment utilisé pour des plans de coupe. BWF (Broadcast Wave Format) Extension du format de fichier WAV qui intègre des métadonnées supplémentaires telles que le timecode et des informations de production. CAF (Core Audio Format) Le format CAF d’Apple est un format de fichiers souple, destiné au stockage et à la manipulation de données audionumériques. Il est totalement pris en charge par les API Core Audio sous Mac OS X 10.4 ou ultérieur et sous Mac OS X 10.3 avec QuickTime 7 ou ultérieur. Le format CAF, à la fois souple et hautement performant, peut en outre s’adapter aux technologies d’enregistrement, de montage et de lecture ultra haute résolution du futur. chrominance Données sur les couleurs contenues dans un signal vidéo, comprenant la teinte, qui représente la couleur proprement dite, et la saturation, qui représente l’intensité de la couleur. incrustation chromatique Technique d’effets spéciaux permettant de dériver un canal alpha ou un cache à partir de l’arrière-plan bleu ou vert d’un plan vidéo, afin de le rendre transparent en vue d’effectuer un compositing avec d’autres plans. La technologie de filtrage bleu est employée pour montrer les présentateurs météo devant une animation satellite, alors qu’ils se trouvent en réalité devant un mur bleu. Également connue sous le nom de fond bleu ou de fond vert. Voir aussi canal alpha. plan Terme utilisé pour désigner une ressource vidéo ou audio, en particulier après son importation dans Final Cut Pro. Les plans apparaissent dans le navigateur d’événements, la timeline et les navigateurs multimédias. Les plans ou clips dans Final Cut Pro pointent vers des fichiers de média source stockés sur disque. Si vous modifiez un plan ou un clip, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan ou clip dans Final Cut Pro. On parle alors de montage offline. écrêtage Distorsion qui se produit lors de la lecture ou de l’enregistrement d’audio numérique, en raison d’un signal qui dépasse la valeur d’échantillonnage maximale de 0 dBFS. sélection de plans Sélection de plans complets dans le navigateur d’événements ou la timeline. Par rapport à une sélection de plage, une sélection de plans est limitée aux limites des plans. Il est impossible d’ajuster une sélection de plans de façon à inclure des sections de plans. Vous pouvez cependant ajouter ou supprimer des plans entiers. codec Abréviation de compresseur/décompresseur ou encodeur/décodeur. Composant logiciel utilisé pour convertir de l’audio ou de la vidéo dans une forme numérique compressée sous laquelle il est stocké sur le disque dur d’un ordinateur. DV, Photo JPEG et Apple ProRes représentent des codecs vidéo QuickTime répandus. Glossaire 484 balance des couleurs Désigne le mélange de rouge, vert et bleu dans un plan. Dans Final Cut Pro, vous pouvez ajuster la balance des couleurs des zones de tons clairs, intermédiaires ou foncés de votre plan en utilisant le réglage colorimétrique. mires Signal de test de couleur standard affiché sous la forme de colonnes, souvent accompagné d’une tonalité de référence. La mire permet d’ajuster le signal vidéo de la source entrante, afin de conserver des couleurs correctes de l’importation jusqu’à la sortie. réglage colorimétrique Le réglage colorimétrique vous permet d’ajuster manuellement les propriétés des couleurs d’un plan. Il renferme des fenêtres distinctes pour l’ajout ou la soustraction d’une teinte de couleur, le contrôle de l’intensité de la couleur et le contrôle de la luminosité de la vidéo. En plus d’une commande générale, chaque fenêtre dispose de différentes commandes pour la surbrillance, les tons intermédiaires et les zones d’ombrage de l’image. dominante de couleur Teinte indésirable de l’image, généralement provoquée par des problèmes d’éclairage. étalonnage Processus au cours duquel la couleur des plans utilisés dans un programme monté est harmonisée, afin que tous les plans d’une scène donnée coïncident. L’étalonnage est généralement l’une des dernières étapes de finalisation d’un programme monté. Les outils d’étalonnage disponibles dans Final Cut Pro vous permettent de contrôler avec précision l’apparence de chaque plan de votre projet grâce au réglage de la balance des couleurs, des niveaux de noir, des tons intermédiaires et des niveaux de blanc. différence de couleur Dans les formats vidéo utilisant l’espace colorimétrique Y’CbCr pour le stockage des informations sur les couleurs, les canaux de couleur sont dérivés en soustrayant les signaux Y (luminance) des signaux R (rouge) et B (bleu) et sont parfois appelés B-Y et R-Y. Voir aussi Y’CbCr. compositing Processus au cours duquel au moins deux images sont combinées en une seule. Ce terme peut également s’appliquer au processus de création de divers effets vidéo. plan composé Vous pouvez utiliser des plans composés pour regrouper des plans de n’importe quels types dans la timeline ou le navigateur d’événements et imbriquer des plans dans d’autres plans. Vous avez la possibilité d’ouvrir n’importe quel plan composé, en modifier le contenu dans la timeline, puis le refermer. Un plan composé peut contenir des composants de plan vidéo et clip audio, des plans et d’autres plans composés. Il peut en fait être vu comme un mini-projet en soi, avec ses propres réglages de projet. Les plans composés fonctionnent comme les autres plans : vous pouvez les ajouter à votre projet, leur appliquer un trim, les resynchroniser et leur ajouter des effets et des transitions. compression Processus réduisant la taille des fichiers vidéo, graphiques et audio. La compression « avec perte » désigne le processus qui réduit la taille des fichiers vidéo lorsque vous supprimez les données graphiques redondantes ou moins importantes. La compression sans perte réduit la taille des fichiers en consolidant mathématiquement les données graphiques redondantes sans les supprimer. plan connecté Les plans connectés sont associés à des plans du scénario principal dans la timeline. Les plans connectés s’avèrent utiles pour les plans de coupe, les images superposées ou composites et les effets sonores. Les plans connectés restent reliés et synchronisés jusqu’à ce que vous les déplaciez ou les supprimiez manuellement. Une suite de plans connectés compose un scénario. Glossaire 485 contraste Différence entre les valeurs les plus claires et les plus sombres d’une image. Les images qui présentent un grand contraste possèdent un large intervalle de valeurs de l’ombre la plus sombre au ton le plus clair. Les images à faible contraste possèdent une gamme étroite de valeur. L’aspect obtenu est plus « plat ». fondu enchaîné Type courant de transition vidéo dans laquelle le premier plan disparaît progressivement pendant que le second apparaît, lui aussi, progressivement. Lors du fondu enchaîné, les deux plans sont superposés pendant leur fondu respectif. fondu enchaîné Type courant de transition audio dans laquelle l’audio du premier plan s’affaiblit progressivement pendant que l’audio du second monte, lui aussi, progressivement. Lors du fondu enchaîné, l’audio des deux plans est entendu. coupe Montage dans lequel un plan en suit immédiatement un autre, sans effet de transition. Il s’agit du type de montage le plus simple. plan de coupe Plan ayant un rapport avec le sujet actuel et se produisant dans le même laps de temps (par exemple, la réaction d’un interviewer à ce qui se dit dans une interview). Un plan de coupe est souvent utilisé pour éliminer une section visuelle non souhaitée d’un autre plan. L’audio reste généralement continu lors de la coupe, ce qui vous permet de la rendre moins perceptible. panneau de contrôle Le panneau de contrôle apparaît au centre de la barre d’outils et affiche le timecode, ainsi que des icônes indiquant les niveaux audio et l’état des tâches d’arrière-plan. débit des données Vitesse à laquelle les données peuvent être transférées, souvent exprimée en mégaoctets par seconde (Mo/s) ou en mégabits par seconde (Mbps). Plus le débit de données d’un fichier vidéo est élevé, plus sa qualité est optimale, mais plus les ressources système (vitesse du processeur, espace libre sur le disque dur et performances) sont sollicitées. Certains codecs vous permettent de spécifier un débit maximal par film au cours de la capture. décibel (dB) Unité de mesure des niveaux sonores ; échelle logarithmique utilisée pour décrire l’intensité d’un son perçu par l’oreille humaine. (1 dB correspond approximativement à la variation de volume la plus faible que l’oreille humaine puisse percevoir.) Pour l’audio numérique, dBFS est l’unité de décibel standard pour la mesure du niveau sonore. destination Ensemble de réglages d’exportation préconfigurés que vous pouvez utiliser pour partager un projet ou un plan depuis Final Cut Pro. Les destinations simplifient l’exportation de votre film en vue de le visionner sur des dispositifs Apple tels que l’iPhone et l’iPad, le publier sur des sites web comme Facebook et YouTube, ou encore le graver sur disque. Final Cut Pro offre une panoplie complète de destinations que vous pouvez en outre modifier à loisir ou en créer d’autres. Pour ajouter et modifier des destinations, utilisez la fenêtre Destinations des préférences de Final Cut Pro. Utilitaire de disque Utilitaire de disque est une application Apple permettant d’exécuter des tâches de gestion de disque dans OS X. Il se trouve dans le dossier /Applications/Utilitaires. sous-mixage Processus utilisé pour combiner plusieurs canaux audio en une seule paire stéréo (ou mono dual). Également appelé mixdown. Glossaire 486 timecode Drop Frame Timecode NTSC qui ignore deux numéros d’image par minute, sauf pour les minutes qui se terminent par 0, afin que le timecode corresponde au temps véritablement écoulé (les numéros de timecode sont passés mais pas les images vidéo proprement dites). Ce saut est effectué pour tenir compte de la fréquence d’images vidéo réelle de la norme NTSC de 29,97 ips qui décale le timecode Non-Drop Frame de 3 secondes et 18 images par heure par rapport au temps réellement écoulé. Pour éviter toute confusion, il faut éviter d’utiliser un timecode Drop Frame dans les productions cinématographiques. Voir aussi timecode Non-Drop Frame. ombre portée Effet qui crée une ombre artificielle derrière une image. Utilisé surtout avec des graphiques et du texte. DV Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage 16 bits et 48 kHz ou quatre pistes audio avec un échantillonnage de 12 bits et 32 kHz. DVCAM Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage 16 bits et 48 kHz ou quatre pistes audio avec un échantillonnage de 12 bits et 32 kHz. DVCPRO Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 5:1 et un échantillonnage des couleurs 4:1:1 (PAL utilise un échantillonnage 4:2:0). Ce format gère deux pistes audio avec un échantillonnage audio de 16 bits et 48 kHz. DVCPRO 50 Format d’enregistrement numérique sur bande vidéo en définition standard (SD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 3.3:1 et un échantillonnage des couleurs 4:2:2. Ce format gère quatre pistes audio avec un échantillonnage audio de 16 bits et 48 kHz. DVCPRO HD Format vidéo haute définition (HD) qui enregistre un signal vidéo en composantes 8 bits compressé avec un échantillonnage des couleurs 4:2:2. 720p et 1080i sont pris en charge. Inclut jusqu’à huit pistes audio avec un échantillonnage 16 bits et 48 kHz. Le débit de données total est de 115 Mbps. DVD Disque de la taille d’un CD, mais utilisant des méthodes de stockage haute densité qui augmentent considérablement sa capacité. Généralement utilisés pour la distribution vidéo, les disques DVD-ROM peuvent également être utilisés pour stocker des données informatiques. plage dynamique Différence, exprimée en décibels, entre la partie d’un enregistrement dont le volume est le plus élevé et celle dont le volume est le plus bas. outils d’édition Sept outils parmi lesquels choisir lors de vos manipulations dans la timeline : outil de sélection, outil Trim, outil Position, outil Sélection de plage, outil Lame de rasoir, outil Zoom et outil Main. Après avoir choisi un outil, l’icône du pointeur s’adapte pour refléter l’usage de l’outil en question. Glossaire 487 point de montage Les points de montage définissent la partie d’un plan que vous souhaitez utiliser dans le projet monté. Les points de montage comprennent les points de départ, qui définissent le début d’une section d’un plan ou d’un projet, et les points d’arrivée, qui définissent la fin d’une section d’un plan ou d’un projet. Un point de montage est également un point dans la timeline où le point d’arrivée d’un plan coïncide avec le point de départ du plan suivant. Il peut être sélectionné pour diverses opérations. Navigateur d’effets Navigateur multimédia de Final Cut Pro contenant des effets de plan vidéo et de clip audio. égalisation Un égaliseur (généralement appelé EQ, pour « equalizer ») modèle le son de l’audio entrant en modifiant le niveau de bandes de fréquences spécifiques. L’égalisation constitue l’un des traitements audio les plus couramment utilisés, aussi bien pour les projets de musique que dans les travaux de postproduction vidéo. Vous pouvez passer par l’égalisation pour former subtilement ou plus nettement le son d’un fichier audio, d’un instrument ou d’un projet en ajustant des fréquences précises ou des plages entières. événement Lorsque vous importez du contenu vidéo, audio ou des images fixes ou que vous les enregistrez directement dans Final Cut Pro, les fichiers multimédias source (votre métrage brut) sont stockés dans des événements. Un événement correspond à un dossier qui peut contenir des dizaines, des centaines, voire des milliers de plans vidéo, de clips audio et d’images fixes. Chaque événement de la bibliothèque d’événements correspond à un dossier de votre disque dur qui contient les fichiers de média originaux, tout fichier de rendu relatif à votre média et un fichier de base de données comprenant le suivi de l’emplacement de l’ensemble des éléments. Navigateur d’événements Le navigateur d’événements affiche les plans correspondant à l’élément sélectionné dans la bibliothèque d’événements. Il vous suffit de sélectionner des plans ou des sections de plan dans le navigateur d’événements pour commencer à travailler dessus. Vous pouvez trier les plans dans le navigateur d’événements par date de création, par date d’importation, par bande, par scène, par durée de plan ou par type de fichier. Vous pouvez aussi visualiser vos plans sous forme de pellicule ou de liste. Bibliothèque d’événements La bibliothèque d’événements référence et organise les événements contenant les données que vous avez importées (vidéo, audio et images fixes). Lorsque vous sélectionnez un événement dans la bibliothèque d’événements, le média qu’il contient s’affiche sous forme de plans dans le navigateur d’événements. La bibliothèque d’événements contient également les collections de mots-clés et les collections intelligentes de Final Cut Pro qui vous permettent d’organiser efficacement votre média à l’aide de mots-clés et de filtres de recherche persistants. visualiseur d’événements Le visualiseur d’événements représente un affichage vidéo à part à côté du visualiseur principal, servant uniquement à lire des plans dans le navigateur d’événements. exposition Quantité de lumière dans des images vidéo ou des images de film. L’exposition modifie la luminosité générale de l’image, ainsi que son contraste. fondu Type de transition couramment utilisé pour la vidéo et l’audio. Dans le cas de la vidéo, un fondu sortant commence par un plan dont l’intensité, maximale au début, réduit progressivement jusqu’à disparaître. À l’inverse, un fondu entrant commence par un plan dont l’intensité, nulle au départ, augmente progressivement jusqu’à son niveau maximal. On appelle souvent ces transitions « fondu au noir » et « fondu à l’ouverture ». Les fondus audio commencent pour leur part avec un volume nul qui augmente pour atteindre le volume complet, alors que le fondu sortant commence au volume complet pour se réduire jusqu’au silence. Glossaire 488 pellicule Vos plans vidéo apparaissent sous forme de pellicules dans la timeline (là où vous créez vos projets) et dans le navigateur d’événements (là où sont affichées vos données source). Une seule pellicule vidéo peut représenter plusieurs secondes de vidéo regroupant des centaines d’images vidéo (à savoir des images spécifiques). Les clips exclusivement audio se présentent comme des formes d’onde audio, affichant les changements de volume dans le temps. FireWire Marque déposée d’Apple pour la norme IEEE 1394. FireWire constitue une interface rapide et polyvalente permettant de relier des caméscopes DV à des ordinateurs. FireWire convient parfaitement aux applications déplaçant de grands volumes de données et peut servir à connecter des disques durs, des scanners et d’autres types de périphériques. effets de bruitage Les effets de bruitage sont des effets sonores personnalisés parfaitement synchronisés avec l’image, tels que des bruits de pas sur différentes surfaces, le froissement de vêtements, des sons de combat et le bruit d’objets manipulés. Final Cut Pro inclut un certain nombre de bruitages et d’autres effets sonores que vous pouvez utiliser comme clips audio connectés. image Image fixe isolée. Les films et les vidéos sont composés d’une série de ces images. Même si une image d’un film correspond à une seule image photographique, une image vidéo entrelacée contient deux trames. Voir aussi vidéo entrelacée, vidéo non entrelacée. fusion d’images La duplication d’images en vue de créer un ralenti peut produire un effet stroboscopique perturbant. Pour limiter cet effet, vous pouvez activer la fusion d’images dans le menu local Resynchronisation accessible à partir de la barre d’outils. La fusion d’images crée des images intermédiaires, chacune constituant une image composite des deux images contigües de chaque côté. fréquence d’images Nombre d’images photographiées par seconde pour un plan vidéo. taille d’image Voir résolution. fréquence Nombre de fois qu’un son ou un signal vibre par seconde. La fréquence est exprimée en cycles par seconde, ou hertz (Hz). Les enregistrements audio sont composés d’une large série de formes d’onde, qui utilisent de nombreuses fréquences de son différentes. Chaque fréquence d’enregistrement est associée à une tonalité audio. Par exemple, la note produite par chaque touche d’un piano a sa propre fréquence. Front Row Front Row, application fournie avec OS X, vous permet de parcourir vos données iTunes, iLife et Final Cut Pro à l’aide d’une télécommande Apple Remote ou de l’application Remote. Il est également possible d’ouvrir Front Row en appuyant sur Commande + Échap. gain Niveau de gain d’un signal audio ou vidéo. En vidéo, cette valeur augmente le niveau de blanc ; en audio, c’est le volume qui est augmenté. gamma Courbe décrivant l’intensité d’une image. Gamma constitue une fonction non linéaire souvent confondue avec la « luminosité » ou le « contraste ». La correction gamma est fréquemment utilisée pour atténuer les différences entre les cartes vidéo et les écrans Mac et Windows. plan vide Plan vierge (contenant de la vidéo vierge et du silence) dont vous pouvez définir librement la durée. (L’industrie audiovisuelle emploie le terme d’amorce pour le désigner.) La couleur du plan vide se détermine par celle de l’arrière-plan actif dans Final Cut Pro. Vous pouvez adapter la couleur d’arrière-plan à l’aide du menu local « Arrière-plan du lecteur » dans la fenêtre Lecture des préférences de Final Cut Pro. générateurs Plans synthétisés par Final Cut Pro. Ces derniers peuvent constituer différents types d’arrière-plans, de titres et d’éléments visuels. Glossaire 489 navigateur de générateurs Navigateur multimédia de Final Cut Pro permettant d’accéder à tous les générateurs vidéo inclus dans Final Cut Pro. outil Main Outil de montage permettant de faire défiler la timeline. Pour activer l’outil Main, appuyez sur la touche H. H.264 H.264/MPEG-4 Part 10 ou AVC (Advanced Video Coding) est un standard de compression vidéo largement utilisé pour l’enregistrement, la distribution et la diffusion sur Internet de vidéo en haute définition. HDCAM Format d’enregistrement numérique sur bande vidéo en haute définition (HD) qui enregistre un signal vidéo en composantes 8 bits avec une compression 7.1:1 DCT et un échantillonnage des couleurs 3:1:1. Enregistré sur une bande d’1/2 pouce. Il gère quatre pistes audio. HDV Ce format est destiné à enregistrer de la vidéo haute définition sur bande DV. Le format HDV fait appel à la compression vidéo MPEG-2 avec des échantillons 8 bits et un sous-échantillonnage de chrominance 4:2:0. Il possède un débit vidéo de 18,3 Mbps à 720p (1280 x 720) et de 25 Mbps à 1080i (1440 x 1080). haute définition (HD) Désigne toute vidéo dont la résolution est supérieure à celle de la vidéo NTSC ou PAL en définition standard. Les résolutions haute définition les plus courantes sont 1280 x 720 (720p) et 1920 x 1080 (1080i ou 1080p). Voir aussi format NTSC, format PAL, définition standard (SD). histogramme Instrument vidéo de Final Cut Pro offrant une analyse statistique de l’image en représentant graphiquement le nombre de pixels à chaque pourcentage de luminance ou de couleur. Il est utile pour comparer deux plans afin de mieux faire correspondre leurs valeurs de luminosité. teinte Attribut de perception de la couleur, également appelé phase de couleur. Le rouge, le bleu, le jaune et le vert sont tous des teintes. importation Processus consistant à placer des fichiers multimédias de différents types dans des événements dans Final Cut Pro. Vous pouvez importer des fichiers depuis des caméscopes et d’autres appareils connectés, depuis d’autres applications ou depuis des périphériques de stockage connectés. IMX Format MPEG-2 en définition standard (SD) d’images I stockées sur bande, disque optique XDCAM ou disque dur. Certaines platines IMX peuvent lire et convertir les formats tels que Digital Betacam, Betacam SX et Betacam SP en IMX. Le débit des données IMX peut être réglé sur 30, 40 ou 50 Mbps. plan entrant Plan suivant une transition. Par exemple, si le plan A fait l’objet d’un fondu vers le plan B, ce dernier est le plan entrant. Voir aussi plan sortant. inspecteur d’informations L’inspecteur d’informations affiche des informations (appelées métadonnées) concernant un plan ou un groupe de plans sélectionné dans le navigateur d’événements ou la timeline. Il vous est possible d’afficher plusieurs combinaisons de métadonnées avec vos plans, telles que des codecs, les moments de début et de fin du média, la bande, la scène, la prise, les renseignements EXIF et les informations IPTC. Vous pouvez aussi passer par l’inspecteur d’informations pour modifier les métadonnées pour un plan ou groupe de plans choisi, et pouvez créer des ensembles personnalisés de métadonnées affichables par le biais de la fenêtre Présentations des métadonnées accessible depuis l’inspecteur d’informations. point d’entrée Voir point de montage. Glossaire 490 montage par insertion Un montage par insertion place le plan source de façon à ce que tous les plans situés après le point d’insertion soient déplacés vers l’avant (Ripple) dans la timeline pour faire de la place au plan inséré. Aucun plan n’est supprimé de votre projet. Un montage par insertion allonge le projet de la durée du plan inséré. inspecteurs Final Cut Pro comporte un certain nombre d’inspecteurs permettant de consulter et de modifier les attributs des éléments sélectionnés. Par exemple, il est possible de régler des effets vidéo et d’appliquer des étalonnages dans l’inspecteur vidéo. Les autres inspecteurs sont les inspecteurs audio, d’améliorations audio, d’informations, de transition, des titres, de texte, du générateur et de partage. Ils apparaissent dans la fenêtre Inspecteur située dans le coin supérieur droit de la fenêtre principale de Final Cut Pro. vidéo entrelacée Méthode de balayage qui divise une image vidéo en deux trames, chacune d’elles étant constituée de lignes paires et impaires alternées, balayées à différents moments. IRE Unité de mesure d’un signal vidéo analogique pour la luminance, définie par l’Institute of Radio Engineers. coupe en J Voir montage scindé. tâche Chaque fichier multimédia ajouté à un lot dans Compressor constitue une tâche. Chaque tâche possède un fichier de média et un ou plusieurs réglages définissant le type de fichier à rendre. Voir aussi lot. JPEG Format de fichier d’image très répandu permettant de créer des fichiers graphiques très compressés. Le taux de compression peut varier. Plus la compression est faible, plus la qualité de l’image est bonne. image clé Commande représentant la valeur d’un paramètre d’effet vidéo ou audio en un point donné du projet. Lorsque deux images clés avec des valeurs différentes sont définies dans Final Cut Pro, une transition d’une valeur à l’autre est calculée, entraînant un changement dynamique de ce paramètre. Le terme image clé est issu de l’animation traditionnelle, où seules les images importantes (clés) d’une séquence animée étaient dessinées pour esquisser l’animation d’un personnage au fil du temps. Une fois les images clés déterminées, un artiste d’interpolation dessine toutes les images intermédiaires. incrustation Voir incrustation chromatique, incrustation en luminance. collection de mots-clés Lorsque vous appliquez un mot-clé à un plan, une collection de mots-clés est automatiquement créée dans la bibliothèque d’événements. Lorsque vous sélectionnez la collection de mots-clés, chaque plan auquel le mot-clé en question a été affecté est affiché. mots-clés Les mots-clés ajoutent des informations descriptives à un plan ou une plage de plan. Vous pouvez faire appel à des mots-clés pour organiser, trier et classifier le média. Il vous est possible d’ajouter manuellement des mots-clés à un plan ; Final Cut Pro peut en outre en ajouter automatiquement lors de l’analyse de plans. Voir aussi Collection de mots-clé. coupe en L Voir montage scindé. montage linéaire Avant l’apparition du montage vidéo numérique, les programmes étaient montés en copiant l’un après l’autre les plans sur une bande Master à partir des bandes source originales. L’assemblage étant linéaire, tout changement de durée apporté à un point antérieur de la bande nécessitait le réassemblage du film à partir de ce point. Voir aussi montage non linéaire. Glossaire 491 en boucle Mode de lecture selon lequel les plans et les projets retournent au début à chaque fois que la tête de lecture atteint la fin des données. Vous pouvez activer ou désactiver la lecture en boucle à partir du menu Présentation ou en appuyant sur Commande + L. tiers inférieur Terme utilisé dans le secteur télévisuel pour désigner un graphisme placé dans la zone inférieure de l’écran, généralement pour apporter des précisions sur un sujet ou un produit. Un usage courant des tiers inférieurs est d’identifier des individus à l’écran à l’aide de leur nom et de leur fonction professionnelle. luminance Valeur décrivant la luminosité d’une image vidéo. Un canal de luminance est une image en niveaux de gris indiquant la gamme de luminosité de l’ensemble du plan. incrustation en luminance Filtre utilisé pour exclure les pixels présentant une valeur de luminance (ou une plage de valeurs de luminance) donnée, créant ainsi un cache basé sur la zone la plus claire ou la plus sombre d’une image. L’exclusion de valeurs de luminance est optimale lorsqu’un plan dispose d’un large écart dans son exposition entre les zones de l’image que l’on souhaite exclure et les images de premier plan que l’on veut conserver, par exemple un titre blanc sur un fond noir. Voir aussi incrustation chromatique, cache. Mail Mail est l’application de messagerie électronique fournie avec OS X. marqueurs Les marqueurs permettent d’ajouter des remarques de montage ou d’autres informations descriptives à un emplacement précis d’un plan. Vous pouvez aussi utiliser des marqueurs pour la gestion des tâches. Ils se classifient en marqueurs standard (bleus), en marqueurs de chapitre (orange), en tâches à réaliser (rouges) ou en tâches accomplies (vertes). masque Image ou plan servant à définir des zones de transparence dans un autre plan. S’apparente à un canal alpha. Les outils d’étalonnage peuvent créer des masques d’après une couleur choisie ou une forme créée. Voir aussi canal alpha. cache Parfois appelé cache de maintien. Effet qui exploite les données d’une couche vidéo pour en modifier une autre. Les caches s’avèrent utiles dès qu’il s’agit d’utiliser un plan pour masquer ou révéler de façon sélective une partie d’un autre plan. Vous pouvez par exemple faire appel à une forme représentant une lumière pour révéler des parties d’une couche vidéo. Les effets de cache peuvent servir à masquer des zones d’un plan ou à créer des données de canal alpha pour un plan, afin de tracer une bordure transparente autour du plan à combiner avec d’autres couches. Voir aussi canal alpha, compositing. média Terme générique désignant des éléments tels que des films, des sons et des images. navigateurs multimédias Les données que vous importez dans des événements dans Final Cut Pro sont accessibles via la bibliothèque d’événements et le navigateur d’événements, mais Final Cut Pro propose également un ensemble de navigateurs multimédias que vous pouvez utiliser pour ajouter des plans à votre projet. Les navigateurs multimédias permettent d’accéder aux effets, titres et transitions fournies avec Final Cut Pro ainsi qu’aux fichiers vidéo, audio et d’images tirés d’autres applications sur votre ordinateur. Par exemple, le navigateur de photos vous permet d’accéder aux fichiers vidéo et d’images des bibliothèques Aperture et iPhoto. Final Cut Pro propose également les navigateurs d’effets, de musique et son, de transitions, de titres, de générateurs et de thèmes. Les navigateurs multimédias s’affichent dans la fenêtre Navigateur multimédia située dans le coin inférieur droit de la fenêtre principale de Final Cut Pro. poignée de données Données supplémentaires disponibles avant le point de départ ou après le point d’arrivée d’un plan. Glossaire 492 stems Fichiers audio ou vidéo habituellement exportés séparément pour le mixage audio ou la postproduction, ou encore pour correspondre aux spécifications exigées en cas de remise de fichiers à des réseaux de diffusion. C’est le cas, par exemple, lorsque vous devez remettre un fichier QuickTime multipiste accompagné de stems séparés pour les dialogues, la musique et les effets. mixage Processus qui consiste à ajuster les niveaux audio de tous les clips audio d’un programme monté, notamment l’audio de production, la musique, les effets sonores, les voix off et les bruits de fond ambiants supplémentaires, pour transformer tous ces sons en un tout harmonieux. monochrome Image présentée en nuances d’une même couleur, le plus souvent en nuances de gris dans une image noir et blanc. MP3 Ce terme fait référence au format de fichier et au standard de compression MPEG-1 ou MPEG-2 Audio Layer 3. Comme pour le format AAC, le MP3 utilise un codage audio perceptuel et un algorithme de compression psycho-acoustique pour éliminer l’information superflue inaudible pour l’oreille humaine. MPEG (Moving Picture Experts Group) Groupe de normes de compression pour la vidéo et l’audio, incluant MPEG-1, MPEG-2 et MPEG-4. Plan multicam Ensemble de plans regroupés et synchronisés par un point de synchronisation commun. Vous pouvez exploiter des plans multicam pour monter le métrage de prises multicaméra ou tout autre métrage synchronisé en temps réel. Alors que les angles actifs se reproduisent dans le visualiseur, vous pouvez également visionner tous les angles simultanément dans le visualiseur d’angle, puis effectuer des coupes et passer facilement d’un angle à l’autre. navigateur de musique et son navigateur multimédia de Final Cut Pro vous permettant d’accéder à votre bibliothèque iTunes, ainsi qu’aux effets sonores et aux boucles de Final Cut Pro et d’iLife. séquence imbriquée Voir plan composé. NLE Abréviation de NonLinear Editor (monteur non linéaire). Voir aussi montage non linéaire. montage non destructif Quelle que soit la façon dont vous montez vos plans dans Final Cut Pro, les données sous-jacentes ne sont jamais modifiées. Cette méthode est connue sous le nom de montage non destructif, car l’ensemble des modifications et des effets appliqués à votre métrage n’a aucun effet sur les fichiers de média source d’origine. Les plans représentent votre média mais ne sont pas des fichiers de média en tant que tels. Les plans dans un projet pointent simplement sur des fichiers de média source se trouvant sur votre disque dur. Si vous modifiez un plan, vous ne modifiez en fait pas le fichier de média en tant que tel mais simplement les informations liées au plan dans le projet. Les parties des plans effacées ou ayant fait l’objet d’un trim ne sont supprimées que du projet, et non des plans source présents dans votre bibliothèque d’événements ni des fichiers multimédias source stockés sur votre disque dur. timecode Non-Drop Frame Timecode dans lequel les images sont numérotées de manière séquentielle, sans suppression de numéros de timecode du décompte. S’agissant de la vidéo NTSC, la fréquence d’images vidéo réelle est de 29,97 ips et le timecode Non-Drop Frame est décalé de 3 secondes et 18 images par heure par rapport au temps réellement écoulé. Voir aussi timecode Drop Frame. Glossaire 493 vidéo non entrelacée Représentation standard des images sur un ordinateur. Autre nom de balayage progressif. Le moniteur affiche l’image en dessinant les lignes une à une, du haut vers le bas. montage non linéaire Méthode de montage vidéo permettant de modifier à tout moment les montages au sein d’un programme sans avoir à recréer l’ensemble du programme. Lorsque vous utilisez une application de montage non linéaire pour un programme, tout le métrage utilisé est stocké sur un disque dur et non sur bande. Vous pouvez ainsi accéder de façon aléatoire à toutes les données vidéo, audio et à toutes les images au cours du montage. Voir aussi montage linéaire. format NTSC Norme vidéo définie par l’organisation NTSC (National Television Standards Committee), à l’origine des normes de télédiffusion en vigueur en Amérique du Nord. La vidéo NTSC analogique comporte 525 lignes entrelacées par image, une fréquence d’images de 29,97 ips et une gamme de couleurs limitée. La vidéo numérique NTSC a une dimension d’image de 720 x 486 pixels (720 x 480 pour DV et DVD) et une fréquence d’images de 29,97 ips. Voir aussi format PAL. montage hors ligne Traitement de postproduction dans lequel le métrage brut est copié et modifié sans affecter les données d’origine de la caméra (données sur film, bande ou par système de fichiers). Après l’usage d’un programme dans un montage offline (généralement par le biais de média proxy dans une résolution inférieure), un montage online est réalisé pour recréer le montage à l’aide du média d’origine. opacité Niveau de transparence d’un plan. plan sortant Plan précédant une transition. Par exemple, si le plan A fait l’objet d’un fondu vers le plan B, le plan A est le plan sortant. Voir aussi plan entrant. point de sortie Voir point de montage. montage par écrasement Dans un montage par écrasement, un ou plusieurs plans source écrasent les plans présents dans le scénario principal ou un scénario sélectionné, en commençant au point de départ d’une sélection de plage ou au niveau du skimmer ou de la tête de lecture. Puisqu’aucun élément de plan ne subit de montage Ripple en avant, la durée de votre projet reste inchangée. L’écrasement s’appuie exclusivement sur la durée et ne fonctionne que sur des plages de sélection, indépendamment des limites des plans. format PAL Acronyme de Phase Alternating Line, un format de vidéo entrelacée à 25 ips (625 lignes par image) utilisé dans de nombreux pays européens. Le format vidéo numérique PAL a une dimension d’image de 720 x 576. Voir aussi format NTSC. navigateur de photos Navigateur multimédia de Final Cut Pro vous permettant d’accéder à vos bibliothèques de photos iPhoto et Aperture. tonalité Les sons sont perçus comme aigus ou graves selon leur fréquence, ou le nombre de fois par seconde qu’une onde sonore passe d’une pression positive à une pression négative avant de revenir à une pression positive. Les musiciens utilisent généralement le terme de tonalité pour parler de fréquence. Plus cette dernière est élevée, plus la tonalité l’est aussi. L’adaptation de la vitesse d’un plan influe sur la tonalité de sa piste audio. Une animation plus lente crée une tonalité basse ; à l’inverse, une animation plus rapide entraîne une tonalité plus aigue. pixel Point dans une vidéo ou une image fixe. Plus une image contient de pixels, plus sa résolution est élevée. Glossaire 494 tête de lecture La tête de lecture indique la position actuelle de votre projet dans la timeline ou le navigateur d’événements. Vous pouvez à loisir déplacer la tête de lecture en la faisant glisser ou en cliquant sur une autre zone de la timeline ou du navigateur d’événements. La tête de lecture permet d’effectuer un défilement ou de parcourir votre projet et de le reproduire depuis divers emplacements. La tête de lecture se présente sous la forme d’un trait vertical gris fixe à moins que vous ne la déplaciez ailleurs ou cliquiez sur un autre point. Voir aussi skimmer. outil Position Outil de montage permettant de positionner des éléments dans la timeline. Pour activer l’outil Position, appuyez sur la touche P. postproduction Phase du montage vidéo ou de film au cours de laquelle tous les éléments de production sont organisés, assemblés et utilisés pour générer le fichier de sortie. projet Un projet contient tous vos choix de montage et les données utilisées. Pour créer votre projet, vous ajoutez des plans et vous les montez dans la timeline. Un projet est également défini par ses propriétés vidéo, audio et de rendu. Dans la plupart des cas, Final Cut Pro gère automatiquement les réglages du projet en fonction des propriétés du premier plan que vous ajoutez au projet. bibliothèque de projets La bibliothèque de projets contient tous les projets Final Cut Pro présents sur votre disque dur et sur les lecteurs externes connectés. propriétés du projet Événement par défaut d’un projet, ainsi que les propriétés vidéo, audio et de rendu du projet. Dans la plupart des cas, Final Cut Pro gère automatiquement les propriétés du projet en fonction des propriétés du premier plan que vous y ajoutez. Si vous devez modifier les propriétés du projet, choisissez celles vidéo et audio selon le mode de partage de votre film final avec votre public. Vous définissez en fait les propriétés d’un projet au moment où vous créez un projet Final Cut Pro ; vous pouvez les modifier ensuite à tout moment. fichiers proxy Vous pouvez utiliser Final Cut Pro pour transcoder vos données d’origine afin de créer des fichiers proxy, qui sont des fichiers plus légers avec un débit de données inférieur. Les fichiers proxy peuvent être utilisés pour le montage hors ligne ou pour réaliser un montage sur un ordinateur lent. Final Cut Pro crée les fichiers vidéo proxy à l’aide du codec Apple ProRes 422 (proxy) et les fichiers image proxy à l’aide du format JPEG (si le fichier original ne possède pas d’informations de canal alpha) ou PNG (si le fichier possède des informations de canal alpha). Voir aussi canal alpha. QuickTime Technologie multimédia multiplateforme d’Apple. Très répandue pour la production, la postproduction et la distribution de programmes vidéo, audio et interactifs. plage Au lieu de sélectionner des plans complets, vous pouvez sélectionner une plage au sein d’un plan dans la timeline ou le navigateur d’événements. Vous pouvez appliquer des trims aux sélections de plage, leur attribuer des classements et des mots-clés et les modifier de toute autre manière. Vous pouvez ajuster les points d’entrée et de sortie d’une plage en faisant glisser l’un des bords figurant de part et d’autre de celle-ci. Dans la timeline, vous pouvez également sélectionner une plage couvrant plusieurs plans. Dans le navigateur d’événements, vous avez la possibilité de définir plusieurs plages dans un ou plusieurs plans et vous pouvez sélectionner et désélectionner des plages après les avoir établies. outil Sélection de plage Outil de montage permettant de sélectionner une plage dans la timeline. Pour activer l’outil Sélection de plage, appuyez sur la touche R. Glossaire 495 support à laser rouge Les graveurs et les lecteurs de DVD classiques utilisent un laser rouge pour les supports DVD. Les graveurs et les lecteurs Blu-ray utilisent un laser bleu pour fonctionner avec un support Blu-ray. La couleur bleue possède une longueur d’onde plus courte, ce qui rend possible un stockage plus important de données sur un disque, comparé aux supports laser rouge. rendu Traiter la vidéo et l’audio avec tous les filtres ou les transitions appliqués, puis stocker le résultat sur disque sous forme de fichier de rendu. Ces fichiers de rendu sont stockés avec vos fichiers d’événements et de projets Final Cut Pro. Lors de la publication ou de l’exportation d’un projet, ceux-ci voient leur rendu effectué de façon analogue pour générer les fichiers en sortie. montage par remplacement Dans un montage par remplacement, la sélection source remplace un plan de votre projet dans la timeline. Contrairement aux montages par écrasement, le remplacement ne fonctionne que sur des plans complets de la timeline et peut modifier la durée du projet. résolution La résolution d’une image fait référence au nombre de pixels qu’elle contient. La résolution s’exprime en pixels, pour la largeur et la hauteur de l’image (par exemple, 640 x 360 pixels). Les images de résolution supérieure s’avèrent plus détaillées mais obligent également à des fichiers plus volumineux nécessitant plus de temps à télécharger. Vos dispositifs électroniques (ordinateur, iPhone, iPad, iPod, etc.) sous-entendent aussi une résolution écran. Dans l’idéal, vous devez adapter la résolution d’image de votre média à celle de lecture sur votre appareil. réverbération La réverbération désigne le phénomène de persistance du son du fait des réflexions des ondes sonores sur les surfaces (murs, plafonds, fenêtres, etc.) ou les objets d’un espace, qui s’affaiblissent progressivement jusqu’à devenir inaudibles. Final Cut Pro inclut de nombreux effets audio qui ajoutent de la réverbération au son d’un plan. RVB Abréviation de Rouge, Vert, Bleu. Espace colorimétrique couramment utilisé par les ordinateurs, sur lesquels chaque couleur est définie par la force de ses composantes de rouge, de vert et de bleu. Cet espace procède directement à la transcription en luminophores rouges, verts et bleus utilisés par les écrans d’ordinateurs. La gamme de l’espace colorimétrique RVB est très large, permettant ainsi la reproduction d’une grande variété de couleurs. Cette gamme est habituellement plus large que celle pouvant être reproduite pour la télédiffusion. montage Ripple Le type de trim par défaut dans Final Cut Pro est le trim Ripple qui ajuste le point de départ ou d’arrivée d’un plan sans laisser de vide dans la timeline. La modification de la durée du plan est propagée vers l’extérieur, avançant ou reculant tous les plans suivants dans la timeline. De même, si vous supprimez un plan de la timeline, les plans suivants s’adaptent en amont pour fermer le vide. Les montages Ripple affectent le plan auquel le trim est appliqué, la position de tous les plans suivants sur la timeline et la durée totale du projet. rôle Étiquettes de métadonnées que vous associez à des plans dans le navigateur d’événements ou la timeline. Elles procurent un moyen à la fois souple et performant de gérer des flux de production de montage. Les rôles peuvent être utilisés dans Final Cut Pro pour organiser des plans dans des événements et des projets, contrôler l’apparence de la timeline ou exporter des fichiers vidéo ou audio séparés (également appelés stems) en vue d’un mixage audio, de la postproduction ou d’une remise à des réseaux de diffusion. montage Roll Montage qui modifie deux plans partageant un point de montage. Par exemple, si le plan A fait l’objet d’un cut vers le plan B, un montage Roll ajuste simultanément de la même quantité le point d’arrivée du plan A et le point de départ du plan B. La durée globale du projet reste la même. Glossaire 496 montage brut Premier montage. Le montage brut est une première version d’un film qui regroupe ses éléments de base. La plupart du temps, un montage brut est réalisé avant l’ajout de transitions, de filtres et d’autres effets. saturation Mesure de l’intensité de la couleur du signal vidéo. scène Série de prises de vue qui ont lieu au même moment et au même endroit. Un programme est composé d’une série de scènes. outil Sélectionner Pointeur par défaut en forme de flèche permettant de sélectionner des éléments dans la timeline. Vous pouvez l’utiliser pour sélectionner un plan ou un point de montage par exemple. Pour activer l’outil Sélectionner, appuyez sur la touche A. séquence Voir projet, timeline. menu contextuel Menu auquel vous accédez en maintenant enfoncée la touche Contrôle et en cliquant sur un élément à l’écran, ou en appuyant sur le bouton droit de la souris. Parfois appelé menu de raccourci. plan Segment de vidéo enregistrée en continu. Un plan (ou « prise ») est la plus petite unité d’un programme. skimmer Le skimmer permet de prévisualiser des plans dans la timeline, le navigateur d’événements ou la bibliothèque de projets sans modifier la position de la tête de lecture. Utilisez le skimmer pour survoler le contenu ou parcourir à loisir les plans pour effectuer la lecture depuis l’emplacement du pointeur en fonction de sa vitesse de déplacement. Le skimmer se présente sous la forme d’un trait vertical rose au fur et à mesure que vous déplacez le pointeur sur la zone en cours de survol. Si vous avez activé le magnétisme, le skimmer devient orange lorsqu’il est calé sur une position. clap Plan au début d’une scène, qui identifie celle-ci à l’aide d’informations de base sur la production, telles que la prise de vue, la date et le numéro de la scène. Un clap fournit un signal audiovisuel pour la synchronisation lorsque la vidéo et l’audio sont enregistrés séparément. montage par glissement Montage dans lequel la totalité d’un plan est déplacée, ainsi que les points de montage de part et d’autre de celui-ci. La durée du plan déplacé reste inchangée, mais la longueur des plans à sa gauche et à sa droite est modifiée en fonction de la nouvelle position du plan. La durée totale du projet et de ces trois plans reste inchangée. montage par coulissement Montage dans lequel les positions des points de départ et d’arrivée d’un plan du projet sont modifiées simultanément sans modifier la position ou la durée du plan. Ce processus est communément désigné par le terme coulissement, car vous faites coulisser les points de départ et d’arrivée du plan au sein du métrage disponible. La partie du plan visible dans le projet change, mais pas la position du plan dans la timeline. collection intelligente Lorsque vous recherchez des plans dans un événement à l’aide de la fenêtre Filtre, vous pouvez enregistrer vos résultats en créant une collection intelligente qui regroupe les plans correspondant aux critères de recherche. Chaque fois qu’un nouveau plan, qui satisfait les critères de recherche de la collection intelligente, est ajouté à l’événement, il est aussi automatiquement ajouté à celle-ci. Les plans qui s’affichent dans les collections intelligentes ne sont pas dupliqués. Les collections intelligentes filtrent des plans dans un événement pour vous aider à vous centrer sur les plans dont vous avez besoin pour une tâche spécifique. Glossaire 497 magnétisme Lorsque le magnétisme est activé dans Final Cut Pro, les éléments que vous déplacez dans la timeline (notamment la tête de lecture, le skimmer et les plans sélectionnés) semblent se caler directement sur certains points de celle-ci. Cette fonction peut vous aider à aligner rapidement les montages sur d’autres éléments du projet. Le magnétisme affecte les fonctions de nombreux outils de montage dans Final Cut Pro, notamment les outils de sélection, Trim, Position, Sélection de plage et Lame de rasoir. Vous pouvez désactiver le magnétisme lorsqu’un montage de précision image par image s’avère nécessaire. effets sonores Données audio spécifiques, telles que le son d’une porte qui se ferme ou d’un chien qui aboie, provenant de bibliothèques d’effets ou de plans que vous avez enregistrés. Les effets sonores peuvent être utilisés pour remplacer des sons dans l’audio d’un programme ou pour ajouter un son qui n’a pas été enregistré initialement. fichiers multimédias source Fichiers d’origine (vidéo, audio et images fixes ou graphismes) que vous importez dans Final Cut Pro. Un plan utilisé dans Final Cut Pro pointe sur l’emplacement où le fichier de média source est stocké (soit sur un disque, soit sur un caméscope, une caméra ou autre appareil). Les modifications apportées aux plans dans Final Cut Pro n’influent pas sur les fichiers de média source. effets spéciaux Effets visuels appliqués aux plans et aux projets, comme par exemple des effets d’animation, de compositing, d’incrustation et de resynchronisation. élagage L’élagage est une opération d’étalonnage appliquant la couleur complémentaire (opposée) de la couleur rendue transparente pour neutraliser les franges bleues ou vertes ou la réflexion de la lumière qui teinte le sujet incrusté. Les commandes du curseur de Niveau de débordement contrôlent le degré d’élagage appliqué au sujet incrusté. montage scindé Final Cut Pro permet de définir des points de départ et d’arrivée distincts pour les données vidéo et audio dans un plan individuel. Ces montages, connus sous le nom de montages scindés, représentent une technique courante dans la plupart des scènes de dialogue dans les films et les programmes télévisés. Vous pouvez utiliser les montages scindés pour introduire le son d’un plan avant l’entrée de la vidéo du plan en question ou de la scène correspondante. À l’inverse, vous pouvez faire appel à un montage scindé pour étendre l’audio d’un plan sur le plan suivant. définition standard (SD) Fait référence aux tailles d’image vidéo NTSC et PAL d’origine. NTSC exploite 480 ou 486 lignes actives par image ; PAL, pour sa part, fait appel à 576 lignes actives. Voir aussi haute définition (HD). stéréo Abréviation de stéréophonique. Audio comportant deux canaux différents. Les modifications du niveau sonore sont automatiquement apportées aux deux canaux simultanément. scénarios Toutes les instances de la timeline comportent un scénario principal, qui est la séquence de plans principale que vous constituez pour créer votre film. Les scénarios constituent des séquences de plans connectés au scénario principal. Vous pouvez utiliser les scénarios aux mêmes fins que les plans connectés (comme par exemple pour créer des plans de coupe, des titres composites et d’autres graphismes, ou pour ajouter des effets sonores et de la musique). coupe droite Coupe dans laquelle les éléments vidéo et audio sont coupés en même temps. sous-image Une sous-image a une durée égale à 1/80 de celle d’une image vidéo et constitue donc une unité de référence plus précise lors du montage de l’audio au niveau des échantillons. Glossaire 498 synchro (synchronisation) Relation entre l’image d’un son créé dans un plan vidéo (par exemple, les propos d’une personne) et le son correspondant dans un clip audio. La synchronisation audio est essentielle lors du montage d’un dialogue. Dans Final Cut Pro X, les plans connectés et les plans composés vous aident à maintenir la synchronisation dans votre programme. navigateur de thèmes Navigateur multimédia de Final Cut Pro permettant d’accéder à l’ensemble des transitions et des effets de titre fournis avec Final Cut Pro, regroupés en thèmes connexes. montage à trois points Technique de montage dans laquelle trois points de montage sur quatre sont définis dans une sélection source et un projet. Lorsque le montage est effectué, le quatrième point de montage est calculé automatiquement par Final Cut Pro. Coupe Point de montage dans lequel le contenu vidéo ou audio d’un côté ou d’un autre du point de montage est continu. TIFF (Tagged Image File Format) Format de fichier graphique bitmap très répandu, développé par Aldus et Microsoft, et gérant le monochrome, les niveaux de gris et les couleurs 8 et 24 bits. Ce format peut contenir des canaux alpha. Voir aussi canal alpha. timecode Signal enregistré avec la vidéo et identifiant chaque image de manière unique. Par défaut, le timecode apparaît dans Final Cut Pro sous la forme heures: minutes: secondes: images. Il prend en charge un grand nombre de fonctions dans Final Cut Pro, notamment la lecture de timeline, la synchronisation des éléments de plans vidéo et de clips audio, le parcours de projets sur la timeline, ainsi que le déplacement et le trim appliqué à des plans. timeline La partie inférieure de la fenêtre de Final Cut Pro contient la timeline, où vous créez votre projet de film en ajoutant et en organisant des plans, et en effectuant tous vos montages. index de la timeline Vous pouvez afficher une liste chronologique textuelle des plans, mots-clés et marqueurs d’un projet à l’aide de l’index de la timeline. Lorsque vous sélectionnez un élément dans l’index de la timeline, la tête de lecture accède directement à l’élément en question sur la timeline. teinte Nuance de couleur ajoutée à une image, généralement pour créer un effet, comme par exemple l’effet sépia. navigateur de titres Navigateur multimédia de Final Cut Pro permettant d’accéder à tous les effets de titre inclus dans Final Cut Pro. barre d’outils La barre d’outils est un ensemble de boutons et d’outils situés au centre de la fenêtre principale de Final Cut Pro. La barre d’outils comprend également le panneau de contrôle chargé d’afficher le timecode relatif au plan sélectionné dans le navigateur d’événements et à l’emplacement de la tête de lecture sur la timeline. transcoder Tous les fichiers multimédias utilisent un format. DV, H.264 et MPEG-2 sont des exemples de format vidéo. Les fichiers vidéo présentent également de nombreuses propriétés, comme par exemple la taille d’image et la fréquence d’images vidéo, le débit des données et la fréquence d’échantillonnage audio. Si vous êtes amené à convertir un fichier de média dans un autre format ou modifier ses propriétés, vous le transcodez en fait dans le nouveau format ou transcodez ses propriétés. Compressor, une application Apple conçue pour fonctionner avec Final Cut Pro, effectue le transcodage des fichiers de média en un processus rapide et simple. Glossaire 499 transitions Effets visuels appliqués à des points de montage afin d’atténuer le passage d’un plan un autre. Dans Final Cut Pro, vous pouvez choisir parmi différentes transitions vidéo, telles que les fondus ou les balayages, ou ajouter un fondu enchaîné entre des clips audio. navigateur de transitions Navigateur multimédia de Final Cut Pro permettant d’accéder à toutes les transitions vidéo incluses dans Final Cut Pro. trim Après avoir grossièrement assemblé vos plans dans l’ordre chronologique dans la timeline, vous pouvez commencer à ajuster le point de montage entre chaque paire de plans contigus. Toute opération de rallongement ou de raccourcissement d’un plan dans un projet représente une opération de trim sur le plan en question. Ceci étant dit, le trim constitue généralement un ajustement précis (qui s’applique aussi bien à une image qu’à plusieurs secondes du plan). Si vous modifiez la durée d’un plan en manipulant des durées plus longues, il s’agit toujours d’opérations de trim, bien que cela ne s’inscrive pas encore dans la phase d’affinement du montage. Dans Final Cut Pro, vous pouvez passer par un grand nombre de techniques pour effectuer le trim de plans et de points de montage sur la timeline, notamment les montages Ripple, Roll, par coulissage et par glissement. outil Trim Outil de montage permettant d’appliquer un trim à des éléments dans la timeline. Pour activer l’outil Trim, appuyez sur la touche T. 4:2:2 8 et 10 bits sans compression Ces formats vidéo permettent de stocker de la vidéo Y’CbCr 4:2:2 8 bits ou 10 bits sans faire appel à la compression de données. En contournant la phase de compression, la charge de traitement de l’ordinateur s’en voit réduite mais cela augmente considérablement le débit des données. Un système de stockage RAID de grande capacité est généralement nécessaire pour travailler de façon efficace avec de la vidéo sans compression. Dans de nombreux cas, le format Apple ProRes s’avère particulièrement adapté. Le débit des données vidéo 4:2:2 sans compression varie en fonction de la dimension image et de la fréquence d’images. Par exemple, une dimension image de 1920 x 1080 et une fréquence d’images de 29,97 ips supposent un débit des données de 1,0 Gbit/s pour de la vidéo 4:2:2 8 bits sans compression et de 1,3 Gbit/s dans le cas de la vidéo 4:2:2 10 bits sans compression. case de valeur Une case de valeur est un type de commande numérique qui s’affiche sous forme de nombre, souvent à droite du curseur de base. Il existe deux façons de régler une case de valeur : faire glisser le nombre pour réduire ou augmenter le paramètre ou double-cliquer sur le nombre et saisir une nouvelle valeur. vitesse variable Vitesse qui varie de manière dynamique, en avant ou en arrière, dans un même plan. VCR Abréviation de VideoCassette Recorder (magnétoscope). Désigne généralement un appareil grand public utilisé pour enregistrer de la vidéo à partir de sources variées. Parfois appelé VTR. Voir aussi VTR. vecteurscope Instrument vidéo de Final Cut Pro indiquant la distribution de la couleur dans votre image sur une échelle circulaire. Le vecteurscope est utile pour comparer la teinte et l’intensité des couleurs entre deux plans à des fins d’étalonnage. Éditeur d’animation vidéo Vous pouvez afficher l’éditeur d’animation vidéo pour des plans dans la timeline afin d’ajuster les paramètres des effets, de créer des fondus entrants ou sortants, ou de changer les effets dans le temps à l’aide d’images clés. Visualiseur Lorsque vous lisez des plans sélectionnés dans le navigateur d’événements et la timeline, ils s’affichent dans le visualiseur. Glossaire 500 VTR Abréviation de VideoTape Recorder (enregistreur de bande vidéo). Désigne généralement le matériel professionnel utilisé pour enregistrer de la vidéo à partir de différentes sources. filigrane Incrustation graphique ou textuelle visible appliquée à une image ou à un plan vidéo pour indiquer qu’il ou elle est protégé(e) par la loi sur les droits d’auteur. Les filigranes servent à décourager l’usage d’images ou de plans vidéo sans l’autorisation explicite du détenteur des droits d’auteur. WAVE (ou WAV) Format de fichiers audio le plus couramment utilisé pour stocker des données audio LPCM (linéaires à modulation d’impulsion codée) sans compression. oscilloscope Instrument vidéo de Final Cut Pro affichant les niveaux relatifs de luminance et de chrominance dans le plan examiné. Les crêtes et les creux des formes d’onde affichées correspondent aux tâches lumineuses et aux zones sombres de votre image. écran large Présentation de n’importe quel film avec des proportions plus larges que 4:3. Dans les salles de cinéma, 1,85 est considéré comme la norme et 2,40 comme une projection sur écran large. Pour la vidéo, 4:3 est considéré comme la norme et 16:9 (qui présente quasiment les mêmes proportions que 1,85) est considéré comme écran large. Voir aussi 4:3, 16:9. balayage Type courant de transition vidéo. Dans un balayage, les scissions de l’écran se déplacent d’un côté de l’image à l’autre pour révéler progressivement le plan suivant. Cette transition s’avère plus voyante (mais aussi plus personnalisable) que le fondu ou le fondu enchaîné. XDCAM Format de disque optique de Sony pour l’enregistrement de vidéo DVCAM et IMX dans des fichiers conteneurs MXF. Voir aussi DVCAM, IMX. XDCAM EX Format de la famille XDCAM de Sony utilisant la compression vidéo MPEG-2 avec sous-échantillonnage de chrominance 4:2:0. Contrairement au format XDCAM HD, le format XDCAM EX prend en charge la vidéo 720p et permet l’enregistrement en pleine résolution HD (1920 x 1080 ou 1280 x 720). Son débit de données maximum est de 35 Mbps. Au lieu de disques optiques, les caméscopes XDCAM EX utilisent des cartes mémoire flash également appelées cartes SxS. Voir aussi HDV. XDCAM HD422 Format de la famille XDCAM de Sony utilisant le sous-échantillonnage de chrominance 4:2:2 pour un débit vidéo de 50 Mbps. À l’instar du format XDCAM EX, il fait appel à la compression vidéo MPEG-2 en pleine résolution HD (1920 x 1080 ou 1280 x 720). Voir aussi HDV. Y’CbCr Espace colorimétrique dans lequel de nombreux formats vidéo numériques stockent des données. Trois composantes sont stockées pour chaque pixel : une pour la luminance (Y) et deux pour les données de couleur (Cb pour les nuances bleues et Cr pour les nuances rouges). Également appelé YUV. Voir aussi pixel. outil Zoom Outil de montage permettant d’effectuer un zoom avant ou arrière sur la timeline. Pour activer l’outil Zoom, appuyez sur la touche Z. Final Cut Studio Flux de travaux K Apple Computer, Inc. © 2006 Apple Computer, Inc. Tous droits réservés. Le logo Apple est une marque d’Apple Computer 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 oeuvre pour garantir l’exactitude des informations de ce manuel. Apple Computer, Inc. n’est pas responsable des erreurs d’impression. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com AppleScript, DVD Studio Pro, Final Cut, Final Cut Pro, Logic, QuickTime, Shake et Soundtrack sont des marques d’Apple Computer Inc., déposées aux États-Unis et dans d’autres pays. Cinema Tools, Finder et LiveType sont des marques d’Apple Computer, Inc. Adobe et Photoshop sont des marques ou des marques déposées d’Adobe Systems Incorporated déposées aux États-Unis et dans d’autres pays. Dolby est une marque déposée de Dolby Laboratories. D’autres noms d’entreprises et de produits mentionnés dans ce document sont des marques de leurs propriétaires respectifs. Les produits commercialisés par des entreprises tierces 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. 3 1 Table des matières 5 Introduction aux applications de postproduction Apple 6 Vue d’ensemble des applications de postproduction Apple 11 Utilisation de ce document 11 Exemple de flux de travaux Final Cut Studio 12 Montage de la séquence 15 Encodage de la séquence 16 Création du DVD 19 Utilisation d’applications Apple pour vos projets Final Cut Pro 19 Utilisation de Soundtrack Pro avec Final Cut Pro 20 Utilisation d’un plan unique à partir de Final Cut Pro 23 Utilisation de plusieurs pistes audio à partir de Final Cut Pro 25 Exportation d’un plan ou d’une séquence à partir de Final Cut Pro vers Soundtrack Pro 26 Utilisation de Motion avec Final Cut Pro 26 Exportation d’un plan ou d’une séquence à partir de Final Cut Pro vers Motion 28 Importation d’un projet Motion dans un projet Final Cut Pro 29 Apporter des modifications à un projet Motion déjà importé dans Final Cut Pro 30 Utilisation de Compressor avec Final Cut Pro 30 Exportation d’une séquence avec Compressor 31 Conversion de la norme vidéo d’un plan vidéo 32 Utilisation de LiveType avec Final Cut Pro 32 Importation d’un projet LiveType dans un projet Final Cut Pro 33 Apporter des modifications à un projet LiveType déjà importé dans Final Cut Pro 33 Exportation d’une séquence partielle pour LiveType 34 Utilisation de Shake avec Final Cut Pro 35 Organisation des plans importés dans Shake 36 Envoi de plans à partir de Final Cut Pro 38 Renvoi de données à Final Cut Pro 38 Utilisation de Logic Pro avec Final Cut Pro 38 Importation de fichiers XML Final Cut Pro dans Logic Pro 39 Exportation d’un fichier XML Final Cut Pro à partir de Logic Pro 4 41 Utilisation d’applications Apple pour vos projets DVD Studio Pro 41 Conversion d’un projet Final Cut Pro en DVD 42 Importation de votre projet Final Cut Pro dans DVD Studio Pro 42 Création d’un DVD HD à partir de votre projet Final Cut Pro 44 Utilisation de Motion dans votre projet DVD Studio Pro 44 Importation d’un projet Motion pour un menu d’animation 44 Apport de modifications à un projet Motion déjà importé dans DVD Studio Pro 45 Création et importation d’un projet Motion sous forme de transition alpha 50 Utilisation de Soundtrack Pro dans votre projet DVD Studio Pro 50 Enregistrement de projets Soundtrack Pro pour DVD Studio Pro 51 Utilisation de Soundtrack Pro avec des projets Motion 52 Exportation d’audio AIFF à partir de Soundtrack Pro 53 Exportation à partir de Soundtrack Pro avec Compressor 54 Utilisation de Compressor dans votre projet DVD Studio Pro 55 À propos des méthodes de flux de travaux de Compressor 55 Pourquoi créer des fichiers AC-3 ? 56 Création de fichiers AC-3 avec Compressor 58 Utilisation de LiveType dans votre projet DVD Studio Pro 58 Importation d’un projet LiveType dans DVD Studio Pro 59 Apporter des modifications à un projet LiveType déjà importé dans DVD Studio Pro 5 1 Introduction aux applications de postproduction Apple Apple a conçu une gamme d’applications audio et vidéo professionnelles qui collaborent de façon homogène, même en cas de flux de travaux des plus exigeants. Les applications de postproduction Apple offrent de puissants outils de montage, une conception audio révolutionnaire, des animations en temps réel, la création de DVD nouvelle génération, ainsi que des outils de compositing maintes fois primés. Ce document décrit le rôle de chaque application dans le processus de production de séquences de Final Cut Pro et le processus de création de DVD de DVD Studio Pro. Toutes ces applications, à l’exception de Shake et de Logic Pro, sont incluses dans Final Cut Studio, un ensemble de postproduction complet et intégré. Fonction de postproduction Application Description Montage Final Cut Pro Cinema Tools  Montage en temps réel pour DV, SD, HD et film  Outils avancés pour film et HD 24p Audio Soundtrack Pro Logic Pro  Postproduction audio de qualité professionnelle  Fonctions avancées de création musicale et de production audio Compositing et animations Motion LiveType Shake  Conception d’animations en temps réel  Création d’effets de titres animés dynamiques  Composition d’effets numériques avancés Diffusion DVD Studio Pro Compressor  Création complète de DVD pour les séquences SD et HD  Encodage SD et HD polyvalent et haute qualité 6 Vue d’ensemble des applications de postproduction Apple Chacune des applications de postproduction Apple comporte des outils de postproduction les plus modernes qui vous donnent toute la puissance dont vous avez besoin pour réaliser les projets les plus complexes. Final Cut Pro Le caractère évolutif et les performances de Final Cut Pro en font l’application de montage vidéo la plus aboutie. Vous pouvez travailler avec quasiment n’importe quel format, de DV et HDV à HD DVCPRO en passant par la vidéo HD 10 bits non compressée. Final Cut Pro comprend de nombreuses fonctionnalités professionnelles, telles que des outils de montage multicaméra, des filtres avancés de correction de couleur et de manipulation d’image en temps réel, ainsi que la prise en charge des surfaces de contrôle audio. Final Cut Pro constitue l’application centrale permettant de relier tous les éléments de votre séquence. Final Cut Pro vous permet de :  capturer des données vidéo et audio à partir d’une bande ;  importer des fichiers de données QuickTime ;  monter de la vidéo HDV de manière native ;  monter des projets à une ou plusieurs caméras ;  monter votre film en utilisant Cinema Tools ;  incorporer en mode natif des animations créées dans Motion et des titres créés dans LiveType ;  mixer, monter et fixer l’audio à l’aide de l’intégration à Soundtrack Pro. Une fois votre film terminé, l’intégralité de votre projet peut être :  généré dans un large éventail de formats de bande de définition standard (SD) et haute définition (HD) ;  exporté dans un fichier de séquence QuickTime ;  converti en fichier H.264, MPEG-2 ou MPEG-1 à l’aide de Compressor en vue de la distribution sur DVD via DVD Studio Pro ;  converti au format MPEG-1 ou MPEG-4 avec Compressor en vue d’une diffusion Web en ligne. 7 Soundtrack Pro Il est essentiel que l’audio de votre séquence complète parfaitement la vidéo. Soundtrack Pro offre les outils permettant de gérer chaque aspect de la création d’une piste audio :  Un puissant Éditeur de forme d’onde permettant le montage graphique de vos fichiers audio et leur traitement à l’aide d’actions destructives ou non destructives. L’Éditeur de forme d’onde peut également analyser et réparer vos fichiers audio, et il prend en charge les scripts AppleScript pour automatiser les tâches courantes.  Une Timeline qui offre des fonctions complètes de montage et d’organisation multipiste.  Un Mélangeur de type console pour le mixage de vos projets multipiste.  L’intégration de la fonction “aller-retour” vers les applications Final Cut Pro et Motion, qui facilite le travail sur les données audio d’un projet.  Un ensemble de modules d’effets audio professionnels que vous pouvez utiliser pour manipuler l’audio, y compris l’égalisation, la compression, la réverbération, etc.  Une bibliothèque étendue de boucles Apple Loops que vous pouvez utiliser pour créer la bande-son de votre projet, y compris les effets sonores et les signaux musicaux.  Un affichage vidéo intégré, ainsi que la prise en charge d’un affichage vidéo externe, qui facilite l’affichage de la vidéo lorsque vous travaillez sur l’audio. Motion Motion est un logiciel graphique d’animation en temps réel qui permet aux artistes et monteurs d’animer du texte, des séquences et des graphismes pour le cinéma, la vidéo ou les menus d’animation de DVD. Utilisez Motion pour créer en toute simplicité des animations, des graphismes et des titres animés pour vos films Final Cut Pro. En outre, l’intégration entre DVD Studio Pro et Motion, ainsi que l’intégration entre Soundtrack Pro et Motion, facilitent la création de menus et de transitions pour vos projets de DVD. Voici quelques-unes des fonctionnalités de Motion :  Fonctionnalités de conception en temps réel, qui vous permettent de créer des effets saisissants avec plusieurs flux de vidéo, des filtres, du texte et des particules, sans rendu.  Comportements que vous pouvez utiliser pour créer des animations naturelles et fluides, sans images clés.  Puissants effets de particules personnalisés, tels que fumée et poussière, ainsi que des animations que vous pouvez appliquer aux éléments de votre projet.  Fonctionnalités de couche et de compositing qui vous permettent d’organiser les éléments de votre projet en un nombre illimité de couches.  Prise en charge HDV native, qui préserve la qualité de la vidéo au format HDV sans nécessiter le transcodage dans un format différent. 8 DVD Studio Pro Le logiciel DVD Studio Pro permet de créer des titres DVD-Vidéo. La vidéo exportée depuis Final Cut Pro et Motion, la musique et les autres éléments audio créés dans Soundtrack Pro, ainsi que les images fixes provenant d’applications telles qu’Adobe Photoshop peuvent être facilement organisés dans un DVD que vous pouvez lire sur un lecteur de DVD de salon ou sur un ordinateur équipé d’un lecteur de DVD. Vous pouvez créer des DVD répondant exactement à vos spécifications :  long-métrages avec sous-titres et angles de prise de vue multiples ;  événements spéciaux, tels que vidéos de mariage, de concert et de foires-expositions ;  bornes interactives présentant de nombreux menus de navigation et liens d’adresses URL ;  rushes et transferts vidéo ;  installations artistiques avec boucles automatiques et sélection de scène aléatoire. Vous pouvez utiliser les modèles, styles et fonctions de transition inclus dans DVD Studio Pro pour créer rapidement un projet de DVD, ou vous pouvez choisir de créer manuellement votre DVD, en contrôlant de manière précise chaque aspect du projet. Voici quelques-unes des fonctionnalités incluses :  Prise en charge de la création de DVD standard et de DVD contenant des données HD, ce qui vous permet de choisir le type de DVD le mieux adapté à la diffusion prévue.  Interface utilisateur évolutive pouvant être configurée en fonction de vos besoins, ce qui vous permet de décider des outils et affichages dont vous avez besoin.  Prise en charge de fonctionnalités sophistiquées, notamment les angles vidéo et flux audio multiples, les sous-titres, ainsi que la possibilité de créer des DVD en plusieurs langues.  Outils de création avancés, tels qu’un éditeur VTS qui vous permet de définir précisément la structure de votre DVD, ainsi que la prise en charge de scripts sophistiqués, notamment la possibilité de partitionner les GPRM en autant de registres que le nécessitent vos scripts.  Intégration à Motion et LiveType, ce qui simplifie la création de votre projet, en vous permettant de tester différentes variantes d’un menu d’animation ou d’un effet de texte animé. 9 Compressor Compressor est un élément essentiel du processus de compression vidéo (transcodage) auquel il confère rapidité, efficacité et commodité tout en vous offrant davantage d’options de préréglages de compression, de réglages et de formats de sortie. Compressor inclut également une fonction de conversion haute qualité de normes, pouvant être utilisée pour :  Créer un transcodage haute qualité d’un plan vidéo à partir de son format natif vers le format de la séquence du projet. Par exemple, vous pouvez disposer d’un plan PAL que vous devez utiliser dans un projet NTSC ; Compressor peut ainsi créer une version NTSC haute qualité du plan PAL.  Créer deux versions d’un projet. Par exemple, vous pouvez monter votre séquence à l’aide de sources vidéo HD, puis utiliser Compressor pour exporter les versions HD et SD de la séquence, de sorte à pouvoir créer un DVD en résolution SD et un DVD en résolution HD. Lorsqu’il est utilisé sur des ordinateurs sur lesquels DVD Studio Pro ou Final Cut Studio est installé, Compressor inclut également des fonctions d’encodage distribué et AC-3.  L’encodeur AC-3 est utilisé pour encoder un large éventail de configurations de canaux audio, tels que la stéréo ou le son surround 5.1, en flux audio Dolby Digital adaptés à une utilisation avec DVD Studio Pro.  L’encodage distribué, qui répartit les tâches d’encodage sur plusieurs systèmes, réduit le temps nécessaire pour les tâches d’encodage. LiveType LiveType vous permet de créer facilement des titres élaborés de qualité professionnelle pour les utiliser dans vos projets Final Cut Pro et DVD Studio Pro. Il inclut des modèles de projet et du contenu animé de qualité diffusion, libre de droit, que vous pouvez personnaliser afin de créer rapidement et facilement des effets de texte dynamique. Vous pouvez importer directement un projet LiveType à la fois dans Final Cut Pro et dans DVD Studio Pro. Une fois un projet LiveType importé dans Final Cut Pro et DVD Studio Pro, vous pouvez l’ouvrir de nouveau dans LiveType pour le modifier, et Final Cut Pro et DVD Studio Pro mettent automatiquement à jour les projets avec les modifications apportées. Cinema Tools Cinema Tools offre des outils de montage de projets film et 24p dans Final Cut Pro. Cinema Tools étend les fonctionnalités de Final Cut Pro, en offrant des fonctions précédemment réservées aux systèmes de montage haut de gamme ou très spécialisés. Consultez la documentation de Cinema Tools pour savoir comment utiliser les listes télécinéma, supprimer le pulldown 3:2 lors de la capture de plans, ou encore exporter des listes de films. 10 Shake Shake est une application de composition et d’effets visuels haute qualité qui utilise les noeuds, pour le cinéma et la vidéo. Shake prend en charge la plupart des formats graphiques standard et gère facilement les séquences d’images haute résolution et avec une profondeur de bits élevée, de même que les fichiers QuickTime. Parmi les nombreux outils intégrés de Shake, citons les incrusteurs standard permettant l’affichage d’écrans bleus et verts, une suite complète d’outils de correction de couleur, des fonctionnalités pour la resynchronisation d’animations et la remasterisation de format, les fonctionnalités de suivi, d’adoucissement et de stabilisation des animations, des outils intégrés de peinture procédurale, ainsi qu’un environnement de rotoscoping et de masquage permettant le contrôle complet des caches animés et fixes. Final Cut Pro inclut la possibilité d’envoyer un ou plusieurs plans (également appelés “clips”) vers Shake, où ils peuvent être traités et, une fois rendus, mis à jour dans Final Cut Pro. Remarque : Shake est commercialisé séparément et n’est pas inclus dans Final Cut Studio. Logic Pro Logic Pro est un studio musical complet que vous pouvez utiliser pour enregistrer, arranger, mixer et produire des projets musicaux. Logic Pro vous permet de créer des arrangements musicaux à l’aide d’instruments MIDI et logiciels, ainsi que des enregistrements audio d’instruments acoustiques et de voix, des boucles Apple Loops et d’autres fichiers audio préenregistrés. Logic Pro peut importer et exporter des fichiers audio individuels dans différents formats. Pour les projets plus complexes impliquant Final Cut Pro, Logic Pro inclut également la possibilité d’importer et d’exporter des groupes de clips audio et des informations associées, à l’aide du format d’échange XML de Final Cut Pro. Le format d’échange XML de Final Cut Pro prend en charge les images clés, les marqueurs, la position, les filtres et les données d’automatisation. Remarque : Logic Pro est commercialisé séparément et n’est pas inclus dans Final Cut Studio. 11 Utilisation de ce document Ce document contient des informations générales sur chacune des applications de postproduction Apple, ainsi que des informations spécifiques sur les situations les plus courantes dans lesquelles vous utiliserez plusieurs des différentes applications à la fois.  La section “Utilisation d’applications Apple pour vos projets Final Cut Pro” à la page 19 traite des flux de travaux qu’il est possible d’utiliser lors de la génération d’une séquence.  La section “Utilisation d’applications Apple pour vos projets DVD Studio Pro” à la page 41 traite des flux de travaux qu’il est possible d’utiliser lors de la création d’un DVD à partir d’une séquence. Remarque : les manuels d’utilisation de toutes les applications, y compris celles livrées sans manuel papier, se trouvent dans le dossier Documentation des disques d’installation, ou dans le menu Aide de chaque application. Reportez-vous à ces documents pour des instructions détaillées sur l’utilisation des applications. Pour accéder au manuel d’utilisation à l’écran d’une application : m Dans l’application, choisissez le manuel d’utilisation de l’application dans le menu Aide. Exemple de flux de travaux Final Cut Studio Cette section présente un exemple de flux de travaux pour un projet de séquence à distribuer sur DVD. Elle comprend les situations les plus courantes que vous serez amené à rencontrer. Consultez les chapitres suivants pour plus d’informations sur les options de flux de travaux. À propos des “allers-retours” entre projets Les allers-retours entre projets font référence à la possibilité d’intégrer et d’ouvrir des fichiers de projet d’une application alors que vous travaillez dans une autre application. De nombreuses applications de postproduction Apple peuvent directement importer des fichiers de projet les unes à partir des autres. Par exemple, vous pouvez importer un projet de titre créé dans LiveType dans un projet Final Cut Pro. Cette opération est beaucoup plus efficace que d’afficher la séquence LiveType et de l’exporter sous forme de séquence QuickTime chaque fois que vous apportez des modifications. Si vous vous rendez compte qu’il est nécessaire de modifier un projet LiveType alors que vous êtes en train de travailler dans Final Cut Pro, vous pouvez ouvrir le projet dans LiveType en procédant directement à partir de Final Cut Pro. Une fois le projet LiveType enregistré, toutes les modifications effectuées apparaissent automatiquement dans Final Cut Pro. Important : l’utilisation du projet d’une application dans une autre application nécessite que la version la plus récente des deux applications soit installée sur l’ordinateur. 12 L’utilisation des applications de postproduction Apple pour créer une séquence destinée à être distribuée sur DVD implique trois étapes principales :  Montage de la séquence : vous pouvez utiliser nombre des applications pour créer la séquence.  Final Cut Pro : capturez les images et montez la séquence.  LiveType : créez les titres d’ouverture.  Motion : ajoutez un effet de compositing.  Soundtrack Pro : nettoyez l’audio et ajoutez des effets sonores.  Compressor : convertissez la norme vidéo d’un plan vidéo.  Encodage de la séquence : vous pouvez utiliser Compressor pour encoder la vidéo et l’audio dans des ressources compatibles avec le format DVD.  Création du DVD : vous pouvez utiliser plusieurs applications pour créer le DVD utilisé pour distribuer la séquence.  DVD Studio Pro : configurez les menus et les pistes.  Motion : créez des arrière-plans de menu d’animation.  Soundtrack Pro : créez l’audio d’arrière-plan pour les menus. Montage de la séquence La première partie de la création de cet exemple de projet consiste à monter la séquence. Lors du montage de votre séquence dans Final Cut Pro, vous pouvez utiliser les autres applications de postproduction Apple pour améliorer votre projet. Étape 1 : Capture et montage dans Final Cut Pro La capture et le montage de la vidéo et de l’audio de votre projet occupent la plus grande partie de votre temps. La familiarisation avec les sources avant de démarrer ce processus permet de limiter la quantité de vidéo et d’audio inutilisée que vous capturez, ce qui permet de gagner en temps et en espace disque. Étape 2 : Création des titres d’ouverture dans LiveType Vous pouvez tirer parti de LiveType pour créer des graphismes animés attractifs pour les titres de vos séquences. Bien que vous puissiez utiliser les outils de texte intégrés de Final Cut Pro pour créer les titres d’ouverture de votre séquence, vous pouvez choisir d’appliquer aux titres un effet animé particulier. L’utilisation de LiveType pour créer les titres d’ouverture vous permet d’utiliser un large éventail d’effets sur le texte et permet le contrôle complet de l’aspect des titres. 13 L’importation de projets LiveType dans Final Cut Pro a lieu de la même façon que l’importation des autres ressources ; le projet LiveType se comporte comme n’importe quel autre plan (ou “clip”) pouvant être utilisé dans votre projet. Si vous devez apporter des modifications au projet LiveType alors que vous travaillez dans Final Cut Pro, vous pouvez facilement ouvrir le projet dans LiveType, apporter les modifications, puis enregistrer le projet et revenir à Final Cut Pro ; le plan du projet LiveType est automatiquement mis à jour afin d’inclure les modifications apportées au projet LiveType. Pour plus d’informations, consultez la section “Utilisation de LiveType avec Final Cut Pro” à la page 32. Étape 3 : Ajout d’un effet de compositing dans Motion Final Cut Pro permet l’ajout d’un large éventail d’effets à votre séquence. Cependant, si vous avez besoin d’un contrôle précis sur un effet multicouche complexe ou si vous souhaitez ajouter une animation sophistiquée ou des effets de particule, l’utilisation de Motion peut faire toute la différence. Par exemple, si votre séquence comporte une section contenant un groupe d’images fixes que vous devez faire apparaître, puis disparaître sur un arrière-plan synchronisé, vous pouvez utiliser Motion pour créer les effets. Vous pouvez définir les points d’entrée et de sortie dans la Timeline de Final Cut Pro afin d’identifier la zone dans laquelle l’effet apparaît, puis exporter cette section de votre séquence vers Motion afin de l’utiliser comme arrière-plan. Dans Motion, vous pouvez facilement ajouter et configurer tous les aspects des couches, même l’ajout d’effets de particules, et voir la lecture en temps réel. Une fois que vous êtes satisfait du résultat, enregistrez-le en tant que projet Motion sans l’arrière-plan. Lorsque vous revenez à Final Cut Pro, vous pouvez importer le projet Motion et le placer dans la Timeline. Vous pouvez ensuite revenir au projet Motion et apporter des modifications ; Final Cut Pro est automatiquement mis à jour afin d’inclure les modifications apportées. Pour plus d’informations, consultez la section “Utilisation de Motion avec Final Cut Pro” à la page 26. Étape 4 : Nettoyage de l’audio et ajout d’effets dans Soundtrack Pro Outre l’utilisation de Soundtrack Pro pour créer une bande-son originale pour votre séquence, vous pouvez l’utiliser pour travailler avec l’audio existant de différentes façons. Deux des plus courantes sont le nettoyage de l’audio d’un clip (ou “plan”) et l’ajout d’un effet à une séquence. 14 Nettoyage de l’audio d’un clip Soundtrack Pro inclut un Éditeur de forme d’onde pour l’utilisation de l’audio d’un clip. L’Éditeur de forme d’onde vous permet d’appliquer, de manière destructive ou non, un large éventail d’actions à l’audio, ce qui facilite sa réparation ou l’amélioration d’un clip audio. Les actions peuvent inclure les effets audio, tels que l’égalisation, la compression ou la réverbération, ainsi que les processus tels que la réduction du bruit, l’ajout de bruit ambiant, l’insertion de silence ou la conversion d’un fichier stéréo en mono. Vous pouvez monter les clips audio de manière destructive ou non dans Soundtrack Pro. Pour les tâches répétitives, vous pouvez également utiliser l’un des scripts inclus dans Soundtrack Pro ou créer vos propres scripts dans l’Éditeur de forme d’onde. Pour plus d’informations, consultez la section “Utilisation d’un plan unique à partir de Final Cut Pro” à la page 20. Ajout d’effets à un plan ou une séquence Vous pouvez également utiliser Soundtrack Pro pour ajouter des effets audio sophistiqués à votre séquence. Vous pouvez par exemple améliorer le son ambiant d’une prise, modifier l’égalisation ou ajouter de la compression ou de la réverbération. Vous pouvez traiter un plan individuel, un ensemble de plans que vous sélectionnez dans la Timeline de Final Cut Pro ou la séquence entière. À partir de Final Cut Pro, vous envoyez le ou les plans sélectionnés, ou la séquence, vers Soundtrack Pro où vous travaillerez sur les données audio dans la Timeline et le Mélangeur. Une fois que vous avez terminé, vous enregistrez le projet Soundtrack Pro et vous exportez un mixage à utiliser à la place de l’audio Final Cut Pro exportée à l’origine. Pour plus d’informations, consultez la section “Utilisation de plusieurs pistes audio à partir de Final Cut Pro” à la page 23. Étape 5 : Conversion de la norme vidéo d’un plan vidéo Vous pouvez parfois être amené à intégrer un plan vidéo dans une séquence avec une norme vidéo différente. Par exemple, si vous montez un projet HD 1080i et que vous devez inclure un plan NTSC 480i, le plan NTSC doit être mis à l’échelle à la taille d’image 1080i. Vous pouvez faire cela dans Final Cut Pro en ajoutant le plan à la séquence puis en le rendant, mais pour obtenir la meilleure qualité, vous devez utiliser Compressor pour mettre la vidéo à l’échelle. 15 Pour utiliser Compressor pour mettre à l’échelle un plan vidéo, vous devez l’ajouter à un lot Compressor et affecter un préréglage correspondant aux réglages vidéo de la séquence (taille d’image vidéo, fréquence d’images et format). Vous devez également configurer la sous-fenêtre Contrôles d’images dans l’Inspecteur Compressor, laquelle configure Compressor pour qu’il effectue un changement d’échelle haute qualité sur la vidéo. Une fois les opérations Compressor terminées, vous pouvez importer le plan mis à l’échelle dans votre projet Final Cut Pro et l’ajouter à la séquence sans qu’il soit nécessaire de le rendre. Pour plus d’informations, consultez la section “Conversion de la norme vidéo d’un plan vidéo” à la page 31. Encodage de la séquence Une fois que vous avez terminé la séquence, vous devez encoder la vidéo et l’audio dans des formats compatibles avec DVD. Compressor constitue la méthode préférée d’exportation de la séquence, car il offre le plus d’options et la qualité la plus élevée. Un autre avantage de l’exportation avec Compressor réside dans le fait que vous n’avez pas besoin de rendre d’abord la séquence ; elle est automatiquement rendue si nécessaire lors de l’exportation. La clé de l’exportation avec Compressor consiste à sélectionner et à configurer les préréglages appropriés. Les préréglages définissent la façon dont la vidéo et l’audio sont encodées. Compressor inclut divers préréglages que vous pouvez utiliser ; vous pouvez également créer vos propres préréglages personnalisés, ou modifier la configuration d’un préréglage existant. Vous pouvez même appliquer plusieurs préréglages à la séquence, ce qui permet de générer plusieurs versions de la vidéo et de l’audio. Par exemple, si votre séquence utilise des ressources HD, vous pouvez choisir un préréglage afin de fournir une sortie SD (pour la création d’un DVD standard) et une sortie HD (pour la création d’un DVD à l’aide de résolutions vidéo HD). Pour plus d’informations, consultez la section “Exportation d’une séquence avec Compressor” à la page 30. 16 Création du DVD La création d’un DVD commence par la planification de ce que doit contenir le DVD et de la façon dont il sera lu par l’utilisateur. Une fois que vous avez exporté votre séquence Final Cut Pro, vous pouvez rapidement créer des DVD simples ; il n’est même pas nécessaire d’inclure un menu. Pour la plupart des projets de DVD, vous ajouterez au moins un menu d’ouverture et, le plus souvent, des bonus et des diaporamas. Si vous prévoyez de créer à la fois une version SD et une version HD de votre projet, vous devez commencer par créer la version SD. Étant donné que la version HD peut contenir des ressources SD, vous pouvez simplement enregistrer la version SD en tant que version HD, puis remplacer tout ou partie des ressources SD par des ressources HD. Vous pouvez créer les éléments de votre projet de DVD dans l’ordre qui vous convient ; cependant, commencer par créer les menus présente des avantages. Étant donné que les menus offrent la majeure partie des options de navigation, le fait de les mettre en place permet de s’assurer que les pistes (qui contiennent les séquences) et les diaporamas sont accessibles et configurés correctement lorsqu’ils atteignent la fin. Étape 1 : Création d’arrière-plans de menu d’animation dans Motion Les menus de votre DVD peuvent être des images statiques simples ou de la vidéo d’animation. Dans les deux cas, vous pouvez également ajouter de l’audio aux menus. La seule exigence d’un menu est qu’il comporte les boutons nécessaires pour clarifier l’accès aux pistes, diaporamas et autres menus du DVD. Par exemple, vous pouvez utiliser Motion pour créer un arrière-plan de menu d’animation à partir d’une petite partie de la séquence. Vous pouvez y ajouter des filtres, tels que des effets d’adoucissement et de colorisation, ainsi que du texte et des boutons. Une approche courante consiste à faire commencer le menu par une introduction, par exemple en faisant arriver les boutons et le texte dans le désordre, puis en les positionnant afin de permettre à l’utilisateur d’effectuer une sélection. Dans Motion, vous pouvez configurer un marqueur qui définit un point de bouclage, de sorte que lorsque le menu s’affiche, plutôt que de boucler au début du menu une fois la fin atteinte, il revient au point de bouclage que vous avez défini, ce qui évite une nouvelle lecture de la section d’introduction. Une fois que vous avez créé un menu d’animation dans Motion, vous pouvez importer le projet Motion dans votre projet DVD Studio Pro. Vous traitez alors le projet comme n’importe quelle autre ressource, par exemple en le faisant glisser vers un menu afin de le définir comme arrière-plan. Si vous devez apporter des modifications au projet Motion, vous pouvez double-cliquer dessus dans DVD Studio Pro afin de l’ouvrir dans Motion. Une fois que vous avez apporté les modifications et enregistré le projet, ce dernier est automatiquement mis à jour dans le projet DVD Studio Pro. 17 Consultez la section “Utilisation de Motion dans votre projet DVD Studio Pro” à la page 44 pour plus d’informations, notamment sur la création de transitions alpha avec Motion. Étape 2 : Création des pistes principales dans DVD Studio Pro La création d’une piste dans DVD Studio Pro peut simplement consister à importer les ressources vidéo et audio dans votre projet, puis à les faire glisser sur le menu qui comportera le bouton permettant d’accéder à la piste. DVD Studio Pro peut automatiquement créer la piste, placer un bouton sur le menu et lier le bouton à la piste. Vous pouvez configurer la piste de différentes façons, par exemple en ajoutant des marqueurs de chapitre afin de faciliter la navigation, ou en définissant ce qui se passe lorsque l’utilisateur appuie sur les boutons de la télécommande. Étape 3 : Création de l’audio d’un menu dans Soundtrack Pro L’ajout d’audio à vos menus, même ceux qui utilisent des arrière-plans fixes, est un moyen simple de rendre le DVD plus attractif. Soundtrack Pro comprend un ensemble étendu de boucles Apple Loops à partir desquelles vous pouvez rapidement créer des clips audio libres de droit, parfaits pour l’audio d’un menu. Vous pouvez également ajouter des effets à l’audio, lesquels peuvent être utiles pour les menus d’animation qui nécessitent que l’audio coïncide avec des actions telles que les boutons qui se positionnent à leur place. Vous pouvez exporter l’audio directement à partir de Soundtrack Pro sous forme de fichiers audio AIFF ou, lors de l’exportation avec Compressor, sous forme de fichiers Dolby Digital AC-3. En outre, vous pouvez tirer parti de l’intégration de Soundtrack Pro à Motion afin de coordonner facilement l’audio du menu avec sa vidéo et garantir ainsi une complémentarité parfaite. Pour plus d’informations, consultez les sections “Utilisation de Soundtrack Pro dans votre projet DVD Studio Pro” à la page 50 et “Utilisation de Soundtrack Pro avec des projets Motion” à la page 51. Étape 4 : Gravure du DVD à l’aide de DVD Studio Pro Une fois que vous avez terminé le projet, vous êtes prêt à le graver sur un disque. Au cours du processus de création, vous pouvez simuler le projet afin de vous assurer que ses éléments fonctionnent comme prévu. Cependant, la lecture des fichiers compilés réels constitue le meilleur test du projet. Vous pouvez utiliser DVD Studio Pro pour créer le projet sans graver réellement un disque, puis lire le projet avec le Lecteur DVD d’Apple afin de le tester. Une fois que vous êtes satisfait du projet, vous pouvez le graver sur un DVD. 19 1 Utilisation d’applications Apple pour vos projets Final Cut Pro Les applications de postproduction Apple offrent des outils précieux pour vous permettre d’améliorer vos projets Final Cut Pro. Final Cut Pro en soi est une solution de montage complète. Elle inclut :  le compositing de graphismes avec des fonctions d’animation ;  des fonctions de création de titres textuels ;  des fonctions de montage et de mixage audio. Les applications de postproduction Apple améliorent cependant considérablement ces fonctions, et permettent la création de séquences très sophistiquées et complexes avec Final Cut Pro. Utilisation de Soundtrack Pro avec Final Cut Pro Vous pouvez utiliser Soundtrack Pro avec vos projets Final Cut Pro de deux façons élémentaires : pour la création d’audio et pour la réparation, l’amélioration et le mixage audio. Vous pouvez utiliser Soundtrack Pro pour chaque aspect de la création d’audio pour un projet, de l’enregistrement au traitement et au mixage audio avancés. Soundtrack Pro vous permet d’ouvrir des clips audio directement à partir de Final Cut Pro puis, lorsque vous avez terminé de travailler sur l’audio dans Soundtrack Pro et enregistré le projet, ce dernier est automatiquement mis à jour dans Final Cut Pro, ce qui rend l’aller-retour entre les deux applications rapide et simple. 20 Vous pouvez utiliser différentes approches de l’utilisation de l’audio du projet Final Cut Pro dans Soundtrack Pro ; la méthode choisie dépend de votre situation :  Avez-vous besoin de travailler sur un plan unique ? Final Cut Pro offre plusieurs méthodes permettant d’ouvrir un plan dans l’Éditeur de forme d’onde Soundtrack Pro, dans lequel vous pouvez analyser et traiter l’audio avec un large éventail d’outils puissants.  Devez-vous travailler sur l’audio à partir de plusieurs pistes ou ajouter du contenu tel que des effets sonores ou une voix-off ? Vous pouvez ouvrir un plan, un groupe de plans Final Cut Pro ou encore une séquence entière dans la Timeline de Soundtrack Pro, dans laquelle vous pouvez ajouter des pistes supplémentaires d’effets sonores, des bruitages, des voix-off et de la musique, ainsi qu’analyser et traiter les clips audio provenant de Final Cut Pro. Vous pouvez ensuite effectuer un mixage final avec Soundtrack Pro.  Devez-vous appliquer le même processus à plusieurs fichiers audio ? Vous pouvez envoyer un ou plusieurs clips audio Final Cut Pro à un script Soundtrack Pro, lequel peut effectuer un large éventail d’actions sur l’audio, par exemple ajouter de la réverbération ou supprimer les bruits parasites. Utilisation d’un plan unique à partir de Final Cut Pro Vous pouvez utiliser trois méthodes courantes pour ouvrir un plan (ou “clip”) dans l’Éditeur de forme d’onde Soundtrack Pro : envoi à l’éditeur, ouverture dans l’éditeur et envoi à un script Soundtrack Pro.  Si vous envoyez le plan vers l’Éditeur de forme d’onde Soundtrack Pro, un projet Soundtrack Pro est créé, vous permettant d’apporter des modifications non destructives à l’audio dans l’Éditeur de forme d’onde.  Si vous ouvrez le fichier dans l’Éditeur de forme d’onde, toute modification est appliquée de manière non destructive au fichier audio lorsque vous l’enregistrez.  Si vous envoyez le plan vers un script Soundtrack Pro, le plan s’ouvre dans l’Éditeur de forme d’onde, les actions du script sont exécutées, le plan est enregistré avec les modifications et l’Éditeur de forme d’onde passe à l’arrière-plan afin que vous puissiez continuer d’utiliser Final Cut Pro. Ce processus est non destructif lorsque les clips sont des projets Soundtrack Pro ; il est destructif lorsque les clips sont des fichiers audio bruts. Envoi d’un clip audio de Final Cut Pro vers l’Éditeur de forme d’onde Soundtrack Pro L’envoi d’un clip audio de Final Cut Pro vers l’Éditeur de forme d’onde Soundtrack Pro crée un projet de fichier audio Soundtrack Pro, avec l’extension de fichier “.stap”, laquelle contient les modifications que vous avez apportées à l’audio. Le clip audio original n’est pas affecté par ce que vous faites dans l’Éditeur de forme d’onde. Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le même ordinateur. 21 Pour envoyer un clip vers l’Éditeur de forme d’onde : 1 Maintenez la touche Contrôle enfoncée et cliquez sur le clip dans le Navigateur ou la Timeline de Final Cut Pro, puis choisissez Envoyer à > “Projet de fichier audio Soundtrack Pro” dans le menu contextuel. Une zone de dialogue vous invite à enregistrer le clip en tant que projet de fichier audio Soundtrack Pro. 2 Tapez un nom ou utilisez le nom par défaut et cliquez sur Enregistrer. Le projet s’ouvre dans l’Éditeur de forme d’onde Soundtrack Pro. 3 Modifiez l’audio en fonction de vos besoins. 4 Choisissez Fichier > Enregistrer afin d’enregistrer le projet avec les modifications. Une zone de dialogue apparaît pour vous permettre de choisir si le projet doit inclure une copie du clip audio source ou une référence à ce dernier.  L’introduction du clip audio source rend le projet autonome (indépendant du clip audio source original), mais a pour effet d’augmenter la taille du fichier de projet.  L’introduction d’une référence au clip audio source permet de créer un fichier de projet plus petit, mais le projet risque de ne plus être lisible si le fichier source original est déplacé ou supprimé. 5 Sélectionnez la méthode audio source à utiliser pour le projet, puis cliquez sur OK. Ce projet Soundtrack Pro apparaît à présent dans le Navigateur Final Cut Pro et remplace le plan dans la Timeline (si vous l’avez sélectionné à cet endroit à l’origine). Pour effectuer des modifications supplémentaires, vous devez cliquer sur le plan en maintenant la touche Contrôle enfoncée, puis choisir Envoyer à > “Projet de fichier audio Soundtrack Pro” dans le menu contextuel (même si le projet est déjà ouvert dans Soundtrack Pro). Cela permet de s’assurer que le projet Soundtrack Pro reste connecté au projet Final Cut Pro. Important : si le plan contient à la fois des données vidéo et audio, la version de Final Cut Pro utilisée a une incidence sur votre capacité à effectuer des modifications supplémentaires. Dans Final Cut Pro 5.0 et 5.0.1, vous devez supprimer le lien entre la vidéo et l’audio afin de pouvoir à nouveau utiliser la commande “Envoyer au projet de fichier audio Soundtrack Pro”. Dans Final Cut Pro 5.0.2 ou ultérieur, le lien entre la vidéo et l’audio est automatiquement supprimé après l’utilisation de la commande “Envoyer au projet de fichier audio Soundtrack Pro”. 22 Ouverture d’un clip audio Final Cut Pro directement dans l’Éditeur de forme d’onde Soundtrack Pro L’ouverture d’un clip audio à partir de Final Cut Pro dans l’Éditeur de forme d’onde de Soundtrack Pro, à l’aide de la commande Ouvrir dans l’Éditeur, ouvre le clip audio original dans l’Éditeur de forme d’onde. Toute modification que vous apportez entraîne une modification destructive du fichier lorsque vous l’enregistrez. Remarque : le réglage Fichiers audio sous l’onglet Éditeurs externes de la fenêtre Réglages système de Final Cut Pro détermine quelle application s’ouvre lorsque vous utilisez la commande Ouvrir dans l’éditeur. Assurez-vous que ce réglage est configuré sur Soundtrack Pro pour la procédure qui suit. En outre, si le plan comporte à la fois de la vidéo et de l’audio, vous devez d’abord dissocier la vidéo et l’audio, ou configurer le réglage Fichiers vidéo de l’onglet Éditeurs externes sur Soundtrack Pro. Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le même ordinateur. Pour ouvrir un clip audio Final Cut Pro directement dans l’Éditeur de forme d’onde : 1 Tout en maintenant la touche Contrôle enfoncée, cliquez sur le clip audio dans le Navigateur ou la Timeline de Final Cut Pro, puis choisissez Ouvrir dans l’éditeur dans le menu contextuel. Le clip audio s’ouvre dans l’Éditeur de forme d’onde Soundtrack Pro. 2 Modifiez l’audio en fonction de vos besoins. 3 Choisissez Fichier > Enregistrer afin d’enregistrer le fichier avec les modifications. Lorsque vous revenez à Final Cut Pro, le plan inclut les modifications que vous avez apportées dans l’Éditeur de forme d’onde. Important : il s’agit d’un processus destructif qui modifie le fichier original. Application d’un script Soundtrack Pro à un plan dans Final Cut Pro Vous pouvez appliquer un script Soundtrack Pro à vos clips audio lors de l’utilisation de Final Cut Pro. Lorsque vous envoyez un plan au script Soundtrack Pro, il s’ouvre dans l’Éditeur de forme d’onde, les actions du script sont exécutées et le plan est enregistré avec les modifications. Ce processus est non destructif lorsque les plans (ou “clips”) sont des projets Soundtrack Pro ; il est destructif lorsque les plans sont des fichiers audio bruts. Les scripts Soundtrack Pro sont des droplets AppleScript qui peuvent être créés dans Soundtrack Pro et modifiés dans l’Éditeur de script, ce qui facilite la création et la personnalisation des scripts. Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le même ordinateur. 23 Pour modifier un plan à l’aide d’un script Soundtrack Pro : m Tout en maintenant la touche Contrôle enfoncée, cliquez sur le plan dans le Navigateur ou la Timeline de Final Cut Pro, choisissez Envoyer à > Script Soundtrack Pro dans le menu contextuel, puis choisissez dans le sous-menu le script que vous souhaitez utiliser. Vous pouvez sélectionner dans Final Cut Pro plusieurs plans à modifier avec le script. Lorsque vous envoyez plusieurs plans à un script Soundtrack Pro, chaque plan est ouvert, modifié, enregistré et fermé. Vous pouvez également répéter le dernier script que vous avez utilisé pour modifier un plan, ce qui facilite la modification de plusieurs plans avec les mêmes actions. Pour modifier un plan avec le dernier script utilisé : m Tout en maintenant la touche Contrôle enfoncée, cliquez sur le plan dans le Navigateur ou la Timeline de Final Cut Pro, puis choisissez Envoyer à > “Dernier script Soundtrack Pro” dans le menu contextuel. Utilisation de plusieurs pistes audio à partir de Final Cut Pro Vous pouvez envoyer un groupe de plans ou une séquence à la Timeline de Soundtrack Pro, ce qui vous permet de créer un mixage multipiste complet avec automatisation des effets, niveaux et balance. Ce processus implique :  Dans Final Cut Pro, la création d’un projet multipiste Soundtrack Pro à partir d’un groupe de plans ou d’une séquence.  La modification du projet dans Soundtrack Pro.  L’exportation à partir de Soundtrack Pro d’un clip audio que vous pouvez importer dans votre projet Final Cut Pro afin de l’utiliser à la place de l’audio dans le groupe original de plans ou de séquences. Remarque : lorsque vous créez un projet multipiste Soundtrack Pro à partir d’un groupe de plans ou d’une séquence dans Final Cut Pro, le niveau de volume des plans ainsi que les images clés ou les fondus enchaînés éventuels sont envoyés avec le plan. Pour les clips mono, la position de balance est également envoyée. Les effets Final Cut Pro basés sur des plans (tels que les filtres et les enveloppes de modification de vitesse) ainsi que les générateurs Final Cut Pro ne sont pas inclus dans le projet multipiste Soundtrack Pro. Important : pour cela, Final Cut Pro et Soundtrack Pro doivent être installés sur le même ordinateur. 24 Pour envoyer un groupe de plans ou une séquence vers l’Éditeur multipiste : 1 Sélectionnez la séquence dans le Navigateur Final Cut Pro ou sélectionnez les plans dans la Timeline. 2 Cliquez sur la sélection en maintenant la touche Contrôle enfoncée, puis choisissez Envoyer à > “Projet multipiste Soundtrack Pro” dans le menu contextuel. Une zone de dialogue apparaît avec plusieurs réglages. 3 Sélectionnez “Ouvrir dans l’Éditeur multipiste Soundtrack Pro” afin d’ouvrir le projet dans Soundtrack Pro une fois qu’il est enregistré. 4 Sélectionnez Inclure la vidéo d’arrière-plan afin d’inclure la vidéo d’arrière-plan de la séquence avec le projet. 5 Tapez un nom pour le projet ou utilisez le nom par défaut, puis cliquez sur Enregistrer. Un fichier de projet multipiste Soundtrack Pro portant l’extension “.stmp” est alors enregistré. Remarque : il s’agit d’un petit fichier qui fait référence aux ressources utilisées par Final Cut Pro. Ces ressources doivent être disponibles lorsque ce fichier s’ouvre dans Soundtrack Pro. Si vous sélectionnez “Ouvrir dans l’Éditeur multipiste de Soundtrack Pro”, la sélection s’ouvre dans la Timeline de Soundtrack Pro. 6 Modifiez l’audio en fonction de vos besoins. 7 Choisissez Fichier > Enregistrer afin d’enregistrer le projet avec les modifications. Exportez ensuite le clip audio que vous allez utiliser dans votre projet Final Cut Pro. 8 Sélectionnez Fichier > Exporter > Exporter le mixage. 9 Tapez un nom et cliquez sur Exporter. Cette opération exporte un fichier audio que vous pouvez à présent importer dans votre projet Final Cut Pro afin de l’utiliser à la place de l’audio dans les plans ou la séquence sélectionné(e)s. Un fichier audio exporté à partir d’un projet multipiste Soundtrack Pro fait référence au fichier de projet à partir duquel il a été exporté. Cela s’avère utile si vous devez modifier ultérieurement le fichier audio. Pour apporter des modifications au fichier audio à partir de Final Cut Pro : 1 Cliquez sur le fichier audio tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel. Une zone de dialogue apparaît pour vous permettre de choisir s’il faut ouvrir le fichier audio comme un fichier audio normal ou bien ouvrir le fichier de projet multipiste Soundtrack Pro à partir duquel ce fichier audio a été exporté. 25 Remarque : le réglage Fichiers audio sous l’onglet Éditeurs externes de la fenêtre Réglages système de Final Cut Pro détermine quelle application s’ouvre lorsque vous utilisez la commande Ouvrir dans l’éditeur. Assurez-vous que ce réglage est configuré sur Soundtrack Pro dans les étapes précédentes. 2 Choisissez Ouvrir le projet. Le projet Soundtrack Pro original s’ouvre. Une fois que vous avez effectué vos modifications, enregistrez le projet et utilisez la commande Exporter le mixage pour exporter un nouveau clip audio (en utilisant le même nom et le même emplacement que celui ouvert dans le projet Final Cut Pro). Cela permet de garantir que cette nouvelle version du fichier audio apparaîtra automatiquement dans le projet Final Cut Pro. Exportation d’un plan ou d’une séquence à partir de Final Cut Pro vers Soundtrack Pro Final Cut Pro inclut la possibilité d’exporter un plan ou une séquence en vue d’une utilisation dans Soundtrack Pro. Cette procédure est surtout utile lorsque vous ne prévoyez pas d’ouvrir le plan ou la séquence ultérieurement dans Final Cut Pro. L’exportation de cette façon crée une séquence QuickTime contenant la vidéo (le cas échéant) et l’audio. Pour exporter des séquences ou des plans de Final Cut Pro pour les utiliser dans Soundtrack Pro : 1 Dans le Navigateur ou la Timeline, sélectionnez la séquence ou le plan à exporter vers Soundtrack Pro. 2 Sélectionnez Fichier > Exporter > Pour Soundtrack. 3 Choisissez une destination et tapez un nom de fichier pour la séquence QuickTime. Par défaut, les marqueurs audio sont exportés avec la séquence ou le plan lors de l’exportation vers Soundtrack Pro. Vous pouvez cependant choisir de ne pas exporter les marqueurs en sélectionnant Aucun dans le menu local Marqueurs. Vous pouvez également choisir d’exporter d’autres types de marqueurs. Toutefois, les marqueurs audio sont les seuls types de marqueurs visibles lorsque vous ouvrez la séquence ou le plan dans Soundtrack Pro. 4 Cliquez sur Enregistrer. 26 Utilisation de Motion avec Final Cut Pro Final Cut Pro prend en charge l’échange de plans et de séquences entre Final Cut Pro et Motion. Les applications sont étroitement intégrées de telle façon que lorsque vous utilisez Motion et Final Cut Pro sur le même ordinateur, vous avez la possibilité de travailler sur votre projet Motion dans les deux applications à la fois, sans avoir à vous soucier du transfert des fichiers entre les applications. Vous pouvez également exporter des plans afin de les confier à une autre personne qui se chargera de la création d’animations professionnelles pendant que vous continuez à monter votre film avant d’importer le projet Motion terminé dans votre séquence. Exportation d’un plan ou d’une séquence à partir de Final Cut Pro vers Motion Vous pouvez exporter des plans et des séquences Final Cut Pro dans des projets Motion en sélectionnant la commande Envoyer vers un projet Motion. Cette commande est utile pour :  transférer les données capturés vers Motion depuis le Navigateur Final Cut Pro ;  transférer des éléments ou une séquence depuis un projet Final Cut Pro vers Motion dans le but de créer une animation. Pour envoyer des plans ou des séquences de Final Cut Pro vers un projet Motion : 1 Sélectionnez les éléments ou la séquence à exporter vers Motion en effectuant l’une des opérations suivantes :  Sélectionnez un ou plusieurs éléments dans le Navigateur (au moins un élément doit être un plan).  Sélectionnez une séquence dans le Navigateur.  Sélectionnez plusieurs éléments dans la Timeline (celle-ci doit être active). 2 Sélectionnez Fichier > Envoyer à > Projet Motion. 3 Dans la zone de dialogue qui apparaît : a Choisissez un emplacement et saisissez un nom pour le nouveau projet Motion. b Vous pouvez également sélectionner les options suivantes :  Lancer Motion : lorsque vous sélectionnez cette option, les plans ou les séquences que vous exportez s’ouvrent sous forme de projet dans Motion (Final Cut Pro reste ouvert également).  Incorporer le contenu de Motion : lorsque vous sélectionnez cette option, Final Cut Pro ouvre le projet Motion sous forme de plan dans Final Cut Pro. Le plan situé dans Final Cut Pro est automatiquement mis à jour pour refléter les modifications apportées au plan dans Motion. Si les deux applications sont ouvertes et que vous visualisez le plan Motion dans Final Cut Pro, vous remarquerez que le contenu a été mis à jour avec les modifications apportées et enregistrées dans Motion. 27 Remarque : lorsque des projets Motion sont incorporés dans Final Cut Pro, Final Cut Pro reflète tout changement apporté au projet dans Motion, mais Motion ne reflète pas les changements apportés (par exemple, l’utilisation de filtres et de titres) au plan d’un projet Motion dans Final Cut Pro. 4 Cliquez sur Enregistrer. Si vous ne sélectionnez pas l’option Incorporer le contenu de Motion, tout élément exporté apparaît sous forme de séquence imbriquée dans le Navigateur et tout élément de la Timeline reste inchangé. Exportation des propriétés Lorsque vous sélectionnez les plans à envoyer à Motion, les propriétés suivantes sont conservées avec le projet exporté. Lors de l’exportation vers Motion, Final Cut Pro n’envoie pas les propriétés omises de la liste ci-dessus, telles que les filtres, les générateurs, les changements de vitesse ou de time remap, et les images fixes. Résultats de l’exportation dans Final Cut Pro Dans le Navigateur, la séquence ou le groupe d’éléments exporté vers Motion devient le plan d’un projet Motion unique et porte l’extension d’un nom de fichier Motion. Si l’élément était sélectionné dans la Timeline au moment où vous l’avez exporté et que l’option Incorporer le contenu de Motion était sélectionnée, le nouveau plan de projet Motion apparaît également dans la Timeline. En outre, le contenu du plan de projet Motion est mis à jour à mesure que les modifications y sont enregistrées dans Motion. Si l’option Incorporer le contenu de Motion n’était pas sélectionné, le contenu de la Timeline reste identique. Propriétés exportées Vidéo  Données.  Toute information de temps, notamment les fréquences d’image et les points d’entrée et de sortie.  Marqueurs .  Toutes les caractéristiques standard d’animation, notamment l’échelle, la position, la rotation, les modes de compositing et l’opacité, ainsi que le type d’image clé pour chacun de ces paramètres (linéaire ou non linéaire). Audio1  Données.  Marqueurs.  Images clés. 1 L’audio exporté vers Motion n’est pas importé lorsque vous transférez à nouveau le projet Motion dans Final Cut Pro. En effet, l’audio dans Motion n’est destiné qu’à la lecture et aux marqueurs. Pour cette raison, veillez à conserver les clips audio. 28 L’audio associé au plan de projet Motion demeure exactement comme il était avant l’exportation. Ainsi, si vous avez exporté des plans sélectionnés dans la Timeline, l’audio demeure sur les mêmes pistes audio. Veillez à conserver cet audio dans votre film, car il ne sera pas réimporté dans Final Cut Pro avec le projet Motion. Importation d’un projet Motion dans un projet Final Cut Pro Que l’application Motion soit installée ou pas sur votre ordinateur, vous pouvez importer des projets Motion dans Final Cut Pro de la même façon que n’importe quelles autres données. Pour importer un projet Motion dans Final Cut Pro, procédez de l’une des façons suivantes : m Faites glisser le projet Motion dans le Navigateur ou la Timeline de Final Cut Pro. m Choisissez Fichier > Importer > Fichiers, puis sélectionnez le projet Motion dans la zone de dialogue qui apparaît et cliquez sur Choisir. Remarque : n’oubliez pas qu’il est inutile d’importer à nouveau des projets Motion dans Final Cut Pro si l’option Incorporer le contenu de Motion est sélectionnée lors de l’exportation. Dans ce cas, le projet Motion qui apparaît dans Final Cut Pro reflète automatiquement toute modification apportée et enregistrée dans Motion. Même si vous ne pouvez pas éditer le contenu du plan d’un projet Motion importé ou incorporé dans Final Cut Pro, vous pouvez le prévisualiser dans votre film, le placer dans votre séquence, l’ajuster, lui ajouter des transitions et lui appliquer des titres et des filtres. Lorsqu’un projet Motion est importé ou incorporé dans Final Cut Pro :  Final Cut Pro affiche le projet sous forme de plan avec toutes les couches du projet Motion superposées. Le plan de projet Motion apparaît dans le Navigateur avec une extension Motion. Si le projet est incorporé et se trouve déjà dans la Timeline, il apparaît également dans la Timeline.  L’audio dans Motion n’est pas importé dans Final Cut Pro. 29  Si les propriétés du projet (par exemple, la largeur et la hauteur de l’image) ont été modifiées dans Motion, les nouvelles propriétés sont reflétées dans le projet Motion dans Final Cut Pro. Apporter des modifications à un projet Motion déjà importé dans Final Cut Pro Lorsque vous travaillez dans Final Cut Pro, vous pouvez ouvrir le plan d’un projet Motion depuis le Navigateur ou la Timeline afin de le modifier dans Motion. Important : pour cela, Final Cut Pro et Motion doivent être installés sur le même ordinateur. Pour ouvrir le plan d’un projet Motion dans Motion depuis Final Cut Pro : m Sélectionnez le plan, cliquez dessus tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel. Le plan du projet Motion et l’audio associé à celui-ci dans Final Cut Pro s’ouvrent dans Motion. Une fois que vous avez modifié et enregistré le projet dans Motion, Final Cut Pro utilise automatiquement la nouvelle version. Important : si vous utilisez une autre méthode pour ouvrir le projet dans Motion, il ne sera plus connecté au projet Final Cut Pro. Remarque : si vous utilisez le Gestionnaire de données dans Final Cut Pro, sachez qu’il ne peut pas déplacer vers un nouvel emplacement les fichiers de données source référencés par le plan d’un projet Motion. À propos du codec Animation Vous serez souvent amené à utiliser Motion pour créer des projets dotés de canaux alpha. Le codec Animation est un codec sans perte conçu pour être utilisé avec des images générées par ordinateur, mais qui fonctionne également avec des images vidéo normales. Cela permet d’obtenir un excellent niveau de qualité au détriment des performances (les plans utilisant le codec Animation ne sont souvent pas lisibles en temps réel). L’un des avantages principaux du codec Animation provient du fait qu’il prend en charge un canal alpha que Final Cut Pro peut utiliser pour contrôler la transparence du plan. 30 Utilisation de Compressor avec Final Cut Pro Il existe différentes situations dans lesquelles Compressor peut contribuer à votre projet Final Cut Pro :  Exportation de la séquence : Compressor offre différents formats pour l’exportation d’une séquence, notamment ceux spécialement conçus pour la distribution Web et DVD.  Mise à l’échelle d’images vidéo : Compressor inclut une fonction de mise à l’échelle et de conversion de normes de haute qualité, qui permet de convertir de la vidéo afin de la faire correspondre à une séquence. Exportation d’une séquence avec Compressor Compressor convertit les séquences QuickTime aux formats suivants :  Pour les DVD : MPEG-1, MPEG-2 SD et HD, H.264 et AC-3 (pour l’audio).  Pour la diffusion sur le Web : diffusion QuickTime à l’aide des formats H.264, MPEG-1 et MPEG-4. Compressor vous permet de générer des ressources audio et vidéo de haute qualité à importer dans DVD Studio Pro. Les marqueurs de chapitre et de compression ajoutés à votre séquence Final Cut Pro peuvent être inclus dans les fichiers MPEG résultants. Vous pouvez également ajouter ces marqueurs dans Compressor. Une fois importés dans DVD Studio Pro, les marqueurs de chapitre apparaissent automatiquement dans l’éditeur de piste. Important : pour cela, Final Cut Pro et Compressor doivent être installés sur le même ordinateur. Pour exporter à partir de Final Cut Pro dans Compressor : 1 Dans le Navigateur, sélectionnez une séquence à exporter. 2 Sélectionnez Fichier > Exporter > Compressor. Compressor s’ouvre avec la séquence que vous avez exportée depuis Final Cut Pro en tant que source dans sa fenêtre Lot. 3 Sélectionnez un préréglage à appliquer à la séquence. Dans certains cas, vous pourrez utiliser un préréglage correspondant exactement à vos besoins, tandis que dans d’autres cas, vous devrez soit modifier un préréglage, soit en créer un personnalisé. Le préréglage définit tous les aspects de la conversion. Vous pouvez également affecter plusieurs préréglages à une séquence. Par exemple, vous pouvez souhaiter disposer d’une version AIFF et d’une version AC-3 de l’audio. 4 Configurez le réglage de destination. Tant que la destination est réglée sur la valeur par défaut (source), le nouveau fichier est enregistré au premier niveau du disque système. 31 5 Configurez le nom du fichier de sortie si vous préférez autre chose que le nom par défaut. 6 Cliquez sur Soumettre. Conversion de la norme vidéo d’un plan vidéo Vous pouvez parfois être amené à intégrer un plan vidéo dans une séquence ayant une norme vidéo différente. Par exemple, si vous montez un projet HD 1080i et que vous devez inclure un plan NTSC 480i, le plan NTSC doit être mis à l’échelle à la taille d’image 1080i. Vous pouvez faire cela dans Final Cut Pro en ajoutant le plan à la séquence puis en le rendant, mais pour obtenir la meilleure qualité, vous devez utiliser Compressor pour mettre la vidéo à l’échelle. Pour utiliser Compressor afin de mettre un plan vidéo à l’échelle : 1 Ouvrez Compressor. 2 Pour importer le plan dans la fenêtre Lot, effectuez l’une des opérations suivantes :  Cliquez sur le bouton Importer un fichier et choisissez le fichier dans la zone de dialogue de sélection.  Faites glisser le fichier d’une fenêtre du Finder vers la fenêtre Lot. 3 Sélectionnez un préréglage à appliquer au plan. Dans certains cas, vous pourrez utiliser un préréglage correspondant exactement à vos besoins, tandis que dans d’autres cas, vous devrez soit modifier un préréglage, soit en créer un personnalisé. Le préréglage définit la taille de l’image vidéo, la fréquence d’images et le format d’encodage utilisé lors de la conversion. L’Inspecteur de Compressor contient une sous-fenêtre Contrôles d’images qui vous permet de définir le niveau de qualité de la conversion. 4 Configurez le réglage de destination. Par défaut, le nouveau fichier est enregistré dans le même emplacement que l’original. 5 Configurez le nom du fichier de sortie si vous préférez autre chose que le nom par défaut. 6 Cliquez sur Soumettre. Une fois les opérations Compressor terminées, vous pouvez importer le plan mis à l’échelle dans votre projet Final Cut Pro et l’ajouter à la séquence sans qu’il soit nécessaire de le rendre. 32 Utilisation de LiveType avec Final Cut Pro Comme Motion, Final Cut Pro inclut la prise en charge de l’échange de plans et de séquences entre Final Cut Pro et LiveType. Les applications sont étroitement intégrées de telle façon que lorsque vous utilisez LiveType et Final Cut Pro sur le même ordinateur, vous avez la possibilité de travailler sur votre projet LiveType dans les deux applications à la fois, sans avoir à vous soucier du transfert des fichiers entre les applications. Vous pouvez également exporter des plans afin de les confier à une autre personne qui se chargera de la création d’animations professionnelles pendant que vous continuez à monter votre film avant d’importer le projet LiveType terminé dans votre séquence. Importation d’un projet LiveType dans un projet Final Cut Pro Grâce à l’importation de fichiers de projets LiveType dans Final Cut Pro, vous n’avez plus besoin de rendre une séquence QuickTime de votre titre LiveType chaque fois que vous souhaitez l’utiliser dans Final Cut Pro. Pour importer un projet LiveType dans Final Cut Pro, procédez de l’une des façons suivantes : m Sélectionnez Fichier > Importer (ou appuyez sur Commande + I) et sélectionnez le projet LiveType à importer dans Final Cut Pro, puis cliquez sur Choisir. m Dans le Finder, faites glisser un fichier de projet LiveType dans le Navigateur de Final Cut Pro. Le fichier de projet LiveType apparaît sous forme de plan dans le Navigateur de Final Cut Pro. Un fichier de projet LiveType dans Final Cut Pro ressemble à n’importe quel autre plan de votre séquence. Au besoin, vous pouvez reconnecter le média (dans ce cas, le fichier de projet LiveType réel sur le disque) au projet LiveType de votre séquence, comme vous le feriez avec n’importe quel autre plan Final Cut Pro. Les projets LiveType dans Final Cut Pro peuvent être organisés dans le Navigateur, ouverts dans le Visualiseur, montés en séquences, ajustés, copiés et collés. Les projets LiveType conservent des relations normales entre le plan master et le plan associé. Les projets LiveType peuvent être lus dans Final Cut Pro comme les autres plans. Cependant, lorsqu’ils sont montés en séquences, les projets LiveType apparaissent avec une barre de rendu rouge dans la Timeline, ce qui vous oblige à rendre ces portions de séquence pour pouvoir les lire. 33 Apporter des modifications à un projet LiveType déjà importé dans Final Cut Pro Bien que vous puissiez effectuer des tâches de montage normales avec un projet LiveType dans Final Cut Pro, le contenu du titre LiveType ne peut pas être modifié à partir de Final Cut Pro (les réglages de titre LiveType peuvent uniquement être modifiés dans l’application LiveType). Final Cut Pro permet d’ouvrir rapidement des plans LiveType directement dans l’application LiveType en vue d’en modifier le titre. Important : pour cela, Final Cut Pro et LiveType doivent être installés sur le même ordinateur. Pour ouvrir et modifier un projet LiveType dans LiveType, à partir de Final Cut Pro : 1 Dans le Navigateur de Final Cut Pro ou dans une séquence, appuyez sur Contrôle et cliquez sur le plan du projet LiveType dont vous souhaitez modifier les réglages de titre, puis choisissez Ouvrir dans l’éditeur dans le menu contextuel. Le fichier de projet LiveType est ouvert dans l’application LiveType. 2 Dans LiveType, apportez toutes les modifications nécessaires au titre LiveType. 3 Enregistrez le fichier de projet LiveType. 4 Retournez à Final Cut Pro. Final Cut Pro rétablit automatiquement les liens des plans de projet LiveType qui font référence au projet LiveType modifié. Dans Final Cut Pro, vous pouvez immédiatement observer les modifications apportées au titre LiveType. Grâce à cette méthode, il est inutile de vous reconnecter au fichier de projet LiveType chaque fois que vous le modifiez dans une application autre que Final Cut Pro. Remarque : la colonne Créateur du Navigateur de Final Cut Pro indique l’application qui sera lancée si vous choisissez “Ouvrir dans l’éditeur” dans le menu contextuel d’un plan. Pour afficher la colonne Créateur, tout en maintenant la touche Contrôle enfoncée, cliquez sur un en-tête de colonne du Navigateur à droite de la colonne Nom, puis choisissez Afficher le créateur dans le menu contextuel. Pour les plans LiveType, le créateur est automatiquement défini sur LiveType. Exportation d’une séquence partielle pour LiveType Vous pouvez utiliser LiveType pour créer des titres que Final Cut Pro peut disposer sur la vidéo d’arrière-plan d’une séquence. Cependant, ce processus est beaucoup plus facile si, lors de la création du titre dans LiveType, vous pouvez voir la vidéo d’arrière-plan sur laquelle il sera placé. Vous pouvez exporter une section de votre séquence Final Cut Pro, définie par des points d’entrée et de sortie, en vue d’une utilisation en tant que vidéo d’arrière-plan lors de la création du titre dans LiveType. 34 Important : pour cela, Final Cut Pro et LiveType doivent être installés sur le même ordinateur. Pour exporter une séquence partielle pour LiveType et créer un titre dessus : 1 Dans la Timeline de Final Cut Pro, définissez les points d’entrée et de sortie afin de définir la section de vidéo sur laquelle le titre LiveType doit apparaître. 2 Sélectionnez Fichier > Exporter > Pour LiveType. 3 Nommez la portion de séquence que vous exportez, puis cliquez sur Enregistrer. 4 Dans LiveType, choisissez Fichier > “Placer un film en fond” afin d’importer la séquence exportée à partir de Final Cut Pro et la placer dans la deuxième piste. 5 Dans la Timeline de LiveType, sélectionnez la première piste et créez votre effet de titre. 6 Une fois l’effet terminé, enregistrez le projet. Assurez-vous que le réglage Rendre le fond dans la fenêtre Propriétés du projet n’est pas sélectionné lorsque vous enregistrez le projet LiveType. Par défaut, ce réglage n’est pas sélectionné. Vous pouvez vérifier cela en choisissant Édition > Propriétés du projet. 7 Importez le projet LiveType dans le projet Final Cut Pro original et placez-le dans la piste V2 de la Timeline, à l’emplacement défini par les points d’entrée et de sortie. Le titre apparaît sur la vidéo d’arrière-plan exactement comme lors de la création du projet LiveType. Utilisation de Shake avec Final Cut Pro Le fait de tirer parti des puissantes fonctions de compositing et d’effets visuels de Shake lors du montage d’une séquence dans Final Cut Pro peut faire la différence, en particulier lors de l’utilisation d’une vidéo difficile à incruster ou lorsque vous avez besoin du suivi d’animation ou du rotoscoping. Final Cut Pro inclut une méthode spécialement conçue pour rendre efficace et simple l’envoi de plans à Shake. Par exemple, vous pouvez utiliser Final Cut Pro pour superposer un groupe de plans que vous souhaitez convertir en composition simple à l’aide de Shake. Final Cut Pro facilite la configuration de points d’entrée et de sortie pour chaque plan, via la détermination de la façon dont ils se chevauchent. Vous pouvez ensuite envoyer les données à Shake avec les informations de timing, ce qui vous évite d’avoir à recréer l’organisation des données dans Shake. 35 Organisation des plans importés dans Shake Indépendamment de la façon dont vous déplacez les plans Final Cut Pro dans Shake, la façon dont ils sont assemblés dans le script Shake nouvellement créé varie selon qu’ils ont été organisés de manière séquentielle dans une même piste vidéo, ou superposés verticalement à l’aide de plusieurs pistes vidéo. Les plans Final Cut Pro importés sont organisés dans l’arborescence des noeuds à l’aide des noeuds Select et MultiLayer :  Les plans montés de manière séquentielle dans la même piste vidéo sont connectés à un noeud Select unique. Le noeud Select est responsable de la configuration du timing de chaque plan, notamment le point d’entrée des données, le point de sortie des données et la position dans la Timeline de Shake.  Les plans à l’origine superposés sur plusieurs pistes vidéo entraînent la création d’un noeud Select correspondant dans le script Shake pour chaque piste vidéo contenant un plan. Remarque : les points de montage réels de chaque noeud FileIn associé au noeud Select sont stockés dans le paramètre de branche. Les données stockées dans ce paramètre ne sont pas modifiables ; toute tentative de les modifier peut entraîner des résultats imprévisibles.  Chaque noeud Select est connecté à un noeud MultiLayer unique, qui détermine les plans qui se trouvent au premier plan de la composition et ceux qui se trouvent à l’arrière-plan. Si vous souhaitez modifier la position temporelle des plans importés à partir de Final Cut Pro dans Shake, vous devez utiliser l’onglet Contrôle du temps. 36 Important : les clips et pistes audio des fichiers QuickTime originaux ne sont pas importés dans Shake. Tout changement de timing que vous effectuez dans Shake entraîne la désynchronisation des données des plans ajustés par rapport à l’audio du fichier de projet Final Cut Pro original. Envoi de plans à partir de Final Cut Pro Pour envoyer un ou plusieurs plans sélectionnés (ou une séquence unique) de Final Cut Pro vers Shake, vous devez utiliser la commande Envoyer à Shake (dans Final Cut Pro). Pour envoyer un ou plusieurs plans, ou une séquence, de Final Cut Pro vers Shake : 1 Organisez la Timeline du projet de façon à pouvoir sélectionner uniquement les plans que vous prévoyez d’envoyer. 2 Effectuez l’une des opérations suivantes :  Sélectionnez un ou plusieurs plans à exporter dans la Timeline.  Sélectionnez une séquence dans le Navigateur. 3 Effectuez l’une des opérations suivantes :  Sélectionnez Fichier > Envoyer à > Shake.  Cliquez sur les plans ou la séquence sélectionné(e)s en maintenant la touche Contrôle enfoncée, puis choisissez Envoyer à > Shake dans le menu contextuel. Données et effets non pris en charge Bien que QuickTime soit le format de fichier utilisé pour tous les échanges de données entre Final Cut Pro et Shake, tous les aspects de QuickTime ne sont pas pris en charge. Les données et réglages suivants ne sont pas importés dans Shake à partir de Final Cut Pro :  Pistes audio QuickTime  Fichiers audio autonomes  Fichiers d’image fixe  Générateurs  Modes de compositing  Les effets d’animation  Filtres  Transitions 37 4 Lorsque la zone de dialogue Envoyer à Shake apparaît, sélectionnez les options appropriées :  Nom de la séquence résultante : nommez la séquence créée dans le fichier de projet Final Cut Pro pour contenir les données sélectionnées lorsque vous cliquez sur Exporter. Cela n’est applicable que si vous avez sélectionné un ou plusieurs plans dans la Timeline ; aucune nouvelle séquence n’est créée si vous sélectionnez une séquence dans le Navigateur.  Enregistrer comme script Shake : tapez un nom et choisissez un emplacement pour la création du script Shake.  Enregistrer l’espace réservé pour séquence QuickTime (FileOut) sous : tapez un nom et choisissez un emplacement pour l’espace réservé de la séquence QuickTime qui correspondra au noeud FileOut dans le script Shake nouvellement créé. 5 Cochez la case Lancer Shake si vous souhaitez ouvrir automatiquement le script Shake nouvellement créé et commencer à l’utiliser. Important : pour cela, Final Cut Pro et Shake doivent être installés sur le même ordinateur. 6 Cliquez sur Exporter. Lorsque vous cliquez sur Exporter, plusieurs actions se produisent :  Si vous avez sélectionné un plan ou un groupe de plans dans la Timeline, une nouvelle séquence contenant des copies des données sélectionnées apparaît dans votre projet Final Cut Pro.  Un script Shake est créé sur le disque.  Un fichier d’espace réservé QuickTime est créé sur le disque.  Si vous avez sélectionné un plan ou un groupe de plans dans la Timeline, le fichier d’espace réservé QuickTime apparaît sous la forme d’un plan sur une nouvelle piste vidéo (désactivée) créée dans la piste située la plus en haut de votre séquence (les données originales restent à leur place). Le plan d’espace réservé QuickTime de votre projet Final Cut Pro correspond aux données qui seront finalement rendues par Shake, en particulier à partir du noeud FileOut qui apparaît à la fin du script Shake généré. Plage de temps des scripts générés à partir de Final Cut Pro Le paramètre global de plage de temps du script Shake créé par la commande Envoyer à Shake est automatiquement réglé sur la plage d’images appropriée pour les données auxquelles elle fait référence. Important : il est déconseillé de cliquer sur le bouton Auto pour mettre à jour la plage de temps. Cela peut entraîner le référencement de davantage d’images que prévu, en fonction de la durée totale des fichiers de données source. 38 Renvoi de données à Final Cut Pro Lorsque vous avez terminé d’utiliser le script Shake généré par Final Cut Pro, vous devez rendre le noeud FileOut créé initialement. Le fichier de données nouvellement rendu prend la place du fichier d’espace réservé QuickTime, prêt à être utilisé par le projet Final Cut Pro original. Lorsque vous rouvrez le fichier de projet Final Cut Pro contenant le fichier d’espace réservé QuickTime original, vous devez utiliser la commande Relier les données afin de relier le plan de votre séquence aux données rendues par Shake. Utilisation de Logic Pro avec Final Cut Pro Logic Pro inclut de nombreux outils que vous pouvez utiliser lors de la création de la musique de vos projets Final Cut Pro. Logic Pro peut importer et exporter des fichiers audio individuels dans différents formats. Pour les projets plus complexes impliquant Final Cut Pro, vous pouvez utiliser le format d’échange XML Final Cut Pro afin d’importer et d’exporter des morceaux avec plusieurs pistes audio, en conservant toutes les informations de position de région, de nom de région, ainsi que les données d’automatisation du volume et de la balance. Importation de fichiers XML Final Cut Pro dans Logic Pro Vous pouvez exporter une séquence ou un groupe de plans à partir de Final Cut Pro en tant que fichier XML, puis importer le fichier XML dans Logic Pro. Pour exporter une séquence Final Cut Pro en tant que fichier XML : 1 Sélectionnez une séquence à exporter dans le Navigateur Final Cut Pro. 2 Sélectionnez Fichier > Exporter > XML. 3 Choisissez le format XML à utiliser dans le menu local Format, puis cliquez sur OK. Le choix par défaut est “Apple XML Interchange Format, version 2”. 4 Nommez le fichier, choisissez sa destination, puis cliquez sur Enregistrer. Pour importer un fichier XML dans Logic Pro : 1 Dans Logic Pro, choisissez Fichier > Importer. 2 Localisez le fichier XML, puis cliquez sur Choisir. L’audio de la séquence s’ouvre dans Logic Pro. 39 Exportation d’un fichier XML Final Cut Pro à partir de Logic Pro Vous pouvez exporter l’audio du morceau actuel en tant que fichier au format d’échange XML de Final Cut Pro, que vous pouvez ensuite importer dans un projet Final Cut Pro. Pour exporter le morceau actuel vers Logic Pro en tant que fichier XML : 1 Dans Logic Pro, choisissez Fichier > Exporter > Morceau vers Final Cut Pro/XML. 2 Nommez le fichier, choisissez sa destination, puis cliquez sur Exporter. Pour importer un fichier XML dans Final Cut Pro : 1 Dans Final Cut Pro, choisissez Fichier > Importer > XML. 2 Localisez le fichier XML, puis cliquez sur Choisir. Une séquence contenant l’audio exportée apparaît dans le Navigateur de Final Cut Pro. Remarque : les pistes d’instruments audio sont toujours renvoyées vers les fichiers audio. Les pistes MIDI sont ignorées. Si nécessaire, le rebond bascule automatiquement en mode temps réel (comme lorsqu’un mode E/S ou Instrument externe est utilisé). 41 1 Utilisation d’applications Apple pour vos projets DVD Studio Pro Peu importe la qualité de votre séquence si personne ne peut la voir. Les applications de postproduction Apple offrent des outils précieux pour vous aider à créer votre propre projet DVD Studio Pro. DVD Studio Pro permet de créer rapidement et facilement des DVD professionnels de différents styles. La création de votre projet est entièrement personnalisable mais vous pouvez, si vous êtes pressé par le temps, modifier un des modèles fournis pour terminer votre DVD encore plus vite. Conversion d’un projet Final Cut Pro en DVD Une fois que vous avez terminé le montage de votre séquence dans Final Cut Pro, vous pouvez commencer à créer un DVD basé sur cette séquence. Bien que la création d’un simple DVD à partir de la séquence soit une opération rapide et facile, vous devrez tenir compte de différents problèmes :  Vous devez convertir la séquence en ressources compatibles avec le format DVD. À l’exception d’une séquence HDV, la vidéo et l’audio d’une séquence doivent être transcodées en ressources compatibles avec le format DVD. Il existe plusieurs approches ; cependant, le plus souvent, la meilleure méthode consiste à exporter à partir de Final Cut Pro via Compressor. Vous disposez ainsi du maximum d’options et du contrôle le plus étendu sur le processus.  Si votre séquence est au format HD, vous devez choisir une norme DVD. Vous pouvez choisir de créer un DVD traditionnel à l’aide de ressources en définition standard (SD), ce qui nécessite la conversion de la vidéo en résolutions d’images SD, ou un DVD spécialisé utilisant des ressources haute définition (HD). L’avantage de la création d’un DVD SD est qu’il peut être lu dans les lecteurs de DVD actuels. L’avantage de la création d’un DVD HD est que vous pouvez conserver la qualité HD ; en revanche, les méthodes de lecture seront limitées (l’une des options de lecture est le Lecteur DVD d’Apple). Une réponse consiste à utiliser Compressor pour encoder les ressources appropriées, de façon à pouvoir créer des supports avec les deux normes DVD. 42  Vous devez déterminer les autres éléments qui seront contenus dans le DVD. Pour un DVD simple, vous souhaiterez probablement qu’un menu soit le premier élément à apparaître lors de la lecture du disque. Vous pouvez également décider d’ajouter des scènes supprimées ou d’autres séquences complémentaires pouvant nécessiter un montage supplémentaire avant la création du DVD. Importation de votre projet Final Cut Pro dans DVD Studio Pro L’exportation de vos séquences de Final Cut Pro vers Compressor pour créer des ressources compatibles avec le format DVD de haute qualité pour DVD Studio Pro, notamment la conversion de sources HD, vous offre davantage de flexibilité d’encodage que l’importation directe de la séquence dans DVD Studio Pro. Compressor crée de la vidéo MPEG-2, à la fois pour les projets SD et HD, de la vidéo H.264 pour les projets HD et de l’audio Dolby Digital AC-3. Consultez la section “Exportation d’une séquence avec Compressor” à la page 30 pour plus d’informations sur l’exportation à partir de Final Cut Pro avec Compressor. Consultez la section “Création de fichiers AC-3 à partir d’audio Final Cut Pro” à la page 57 pour plus d’informations sur la création d’audio stéréo et 5.1 surround. Une fois que vous avez exporté la séquence à l’aide de Compressor, vous pouvez importer les fichiers encodés dans votre projet DVD Studio Pro. Il existe différentes façons de faire cela. Les méthodes les plus courantes sont détaillées ici. Pour importer des fichiers encodés dans DVD Studio Pro, effectuez l’une des opérations suivantes : m Faites glisser les fichiers d’une fenêtre du Finder vers l’onglet Ressources de DVD Studio Pro. m Cliquez sur Importer sous l’onglet Ressources de DVD Studio Pro, puis choisissez les fichiers dans la zone de dialogue Importer les ressources. Une fois les fichiers importés, vous pouvez les affecter aux menus et pistes en fonction des besoins. Création d’un DVD HD à partir de votre projet Final Cut Pro Il existe trois formats d’acquisition HD courants qui sont utilisés avec les projets HD : HD DVCPRO, HD non compressé et HDV. Le format que vous utilisez affecte le déroulement du montage jusqu’à la distribution du projet. Utilisation du format HD DVCPRO ou de sources non compressées Étant donné que le format HD DVCPRO et la vidéo HD non compressée donnent des tailles de fichier supérieures, les fichiers dans ces formats doivent être encodés selon un format approprié pour pouvoir être utilisés. DVD Studio Pro prend en charge deux formats pour l’utilisation dans les projets HD : HD MPEG-2 et H.264. 43  Le format HD MPEG-2 présente la même structure élémentaire que le format MPEG-2 utilisé avec les DVD SD, à ceci près qu’il utilise une gamme de débits plus élevée et qu’il prend en charge les tailles d’image du format vidéo HD.  Le format H.264, également connu sous le nom de AVC ou MPEG-4 partie 10, utilise un processus d’encodage deux fois plus efficace que le processus d’encodage MPEG-2. En comparaison avec l’encodage MPEG-2, cela signifie qu’avec l’encodeur H.264 vous pouvez :  utiliser un débit inférieur pour obtenir la même qualité, ce qui donne des fichiers plus petits ;  utiliser le même débit et obtenir une qualité supérieure avec la même taille de fichier. Vous pouvez exporter votre projet HD DVCPRO à partir de Final Cut Pro à l’aide de Compressor (comme cela est décrit dans la section “Exportation d’une séquence avec Compressor” à la page 30) ou exporter une séquence QuickTime du projet et l’importer directement dans DVD Studio Pro. Comme dans le cas des projets SD Final Cut Pro, l’avantage de passer par Compressor est que vous contrôlez davantage le processus d’encodage. Vous pouvez décider si vous souhaitez créer des fichiers HD MPEG-2 ou H.264, et vous pouvez même utiliser l’encodage distribué pour réduire la durée du processus d’encodage. Important : l’encodage distribué est disponible uniquement sur les ordinateurs sur lesquels Final Cut Studio, DVD Studio Pro ou Shake est installé. Si vous choisissez d’importer votre séquence HD DVCPRO QuickTime directement dans DVD Studio Pro, l’encodeur MPEG intégré encode automatiquement la vidéo au format HD MPEG-2. Utilisation de sources HDV Le format HDV est basé sur une configuration du format MPEG-2 prise en charge par DVD Studio Pro. Cela signifie que si vous procédez à l’acquisition et au montage de la vidéo au format HDV, aucun transcodage n’est nécessaire pour une utilisation dans un projet HD. Non seulement cela permet de gagner du temps, mais cela réduit également le risque d’introduire des défauts dans la vidéo au cours du transcodage. La capacité de Final Cut Pro à monter de manière native des sources HDV fait de ce flux de travaux un moyen attractif de créer des projets DVD à l’aide de ressources HD. 44 Utilisation de Motion dans votre projet DVD Studio Pro Dans Motion, vous pouvez facilement créer des plans utilisables dans DVD Studio Pro. Les projets Motion peuvent être utilisés comme menus d’animation complexes (notamment un marqueur pour définir le point de bouclage du menu), comme graphismes animés dans les zones de dépôt et comme transitions entre des éléments tels que les boutons et leurs cibles, ou les diapositives d’un diaporama. DVD Studio Pro peut importer et prévisualiser des projets Motion non rendus. Une fois un projet Motion importé dans DVD Studio Pro, vous pouvez l’ouvrir de nouveau dans Motion pour le modifier et DVD Studio Pro met automatiquement à jour les projets avec les modifications apportées. Importation d’un projet Motion pour un menu d’animation Vous importez les projets Motion dans DVD Studio Pro de la même façon que vous importez la plupart des ressources. Pour importer un projet Motion dans DVD Studio Pro, procédez de l’une des façons suivantes : m Faites glisser le projet Motion dans l’onglet Ressources ou l’éditeur de menu de DVD Studio Pro. Lorsque vous faites glisser le projet Motion dans l’éditeur de menu, vous pouvez alors choisir la façon dont DVD Studio Pro l’utilise dans la Drop Palette qui apparaît. m Choisissez Fichier > Importer > Ressource, puis sélectionnez le projet Motion dans la zone de dialogue. m Ajoutez le dossier contenant votre projet Motion à l’onglet Vidéo de la palette DVD Studio Pro. Vous pouvez ensuite ajouter le projet en le faisant glisser dans l’emplacement adéquat, par exemple dans l’éditeur de menu, l’onglet Ressources ou la Timeline. Apport de modifications à un projet Motion déjà importé dans DVD Studio Pro Une fois le projet Motion importé, vous pouvez l’ouvrir à nouveau dans Motion à partir de l’onglet Ressources de DVD Studio Pro. Cela permet d’apporter plus rapidement et plus facilement des modifications à votre projet. Important : pour cela, DVD Studio Pro et Motion doivent être installés sur le même ordinateur. Pour ouvrir un projet Motion dans Motion, à partir de DVD Studio Pro, effectuez l’une des opérations suivantes : m Sélectionnez le projet dans l’onglet Ressources, puis choisissez Fichier > Ressource > Ouvrir dans l’éditeur. 45 m Cliquez sur le projet sous l’onglet Ressources tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel. m Double-cliquez sur le projet dans l’onglet Ressources. Si vous modifiez le projet dans Motion et que vous l’enregistrez, DVD Studio Pro se met automatiquement à jour afin d’inclure ces modifications. Création et importation d’un projet Motion sous forme de transition alpha DVD Studio Pro comprend une fonction Transition alpha. Cela vous permet de créer des transitions personnalisées pour vos menus, pistes et diaporamas. Toutes les transitions ont une image de début et de fin en fonction de leur emplacement. Les transitions standard ont la capacité de transformer les images vidéo de début et de fin, permettant ainsi d’ajouter une grande variété d’effets, tels que les effets de rotation ou de flou, directement à la vidéo. Une transition alpha ne transforme pas directement les images vidéo de début et de fin ; elle effectue simplement la transition entre le début et la fin en se basant sur des séquences QuickTime que vous créez. La création d’une transition alpha requiert une à trois séquences QuickTime, en fonction du type de transition que vous souhaitez créer.  Souhaitez-vous remplacer les images de début et de fin par une séquence vidéo au cours de la transition ? Si vous souhaitez par exemple afficher une transition dans laquelle un disque DVD traverse l’écran en tournant sur lui-même, vous devez disposer d’une ressource vidéo contenant de telles images.  Souhaitez-vous que les images de début et de fin apparaissent en même temps au cours de la transition ? Dans l’exemple du DVD tournant sur lui-même, vous pouvez choisir d’afficher l’image de début autour du DVD et l’image de fin au centre de ce dernier. Pour afficher les images de début et de fin en même temps, vous avez besoin d’un cache vidéo d’arrière-plan.  Souhaitez-vous une transition par simple balayage utilisant une forme personnalisée ? Vous pouvez utiliser un cache vidéo d’arrière-plan pour créer une transition par balayage dont vous pouvez choisir la forme et l’apparence des bords (nets ou adoucis). La transition alpha contient les éléments suivants :  le dossier de ressources ;  la ressource vidéo ;  la ressource de cache vidéo ; 46  le cache vidéo d’arrière-plan. Chaque composant est décrit dans l’une des sections suivantes. Dossier de ressources Les projets et les séquences vidéo Motion utilisés en tant que transitions alpha dans DVD Studio Pro sont traités différemment des projets et des séquences vidéo Motion utilisés dans les menus et les pistes. Une fois ouvert, DVD Studio Pro recherche les dossiers de ressources de transition situés dans des zones spécifiques de votre disque dur. Tout dossier contenant des projets ou des séquences vidéo Motion appropriés est automatiquement ajouté en tant que transitions alpha et devient disponible pour vos projets DVD. Outre le fait de contenir les séquences vidéo à l’origine des transitions alpha, le dossier de ressources donne son nom à la transition. Tous les fichiers du dossier doivent porter le même nom que le dossier, suivi de “_cache” s’il s’agit de ressources de cache vidéo et de “_cache_arrière-plan” s’il s’agit de caches vidéo d’arrière-plan, afin de les distinguer. Lorsque vous ouvrez DVD Studio Pro, il recherche les dossiers de ressources dans deux emplacements :  À la racine de votre disque dur, dans : /Bibliothèque/Application Support/ DVD Studio Pro/Transitions/  Dans votre dossier Départ, dans : Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/DVD Studio Pro/Transitions/ Remarque : si vous ajoutez un dossier de ressources lorsque DVD Studio Pro est ouvert, il n’est pris en compte qu’à la prochaine ouverture de DVD Studio Pro. L’image DVD provient de la ressource vidéo et une ressource de cache vidéo détermine à quel endroit la vidéo d’arrièreplan apparaît. Image de début (en rouge dans cet exemple) Image de fin (en bleu dans cet exemple) Le cache vidéo d’arrièreplan (non visible) détermine si l’arrière-plan affiche la vidéo de début ou de fin. 47 Ressource vidéo La ressource vidéo est nécessaire si vous souhaitez remplacer les images de début et de fin par n’importe quelle séquence vidéo au cours de la transition. Si vous souhaitez, par exemple, afficher une transition pendant laquelle un DVD traverse l’écran en tournant sur lui-même, l’image du DVD volant sera fournie par la ressource vidéo. La ressource vidéo doit porter le même nom que celui du dossier des ressources et elle peut avoir une extension de fichier. Si le nom du dossier contenant les ressources est “DVD tournant“, le nom de fichier de la ressource vidéo sera par exemple “DVD tournant.mov”. Il existe deux aspects facultatifs pour la ressource vidéo : un canal alpha et un point de commutation. Dans l’exemple du DVD tournant sur lui-même, vous pouvez faire en sorte que les images vidéo de début et de fin soient visibles à travers le centre du DVD et autour du bord extérieur. Pour cela, vous devez utiliser un canal alpha afin que DVD Studio Pro sache quelle partie de la ressource vidéo il doit afficher et quelle partie il doit masquer. Ce canal alpha peut être fourni de deux manières : soit en l’incorporant à la ressource vidéo, soit en tant que ressource de cache vidéo distincte (voir “Ressource de cache vidéo”, ci-après). Important : lorsque le canal alpha est incorporé à la ressource vidéo, assurez-vous que la sortie vidéo est prémultipliée. Si votre transition ne nécessite pas que les images vidéo de début et de fin se trouvent à l’écran simultanément, vous pouvez ajouter un marqueur de point de commutation à la ressource vidéo afin de contrôler à quel moment la transition passe de l’affichage de l’image de début à celui de l’image de fin. Si vous souhaitez que les images vidéo de début et de fin s’affichent simultanément à l’écran, vous devez utiliser un cache vidéo d’arrière-plan (voir section “Cache vidéo d’arrière-plan” à la page 49). La ressource vidéo fournit une transition vidéo en plus des images de début et de fin. La ressource vidéo peut contenir un canal alpha pour déterminer l’endroit où doit apparaître l’arrière-plan. 48 Si le dossier des ressources de transition ne contient pas de cache vidéo d’arrière-plan, DVD Studio Pro effectue les opérations suivantes pour définir le point de commutation :  DVD Studio Pro commence par examiner la ressource vidéo afin de voir s’il y a un marqueur nommé TransitionSwitchPoint. S’il est présent, ce marqueur est utilisé comme point de commutation. Vous pouvez ajouter ce marqueur à la ressource vidéo dans Motion en sélectionnant Transition DVD Alpha dans le menu local Type du menu Modifier le marqueur.  S’il n’est pas présent, DVD Studio Pro recherche la présence de marqueurs dans la ressource vidéo. S’il est présent, le premier marqueur est utilisé comme point de commutation.  Si aucun marqueur n’est présent dans la ressource vidéo, le point de commutation est configuré sur le point milieu de la ressource vidéo. Ressource de cache vidéo La ressource de cache vidéo n’est nécessaire que lorsqu’une ressource vidéo sans canal alpha est utilisée par la transition. Le fait de disposer d’une ressource de cache vidéo distincte peut s’avérer particulièrement utile lorsque la ressource vidéo est une séquence normale plutôt qu’une animation. La ressource de cache vidéo doit porter le même nom que le dossier des ressources, suivi de “_cache” et éventuellement d’une extension de fichier. Si le nom du dossier contenant les ressources vidéo est “DVD tournant”, le nom de fichier de la ressource de cache vidéo sera par exemple “DVD tournant_cache.mov”. La ressource de cache vidéo doit être monochrome. Les blancs permettent d’identifier la ressource vidéo à utiliser et les noirs servent à identifier l’emplacement des images vidéo de début et de fin. Vous pouvez également utiliser des niveaux intermédiaires entre le blanc et le noir pour définir une transparence et ajouter des bords adoucis. Les zones blanches définissent l’endroit où la ressource vidéo apparaît. Les zones noires définissent l’endroit où apparaît la vidéo d’arrière-plan (image de début ou de fin, en fonction du point d’alternance ou du cache vidéo d’arrière-plan). Les zones grises définissent également l’endroit où la ressource vidéo apparaît, mais en transparence. 49 Cache vidéo d’arrière-plan Le cache vidéo d’arrière-plan peut être utilisé de deux façons :  Vous pouvez l’utiliser conjointement avec la ressource vidéo pour contrôler les parties de l’écran devant afficher l’image vidéo de début et les parties devant afficher l’image vidéo de fin.  Vous pouvez également l’utiliser comme seule séquence vidéo du dossier des ressources de la transition afin de fournir une transition par balayage. Comme lorsqu’il est utilisé avec la ressource vidéo, le cache vidéo d’arrière-plan contrôle les parties de l’écran devant afficher l’image vidéo de début et les parties devant afficher l’image vidéo de fin. Le cache vidéo d’arrière-plan doit porter le même nom que le dossier des ressources de la transition suivi de “_cache_arrière-plan” et d’une extension de fichier. Si le nom du dossier contenant les ressources vidéo de la transition est “DVD tournant”, le nom de fichier de la ressource de cache vidéo sera par exemple “DVD tournant_cache_arrière-plan.mov”. Le cache vidéo d’arrière-plan doit être monochrome. Les blancs permettent d’identifier l’image vidéo de début et les noirs servent à identifier l’emplacement de l’image vidéo de fin. De façon générale, le cache vidéo d’arrière-plan doit débuter avec un écran entièrement blanc et terminer avec un écran entièrement noir. Vous pouvez également utiliser des niveaux intermédiaires entre le blanc et le noir pour définir une transparence et ajouter des bords adoucis. Les zones blanches définissent l’emplacement de l’image de début de la vidéo d’arrière-plan. Les zones noires définissent l’emplacement de l’image de fin de la vidéo d’arrière-plan. 50 Utilisation de Soundtrack Pro dans votre projet DVD Studio Pro La création d’un DVD impose diverses exigences audio complexes parfaitement gérées par Soundtrack Pro :  Audio destiné aux menus : une façon simple de rendre vos menus DVD plus attrayants consiste à leur ajouter du son. Vous pouvez ajouter du son à vos menus animés et à la plupart de vos menus fixes. Lorsque vous créez vos menus à l’aide de Motion, l’intégration entre Soundtrack Pro et Motion facilite la création de sons correspondant aux actions du menu, notamment des effets sonores tels qu’un souffle ou un bruit sourd lors du passage ou de l’atterrissage des éléments de menu.  Audio destiné aux diaporamas : vous pouvez rendre vos diaporamas plus accrocheurs en y ajoutant un fond musical. Vous pouvez en effet créer des clips audio individuels pour chaque diapo ou un seul clip audio pour l’ensemble du diaporama.  Audio compatible avec le format DVD : les projets DVD imposent des exigences audio spécifiques. Soundtrack Pro peut créer des fichiers audio AIFF non compressés compatibles avec le format DVD, que vous pouvez utiliser directement dans vos projets DVD. Ces fichiers requièrent une fréquence d’échantillonnage de 48 kilohertz (kHz) et un codage 16 ou 24 bits. En outre, Soundtrack Pro inclut la possibilité d’exporter via Compressor, ce qui facilite la création de tout élément, de la simple stéréo aux fichiers audio Dolby Digital AC-3 au format 5.1 surround. Pour plus d’informations, consultez la section “Exportation à partir de Soundtrack Pro avec Compressor” à la page 53. Il existe différentes méthodes permettant d’enregistrer un projet Soundtrack Pro en vue d’une utilisation dans DVD Studio Pro. En général, le choix consiste à déterminer si vous souhaitez enregistrer un projet avec des liens intégrés qui facilitent sa réouverture et sa modification, ou si vous souhaitez effectuer un simple enregistrement. Enregistrement de projets Soundtrack Pro pour DVD Studio Pro Voici la description d’une méthode d’enregistrement d’un projet multipiste Soundtrack Pro qui facilite le retour au projet Soundtrack Pro original si des modifications doivent être effectuées ultérieurement. Pour enregistrer et exporter un projet multipiste Soundtrack Pro : 1 Configurez l’audio dans la Timeline et le Mélangeur. 2 Choisissez Fichier > Enregistrer sous. 3 Tapez un nom pour le fichier. 4 Cliquez sur Enregistrer. Les réglages actuels sont ainsi enregistrés sous forme de projet multipiste Soundtrack Pro avec l’extension de fichier “.stmp”. Ensuite, exportez le fichier audio que vous allez importer dans DVD Studio Pro. 51 5 Sélectionnez Fichier > Exporter > Exporter le mixage. 6 Tapez un nom pour le fichier. 7 Configurez la profondeur de bits sur 16 bits ou 24 bits, et la fréquence d’échantillonnage sur 48 kHz. 8 Cliquez sur Exporter. Cela permet d’enregistrer un fichier audio lié au fichier de projet précédemment enregistré, ce qui peut s’avérer utile si vous devez apporter ultérieurement des modifications au fichier audio. Important : la procédure suivante nécessite que DVD Studio Pro et Soundtrack Pro soient installés sur le même ordinateur. Pour apporter des modifications au fichier audio lié à partir de DVD Studio Pro : 1 Cliquez sur le fichier audio dans l’onglet Ressources tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel. Une zone de dialogue apparaît pour vous permettre de choisir s’il faut ouvrir le fichier audio comme un fichier audio normal ou bien ouvrir le fichier de projet multipiste Soundtrack Pro du projet. 2 Cliquez sur Ouvrir le projet. Le projet Soundtrack Pro original s’ouvre. Une fois que vous avez effectué vos modifications, enregistrez le projet et utilisez la commande Exporter le mixage pour exporter un nouveau clip audio (en utilisant le même nom et le même emplacement que celui ouvert dans le projet DVD Studio Pro). Cela permet de garantir que cette nouvelle version du fichier audio apparaîtra automatiquement dans le projet DVD Studio Pro. Utilisation de Soundtrack Pro avec des projets Motion L’intégration entre Soundtrack Pro et Motion facilite la création d’audio qui vient en complément des effets que vous pouvez ajouter à votre projet Motion. La capacité d’aller-retour est particulièrement utile si vous devez modifier le timing des effets du projet et que vous avez besoin de modifier également l’audio. Il arrive fréquemment que le menu d’animation soit basé sur une séquence d’arrière-plan incluant déjà de l’audio, par exemple un court plan de la séquence principale. Important : pour cela, Soundtrack Pro et Motion doivent être installés sur le même ordinateur. 52 Pour envoyer l’audio d’un projet Motion vers Soundtrack Pro : 1 Cliquez sur l’onglet Audio dans la sous-fenêtre Projet de Motion. 2 Sélectionnez la piste audio à envoyer à Soundtrack Pro. 3 Choisissez Édition > Envoyer l’audio vers Soundtrack. 4 Tapez un nom de fichier, choisissez une destination, puis cliquez sur “Enregistrer sous Audio Soundtrack”. Un projet audio Soundtrack Pro est ainsi créé, avec l’extension de fichier “.stap”, qui s’ouvre automatiquement dans l’Éditeur de forme d’onde Soundtrack Pro avec la vidéo Motion, de sorte que vous puissiez appliquer des actions et coller les effets sonores comme nécessaire. Une fois que vous avez terminé l’audio, il vous suffit d’enregistrer le projet audio dans Soundtrack Pro. Lorsque vous revenez dans Motion, l’audio est automatiquement mis à jour afin d’inclure les modifications. Il s’agit d’un processus non destructif (le fichier audio original n’est pas modifié). Exportation d’audio AIFF à partir de Soundtrack Pro Vous pouvez choisir d’exporter vers un projet un mixage de toutes les pistes pour lesquelles vous n’avez pas coupé le son ou d’exporter individuellement des pistes stéréo. Pour exporter un mixage à partir d’un projet Soundtrack Pro multipiste : 1 Configurez les pistes et le Mélangeur. Cela consiste notamment à désactiver l’audio des pistes que vous ne souhaitez pas exporter. 2 Sélectionnez Fichier > Exporter > Exporter le mixage. Une zone de dialogue s’ouvre pour indiquer les réglages du fichier audio exporté. 3 Configurez les réglages d’exportation. S’il s’agit d’un projet DVD, sélectionnez le réglage de profondeur de bits audio de 16 bits ou 24 bits et une fréquence d’échantillonnage de 48 kHz. 4 Cliquez sur Exporter. Pour exporter une seule piste Soundtrack Pro : 1 Sélectionnez la piste à exporter. 2 Sélectionnez Fichier > Exporter > Exporter la piste sélectionnée. Une zone de dialogue s’ouvre pour indiquer les réglages de la piste exportée. 3 Configurez les réglages d’exportation. S’il s’agit d’un projet DVD, sélectionnez le réglage de profondeur de bits audio de 16 bits ou 24 bits et une fréquence d’échantillonnage de 48 kHz. 4 Cliquez sur Exporter. Si aucune piste n’est sélectionnée, vous pouvez exporter la totalité des pistes, des bus et des sorties en une seule étape. 53 Pour exporter simultanément l’ensemble des pistes, bus et sorties Soundtrack Pro : 1 Assurez-vous qu’aucune piste n’est sélectionnée. 2 Sélectionnez Fichier > Exporter > Exporter tous les objets du mélangeur. Une zone de dialogue s’ouvre pour indiquer les réglages des pistes exportées. 3 Configurez les réglages d’exportation. S’il s’agit d’un projet DVD, sélectionnez le réglage de profondeur de bits audio de 16 bits ou 24 bits et une fréquence d’échantillonnage de 48 kHz. 4 Cliquez sur Exporter. Un fichier AIFF individuel est exporté pour chaque piste, chaque bus et chaque sortie dont le son n’est pas désactivé. Exportation à partir de Soundtrack Pro avec Compressor L’exportation à partir de Soundtrack Pro avec Compressor offre des options supplémentaires, notamment la possibilité d’exporter des fichiers audio AC-3. Consultez la section “Pourquoi créer des fichiers AC-3 ?” à la page 55 pour plus d’informations sur les avantages des fichiers audio au format AC-3 dans vos projets DVD. Il existe deux types courants de fichiers AC-3 que vous pouvez créer avec Soundtrack Pro : stéréo et son surround 5.1. Les fichiers stéréo AC-3 sont généralement les plus faciles à créer, en particulier si les canaux de gauche et de droite sont déjà configurés. Dans ce cas, vous devez simplement choisir un préréglage Compressor à utiliser ; l’association des canaux est gérée automatiquement. Les fichiers audio Surround 5.1 nécessitent l’association des canaux de sortie physiques Soundtrack Pro avec les canaux de son surround. Vous devez d’abord configurer vos sorties afin qu’elles génèrent l’audio adéquat sur les canaux physiques appropriés. Important : pour cela, Compressor et Soundtrack Pro doivent être installés sur le même ordinateur. Pour exporter depuis Soundtrack Pro via Compressor : 1 Sélectionnez Fichier > Exporter > Avec Compressor. 2 Tapez un nom pour le fichier de sortie dans le champ Enregistrer sous. 3 Sélectionnez Conserver la vidéo ou Encoder la vidéo.  Si vous sélectionnez Conserver la vidéo, la vidéo n’est pas transcodée ; elle est simplement copiée vers le nouveau fichier.  Si vous sélectionnez Encoder la vidéo, la vidéo est transcodée avec le préréglage sélectionné. 54 4 Choisissez un préréglage à utiliser dans le menu local Conserver la vidéo ou Encoder la vidéo (en fonction de l’option sélectionnée). Vous pouvez modifier le préréglage ou en créer un nouveau personnalisé en cliquant sur Modifier les préréglages. Compressor s’ouvre. 5 Si vous exportez un fichier audio multicanal, cliquez sur “Modifier la présentation des canaux” pour ouvrir la zone de dialogue d’affectation de canal, choisissez le canal de sortie physique pour chaque canal du fichier exporté, puis cliquez sur OK. 6 Cliquez sur Exporter. Utilisation de Compressor dans votre projet DVD Studio Pro Même si vous pouvez importer directement des séquences QuickTime dans DVD Studio Pro et utiliser son encodeur MPEG intégré pour créer de la vidéo MPEG à partir des séquences, Compressor permet de bénéficier d’une plus grande souplesse lors de l’encodage. Les avantages offerts par Compressor pour coder vos ressources DVD Studio Pro incluent notamment :  Réglages d’encodage supplémentaires : Compressor contient plusieurs réglages d’encodage MPEG qui ne sont pas disponibles avec l’encodeur MPEG intégré, notamment plusieurs réglages de structure GOP (groupe d’images).  Encodage de sources 24p et HD pour les projets DVD SD : Compressor peut encoder des flux MPEG 24 ips au format NTSC. En outre, Compressor vous permet de réaliser une conversion vers le bas haute qualité de sources HD, facilitant ainsi la création de projets SD traditionnels de haute qualité à partir de séquences Final Cut Pro.  Encodage de sources HD pour les projets de DVD HD : Compressor peut encoder de la vidéo HD non compressée et DVCPRO dans les flux vidéo MPEG-2 ou H.264 requis par DVD Studio Pro.  Encodage de séquences audio AC-3 : Compressor peut encoder de l’audio dans des flux audio Dolby Digital AC-3. L’utilisation d’audio compressée dans vos projets DVD réduit l’espace disque requis. Étant donné que les fichiers AC-3 nécessitent un débit nettement inférieur aux fichiers audio AIFF créés par l’encodeur audio intégré à DVD Studio Pro, cela vous permet d’utiliser un débit supérieur pour les ressources vidéo.  Vidéo MPEG-1 : même si le format MPEG-2 permet d’obtenir des projets DVD SD de qualité optimale, le format MPEG-1 peut constituer une solution de remplacement satisfaisante lorsque vous devez faire tenir plus de vidéo sur le DVD. La résolution et le débit inférieurs du format MPEG-1 permettent d’obtenir des fichiers moins volumineux qu’avec le format MPEG-2. Compressor peut créer des fichiers vidéo MPEG-1 que DVD Studio Pro peut importer et utiliser en tant que ressources pour les pistes de vos projets SD. 55 À propos des méthodes de flux de travaux de Compressor Vous pouvez utiliser deux flux de travaux dans Compressor :  Méthode normale : utilisez les fenêtres de Compressor pour configurer tous les aspects du codage. Vous pouvez choisir parmi des réglages préconfigurés, appelés préréglages, ou créer des réglages personnalisés. Vous pouvez également configurer un lot de fichiers pour l’encodage. Le lot peut inclure de multiples fichiers de données source ou un seul fichier de données et les résultats codés peuvent adopter de nombreux formats. Consultez la section “Exportation d’une séquence avec Compressor” à la page 30 pour plus d’informations sur le processus.  Méthode avec droplet : vous pouvez créer des droplets qui serviront de raccourcis pour effectuer le codage. Les droplets facilitent grandement l’encodage de routine en imposant de faire glisser les fichiers à encoder sur l’icône de Droplet, sans qu’il soit nécessaire d’ouvrir d’abord Compressor. Ce dernier est créé à partir d’un préréglage ou d’un groupe de préréglages et d’une destination. Consultez la documentation de Compressor pour en savoir plus sur ces méthodes. Pourquoi créer des fichiers AC-3 ? Lors de la création de projets DVD, il arrive souvent que la quantité de ressources soit supérieure à la capacité de votre DVD. Une solution consiste à utiliser des données audio compressées plutôt que des données audio PCM et AIFF non compressées. L’utilisation de données audio compressées peut :  Réduire la quantité d’espace disque de DVD requise par vos ressources audio.  Réduire la bande passante dédiée à l’audio lors de la lecture du DVD, ce qui permet d’utiliser un débit vidéo plus élevé.  Permettre d’inclure du son surround Dolby Digital dans votre projet. Compressor inclut un encodeur Dolby Digital AC-3 capable de créer des fichiers audio contenant un à six canaux (son surround 5.1). L’encodeur AC-3 contient toutes les fonctions nécessaires à la création d’audio AC-3 compatible avec le format DVD à partir de fichiers audio non compressés. Important : l’encodeur AC-3 peut uniquement créer des fichiers surround 5.1 à partir des sources appropriées. Il ne peut pas créer du son surround 5.1 à partir d’une source stéréo. Idéalement, les fichiers source sont de l’audio non compressé (format AIFF ou PCM par exemple) avec une fréquence d’échantillonnage de 48 kHz. Cependant, Compressor peut utiliser des fichiers audio déjà compressés. Il est possible d’avoir des fichiers source distincts pour chaque canal, ce qui est souvent le cas pour le codage 5.1, ou d’utiliser des fichiers source contenant un ou plusieurs canaux audio. 56 Création de fichiers AC-3 avec Compressor La façon dont vous créez le fichier AC-3 varie selon que vous utilisez un fichier audio unique comme source ou plusieurs fichiers audio (comme c’est souvent le cas pour le son surround). Utilisation d’un fichier audio unique Vous pouvez utiliser les méthodes décrites dans la section “À propos des méthodes de flux de travaux de Compressor” à la page 55 pour encoder un flux AC-3 à partir d’un fichier source unique, avec Compressor qui affecte automatiquement les canaux audio. Lorsque vous sélectionnez un préréglage AC-3, Compressor associe automatiquement les canaux gauche et droit. Utilisation de plusieurs fichiers audio source L’encodage d’un fichier AC-3 à partir de plusieurs fichiers source est un peu différent de l’encodage à partir d’un fichier audio unique, car Compressor ne peut pas savoir automatiquement quel fichier affecter à quel canal. En outre, avec l’exception étudiée dans la section “Utilisation de plusieurs fichiers source avec des codes d’identification de canal” à la page 57, lorsque vous faites glisser plusieurs fichiers audio vers la fenêtre Lot, Compressor crée une tâche distincte pour chaque fichier. Pour encoder un fichier AC-3 à partir de plusieurs fichiers source : 1 Cliquez sur le bouton “Importer un groupe de sons Surround” de la fenêtre Lot. La zone de dialogue d’association audio apparaît. 2 Cliquez sur une icône représentant un haut-parleur afin d’ouvrir la zone de dialogue de sélection, puis sélectionnez le fichier pour ce canal audio. 3 Continuez avec les autres icônes de haut-parleur jusqu’à ce que vous ayez affecté des fichiers à chaque canal que vous souhaitez utiliser dans le fichier AC-3. 4 Cliquez sur OK afin de fermer la zone de dialogue d’association audio. 5 Configurez les réglages AC-3 dans l’Inspecteur. 6 Cliquez sur Soumettre dans la fenêtre Lot. 57 Utilisation de plusieurs fichiers source avec des codes d’identification de canal Compressor inclut la possibilité d’affecter automatiquement des fichiers audio aux canaux de son surround si leur nom de fichier contient des codes d’identification de canaux. Les codes d’identification des canaux apparaissent avant l’extension du fichier (si elle est présente), comme illustré dans l’exemple suivant : En faisant glisser un ensemble de fichiers avec les codes d’identification de canaux vers la fenêtre Lot de Compressor, vous pouvez créer une entrée de lot unique qui associe automatiquement les fichiers aux canaux appropriés pour un encodage de son surround. Création de fichiers AC-3 à partir d’audio Final Cut Pro Lorsque vous devez encoder de l’audio à partir de Final Cut Pro pour une utilisation dans un DVD, vous pouvez soit exporter l’audio directement vers Compressor, soit exporter les fichiers audio AIFF afin de les ouvrir dans Compressor. L’exportation de l’audio directement vers Compressor est le même processus que l’exportation de la vidéo directement vers Compressor. La différence est que vous sélectionnez un préréglage AC-3 à la place (ou en plus) d’un préréglage vidéo. Cette méthode fonctionne uniquement lorsque vous utilisez un fichier audio unique pour l’audio AC-3 et que vous pouvez vous baser sur Compressor pour affecter les canaux audio. Pour plus d’informations, consultez la section “Utilisation de Compressor avec Final Cut Pro” à la page 30. L’exportation de fichiers audio AIFF séparés est nécessaire lorsque vous devez pouvoir affecter les fichiers aux canaux audio, par exemple avec le son surround (5.1). Pour exporter des fichiers audio adaptés au codage en son surround 5.1, vous devez passer plusieurs fois par la phase d’exportation. Vous pouvez par exemple exporter un fichier stéréo contenant le son pour les canaux avant droit et gauche, un deuxième fichier contenant le son pour les canaux arrière droit et gauche, un troisième fichier contenant le son pour le canal central et un quatrième fichier contenant le son pour le canal LFE (Low Frequency Effects). Exemples de noms de fichiers Canal Identificateur MonFilm-L.aif Avant gauche -L MonFilm-R.aif Avant droit -R MonFilm-C.aif Avant centre -C MonFilm-RL.aif Surround gauche -RL MonFilm-RR.aif Surround droit -RR MonFilm-RC.aif Surround centre -RC MonFilm-LFE.aif Effets basse fréquence (subwoofer) -LFE 58 Pour exporter plusieurs fichiers audio Final Cut Pro pour l’encodage AC-3 : 1 Activez les pistes audio à exporter. Pensez à désactiver les pistes que vous ne souhaitez pas exporter car Final Cut Pro fusionne toutes les pistes activées en un seul fichier stéréo. 2 Sélectionnez Fichier > Exporter > Audio vers AIFF. 3 Configurez le fichier de sortie et cliquez sur Enregistrer. Remarque : avant de lancer l’exportation, veillez à sélectionner une fréquence d’échantillonnage de 48 kHz. Utilisation de LiveType dans votre projet DVD Studio Pro Vous pouvez utiliser LiveType pour créer des arrière-plans avec du texte pour les menus d’animation ou pour créer des titres vidéo que vous pouvez placer dans des zones de dépôt. Cela facilite la création de titres passionnants, avec un large éventail d’effets, notamment le rebond, l’étirement et le grincement. DVD Studio Pro tire automatiquement parti de l’arrière-plan transparent si votre projet LiveType en utilise un. Cela permet à DVD Studio Pro de composer les caractères de texte sur les autres éléments de menu lorsque votre projet LiveType est ajouté à une zone de dépôt. Vous pouvez même configurer la zone de dépôt à la même taille que la taille d’image vidéo du menu, de sorte que le texte apparaisse exactement comme dans LiveType. Importation d’un projet LiveType dans DVD Studio Pro Grâce à l’importation de fichiers de projets LiveType dans DVD Studio Pro, vous n’avez plus besoin de rendre une séquence QuickTime de votre titre LiveType chaque fois que vous souhaitez l’utiliser dans DVD Studio Pro. Pour importer un projet LiveType dans DVD Studio Pro, procédez de l’une des façons suivantes : m Faites glisser le projet LiveType dans l’onglet Ressources ou l’éditeur de menu de DVD Studio Pro. Lorsque vous faites glisser le projet LiveType dans l’éditeur de menu, vous pouvez alors choisir la façon dont DVD Studio Pro l’utilise dans la Drop Palette qui apparaît. m Choisissez Fichier > Importer > Ressource, puis sélectionnez le projet LiveType dans la zone de dialogue qui apparaît et cliquez sur Choisir. m Ajoutez le dossier contenant votre projet LiveType à l’onglet Vidéo de la palette DVD Studio Pro. Vous pouvez ensuite ajouter le projet en le faisant glisser dans l’emplacement adéquat, par exemple dans l’éditeur de menu, l’onglet Ressources ou la Timeline. 59 Apporter des modifications à un projet LiveType déjà importé dans DVD Studio Pro Bien que vous puissiez effectuer des tâches normales de création de DVD avec un projet LiveType, le contenu des titres LiveType ne peut pas être modifié dans DVD Studio Pro. Les réglages de titre LiveType ne peuvent être en effet modifiés que dans l’application LiveType. DVD Studio Pro permet d’ouvrir rapidement des plans LiveType directement dans l’application LiveType en vue d’en modifier le titre. Important : pour cela, DVD Studio Pro et LiveType doivent être installés sur le même ordinateur. Pour ouvrir et modifier un projet LiveType dans LiveType, à partir de DVD Studio Pro : 1 Effectuez l’une des opérations suivantes :  Sélectionnez le projet LiveType dans l’onglet Ressources, puis choisissez Fichier > Ressource > Ouvrir dans l’éditeur.  Cliquez sur le projet LiveType sous l’onglet Ressources tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Ouvrir dans l’éditeur dans le menu contextuel.  Double-cliquez sur le projet LiveType dans l’onglet Ressources. 2 Dans LiveType, apportez toutes les modifications nécessaires au titre LiveType. 3 Enregistrez le fichier de projet LiveType. 4 Retournez à DVD Studio Pro. Toute modification apportée au projet dans LiveType est automatiquement reflétée dans DVD Studio Pro. Apple Loops Utility User Manual  Apple Computer, Inc. © 2005 Apple Computer, Inc. All rights reserved. Under the copyright laws, this manual may not be copied, in whole or in part, without the written consent of Apple. Your rights to the software are governed by the accompanying software license agreement. The Apple logo is a trademark of Apple Computer, Inc., registered in the U.S. and other countries. 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. Every effort has been made to ensure that the information in this manual is accurate. Apple Computer, Inc. is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, the Apple logo, AppleScript, DVD Studio Pro, iTunes, Final Cut, Final Cut Pro, FireWire, Logic, Mac, Mac OS, Macintosh, QuickTime, and Soundtrack are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Finder is a trademark of Apple Computer, Inc. Apple Care is a service mark of Apple Computer, Inc., registered in the U.S. and other countries. Production stills from the films “Koffee House Mayhem” and “A Sus Ordenes” provided courtesy of Refuge Films. “Koffee House Mayhem” © 2004 Jean-Paul Bonjour; “A Sus Ordenes” © 2004 Eric Escobar. http://www.refugefilms.com 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. 3 1 Using Apple Loops Utility Some audio files you use in Soundtrack Pro can include metadata called tags. Tags provide information about the audio recorded in a file. Soundtrack Pro uses tags in one of two ways:  To help locate files using the Search feature in Soundtrack Pro  To provide information that Soundtrack Pro uses when matching the file’s tempo and key to the project tempo and key, for the best possible playback quality Both AIFF and WAV file formats can include tags. Libraries of audio files created for use with loop-based music software are usually tagged, and Soundtrack Pro recognizes the tags used in most popular file formats. What Is Apple Loops Utility? Apple Loops Utility is a companion application to Soundtrack Pro that you can use to view and manage tags in audio files. You can add and change tags using Apple Loops Utility; you can also tag multiple files, a process known as batch tagging . Apple Loops Utility can read both AIFF and WAV file formats. When you save changes you make to either type of file, the file is saved as an AIFF file, the default file format for Soundtrack Pro. The set of tags you can work with using Apple Loops Utility includes all of the tags in WAV files tagged for use with Sony’s ACID music application, as well as additional tags. Tagged audio files can also contain information about transients. Transients indicate where beats occur in the file, and Soundtrack Pro uses transients to play back audio files at the highest level of quality. Apple Loops Utility can detect transients present in an audio file, and you can use Apple Loops Utility to add markers for additional transients and move them to new locations. 4 The Apple Loops Utility Interface The interface consists of a window with two tabs: the Tags tab and the Transients tab. The bottom of the window includes a set of playback controls and file management buttons. Apple Loops Utility also includes an Assets drawer, located to the right of the main window, where you manage open files. Playback controls Assets drawer Tabs Main window 5 Tags Tab The Tags tab includes areas for different types of tags, and also includes a set of playback controls you can use to listen to a file open in Apple Loops Utility. Listening to a file can help you decide which tags are appropriate for the file. Property Tags  Number of Beats field: Displays the number of beats in the file.  File Type buttons: Set the file type, which can be Non-looping or Looping.  Key pop-up menu: Sets the key of the file.  Scale Type pop-up menu: Sets the file’s scale type. The choices are Major, Minor, Good for Both, and Neither.  Time Signature pop-up menu: Sets the file’s time signature. The choices are 4/4, 3/4, 5/4, 6/8, and 7/8.  Author field: Displays the name of the file’s author. You can enter a new name by typing in the field.  Copyright field: Displays the file’s copyright data, if it exists. You can enter new data by typing in the field.  Comment field: Displays any comments about the file. You can enter comments by typing in the field. 6 Search Tags These tags are used by the Search feature in Soundtrack Pro when you search for files matching specific criteria.  Genre pop-up menu: Displays choices for the musical genre of the file.  Instrumentation list: Displays choices for the musical instrument or instrument category recorded in the file. Selecting an instrument category in the left column displays the list of instruments in that category in the right column. File Info This area of the Tags tab includes rows with Kind, Length, Date Modified, Sample Rate, Channels, Tempo, and File Location information. This information is for viewing only, and cannot be edited in the Tags tab. Descriptors Descriptors are complementary pairs of keywords describing the mood or character of the music recorded in the file. Each pair of keywords has a row of buttons, allowing you to choose either one keyword from the pair, or neither keyword. Transients Tab The Transients tab contains a large waveform display, with a Beat ruler and a horizontal scroll bar. Markers indicate the position of transients in the file. Typically, transients correspond to the peaks or most pronounced amplitude changes in a sound’s waveform. The Transients tab includes controls for the beat division and sensitivity with which Apple Loops Utility detects transients in the file. You can also listen to the file using the playback controls to help determine where transients occur. Waveform of audio file Transient marker Sensitivity slider Transient Division pop-up menu 7 The Transients tab includes the following controls:  Transient Division pop-up menu: Sets the beat value at which Apple Loops Utility detects transients.  Sensitivity slider: Sets the degree of sensitivity at which Apple Loops Utility detects transients. Assets Drawer The Assets drawer lists the files open in Apple Loops Utility. The drawer, which is open when you open Apple Loops Utility, contains a Name column with the name of each open file, and a Changes column, which indicates any files to which you have applied changes. Add File and Remove File buttons Changes column 8 Playback and File Management Controls The bottom of the Apple Loops Utility window contains a set of playback controls so that you can listen to the file in Apple Loops Utility. The playback controls do not affect the file’s tags, only the playback of the selected file.  Go to Beginning button: Starts playback from the beginning of the selected file.  Play button: Plays back the selected file.  Stop button: Stops playback of the selected file.  Key pop-up menu: Transposes the selected file to a new key for playback.  Tempo slider: Sets the playback tempo of the selected file. You can also enter a value in the field.  Volume slider: Sets the playback volume of the selected file. You can also enter a value in the field. When multiple files are selected, the playback controls are not available. You cannot play more than one file at a time. There are two additional buttons at the bottom of the window, the Assets button and the Save button.  Assets button: Shows and hides the Assets drawer.  Save button: Saves your changes to the currently selected files in the Assets drawer. Play button Stop button Assets button Go to Beginning button Tempo slider Volume slider Key pop-up menu 9 Opening Files in Apple Loops Utility You can open audio files from within Apple Loops Utility, or directly from a Soundtrack Pro project. You can have up to 2000 files open at the same time. When you open files in Apple Loops Utility, the files are displayed in the File list of the Assets drawer. To open an audio file in Apple Loops Utility, do one of the following: m Choose File > Open, then select the file in the Open dialog. m Choose File > Open Recent, then choose a file from the submenu. m Click the Add File button in the Assets drawer. m Drag files from the Finder to the Assets drawer. To open an audio file from Soundtrack Pro into Apple Loops Utility: m Control-click the file in Soundtrack Pro, then choose Open in Apple Loops Utility from the shortcut menu. To open multiple files in Apple Loops Utility, do one of the following: m Choose File > Open, then Shift-click the files in the Open dialog. m Drag the volume or folder containing the files from the Finder to the Assets drawer. You can have multiple Apple Loops Utility windows open at the same time so that you can compare different files. Each time you open an Apple Loops Utility window, an Open dialog appears, letting you choose the file or files to open in that window. You can change the open window behavior in the Apple Loops Utility Preferences window. See “Apple Loops Utility Preferences” on page 14 for more information. 10 Tagging Files in Apple Loops Utility To tag files, you select the files in the Assets drawer, and then make changes to the selected files’ tags in the Tags tab. When you change the settings in the Tags tab, the changes are applied only to the currently selected files. When you make changes to a file’s tags, a dot appears in the Changes column next to the filename to indicate that the file has been changed. You can select a file or group of files and make one or several changes, and then select another file or group of files and make different changes. Apple Loops Utility remembers all the changes you make as you work with different files. When you finish making changes, you can save changes to only the currently selected files, or save changes to all files marked in the Changes column of the Assets drawer. Note: Changing a file’s tags has no effect on the actual audio data recorded in the file. Changing the tag for the number of beats, for example, only changes the information used when Soundtrack Pro searches for files, not the actual number of beats recorded in the audio file. Similarly, changing the tag for key has no effect on the actual musical key of the audio file. To tag a single audio file: 1 Select the file in the Assets drawer. (If the drawer is closed, click the Assets button to open it.) Note: When a single file is selected, you can use the Up and Down Arrow keys to move up and down the files in the Assets drawer. You can listen to the file using the playback controls. 2 Make the changes you want to the file’s tags in the Tags tab. See “Tags Tab” on page 5 for information about the options in the Tags tab. 3 Click Save to save changes to the selected file, or click Save All to save all changes. 11 Tagging Multiple Files When multiple files are selected, only the tags that apply to all the selected files can be changed. Items in the Tags tab that do not apply to all the currently selected files are dimmed and unavailable. Each tag has a checkbox. Select the checkbox next to the tags for which you want to save changes. To tag multiple files: 1 Select the files in one of the following ways:  Shift-click to select adjacent files in the Assets drawer.  Command-click to select nonadjacent files in the Assets drawer.  Press Command-Shift-A to select all files in the Assets drawer. 2 Make the changes you want to the available tags for the selected files in the Tags tab. See “Tags Tab” on page 5 for information about the options in the Tags tab. 3 Select the checkboxes next to the tags for which you want to save changes. 4 Click Save to save changes to the selected files, or click Save All to save all changes. There are many keyboard shortcuts to simplify the task of tagging files. For a complete list of keyboard shortcuts, see “Apple Loops Utility Keyboard Shortcuts” on page 15. Working With Transients Transients are the points in an audio file where beats occur. Typically, transients occur at the widest areas of a waveform in the waveform display. During playback, Soundtrack Pro adjusts looping files using a technique called stretching to achieve the best audio quality, based on the loop’s transients. Non-looping files are not affected by stretching. When you open a file in Apple Loops Utility, it looks for transients at every 16th note position, based on the file’s tags for tempo and the number of beats. You can change the beat value at which Apple Loops Utility detects transients using the Transient Division pop-up menu. To display a file in the Transients tab: m Select the file in the Assets drawer, then click the Transients tab. The Transients window can display only one file. If multiple files are selected, no waveform is displayed in the window. The waveform display in the Transients tab displays both the transients detected by Apple Loops Utility and transients you add to the file. You can add transients and move existing transients in the Transients tab. To add a new transient: m Click in the darker area above the Beat ruler in the waveform display. 12 To move a transient marker: m Drag the marker by its handle in the area above the Beat ruler. To change the beat value of detected transients: m Choose a beat value from the Transient Division pop-up menu. Choosing a larger beat value results in fewer transients being detected. Choosing a smaller beat value results in more transients being detected, if they are present in the audio recorded in the file. Sometimes transients occur at points in the audio file other than on a beat value. You can have Apple Loops Utility detect additional transients in the file using the Sensitivity slider. When you increase the sensitivity of transient detection, Apple Loops Utility considers points of higher amplitude in the waveform as transients, regardless of whether or not they occur at a beat value. To change the sensitivity of transient detection: m Drag the Sensitivity slider to the left to decrease the sensitivity, or to the right to increase the sensitivity of transient detection. To remove a transient, do one of the following: m Click the transient’s handle in the area above the Beat ruler, then press the Delete key. m Drag the transient out of the area above the Beat ruler. 13 Saving Changes to Files When you save changes in Apple Loops Utility, you can save changes to only the currently selected files, or to all files marked in the Changes column of the Assets drawer. Any other file tags are unchanged. This is especially useful when working with a large group of files. When saving multiple files, the checkbox next to the tag must be selected if changes to that tag are to be saved. For information about tagging multiple files, see “Tagging Files in Apple Loops Utility” on page 10. To save changes to the currently selected files: m Click the Save button. Saving changes to a large number of files may take several minutes. To save all changes: m Click the Save All button in the Assets drawer. To save multiple files to the same directory: 1 Choose File > Save As. 2 Navigate to the directory where you want to save the files, then click Save. When you save multiple files using the Save As dialog, the files are saved to the selected directory, and their names are unchanged. When you save changes to files in the WAV format, by default they are converted to the AIFF format and saved in the same location as the original WAV files. The new AIFF files have the same name as the WAV files, but with the .aiff file suffix. You can change this default behavior in the Apple Loops Utility Preferences window. See the following section, “Apple Loops Utility Preferences,” for more information. Removing Files From the Assets Drawer You can remove files from the Assets drawer. To remove files: m Select the file or files in the Assets drawer, then click the Remove File button at the top of the drawer (or press the Delete key). If you remove files to which you have applied changes, a dialog appears letting you choose whether to save or discard your changes. 14 Apple Loops Utility Preferences You can set preferences for the startup behavior and default file saving behavior in the Apple Loops Utility Preferences window. Startup  Show Open Panel On Launch: When selected, an Open dialog appears each time you open Apple Loops Utility. Saving  When Converting a WAV to AIFF:  Show Conversion Alert: Shows the conversion alert dialog when you try to save a WAV file.  Close WAV and Edit AIFF: Automatically converts the WAV to an AIFF, closes the WAV file, and opens the AIFF for editing.  Keep Working in WAV: Leaves the WAV file open. 15 Apple Loops Utility Keyboard Shortcuts General and File Navigation Key command Function Creates a new, blank Apple Loops Utility window and opens the Open dialog. Opens the Open dialog, from which you open files in Apple Loops Utility. Closes the current window. Closes the selected files. Saves changes to the currently selected files. If any of the files are WAV files, a dialog appears asking if you want to continue editing the files as WAV files or save them as AIFF files. Opens the Save As dialog to save the currently selected file with a new name. Saves all open files. Selects the file above the current file in the Assets drawer. Selects the file below the current file in the Assets drawer. Selects all files in the Assets drawer. x + N x + O x + W x + shift + W x + S x + shift + S x + option + S x + shift + A Key command Function Makes the Tags tab active. Makes the Transients tab active. Makes the Assets drawer active. F1 F2 F3 16 Key and Scale Type Tagging Key command Function Turns on keyboard tagging. Sets the key to A. Sets the key to A# (A-sharp). Sets the key to B. Sets the key to C. Sets the key to C# (C-sharp). Sets the key to D. Sets the key to D# (D-sharp). Sets the key to E. Sets the key to F. Sets the key to F# (F-sharp). Sets the key to G. Sets the key to G# (G-sharp). Sets the scale type to Major. Sets the scale type to Minor. Sets the scale type to Both. Sets the scale type to Neither. esc A shift + A B C shift + C D shift + D E F shift + F G shift + G M shift + M shift + B N 17 Descriptor Tagging For the following descriptor keyboard shortcuts, pressing the key once selects the first (left) item, pressing the key again selects the second (right) item, and pressing the key a third time selects Neither (the center button). Key command Function Single/Ensemble Part/Fill Acoustic/Electric Dry/Processed Clean/Distorted Cheerful/Dark Relaxed/Intense Grooving/Arrhythmic Melodic/Dissonant Sets Batch Tagging to All. Sets Batch Tagging to None. 1 2 3 4 5 6 7 8 9 F5 F6 18 Transients Key command Function Increases sensitivity. Decreases sensitivity. Increases sensitivity five times. Decreases sensitivity five times. Nudges the selected marker by one pixel to the left. Nudges the selected marker by one pixel to the right. Selects the previous marker. Selects the next marker. DVD Studio Pro 4 User Manual Copyright © 2009 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 Final Cut Studio 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 Cinema Display, DVD Studio Pro, Exposé, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, GarageBand, iDVD, iMovie, iPhoto, iTunes, Keynote, LiveType, Logic, Mac, Macintosh, Mac OS, Panther, PowerBook, QuickTime, Soundtrack, SuperDrive, and Tiger are trademarks of Apple Inc., registered in the U.S. and other countries. DVD@CCESS and Finder are trademarks of Apple Inc. AppleCare and iTunes Store are service marks of Apple Inc., registered in the U.S. and other countries. Adobe and Photoshop are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. “Dolby,” “Pro Logic,” and the double-D symbol are trademarks of Dolby Laboratories. Confidential Unpublished Works, © 1992–1997 Dolby Laboratories, Inc. All rights reserved. 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 11 Welcome to DVD Studio Pro 11 About DVD Studio Pro 11 About DVD Studio Pro Documentation 11 Additional Resources Chapter 1 13 Overview of Using DVD Studio Pro 13 Moving from iDVD to DVD Studio Pro 14 About Standard and High Definition DVDs 15 About DVD Studio Pro and HD Resolution DVDs 17 HD Video Assets 19 Brief Overview of the DVD Creation Process 25 What Makes a DVD Authoring System? 25 Hard Disk Storage 25 SCSI Devices 26 DVD Burners 29 DLT Drives 29 External Video and Audio Monitoring 31 Audio and Video Assets Chapter 2 33 Planning Your Project 33 Investigating Existing DVDs 34 Determining Your Target Audience and Playback Device 34 Deciding Which DVD Standard to Use 35 Deciding Which Video Standard to Use 35 Deciding What Content to Include 35 Creating a Storyboard 37 Designing the Menus and Buttons 37 Making Sure Your Content Will Fit 42 General DVD Limitations Chapter 3 45 How Do You Do That? 45 Creating a Simple DVD 47 Creating a Play One or Play All Project 50 Grabbing a Still Image from Your Movie 3 Contents 51 Adding Easter Eggs to Your Menus Chapter 4 53 Preparing Video Assets 53 Introduction to Preparing Video Sources 54 NTSC or PAL? 55 Using 24 fps Video 56 Choosing an Aspect Ratio 60 About MPEG Video 61 Encoding Video Materials for DVD 68 Using the Integrated MPEG Encoder 74 Encoding Video for Multi-Angle Tracks 76 Adding Markers to Your Video 80 About H.264 Video 81 About HDV Video 82 DVD Video Source Settings Summary Chapter 5 87 Preparing Audio Assets 87 Introduction to Preparing Audio Sources 88 Audio Formats Not Supported by the DVD Specification 88 Audio Formats Supported by the DVD Specification and DVD Studio Pro 91 Using Multiple Audio Formats in Your Project 91 Required Audio Formats for SD Projects 92 DVD Audio Source Settings Summary Chapter 6 95 Preparing Menu Assets 95 Introduction to Preparing Menu Sources 96 What Is a Menu? 96 Creating a Menu 97 Creating Graphics to Use in Menus 101 Creating Overlays 106 Creating a Layered Menu 106 Creating Video for Motion Menus 107 Defining the Menu Loop Point 108 Creating Shapes 112 Creating Graphics for Drop Zones and Buttons Chapter 7 113 Preparing Slideshow Assets 113 Slideshow File Formats 114 Aspect Ratio and Resolution 114 Colors 114 Audio Chapter 8 115 Preparing Alpha Transitions 115 Introduction to Preparing Alpha Transitions 4 Contents 116 Transition Asset Folder 117 Asset Movie 118 Asset Matte Movie 119 Background Matte Movie 119 About Alpha Transition Durations 120 About NTSC and PAL Alpha Transitions Chapter 9 121 Starting a Project 121 Opening DVD Studio Pro 124 Setting DVD Studio Pro Preferences 138 Creating a New Project 143 Opening an Existing Project 145 Video Standards of the World 145 Changing a Project’s Video Standard 146 Changing a Project’s DVD Standard Chapter 10 149 The DVD Studio Pro Interface 150 Introduction to the DVD Studio Pro Interface 152 Configuring the Interface 154 Working with the Quadrants 157 Working with the Tabs 161 Overview of the Quadrant Tabs 167 Inspector 168 Palette 174 Toolbar 177 Drop Palette 177 Comparing the Outline and Graphical Project Views 178 Using the Outline Tab 180 Using the Graphical Tab 190 Managing Elements Using the Outline and Graphical Tabs Chapter 11 195 Importing and Managing Assets 195 How DVD Studio Pro Manages Assets 201 About the Assets Tab 207 Importing Assets 213 Removing Selected Assets 213 Renaming Assets 214 Refreshing Still and QuickTime Assets 216 Opening Assets in Their Editor 216 Identifying an Asset 216 Previewing Assets 218 Asset Inspector Contents 5 Chapter 12 219 Introduction to Creating Menus 219 About Menus 224 About the Menu Editor 231 Starting and Working with a Menu Chapter 13 241 Creating Menus Using the Standard Method 242 About Standard Menus 243 Choosing the Menu’s Background 246 Choosing the Menu’s Overlay 248 Understanding Color Mapping 256 Configuring the Menu Inspector for Standard Menus 265 Adding Buttons to Your Menu 281 Configuring Button Navigation 285 Adding Drop Zones to Your Menu 288 Working with Assets in Buttons and Drop Zones 288 Adding Text Objects to a Menu 291 Adding Audio to a Menu 292 Configuring the Menu’s Drop Shadow Settings 293 Configuring Motion Menu Settings 296 Options in the Drop Palette for Standard Menus 296 Drop Palette for Standard Menus—Dragging Assets 304 Drop Palette for Standard Menus—Dragging Project Elements 309 Drop Palette for Standard Menus—Dragging Templates and Styles Chapter 14 313 Using Templates, Styles, and Shapes to Create Your Menus 313 Introduction to Templates, Styles, and Shapes 314 What Are Templates and Styles? 316 Templates and Styles in the Palette 321 Applying a Template or Style 323 Setting Default Styles 324 Creating a Template or Style 326 Importing Templates and Styles 327 Deleting Templates and Styles 329 Managing Shapes Chapter 15 335 Creating Menus Using the Layered Method 335 About Layered Menus 336 Choosing the Menu’s Background 338 Choosing the Menu’s Overlay 338 About the Menu Inspector for Layered Menus 343 Adding Buttons to Your Layered Menu 344 About Layered Menu Button Properties 6 Contents 348 Options in the Drop Palette for Layered Menus 349 Drop Palette for Layered Menus—Dragging Assets 353 Drop Palette for Layered Menus—Dragging Project Elements Chapter 16 357 Using Advanced Menu Features 357 Adding Intro and Transition Clips to Menus 364 Using Languages with Menus Chapter 17 369 Creating and Editing Tracks 370 About Track Limits in a DVD 370 Working with a Track’s Assets 371 How Many Tracks Should You Have? 371 About Subtitle Streams 371 DVD Studio Pro Tools for Working with Tracks 372 Creating Tracks 373 Opening Tracks 373 Setting Track Properties 377 About the Track Editor 377 Configuring the Track Editor 380 Understanding Time Information in the Track Editor 384 Supported Asset Types 386 Adding Video and Audio Assets 390 Editing Video and Audio Clips 392 Setting Stream Properties 393 Exporting an MPEG Clip 393 Working with Markers 394 About Marker Placement 395 Creating and Editing Markers 397 Adding Markers to a Track Without a Video Clip Assigned 397 Importing Markers from an Editor 399 Importing Markers from a Text List 399 About the Marker Types 401 Setting Marker Properties 403 Introduction to Stories 404 Creating a Story for a Track 404 Using the Story Editor 405 Setting Story Properties 407 Setting Story Entry Properties 407 Simulating a Story 408 Adding Alternate Video Streams 410 Using Still Clip Transitions 413 Viewing a Track Contents 7 Chapter 18 417 Creating Slideshows 417 Introduction to Slideshows 418 Want Your Slideshows to Do More? 418 File Formats for Slideshows 419 Adding a Slideshow to Your Project 420 Creating a Slideshow Using the Menu Editor 421 Working with Slides in a Slideshow 424 Adding Audio to Your Slideshow 427 Working with Slideshows 437 Setting Slideshow Properties 440 Setting Slide Properties 441 Previewing a Slideshow 442 Simulating a Slideshow Chapter 19 443 Creating Subtitles 443 Introduction to Subtitles 445 Importing Older DVD Studio Pro Subtitles 445 Subtitles and Overlays 445 About Subtitles and Closed Captions 446 Subtitle Stream Basics 448 Subtitle Inspector 454 What Happens with Different Aspect Ratios? 455 Viewing Subtitles 457 Creating Subtitles with DVD Studio Pro 463 Importing Graphics Files for Subtitles 464 Creating and Importing Subtitle Files 465 Importing a Subtitle File 467 Creating an STL Format Subtitle File 471 Creating Buttons over Video 473 Configuring a Button over Video Subtitle Clip Chapter 20 477 Creating Scripts 477 Introduction to Scripts 478 Pre-Scripts 479 Scripting Overview 480 The Scripting User Interface 481 About the Script Tab 484 About the Script Inspector 485 About the Script Command Inspector 486 Creating and Testing Scripts 489 Script Command Details 499 System Parameter Register Memories List 8 Contents 500 System Parameter Register Memories Details 511 Using Bit-Wise Operations 512 General Purpose Register Memories 517 Scripting Examples 525 Language Code Table Chapter 21 531 Establishing Connections 531 About Connections 532 Connections Tab 533 Connection Items 537 Making Connections 540 Connection Details 540 Source Details 547 Target Details Chapter 22 549 Finishing a Project 549 About the Final Steps of DVD Creation 550 Should You Burn, Build, Format, or Build and Format? 552 Options for Testing Your Project 552 Simulating Your Project 559 Setting Disc Properties 566 Building Your Project 575 Emulating Your Project Using DVD Player 577 Setting Disc Format Properties 577 About DVD-ROM Discs 580 About Dual-Layer Discs 584 About Two-Sided Discs 584 Formatting Your Project 590 Reading a DLT Drive Chapter 23 591 Using Advanced Features 591 VTS Editor 598 DVD@CCESS 602 User Operations 607 Display Condition 612 Remote Control Settings 614 Line 21 Settings for Closed Captions Appendix A 617 Keyboard Shortcuts 618 General Interface and Application Controls 619 General Project Controls 620 Adding Project Elements 621 Scrolling Through Lists Contents 9 622 Assets Tab 622 Connections Tab 623 Graphical Tab 624 Log Tab 624 Menu Tab (Menu Editor) 626 Outline Tab 627 Palette 627 Script Tab (Script Editor) 627 Simulator 628 Slideshow Tab (Slideshow Editor) 628 Story Tab (Story Editor) 628 Subtitle Editor 629 Track Tab (Track Editor) 631 Viewer Tab Appendix B 633 Importing Other Projects 633 Importing DVD Studio Pro 2 and DVD Studio Pro 3 Projects into DVD Studio Pro 4 Appendix C 635 Calculating Disc Space Requirements 635 Calculating a Project’s Disc Space Requirements 640 Using the Calculated Bit Rate Appendix D 641 Transition Parameters 641 Transition Duration 641 Video Transition 642 Alpha Transitions 642 Standard Transitions Glossary 647 10 Contents DVD Studio Pro is software for authoring DVD-Video titles. It is both powerful and easy to use. This preface covers the following: • About DVD Studio Pro (p. 11) • About DVD Studio Pro Documentation (p. 11) • Additional Resources (p. 11) About DVD Studio Pro DVD Studio Pro lets you work with audio, video, graphics, and text materials that you have already created and edited and orchestrate them into a DVD that can be played on a DVD player or a suitably equipped computer. If you have used such production tools as Final Cut Pro, Adobe Photoshop, Media 100, or Discreet cleaner, DVD Studio Pro will be easy for you to learn. You can use DVD Studio Pro for everything from constructing sophisticated training materials, corporate presentations, sales tools with web links, or high-quality event videos, to preparing a motion picture for release on DVD. About DVD Studio Pro Documentation DVD Studio Pro comes with documentation that will help you get started as well as provide detailed information about the application. • DVD Studio Pro User Manual: This is a comprehensive document that describes the DVD Studio Pro interface, commands, and menus, and gives step-by-step instructions for creating DVD Studio Pro 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 DVD Studio Pro, there are a variety of other resources you can use to find out more about the application. 11 Welcome to DVD Studio Pro Preface DVD Studio Pro Website For general information and updates, as well as the latest news on DVD Studio Pro, go to: • http://www.apple.com/finalcutstudio/dvdstudiopro 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 web page. 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 DVD Studio Pro, go to: • http://www.apple.com/support/dvdstudiopro For discussions forums for all Apple products from around the world, where you can search for an answer, post your question, or answer other users’ questions, go to: • http://discussions.apple.com 12 Preface Welcome to DVD Studio Pro DVD Studio Pro plays a key part in delivering your video projects to your viewers. This chapter covers many of the basics you need to know about to author and burn successful DVDs. This chapter covers the following: • Moving from iDVD to DVD Studio Pro (p. 13) • About Standard and High Definition DVDs (p. 14) • About DVD Studio Pro and HD Resolution DVDs (p. 15) • HD Video Assets (p. 17) • Brief Overview of the DVD Creation Process (p. 19) • What Makes a DVD Authoring System? (p. 25) • Hard Disk Storage (p. 25) • SCSI Devices (p. 25) • DVD Burners (p. 26) • DLT Drives (p. 29) • External Video and Audio Monitoring (p. 29) • Audio and Video Assets (p. 31) Moving from iDVD to DVD Studio Pro The Apple entry-level DVD authoring application is iDVD. It allows you to create simple DVD-Video titles with some of the most popular features found in Hollywood-style releases, without having to know any technical details about the process. The interface and feature set are configured to make the process nearly foolproof. Eventually, however, you will find yourself requiring features beyond those that iDVD offers. DVD Studio Pro gives you access to a wide range of professional features outlined in the DVD specification: • Support for multiple video, audio, and subtitle streams, making it easy to create discs that support multiple languages or add features such as a director’s commentary 13 Overview of Using DVD Studio Pro 1 • Additional menu functionality. For example, you can create and add up to 36 buttons, control the navigation between them, and have more flexibility when assigning their functions. • Alternate ways to play back movies. You can use the DVD Studio Pro story feature to control how a movie plays. • Support for web interactivity. You can embed links to websites or other documents into your DVD title. • Many advanced features supported by the DVD specification, such as dual-layer discs and copy protection DVD Studio Pro offers several workflows and work styles for creating DVD projects, including templates and the drag-and-drop method used within iDVD. This makes DVD Studio Pro easy to learn while still providing the advanced features you need. About Standard and High Definition DVDs Standard definition (SD) DVDs provided most viewers with their first digital video experience. The great video quality, interactive menus, and surround sound audio found on current DVDs set a high standard for viewer expectations. Meanwhile, the establishment of high definition (HD) video format standards and the increasing availability of HD broadcasts have led to more and more viewers having HD video monitors, and even higher expectations for DVDs. These expectations, along with the development of improved compression technologies and a blue laser technology that greatly increases a disc’s storage capacity, have led to the ability of recording HD video onto a DVD. 14 Chapter 1 Overview of Using DVD Studio Pro But Aren’t DVDs Already High Definition? In addition to traditional 4:3 aspect ratio video, traditional DVDs support widescreen 16:9 video, which is often mistaken for being high definition. The 16:9 video used on current DVDs, however, is the same resolution as the 4:3 video, which is the same as the standard NTSC and PAL broadcast resolutions. The 16:9 video must be anamorphic, which makes it appear horizontally squashed when viewed on a 4:3 monitor. This leads to a logical next question—what constitutes high definition video? While most HD video formats use a 16:9 aspect ratio, what generally defines whether or not they are HD is the resolution. Video resolutions that result in more pixels per frame than are used in SD-based DVDs are considered high definition. There are two common HD vertical resolutions: 720 lines and 1080 lines (used for both NTSC and PAL). These compare to NTSC’s 480 lines and PAL’s 576 lines for SD video. As with SD-based DVDs, the scanning method used on HD-based DVDs can be interlaced, with a video frame containing one field with the odd lines and another field with the even lines, or progressive, where each frame is complete. Not all HD formats support progressive scanning, however. See Supported Video Resolutions for details on supported SD and HD video formats, including frame rates and scanning methods. See About DVD Studio Pro and HD Resolution DVDs and HD Video Assets for more information about creating HD projects in DVD Studio Pro. About DVD Studio Pro and HD Resolution DVDs In addition to supporting standard definition (SD) format video DVDs, DVD Studio Pro supports creating high definition (HD) format video DVDs. With the exception of support for HD video resolutions and the number of buttons on menus and button over video subtitles, HD projects in DVD Studio Pro have the same limits as SD projects. There are two aspects to creating DVDs with HD content: what you can put into the DVD video zone and the DVD disc media. DVD Video Zone with HD Content While the contents of the DVD video zone for an HD-based DVD (HVDVD_TS) are similar to those of an SD-based DVD video zone (VIDEO_TS), there are some important differences: • HD-based DVDs support a broad range of video resolutions, including most of those used in SD-based DVDs. See Supported Video Resolutions for a complete list of supported resolutions. Chapter 1 Overview of Using DVD Studio Pro 15 • In addition to supporting SD MPEG-2 video encodes, HD-based DVDs support HD MPEG-2 and H.264 video encodes. These are discussed in HD Video Assets. Blue Laser Disc Media Due to the improved video resolution possible with HD video, the encoded video files for HD resolution DVDs can be larger than those used with SD resolution DVDs. For that reason, a media format based on a blue laser was designed specifically for DVD projects containing HD video. See the following table for a comparison of SD and HD disc sizes. Disc Red laser capacity Blue laser capacity Single-sided, single-layer 4.7 GB 15 GB Single-sided, dual-layer 8.54 GB 30 GB In addition to blue laser based DVD media, an HD project’s DVD video zone can be written to DVD media based on the red lasers used by traditional DVDs. (The obvious limitation is that you will not be able to fit as much video data on the disc.) Important: SD-based DVD players are not able to play DVD projects containing HD content, whether they are on red or blue laser media. Additionally, only HD projects on special 3x DVD-ROM red laser media are officially supported in the HD DVD specification. You can burn HD projects to traditional red laser media on your system; however, the discs might not play in all HD DVD players. Supported Video Resolutions All video resolutions supported by SD-based DVDs are also supported by HD-based DVDs. This means that an HD-based DVD can use an HD video resolution for the main feature, then use an SD video resolution for extras. The following list includes the SD and HD video resolutions supported by DVD Studio Pro. Note: MPEG-1 encoded video files are not supported in HD projects. NTSC Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate the progressive scanning method. Resolution Frame rate Aspect ratio Notes 352 x 240 29.97i 4:3 Also known as SIF format 352 x 480 29.97i 4:3 Also known as 1/2 D1 704 x 480 29.97i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic 720 x 480 29.97i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic 720 x 480 59.94p 16:9 HD only, also known as 480p; is anamorphic 1280 x 720 59.94p 16:9 HD only, also known as 720p 1440 x 1080 29.97i 16:9 HD only; 16:9 is anamorphic 16 Chapter 1 Overview of Using DVD Studio Pro Resolution Frame rate Aspect ratio Notes 1920 x 1080 29.97i 16:9 HD only, also known as 1080i PAL Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate the progressive scanning method. Resolution Frame rate Aspect ratio Notes 352 x 288 25i 4:3 Also known as SIF format 352 x 576 25i 4:3 Also known as 1/2 D1 704 x 576 25i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic 720 x 576 25i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic 720 x 576 50p 16:9 HD only, also known as 576p; is anamorphic 1280 x 720 50p 16:9 HD only, also known as 720p 1440 x 1080 25i 16:9 HD only; 16:9 is anamorphic 1920 x 1080 25i 16:9 HD only, also known as 1080i Using 24P Video Formats Both SD and HD projects can use assets encoded at 24 fps, as long as they are encoded specifically with NTSC or PAL flags set. Note: For NTSC, 24 fps is actually 23.976 fps, although it is most often referred to as 23.98 fps Video at 24 fps has two main advantages: it matches the film frame rate, and, in the case of NTSC, provides much smaller files due to having six fewer frames per second. See Importing 24 fps Assets for more information. HD Video Assets There are a variety of sources for HD video assets to use in your HD projects, with the most common being DVCPRO HD and HDV camcorders. • With DVCPRO HD, once you have finished editing the video, the result will need to be encoded to the HD MPEG-2 or H.264 video format. • With HDV, which is already compliant MPEG-2 HD video, you can edit the video in Final Cut Pro and import the result directly in your HD projects. Chapter 1 Overview of Using DVD Studio Pro 17 DVD Studio Pro supports HD video encoded using the HD MPEG-2 codec and the H.264 codec. Both of these formats are playable with the Apple DVD Player. You can use Compressor to encode video to either of these formats. When you import HD resolution QuickTime video, such as DVCPRO HD video, into DVD Studio Pro, it is HD MPEG-2 encoded using the integrated MPEG encoder. Using HDV Assets The HDV format uses MPEG-2 encoding to store HD video on a standard DV or Mini DV tape. Two video resolutions supported by the HDV format: • 1280 x 720 (720p) at 19 Mbps • 1440 x 1080 (1080i or 1080p) at 25 Mbps (which is anamorphic 16:9) Imported HDV assets have the video and audio separated into elementary streams (the HDV format combines the video and audio into a single file), but are not otherwise processed or converted. Important: The HD DVD specification does not support all HDV frame rates. See About HDV Video for more information. Using H.264 Assets You can use the H.264 for HD DVD presets included with Compressor to encode several supported HD and SD video resolutions for use in your HD projects. The H.264 encoder is twice as efficient as the standard MPEG-2 encoder. When compared to encoding with MPEG-2, this means that with the H.264 encoder: • You can use a lower bit rate to get the same quality, resulting in smaller files. • You can use the same bit rate and get better quality with the same file size. See About H.264 Video for more information. Using DVCPRO HD and Uncompressed HD Assets Another source of HD assets for your HD projects is video encoded with the DVCPRO HD compression types or uncompressed video. DVCPRO HD video, like DVCPRO SD video, and uncompressed video cannot be used directly in your DVD Studio Pro projects. You can import them, however, and DVD Studio Pro will automatically encode them to compatible HD MPEG-2 assets using the integrated MPEG encoder. You can also encode them to HD MPEG-2 or H.264 using Compressor or QuickTime. Note: Using the Animation codec with HD resolution video can significantly reduce your computer’s performance and should be avoided if possible. An alternative is to use the Apple Intermediate Codec. 18 Chapter 1 Overview of Using DVD Studio Pro Brief Overview of the DVD Creation Process You can create many different styles of DVDs with DVD Studio Pro, from corporate presentations to training materials to event videos to feature films. While the content and structure of each style may vary considerably, they all use the same basic DVD creation process. Edit raw sources • iMovie • Final Cut Pro • Final Cut Express Author the DVD with DVD Studio Pro DVD burner (SuperDrive) DLT drive Replication facility Encode assets. Create menus, tracks, slideshows. Build and format the project. Duplication facility Other sources • Compressor • Motion • Soundtrack Pro • Color • LiveType • Logic Pro • GarageBand • iTunes • iPhoto • Keynote There are four stages to the DVD creation process: Stage 1: Creating Your Source Material The first part of the DVD creation process is to create or assemble your source material. See Creating Source Material for more information. Stage 2: Encoding Audio and Video to Compatible Formats Once you have created your source materials, they must be encoded to comply with the DVD specification. See Encoding Video and Audio for more information. Stage 3: Authoring Your DVD Title You use DVD Studio Pro to orchestrate your video, audio, and graphics material into an interactive DVD-Video title, complete with menus, buttons, subtitles, and alternate languages or soundtracks. See Authoring with DVD Studio Pro for more information. Stage 4: Building the Project and Creating Your Disc Creating a disc involves two steps: building the DVD-formatted video zone and formatting it for how you intend to deliver it. See Creating a Disc for more information. It’s important to understand the entire process, and how DVD Studio Pro is used in the process, before you begin your DVD projects. Chapter 1 Overview of Using DVD Studio Pro 19 Creating Source Material The first part of the DVD creation process is to create or assemble your source material. This might mean shooting video, recording voice or music tracks, designing graphics to be included, and planning the general functionality of your project. If you are converting an existing video program into a DVD, you may only need to gather your original video and audio material and design graphics for the menus that will weave them together. You can use whatever tools you prefer for creating your video and audio material, as long as the resulting files are compatible with the MPEG or H.264 encoder that you plan to use. In most cases, your video and audio assets will be created and saved as QuickTime movie files or in standard sound file formats like AIFF, WAVE, or SoundDesigner II. Your program material should be completely edited, including any special effects, audio fades, and scene transitions, before you encode it. Menu graphics can be still image files, multilayer Photoshop files, or full-motion video. To create the menu graphics, you can use virtually any graphics program. DVD Studio Pro includes extra support for Adobe Photoshop (PSD) files, taking advantage of Photoshop’s “layers” feature to simplify the creation of backgrounds and overlays. Also included is support for the menu loop point you can set in Motion. If you plan to include alternate-language subtitles in your DVD project, you will want to have your soundtrack transcribed and translated. The most important thing you can do when preparing your assets is to use the highest-quality settings available. Any flaws in your material will be revealed on DVD much more quickly than in any other medium. Once they are encoded into a DVD-compliant format, DVD Studio Pro does not improve or degrade the quality of your source material in any way; if you use high-quality source materials, you’ll get high-quality results. Here are some guidelines to help you maintain high quality. • Capture and edit your video material at the same resolution that you will use on the DVD (typically 720 x 480 at 29.97 frames per second [fps] for NTSC or 720 x 576 at 25 fps for PAL for SD-based DVDs). • When recording and editing audio, use a 48 kilohertz (kHz) sample rate and no compression. This assures the best quality whether you use the uncompressed audio on the DVD or decide to use the Compressor AC-3 encoder to compress it. Important: When creating DVDs, your audio must have either a 48 kHz or 96 kHz sample rate. You cannot use the 44.1 kHz sample rate found on standard audio CDs. In most cases, the DVD Studio Pro embedded AIFF encoder will convert your audio to the correct sample rate if necessary. 20 Chapter 1 Overview of Using DVD Studio Pro • When saving video material to the QuickTime format, either specify no compression (which requires a lot of disk space) or use a high-quality compression codec like DV or Motion JPEG. Encoding Video and Audio Once you have created your source materials, they must be encoded to comply with the DVD specification. DVD Studio Pro can use materials encoded using its integrated MPEG and AIFF encoders, as well as materials encoded using the Apple Compressor application and other methods. What Is Needed for DVD? Before video or audio material can be used on a DVD, it must be prepared in one of the formats defined in the DVD specification. This usually means MPEG-2 format for video and Dolby AC-3 format for audio files (although you can also use standard PCM audio formats, such as AIFF files, DTS format files, and MPEG-1 Layer 2 formatted files). SD projects also accept the older MPEG-1 video format, most commonly seen in web-based applications. Because MPEG-1 is about one quarter the resolution of MPEG-2 (352 x 240 as opposed to 720 x 480 for NTSC or 352 x 288 versus 720 x 576 for PAL) and utilizes much lower data rates, the quality is significantly lower. However, MPEG-1 is useful for very long programs if the picture quality is not of primary importance. Using MPEG-1 encoding, you can fit many hours of material on a single DVD. Important: You cannot use MPEG-1 formatted video assets in HD projects. MPEG encoding performs extremely complex calculations on your source material to determine what can be safely “thrown away” with minimal impact on the visual quality. As a result, MPEG encoding can produce files that are less than ten percent the size of the source files, while still looking great. Using the DVD Studio Pro Tools DVD Studio Pro includes integrated MPEG and AIFF encoders. When you add a QuickTime asset directly to your DVD Studio Pro project, it is automatically encoded to be DVD-compliant. You can choose whether the asset is encoded in the background while you continue authoring or whether the encode waits until you build your project. Also included with Final Cut Studio is Compressor, an encoding tool that provides additional MPEG encoding configurations and can process batches of video and audio clips in one step. Chapter 1 Overview of Using DVD Studio Pro 21 For many projects you will probably want to use a Dolby-certified AC-3 encoder (such as the AC-3 encoder included with Compressor). An AC-3 encoder can be used to encode multichannel surround soundtracks for inclusion on a DVD, as well as for stereo or mono soundtracks. Using AC-3 encoded audio results in smaller files and a lower playback bit rate. Uncompressed PCM audio formats (WAV or AIFF) have significantly larger file sizes and generally do not support specialized soundtrack formats, such as surround channels. Using Pre-Encoded Sources Many other available tools, including software and hardware encoders, produce MPEG streams. You can use any MPEG encoder you prefer, as long as it creates DVD-compliant elementary streams. This means that the audio and video information is contained in separate files (the streams). Important: DVD Studio Pro cannot use MPEG multiplexed System, Program, or Transport streams for DVD projects. See About MPEG Video for more information on DVD-compliant requirements. Authoring with DVD Studio Pro You use DVD Studio Pro to orchestrate your video, audio, and graphics material into an interactive DVD-Video title, complete with menus, buttons, subtitles, and alternate languages or soundtracks. DVD Studio Pro gives you complete control over every aspect of your DVD and lets you view its elements and simulate your DVD in real time as you create it. You can easily create menus, add buttons, and specify the actions that occur when the buttons are activated. You can define powerful linking and scripting functionality with just a few clicks. And the Inspector gives you a complete picture of all the characteristics of any item in your project. Authoring in DVD Studio Pro consists of these basic steps: Stage 1: Setting the DVD and Video Standard You can use DVD Studio Pro to author traditional SD-based DVDs or HD-based DVDs using either NTSC or PAL frame rates. It is important to set this before importing your assets because these settings control what happens when QuickTime assets are imported. Stage 2: Importing Assets Import your video, audio, graphics, and subtitle assets into DVD Studio Pro. If they are not already DVD-compliant, the integrated MPEG encoder automatically encodes them. Stage 3: Creating Menus Create one or more menus to define the structure and navigation of your DVD. The menus can rely completely on the supplied templates and styles or can use your own graphics. 22 Chapter 1 Overview of Using DVD Studio Pro Stage 4: Adding Buttons to the Menus Add one or more buttons to your menus. The display mode (4:3, 16:9 Letterbox, and so on) and DVD standard (SD DVD or HD DVD) determine the maximum number of buttons each menu can have. Each button can initiate a wide variety of actions, the most common being to open a different menu, play a track, or run a script. This hierarchy of menus and buttons gives you tremendous flexibility in constructing an “interactive” program in which the viewer has numerous options to choose from. Stage 5: Creating Tracks and Slideshows Create one or more tracks, each consisting of one or more video streams, audio streams, subtitle streams, chapter markers, and stories. Create one or more slideshows, each consisting of still images and, optionally, audio. Tracks and slideshows can also be created by dragging assets to the Menu Editor and choosing options from the Drop Palette. Stage 6: Linking the Project Elements Set up the various actions and links that will make your project work as it should when viewed. For example, you can set what happens when a DVD player first starts playing the disc, what happens when a track finishes playing, and what happens if the player sits idle at a menu for a specific amount of time. Stage 7: Simulating Your Project View your elements and test your project as you go using the real-time DVD Simulator built in to DVD Studio Pro. This process allows you to verify the links between the project elements. Stage 8: Building and Burning Your Project Build the completed project and either send it to a replication facility or burn a DVD on your own system. Creating a Disc Creating a disc involves two steps: building the DVD-formatted video zone (VIDEO_TS for SD-based DVDs and HVDVD_TS for HD-based DVDs) and formatting it for how you intend to deliver it. Building the Video Zone When you build your SD-based DVD project, a set of files is created and stored on your hard disk in a folder named “VIDEO_TS” (video title set). The contents and structure of this folder are strictly defined by the DVD specification. HD projects store their files in a folder named “HVDVD_TS.” When you build your project within DVD Studio Pro, it combines all the material you’ve included (video, audio, and subtitles for the menus and tracks) into a single stream and writes it to this special folder. Using DVD Player, which is included with your operating system, you can open and play the contents of this folder, just as if it were on a DVD disc. Chapter 1 Overview of Using DVD Studio Pro 23 Formatting and Burning Depending on the quantity of DVD discs you need, you can: • Burn one or more DVDs on your system (if properly equipped): This is a quick way to create a test disc. Note: You cannot add high-end features such as copy protection. • Send a burned disc to a duplicator who can burn additional copies for you: This allows you to create more discs than you would want to burn on your own system at a lower cost than using a replicator. Because the copies are based on a disc you burn on your system, the duplicated discs have the same restrictions as when you burn on your system. • Prepare suitable files to send to a DVD replication facility: Use a replicator to make copies that are compatible with all DVD players, to create larger quantities of discs, and to include specialized features not supported by your system’s DVD burner. If you are using a DVD replication facility, you can deliver your project to the facility in several ways: • DLT: Digital Linear Tape (DLT) is the preferred method for sending an SD DVD project to a DVD replication facility. DVD Studio Pro supports writing directly to a DLT drive. DLT is well suited to transporting DVD projects because of its reliability and very high capacity. Important: You cannot write HD DVD projects to a DLT drive. • Burned DVD: Many DVD replicators accept DVD discs that you’ve burned on your system for replication. There are special requirements if you want to include high-end features such as dual-layer and copy protection. See DVD Burners for more information on using burned DVD discs for replication, including information about the Cutting Master Format (CMF). • Hard Disk: You can format your SD or HD project to an external hard disk and send the hard disk to your replicator. By selecting a CMF or DDP format, you can also include advanced features such as copy protection. This method works especially well for large HD projects. • Electronic Copy: Some replicators have provisions that allow you to transfer the project’s build files directly to their server using the Internet. See Output Devices for information on using these methods for delivering projects to replicators. 24 Chapter 1 Overview of Using DVD Studio Pro What Makes a DVD Authoring System? The DVD Studio Pro installation booklet lists the minimum hardware and software requirements for using DVD Studio Pro to build DVD titles. However, you may find you need additional items beyond the minimum requirements to make up your DVD authoring system. Depending on the types of DVD titles you intend to create, your DVD authoring system can be an off-the-shelf Mac Pro with a SuperDrive or a specialized system with additional drives and hardware. See the following for more information: • Hard Disk Storage • SCSI Devices • DVD Burners • DLT Drives • External Video and Audio Monitoring Hard Disk Storage No matter what sort of titles you intend to create, you will be working with very large files. You should have at least twice as much hard disk storage space as the size of your project. (For DVD-5, for example, which can hold about 4.4 GB, you need 4.4 GB for the MPEG-2 encoded asset files and another 4.4 GB to hold the built, or compiled, project. An HD project can require about 60 GB to hold the asset and built project. Original asset files, such as DV format video, require much more space than the MPEG-2 encoded versions used in your DVD project.) For best build performance, dedicate two or three Ultra Wide A/V or FireWire hard disks to your project. (Make sure they contain only your media and no other programs that might fragment the disk and decrease performance.) If you have three disks, use one for video assets, one for audio assets, and the third for the finished files. If you have two disks, use one for source assets and one for final files. SCSI Devices Depending on your needs, you may need to add external devices—such as hard disks and DLT drives—that require SCSI support. To use SCSI devices, you must either have your Mac properly equipped when ordering it or add a third-party SCSI PCI card to your existing desktop computer. Contact your Apple Authorized Reseller or see the Support area of the Apple website for a list of suggested SCSI cards and devices. Chapter 1 Overview of Using DVD Studio Pro 25 DVD Burners Being able to burn a DVD is useful for both proofing your titles on set-top DVD players and burning the finished project (when only a small number of discs are required). You can also burn a disc for a duplication or replication facility to use as a master when larger quantities are needed. You cannot burn discs that support Macrovision copy-protection or Content Scrambling System (CSS) encryption. These must be created at a replication facility. Note: For best results, it is recommended that you supply the replication facility with a DLT tape or hard disk instead of a burned DVD disc. Be sure to confirm with the facility what formats it supports. Choosing a DVD Burner When choosing a DVD burner for your system, you have the option of using an Apple SuperDrive or other drives. Your choice depends in part on which media you want to use: whether you intend to burn on red laser or blue laser media and, in the case of red laser burners, whether to use general or authoring media. Note: You cannot burn SD projects to blue laser media. General Versus Authoring Media The first drives created to write DVD-R discs used a special red laser and expensive media and are known as authoring media drives. The most common DVD drives, however, use a less expensive red laser and media. Such drives are known as general media drives. Red laser DVD drives can write to either general or authoring media—not both. The SuperDrive supplied with many Apple systems supports only general media. To use authoring media, you need to connect a special DVD-R drive. Important: Be sure you write only to media supported by your drive. If the media is not labeled either general or authoring, it was likely manufactured before the existence of general drives and can be assumed to be authoring-compatible. The type of media you use only affects the writing of the disc. Both types of DVD drives and most DVD-ROM drives and set-top DVD players can read and play both general and authoring media. For most projects, there is no significant difference between a DVD created using general or authoring drives and discs. However, if you intend to use a replicator and require high-end features such as Macrovision copy-protection and CSS data encryption, you must use authoring media with an authoring drive. 26 Chapter 1 Overview of Using DVD Studio Pro Even with authoring media, you cannot burn a DVD that supports any of these high-end features on your own system. However, authoring media supports the Cutting Master Format (CMF), which can be used to add information required by the replicator to put these features on your discs. General media does not support CMF. See The Cutting Master Format for more information on the CMF standard. An Alternative Way to Use General Media While you cannot use the CMF format directly on general media discs, you can still use general media discs to deliver DVD projects with high-end features to your replicator by using them as data discs. In general, you format your project to your hard disk using a CMF or DDP format. You can then copy the resultant Layer 0 and Layer 1 folders to your DVD media (each layer to its own disc). While these discs are not DVD-Video discs and cannot be played in a DVD player, they do contain all the information the replicator needs to create the final discs. See Output Devices for more information about formatting to your hard disk. Important: Be sure to check with your replicator before making the discs. About the Different Types of General DVD Media There are several types of DVD media available that DVD Studio Pro can use. The type you should use depends on your requirements. For example, • If playback compatibility is a primary concern: Burning discs that can be played back on most set-top DVD players is often a high priority. Several variables affect this, including the media type, the brand of media, and the DVD player itself. In general, newer DVD players can play a wider variety of media types; however, there are exceptions to this. You should always test your burned DVDs on a variety of DVD players to verify compatibility. • If rewritable media is more efficient for you: Using rewritable DVD media can be very useful when you want to burn a test disc of a project to verify various aspects of it. For example, you might want to burn a disc just to verify that a menu or script works correctly on a set-top DVD player or to see the video quality of a clip on a variety of external monitors. Being able to make a change to the project and then reuse the disc to burn it saves having to use a new disc each time. • If you need to burn a dual-layer project: Being able to burn a dual-layer project to a DVD disc can be very useful. You should be aware, though, that there are big differences between DVD+R double-layer and DVD-R dual-layer media. Following is some general information on the types of media you are able to choose from. DVD-R and DVD+R These are “write-once” discs that tend to be the most widely compatible with DVD players. Chapter 1 Overview of Using DVD Studio Pro 27 DVD-RW and DVD+RW These rewritable discs can be erased and reused multiple times. While they cost a bit more than “write-once” discs, the ability to use them multiple times to verify various aspects of your project as you work on it can be very useful. However, rewritable discs tend to not be as compatible with DVD players as “write-once” discs. When you use DVD-RW and DVD+RW media, DVD Studio Pro first checks to see if the disc contains any files. If it is empty, the format proceeds. If there are files on the disc, an alert appears warning you that the disc will be erased if the format continues—you can then continue or cancel the format process. DVD+R Double-Layer You can use DVD+R double-layer media, often referred to as DVD+R DL, for burning your dual-layer projects. With DVD+R double-layer media, DVD Studio Pro places the layer break point and sets the switch point to be nonseamless as specified in your project. DVD+R double-layer discs require you to use the Opposite Track Path (OTP) direction setting when burning the disc. This means that the first layer must be larger than the second layer. See Setting the Dual-Layer Direction for more information. While DVD+R double-layer discs allow you to burn your dual-layer projects, they tend to have more compatibility issues than the other types of DVD media. DVD-R Dual-Layer If your system contains a DVD drive that can write to the new DVD-R dual-layer media, you can burn your DVD project to it with DVD Studio Pro. However, there are several issues: • Because currently DVD Studio Pro has no way to identify DVD-R dual-layer media as having two layers, burning a dual-layer project to it results in the appearance of an alert message telling you that the DVD media may have insufficient room to hold the project. This message is based on the assumption that the disc is single layer. Both layers of the disc will be written to as needed, however, when you click Continue. • If you are burning a dual-layer project, the break point you set will not affect where the layer break actually occurs. Instead, the first layer is written to until filled, at which point the drive switches to writing to the second layer. • The switch between layers is a seamless layer change not supported by some DVD players, which may stop playing the disc when the switch point is reached. Important: Do not use DVD-R dual-layer media unless these issues do not impact your project. Determining Which Media Types Your DVD Drive Supports Before using any of the media types described in About the Different Types of General DVD Media, you should verify that your DVD drive supports that type. 28 Chapter 1 Overview of Using DVD Studio Pro To verify the media types supported by your DVD drive 1 Choose Apple menu > About This Mac. 2 Click the More Info button in the About This Mac window. 3 Click the disclosure triangle next to Hardware to show the list of hardware devices. 4 Select the Disc Burning item in the hardware list. The DVD-Write line that appears in the information pane lists the supported media types. DLT Drives Digital Linear Tape (DLT) drives are the most reliable way to deliver SD DVD content to a replicator. They are also a good way to back up completed projects so that you can remove them from your hard disks and make room for your next project. SD DVD data written to DLT drives with DVD Studio Pro can use Data Description Protocol (DDP) version 2.0 or version 2.1. You can also write using CMF version 1.0. Important: You cannot write HD DVD projects to a DLT drive. External Video and Audio Monitoring You can configure your system to support external video and audio monitors. This makes it possible to more closely simulate a viewer’s environment before you build the project and burn a test DVD. When using external monitors, keep the following in mind: • External video monitors are only used during simulation. • External audio monitors are active during simulation and while playing from the Assets tab or any of the editors (Track, Story, Slideshow, and Menu Editors). • When you are using an external video monitor, the Simulator window on your computer is inactive. • You cannot use the pointer to click buttons on the external video monitor. You must control the simulation by using the Simulator window’s controls. • Depending on your system and the video being simulated, frames may be skipped during playback to maintain synchronized playback with the audio. The Simulator pane in DVD Studio Pro Preferences contains settings that control whether the external video and audio monitors are used. Additionally, the Simulator contains settings that allow you to change the display mode (4:3 Pan-Scan, 4:3 Letterbox, or 16:9) and resolution (SD, HD 720, or HD 1080). See Simulator Preferences and Simulating with an External Video and Audio Monitor for more information. Chapter 1 Overview of Using DVD Studio Pro 29 Connecting an External Video Monitor When simulating your project on your computer’s video monitor, you do not see video exactly as a viewer would when playing the video using a set-top DVD player connected to an NTSC or PAL monitor. There are two primary differences: • Pixel aspect ratio: Computer monitors always use square pixels, while SD video uses rectangular pixels. When viewed on the computer’s monitor, the Simulator scales the pixels to make them fit the 4:3 or 16:9 aspect ratio, which can affect the video appearance. • Color space: Computer monitors generally use RGB color space for their displays while most monitors used to view DVDs use the YUV color space. The advantage of connecting an external video monitor is that, depending on the monitor you connect and whether your project’s assets are already encoded for use on a DVD, you are able to see the video as the viewer would see it. The external video monitor uses the second monitor as configured in the Displays pane of System Preferences. You must set the resolution and refresh rate to match the external monitor. There are two common approaches to connecting an external video monitor: • Connecting a video monitor to your computer’s S-Video output (if present) • Connecting a second monitor to your system (if supported) For example, you could connect an NTSC or PAL monitor to the S-Video output of a PowerBook G4 system. Note: When connected to an NTSC or PAL monitor, this video output provides only an approximation of what the video will look like when burned to a disc and played on a DVD player. Due to rendering, rescaling, and interlacing issues, you should not rely on this output as a true representation of the video quality, especially with SD projects. Connecting an External Audio Monitor There are two primary issues with monitoring your project’s audio using the computer’s built-in audio system: • The built-in system cannot play surround sound audio. The audio is first downmixed to stereo, then played. • The built-in system cannot play DTS audio. There are two common approaches to connecting an external audio monitor: • Connecting a suitable AC-3 or DTS decoder to the computer’s optical digital audio output (also known as an S/PDIF output) • Connecting a suitable AC-3 or DTS decoder to the computer’s FireWire or USB port 30 Chapter 1 Overview of Using DVD Studio Pro Audio and Video Assets Audio and video assets can come from a wide variety of analog and digital sources. You must have an equally wide variety of ways to capture these sources on your authoring system. When bringing your assets into DVD Studio Pro, you should keep in mind the following issues. Have the Assets Been Edited Yet? DVD Studio Pro is not an editor. You can use it to link assets together on a timeline, as with an editor, and even trim an asset’s start and end, but you cannot add effects, such as dissolves and text credits, or perform any audio mixing. Your assets need to be already edited using an application such as Final Cut Pro. If you are editing the assets on your authoring computer, you need to capture them in a format required by your editing software. Once edited, the assets can be imported into DVD Studio Pro (if they are in a QuickTime-supported format) or encoded into DVD-compliant MPEG and audio formats, using either Compressor or third-party applications. Capturing from an Audio or Video Player Often your assets will be edited at a post-production facility and you will capture them directly from a video- or audiotape player. In this case, you must have a third-party capture card that supports the video and audio formats used. This video must be captured using Final Cut Pro (or a similar application) in a QuickTime format that the DVD Studio Pro integrated MPEG encoder can convert to DVD-compliant formats, or captured directly as DVD-compliant MPEG and audio sources. Chapter 1 Overview of Using DVD Studio Pro 31 Before you start authoring your DVD title, it is highly recommended that you set aside time to plan your project. Spending time in the beginning to outline the various aspects of the project will lead to a smoother production with minimal surprises. This chapter covers the following: • Investigating Existing DVDs (p. 33) • Determining Your Target Audience and Playback Device (p. 34) • Deciding Which DVD Standard to Use (p. 34) • Deciding Which Video Standard to Use (p. 35) • Deciding What Content to Include (p. 35) • Creating a Storyboard (p. 35) • Designing the Menus and Buttons (p. 37) • Making Sure Your Content Will Fit (p. 37) • General DVD Limitations (p. 42) Investigating Existing DVDs A very effective way to start planning your project is to spend some time viewing existing DVDs. This process provides you with examples of ways others approached various aspects of their DVD projects, such as using slideshows or providing language selections. It can also help you understand how frustrating the viewing experience can be when a disc has poorly conceived menus or confusing interactivity. Not all DVD titles are Hollywood releases—be sure to look at a variety of titles, especially those that best match the goals of your project. Keep in mind that, while DVD Studio Pro provides the tools needed to create highly complex DVDs, most Hollywood-style titles have teams of specialists who work on each project. Before you set out to create a complicated DVD, make sure you understand all aspects of what is involved, and are prepared to deal with them. 33 Planning Your Project 2 Determining Your Target Audience and Playback Device As with any media project, you must have a clear idea of who the viewers are and what their expectations will be. You may need to create a title that simply plays a movie as soon as the DVD is loaded, with no viewer interaction at all. Or, you may need to create a title with highly customizable languages or display types. Another major consideration is whether your DVD will be played on a computer. When a DVD is played on a set-top DVD player, the arrow buttons on the remote control provide the primary navigation controls. However, when a DVD is played on a computer, viewers typically use the pointer for navigation. This distinction affects menu designs because you need to make it obvious where viewers should click to activate the buttons. Additionally, if you need the title to play on older computers, you may need to set the bit rate as low as possible, to increase the chances that the title will play without stuttering. Deciding Which DVD Standard to Use DVD Studio Pro gives you the choice of authoring a traditional DVD using standard definition (SD) assets or a DVD using high definition (HD) assets. There are several factors to take into account when deciding which DVD format to use: • While an HD-based DVD can provide an excellent HD video output, it can only be played on devices designed specifically to support it, such as the Apple DVD Player. SD-based DVDs can be played on all DVD players, including those that play HD-based DVDs. • An HD project can be written on either a red laser disc (as is used by SD projects) or on a blue laser disc. While SD-based DVD players can read red laser discs, they cannot play HD content from them. Important: Only HD projects on special 3x DVD-ROM red laser media are officially supported in the HD DVD specification. You can burn HD projects to traditional red laser media on your system; however, the discs might not play in all HD DVD players. • Blue laser discs can hold about three times the data that a red laser disc can hold (a single-layer red laser disc can hold 4.7 GB—a single-layer blue laser disc can hold 15 GB). Because you can use SD video in your HD project, writing on a blue laser disc allows you to get much more content on the disc. • You may need to author both SD-based and HD-based DVD versions of your project. The easiest way to do this is to first author the SD-based DVD version of the project. You can then set the DVD standard to HD DVD—DVD Studio Pro automatically converts the project—and you can then choose which QuickTime assets to encode to the HD format. Alternatively, you can swap SD assets with HD assets as needed. 34 Chapter 2 Planning Your Project Deciding Which Video Standard to Use In addition to choosing the DVD standard you want to use, you must also choose the video standard to use. You can choose between NTSC and PAL. This choice affects the video resolutions and frame rates that are supported. Important: You cannot use both NTSC and PAL assets in the same project. Also, be careful not to confuse the video standard setting with the region code setting. The region code setting allows you to specify the regions that can play your DVD—choosing a region that primarily contains PAL countries does not force you to use the PAL video standard, though in most cases you would want to. See Video Standards of the World for information on which countries support each video standard. It is also useful to keep in mind that DVD players that can play both NTSC and PAL are becoming more common and are most common in PAL countries. However, in most cases, while the DVD player can output either video standard, it assumes the video monitor it is connected to can display either standard (which is less likely to be true). Deciding What Content to Include The audio, video, and still-image files used by DVD Studio Pro in authoring DVD projects are known as assets. Often you’ll have a good idea of what primary assets you want to include when you start your project, but you may think of additional items once it is too late to create them. For example, providing a second language may greatly increase the value of a corporate title but may require you to create new menus to support it. Additionally, including nontraditional items on a DVD, such as PDF files and web links, can add a great deal of value to titles that will be viewed on computers. You may also have the opposite problem—you may have too much content for a DVD title. Be sure you know which content is required and which is optional. Explore the feasibility of creating a dual-layer DVD or double-sided DVD. Some content may be suitable for encoding at lower bit rates or as MPEG-1 streams. Perhaps instead of using uncompressed AIFF audio, you can use Dolby Digital AC-3 to save space. See Making Sure Your Content Will Fit for more information. Creating a Storyboard Even simple DVD titles with only a few menus can benefit from the time you spend in the planning stages.Storyboarding includes planning the interaction between the menus, tracks, slideshows, and stories. It helps you visualize what the viewing experience will be and ensures that there are minimal surprises during the authoring process. Chapter 2 Planning Your Project 35 You’ll find that storyboarding can give you the overarching view of your project needed to plan fairly complex interactivity. Product Slideshow 1 Track 1 Customer Interview Track 3 Company Background Track 4 Main Presentation Track 2 End Jump Menu (disable) Stills Main Menu Menu 1 Extras Menu Menu 2 First Play Track 1 Extras Play Button press Press Menu on remote End jump Interviews Background Main Storyboarding helps you to sort out a variety of navigational issues: • What should play first: By default the first play is set to the first menu, but for many projects you may want something else to be the first thing viewers see when they start playing the DVD. • What should be each element’s end jump setting: You may know that you want the DVD to go back to the main menu once a track plays, but have you thought about which button on that menu to highlight? 36 Chapter 2 Planning Your Project • What should the remote control’s Menu button do: It’s worth planning what should happen with all of the remote control buttons, but especially the Menu button because its action can vary from element to element. These and many other decisions need to be made. Drawing them out as a storyboard before starting the project can help eliminate errors or delays while waiting for a decision to be made. Designing the Menus and Buttons DVD Studio Pro provides tools that make it easy to create menus without relying heavily on outside graphics applications. For simple titles whose main focus is to provide information, you may be able to rely on the basic button-and-text capability of DVD Studio Pro to create your menus. For custom titles, you’ll need to create your own graphics. Creating graphics for use with video is a bit different from creating graphics for print. Be sure to see Creating Graphics to Use in Menus for information on creating graphics for your title. In either case, because menus and the buttons on them are the viewers’ primary way of interacting with your title, it is important to spend time making sure that they are straightforward, with logical button navigation and clear highlights that let viewers know where they are in the menu. Making Sure Your Content Will Fit Be sure to allow time in the planning process to determine whether all of your assets will fit on the type of DVD you are using. You don’t want to be surprised when you are finished authoring the title—that is a bad time to find out that the assets won’t fit. What Do You Mean a 4.7 GB DVD Won’t Hold 4.7 Gigabytes? With computers, memory and disk size are commonly expressed in terms such as kilobyte, megabyte, and gigabyte. Technically, a kilobyte should represent 1000 bytes, but due to the binary numbering system computers use, a kilobyte actually represents 1024 bytes. Similarly, a megabyte represents 1,048,576 bytes (and not 1,000,000 bytes) and a gigabyte represents 1,073,741,824 bytes (and not 1,000,000,000 bytes). Unfortunately, with DVD discs the terms megabyte and gigabyte do not use the same binary-based standard; they literally refer to the technically accurate 1,000,000 bytes for a megabyte and 1,000,000,000 bytes for a gigabyte. This means that a 4.7 GB DVD disc will actually hold only 4.37 binary-based gigabytes. While the difference is not large (relatively speaking), it must be accounted for if you intend to come close to filling the disc. Chapter 2 Planning Your Project 37 Important: When displaying estimated sizes, DVD Studio Pro uses the “1000 bytes equals a kilobyte” system. This means that the estimated sizes refer to the amount of space they will require on the DVD and will be a bit larger than the file sizes shown in the Finder. While the Finder shows binary-based file sizes, you can use its File > Get Info command to see both the binary-based file size and, in parentheses, the “1000 bytes equals a kilobyte” size. Disc Options You have a variety of DVD discs to choose from. The one you choose depends on your content, your budget, and whether you intend to use a DVD replication facility. DVD sizes are typically referred to with names such as DVD-5 and DVD-9. While the number in the name is intended to provide general guidance as to the capacity of the disc, it should not be relied on too strictly. (Note that a DVD-4 disc has a higher capacity than a DVD-5 disc.) The following tables list the common sizes used. Red Laser Discs The following table lists the names for discs based on red lasers. DVD name Disc size Type Capacity 1.46 GB (1.36 binary gigabytes) Single-sided, single-layer DVD-1 8 cm 2.66 GB (2.47 binary gigabytes) DVD-2 8 cm Single-sided, dual-layer 2.92 GB (2.72 binary gigabytes) Dual-sided, both sides single-layer DVD-3 8 cm 5.32 GB (4.95 binary gigabytes) Dual-sided, both sides dual-layer DVD-4 8 cm 4.7 GB (4.38 binary gigabytes) Single-sided, single-layer DVD-5 12 cm 8.54 GB (7.95 binary gigabytes) DVD-9 12 cm Single-sided, dual-layer 9.4 GB (8.75 binary gigabytes) Dual-sided, both sides single-layer DVD-10 12 cm 13.24 GB (12.32 binary gigabytes) Dual-sided, one side dual-layer DVD-14 12 cm 17.08 GB (15.9 binary gigabytes) Dual-sided, both sides dual-layer DVD-18 12 cm If you intend to burn your own discs using your system’s DVD burner, you can only use DVD-5 and DVD-9 discs. To use any of the other sizes, you must use a DVD replication facility. Blue Laser Discs The following table lists the names for discs based on blue lasers. 38 Chapter 2 Planning Your Project DVD name Disc size Type Capacity 4.5 GB (4.19 binary gigabytes) Single-sided, single-layer HD DVD-4 8 cm 9.0 GB (8.38 binary gigabytes) HD DVD-9 8 cm Single-sided, dual-layer 15.0 GB (13.97 binary gigabytes) Single-sided, single-layer HD DVD-15 12 cm 30.0 GB (27.94 binary gigabytes) HD DVD-30 12 cm Single-sided, dual-layer Estimating Whether Your Content Will Fit While you will often hear that a DVD-5 (or a 4.7 GB disc) can hold two hours of video content, this is really only a rough guideline. The actual amount of video a DVD-5 disc can hold depends on the bit rate the video is encoded at. Often overlooked is the size of audio files—if you plan to use uncompressed AIFF (PCM) audio, you must also take the additional space requirements into account when calculating whether all your content will fit. If your project needs to fit on a DVD-5 disc that you can burn on your SuperDrive, you need to choose an appropriate bit rate. There is a simple formula you can use. See Fitting Your Project on a DVD-5 Disc for more information. If you are flexible as to the DVD disc type you can use, you can experiment with different bit rates and determine the disc space required by each. This process is more detailed and includes more variables, such as taking into account additional audio streams and DVD-ROM content. See Calculating Disc Space Requirements for details on precisely determining your disc space requirements. Fitting Your Project on a DVD-5 Disc You can use this simple formula to estimate the bit rate you should use to fit your video on a DVD-5 disc: 560/x = bit rate The “x” represents the length of the video (in minutes) and the resulting bit rate is in megabits per second (Mbps). This formula assumes you are using compressed audio, such as AC-3. If you are using uncompressed audio, you need to subtract 1.5 Mbps (assuming you are using 16-bit stereo at a 48 kHz sample rate) from the bit rate value. For example, if you have 120 minutes of video, you get a suggested bit rate of 4.67 Mbps (560/120 = 4.67). If you are using uncompressed audio (such as the AIFF format the embedded AIFF encoder supplies), you need to reduce the bit rate to 3.17 Mbps to ensure the video and audio will fit on the disc. Chapter 2 Planning Your Project 39 Beware of Setting Your Bit Rate Too High You will find that with some DVD projects, the content easily fits on the disc, and you may be tempted to use the highest video bit rate available. While higher bit rates produce better quality, you must take into account other factors before deciding to use the maximum allowable value. The maximum video bit rate allowed on SD-based DVDs is 9.8 Mbps, but rarely is that practical to use because DVD players support combined video, audio, and subtitle bit rates of up to 10.08 Mbps. For HD-based DVDs, the maximum video bit rate is 29.4 Mbps for HD assets and 15.0 Mbps for any SD assets used in an HD project, with an overall maximum bit rate of 30.24 Mbps. In practice, you should be conservative when determining how high of a bit rate to allow for. Trying to squeeze out the highest possible bit rate for your project can lead to player compatibility and disc space issues.A general recommendation is to not exceed 9.2 Mbps for the combined video and audio bit rates when authoring SD projects or 29 Mbps when authoring HD projects. Important: If you are building your project and DVD Studio Pro detects that the bit rate of the multiplexed stream is too high, the build stops and an error message appears. Using PCM or AC-3 Audio A single PCM audio stream using typical settings (as produced with the embedded AIFF encoder) requires 1.536 Mbps, which leaves an absolute maximum bit rate for the video in an SD project of around 8.54 Mbps. If there are two PCM audio streams, 3.07 Mbps must be allowed for the audio, leaving just 7.01 Mbps for the video. Note: Even though you can only play one audio stream at a time, the bit rates of all audio streams must be added together when determining the overall bit rate for a track. Similarly, all subtitle streams must be added together and added to the overall bit rate. Using AC-3 audio in place of the PCM audio leaves far more room for the video bit rate. Stereo AC-3 audio using typical settings requires only about 224 kbps—using two stereo AC-3 streams in place of the PCM audio leaves about 9.6 Mbps for the video. See Calculating a Project’s Disc Space Requirements for more information about allowances for other audio formats. Subtitle Allowances Subtitles generally use a very small bit rate—about 10 kbps per stream. Larger subtitles that change frequently or use graphics can have a significant impact though and can affect the maximum bit rate you can use for the video. 40 Chapter 2 Planning Your Project Multiple Video Angles Using multiple video angles in a track also affects the maximum allowable video bit rate you can use. Due to the way the DVD specification requires video streams to be multiplexed together, the number of video streams determines the maximum video bit rate you can use in SD projects. The maximum combined bit rates (highest bit rate video stream + all audio streams + all subtitle streams) you can use for each multi- and mixed-angle track in an SD project is from 8.0 Mbps with two streams to 7.0 Mbps with nine streams. See Encoding Video for Multi-Angle Tracks for more information. HD projects using multiple video angles in a track are limited to 24.0 Mbps for the maximum combined bit rates, regardless of the number of video angles. Transitions When you add a transition to a menu, to a still clip in a track, or to slides in a slideshow, you need to account for the additional video it creates. • In the case of menus, the transitions become short rendered video clips stored in the same video object (VOB) file as the menus. This means that, in addition to the overall amount of disc space menu transitions require, you must also consider their impact on the 1 GB menu VOB file size limit. See Standard SD DVD Video Zone Files for more information. You must also take into account that a transition video clip is rendered for each menu button that has transitions enabled—a menu with 18 buttons can require 18 transition video clips. • In the case of still clips in a track and slides in a slideshow, adding transitions increases the amount of disc space each requires even if the transition does not increase the length of the track or slideshow. This is because stills and slides use much less disc space than the motion video created by the transitions, even if the transition is from one slide to another. The amount of disc space required by each transition varies depending on their length and type. In general, for SD projects, which use a bit rate of 6 Mbps for transitions, you should allow 750 KB of disc space for every second of transition time in the project. For HD projects, which use a bit rate of 20 Mbps for transitions, you should allow 2.5 MB of disc space per second. Using the Video Bit Rate The video bit rates you calculate can be used as the bit rate entry of your encoder, regardless of the encoding method you intend to use (one pass, one-pass variable bit rate [VBR], or two-pass VBR). When using one of the VBR encoding methods in the integrated MPEG encoder, the “Bit rate” setting affects the amount of disc space that the MPEG video file requires, while the “Max bit rate” setting sets the highest video bit rate that is allowed in the file (but does not affect the file size). See MPEG Encoding Methods for more information. Chapter 2 Planning Your Project 41 General DVD Limitations Following are some general limitations you may run into while authoring your DVD project with DVD Studio Pro. Most of these limitations are due to DVD-Video specification requirements. Note: With the exception of the number of buttons on a menu, the same limits apply to both SD and HD projects. Project Following are the limitations within a DVD Studio Pro project. • Maximum number of tracks, stories, and slideshows in a project: 99 • Minimum number of menus in a project: 0 • Minimum number of tracks or slideshows in a project: 1 Menus Following are the menu-related limitations. • Maximum number of menus in a project: 10,000 • Menu aspect ratio support: 4:3 and 16:9 menus can be used in the same project. • Maximum number of buttons on an SD-based DVD 4:3 menu: 36 • Maximum number of buttons on an SD-based DVD 16:9 menu: 18, unless Pan Scan & Letterbox is selected, which then sets the maximum to 12 • Maximum number of buttons on an HD-based DVD 4:3 menu: 48 • Maximum number of buttons on an HD-based DVD 16:9 menu: 24, unless Pan Scan & Letterbox is selected, which then sets the maximum to 16 Tracks Following are the track-related limitations. • Maximum number of video streams in a track: 9 • Minimum number of video streams in a track: 1 • Maximum number of audio streams in a track: 8 • Maximum number of subtitle streams in a track: 32 • Maximum number of cell markers in a track: 255 • Maximum number of chapter markers in a track: 99 (Each chapter marker is also a cell marker.) • Maximum combined number of chapter markers and individual chapter end jump settings in a track: 106 (See Setting Chapter Marker End Jumps for more information.) • Maximum number of buttons on an SD-based DVD 4:3 track’s button highlight marker: 36 42 Chapter 2 Planning Your Project • Maximum number of buttons on an SD-based DVD 16:9 track’s button highlight marker: 18, unless Pan Scan & Letterbox is selected, which then sets the maximum to 12 • Maximum number of buttons on an HD-based DVD 4:3 track’s button highlight marker: 48 • Maximum number of buttons on an HD-based DVD 16:9 track’s button highlight marker: 24, unless Pan Scan & Letterbox is selected, which then sets the maximum to 16 Stories Following is the story-related limitation. • Maximum number of segments: 98 (must all be from the same track) Slideshows Following are the slideshow-related limitations. • Maximum number of slides in a slideshow: 99 • Minimum number of slides in a slideshow: 1 Scripts Following are the script-related limitations. • Maximum number of scripts in a project: 10,000 • Maximum number of command lines in a script: 124 • Minimum number of command lines in a script: 1 Chapter 2 Planning Your Project 43 While investigating other DVDs, you may decide to include similar specialized features in yours. This chapter covers the following: • Creating a Simple DVD (p. 45) • Creating a Play One or Play All Project (p. 47) • Grabbing a Still Image from Your Movie (p. 50) • Adding Easter Eggs to Your Menus (p. 51) Creating a Simple DVD While DVD Studio Pro is capable of creating complex projects, you may find yourself needing to create a very simple project that does nothing more than start playing when you insert the DVD into a DVD player—with no menus and no viewer interaction at all. This could be a disc that plays in a standalone kiosk or a DVD daily whose only purpose is to distribute a video track for approval. To create a simple DVD 1 Choose File > New (or press Command-N) to create a new project. By default a new project contains Menu 1 and Track 1. 2 Select the Menu 1 tile in the Graphics tab and press Delete. 3 Control-click the Track 1 tile, then choose First Play from the shortcut menu. This sets the project to automatically start playing this track once the DVD is inserted into a DVD player. (By default, DVD Studio Pro sets Menu 1 as the First Play element.) 4 Drag the movie from the Library or a Finder window to the Track 1 tile in the Graphics tab. This not only imports the movie but assigns it to Track 1. 5 Select the Track 1 tile in the Graphics tab so that the Track Inspector appears. 45 How Do You Do That? 3 6 Do one of the following to control what happens when the movie finishes playing: • To have nothing happen when the movie finishes playing, leave End Jump (in the top section of the Track Inspector) set to Not Set. Once the movie finishes playing, the DVD player will stop. The viewer can press Play to play it again. • To have the track play again in an infinite loop, choose the track from the End Jump pop-up menu. And that’s it. You might want to consider adding a few additional elements to the project that would improve the viewer’s experience. Adding Chapter Markers Depending on the length of the movie, it can be very helpful for the viewer to be able to use the DVD player’s Previous and Next buttons to quickly skip through the movie to points you define with chapter markers. If the movie was edited in Final Cut Pro, you can add the chapter markers at each scene change or at other significant points in the movie. These chapter markers will automatically import into DVD Studio Pro. See Adding and Configuring Markers in Final Cut Pro and Final Cut Express for more information. You can also manually add the markers in the DVD Studio Pro Track Editor. Even just placing markers every five or ten minutes can help the viewer locate specific parts of the movie. See Working with Markers for more information. Adding a Menu This goes a bit against the general idea of a simple DVD project, but it might be worth adding a simple menu so that the viewing experience once the movie finishes playing is a bit better. For example, you could leave the track set as the First Play element but have the track jump to a menu once it finishes playing. The menu could have a single button that says “Play Again?” Or the menu could have a credit list. If You’re Using Multiple Movies You may have a situation where you have more than one movie to put on the DVD. You can handle that in a couple of ways: • You can put each movie in its own track: If you do not want to have a menu, you can have the End Jump of the first track set to the next track, linking the tracks together. This assures that the viewer will watch the movies in the order you specify. • You can concatentate the movies in a single track: This is a bit easier than placing each movie in its own track because you do not have to set the End Jumps for each, and it also ensures that the movies will be watched in a specific order. This does require that each movie uses the same video and audio formats. 46 Chapter 3 How Do You Do That? In most cases with multiple movies, you will want to create a menu where the viewer can choose which movie to watch. You may even want to have a menu where the viewer can choose to play a specific movie or to play all of them. See Creating a Play One or Play All Project for information on setting up this situation. Creating a Play One or Play All Project You may have a project with a track that contains several sections that a viewer either might want to watch individually or all at once, one after the other, from the start to the end. It’s actually fairly easy to set this up using stories. Once it is set up, you can optionally add additional functionality to polish the project. Stories in a Nutshell Stories allow you to configure alternative ways to play the movie in a track. Stories use chapter markers to divide the movie into sections (cells) that you can then configure to play, skip, or even play more than once. You can also choose to play these sections in a different order than they appear in the track. Stories are elements you can add to your project that are tied to a specific track—a story can only contain content from a single track. However, a track can have multiple stories. An advantage of stories is that because they only redefine how to play an existing track’s movie, they do not require any additional disc space on the DVD. They do count against the 99 track and slideshow limit that DVD Studio Pro projects have. See Introduction to Stories for more information about stories. Creating the Basic Project You follow three primary steps to create this project: Stage 1: Creating the Track and Adding Chapter Markers to It The chapter markers define the sections that you can use for your stories. You can manually add the markers in DVD Studio Pro, import the chapter markers you added in Final Cut Pro or Final Cut Express, or import chapter markers from a text file. Stage 2: Creating and Configuring the Stories For this project, you create a story for each individually playable section of the movie. Each story contains one chapter marker to define the section of the movie to play. Each story also has an End Jump setting that takes the viewer back to the menu. Stage 3: Creating and Configuring the Menus Once you have the stories defined, you can create the one or more menus needed to access them. Chapter 3 How Do You Do That? 47 Creating the Track and Adding Chapter Markers to It How you create the track depends on your movies: • If you have a single movie that contains all of the sections edited together: This is the ideal situation because, assuming you edited them together in Final Cut Pro, you could also have added the chapter markers needed to set up the stories. You can manually add the chapter markers in DVD Studio Pro; however, most often you will not be able to place them on the exact frame you would like to use because the markers must be on an I-frame or a key frame. • If you have multiple movies, with each containing one or more sections: In this situation, you place all of the movies in the same track (in the order they should play for the “play all” button). This situation also requires you to manually add the chapter markers. Note: Having multiple movies makes it tempting to skip using stories and just create a separate track for each section. You could then create buttons to play each of the tracks. The difficulty in this is creating the “play all” button, because each track’s End Jump would need to be set to go back to the menu. Even if you managed to use scripts to get each track to jump to the next track, you would almost always have a short pause during the jump while the DVD player located the next track. Using stories makes it possible to have seamless playback between the sections for the “play all” button while retaining the ability to play each section individually—all without using scripts. To create and configure the track 1 Click the Add Track tool in the DVD Studio Pro toolbar to add a new track. You can also use the track that is automatically added to new projects. 2 Import the movie or movies into the project. 3 Do one of the following: • If you have a single movie, drag it to the track in the Track Editor. • If you have multiple movies, drag each to the Track Editor, in the order that you want them to play. 4 Add the chapter markers to the track by positioning the Track Editor’s playhead on the first frame of each section and pressing M. The markers are placed on the nearest I-frame or key frame. You can move the marker forward or backward to try to locate a better frame if needed. Note: If you used a single movie that had the chapter markers added in Final Cut Pro, the chapter markers should already be present and you can skip this step. You can also name the chapter markers to help identify them later when creating your stories. See Importing Assets and Working with Markers for additional information. 48 Chapter 3 How Do You Do That? Creating and Configuring the Stories Once you have the track configured with chapter markers to identify each section, you are ready to create the stories. For this project, you need a story for each section of the movie that you want the viewer to be able to play individually. Once you create the story, you need to choose the chapter marker that defines the section of the track that that story should play. To create and configure the stories 1 Click the Add Story tool in the Toolbar. This adds a new story, related to the currently selected track, to your project. 2 Double-click the new story’s icon in the Graphical tab to open it in the Story Editor. The entry list. Drag markers to this list to create your story. The source list. Drag markers from this side to the other side to create your story. Choose a story from the current track to edit. The left side of the Story Editor lists the chapter markers in the track. The right side lists the markers that have been assigned to this story (which is empty at the moment). 3 Locate the chapter marker on the left side that you want this story to play and drag it to the right side. Note: If there are additional chapter markers in the section of the movie you want this story to play, you need to drag them to the right side as well, in the order that they are placed in the track. 4 Repeat the above steps for each section of the movie. As mentioned previously, naming the chapter markers makes this process much easier. Naming the stories, especially if there are a lot of them, can also help the process. Chapter 3 How Do You Do That? 49 Creating and Configuring the Menus Once you have created your stories, you are ready to create the menu (or menus, depending on how many stories you created and how many buttons you want to have on each menu). The basic concept for the menu is to have a Play All button that plays the entire track and separate buttons that play each of the stories. You can use any of the normal menu creation methods. See Introduction to Creating Menus for information on the types of menus you can create. Grabbing a Still Image from Your Movie DVD Studio Pro includes a feature that allows you to export a still image from a movie in a track. The still image is saved as a TIFF file that you can use as a menu background or open in a graphics program. The file matches the movie’s resolution. Anamorphic 16:9 video results in an anamorphic still image using a 4:3 aspect ratio (which works fine as a 16:9 menu background). This feature works with SD as well as HD projects. The one issue is that the still image must be from an I-frame (MPEG-1 or MPEG-2 video) or a key frame (H.264 video). This means you may not be able to get a still from the exact frame you would like. To create a still image from a movie 1 In the Track Editor, move the playhead to the frame you would like to have a still image made from. 2 Press M. This adds a marker to the timeline. The exact position of the marker depends on how close you are to an I-frame or key frame as well as the Snap To setting in the Track pane of the DVD Studio Pro Preferences window. You can drag the marker left and right to see if either of those positions would produce a better still image. (This is easier to do if you zoom into the timeline.) 3 Click Save Still in the Marker Inspector. A dialog appears for saving the file. 4 Enter a name for the file (the default name is the marker’s name) and choose the location to save it to (the default location is in the same folder as the video file). 5 Click Save. You can import the still image file into this project or open it in a graphics application to add effects or text. 50 Chapter 3 How Do You Do That? Adding Easter Eggs to Your Menus It is becoming increasingly popular to add hidden items to DVD projects. For example, you may include a track or menu that you only want people to find if they know the right buttons to push. Most often, invisible buttons on less-used menus are used to access these items. Depending on how elaborate you want to be, you can configure the button navigation so that the viewer can only get to the invisible button by pressing non-obvious arrow buttons on the remote control. For example, if you have a menu with a column of six buttons, you could set the button navigation so that the invisible button is reached only by pressing the left arrow button when on the fourth button in the column. (Most viewers would not think to press the left arrow button if the menu’s buttons are arranged in an obvious up/down fashion.) You can make it even harder to find by using multiple invisible buttons, with each requiring the correct arrow button presses to get to the next, with incorrect presses jumping back to the visible buttons. About Invisible Buttons You can set an overlay button to be invisible by selecting Invisible in the Advanced tab of the Button Inspector. In this case, making a button invisible means that the highlight colors do not appear when the button is selected and activated. This can be confusing when combined with visible buttons on a menu because it can lead to a condition where nothing appears to be selected. Instead of using a true invisible button, you may want to use a button whose normal state is invisible, but which acts as a visible button when selected and activated. To do this, you only have to make sure the button has no normal state graphics on the menu’s background (making the button invisible when not selected), but does have supporting graphics, such as a star or happy face, in the overlay file that will show the selected and activated highlight colors. Note that if you do this, a viewer playing the DVD on a computer may be able to find the button just by waving the pointer over the menu. See Advanced Tab in the Button Inspector for information on invisible buttons. Important: While using invisible buttons can make it difficult for viewers to accidentally find hidden features, you should not assume this is entirely secure. Determined viewers can use a variety of methods to find hidden content on a DVD disc. Chapter 3 How Do You Do That? 51 Before you can begin building a DVD project, you must have correctly prepared video source material. This chapter covers the following: • Introduction to Preparing Video Sources (p. 53) • NTSC or PAL? (p. 54) • Using 24 fps Video (p. 55) • Choosing an Aspect Ratio (p. 56) • About MPEG Video (p. 60) • Encoding Video Materials for DVD (p. 61) • Using the Integrated MPEG Encoder (p. 68) • Encoding Video for Multi-Angle Tracks (p. 74) • Adding Markers to Your Video (p. 76) • About H.264 Video (p. 80) • About HDV Video (p. 81) • DVD Video Source Settings Summary (p. 82) Introduction to Preparing Video Sources After you have captured and edited your source material, you need to encode it to make it DVD-compliant. Compressor is a full-featured video and audio compression application included with Final Cut Studio that you can use to create DVD-compliant assets for use in DVD Studio Pro. DVD Studio Pro is integrated with Compressor to provide easy access to the commonly used MPEG, AIFF, and Dolby Digital AC-3 encoding functions for converting QuickTime video to DVD-compliant assets. The DVD Studio Pro integration with Compressor allows you to directly import QuickTime sources into a project—the encoders work with the sources while you continue authoring the project. 53 Preparing Video Assets 4 You can also use Compressor as a standalone application to get more options and control over the encoding process. Compressor also integrates well with Final Cut Pro, providing exceptionally high-quality MPEG-2 streams directly from Final Cut Pro sequences. This chapter describes how to prepare video source material for use in DVD Studio Pro and how to use the integrated MPEG encoder. For more information on DVD-compliant material, see About MPEG Video. There are three areas in a DVD project that can use video sources: • Tracks: This is the primary area that uses video sources. • Menus: This area uses video sources when you are creating motion menus. Menus can also assign video sources to buttons and drop zones. For the most part, video sources used for motion menus must follow the same rules as video sources used for tracks. See Preparing Menu Assets for more information. • Alpha Transitions: You can use specialized video sources as alpha transitions in your menus, tracks, and slideshows. See Preparing Alpha Transitions for more information. The DVD-Video specification has strict requirements for several aspects of the sources used. For best results, you should create and capture your video and audio using the settings required for DVD. See DVD Video Source Settings Summary for a complete list of settings required for a source to be DVD-compliant. NTSC or PAL? A DVD-Video title must contain either all NTSC or all PAL sources. If you intend to create a title that can be played on either NTSC or PAL DVD players, you must create two titles and two versions of the sources (including all graphics and video, which will require significant effort), one for each standard. About the Terms “NTSC” and “PAL” The terms “NTSC” and “PAL” are technically incorrect when used with respect to DVDs. These terms specify a variety of things with respect to an SD composite video signal. When you refer to a video asset as NTSC or PAL with respect to SD-based DVDs, you are defining the asset’s frame rate and resolution. With most HD assets, the terms NTSC and PAL refer only to the frame rate, because the resolution is far different than an SD video asset. 54 Chapter 4 Preparing Video Assets Many DVD players in PAL countries can also play NTSC DVD-Video titles. It’s important to understand that these players often do not convert NTSC video to PAL—they simply output the NTSC sources. You must connect an NTSC or dual-standard video monitor to view the output. Additionally, be aware that all DVD players have a region code that prevents them from playing DVD-Video titles not intended for the player’s region. Using 24 fps Video Often the video content for a DVD project originates from film shot at 24 frames per second (for NTSC this is actually 23.976 fps, which is more commonly referred to as 23.98 fps). The DVD specification allows you to include 24 fps MPEG-2 assets as long as they are properly flagged so the DVD player can decode them by either using a 3:2 pulldown (for NTSC DVD players) or playing them 4% faster (for PAL DVD players). The video resolution also must match those allowed for the intended video standard. See Choosing a Video Resolution for details on supported video resolutions. This means that there are NTSC and PAL versions of 24 fps MPEG-2 assets, and you can only use NTSC 24 fps assets in NTSC projects and PAL 24 fps assets in PAL projects. Encoding video that originates with a 24 fps rate as a 24 fps MPEG asset has two primary advantages: • Less time is spent on the encoding process. • Smaller files are produced. These advantages are due to fewer frames being encoded, especially when compared to NTSC frame rates. Important: MPEG-2 assets that include 23.98 frames to play at 29.97 fps show as 29.97 fps assets in QuickTime, Compressor, and DVD Studio Pro. Importing 24 fps Assets How DVD Studio Pro handles your 24 fps assets depends on whether or not they are already MPEG-2 encoded: • If you import 24 fps MPEG-2 assets: They are handled correctly and remain 24 fps when you build the project. Note: 24 fps assets show as their display rate setting when viewed in the Track Editor. This makes them appear as if they were at the NTSC or PAL frame rate. You can confirm they are actually 24 fps by selecting them in the Assets tab and verifying the frame rate in the Asset Inspector. • If you import 24 fps QuickTime assets: They are encoded as either 29.97 fps or 25 fps MPEG-2 files, based on your project’s video standard, and are no longer 24 fps when you build the project. Chapter 4 Preparing Video Assets 55 To create a 24 fps MPEG-2 asset, you need to use Compressor (included with DVD Studio Pro) or a third-party encoder that supports encoding 24 fps MPEG-2 assets. Using 24 fps Video in Tracks You can use 24 fps video assets in tracks just like you would use regular 29.97 fps or 25 fps video assets, as long as they match the project’s video standard (NTSC or PAL). You can also combine 24 fps assets with regular video assets within a track, as long as they use the same resolution. Using 24 fps Video in Menus You can use 24 fps assets in menus as backgrounds or assets for buttons and drop zones. You can also combine 24 fps assets with regular video assets within a menu. If the menu must be rendered because it contains shapes, drop zones, or text objects, it is rendered at the project’s frame rate, even if the menu’s background is 24 fps. Choosing an Aspect Ratio The aspect ratio is the ratio of the width of the visible area of the video frame to the height of the visible area. Standard NTSC and PAL monitors have a picture aspect ratio of 4:3 (or 1.33, which is the width divided by the height). Some High Definition Television (HDTV) formats have a picture aspect ratio of 16:9, or 1.78. The DVD specification supports both 4:3 and 16:9 sources, but it does not support HD video. Most HD video formats use a combination of features to create the high definition image, including a much larger frame size than DVD-Video supports. HD-based DVDs also support both 4:3 and 16:9 sources, as well SD and HD video formats. Using 16:9 sources in your project raises a number of issues that you need to be aware of. Your main goal is to ensure that 16:9 assets play back correctly on 16:9 monitors and as expected on 4:3 monitors (and that 4:3 assets play correctly on both monitor types as well). Incorrect settings can lead to distorted video. For example, the video may appear horizontally compressed (objects look “skinny”) or expanded (objects look “fat”). 56 Chapter 4 Preparing Video Assets This illustration shows the viewing options for a 16:9 asset. 16:9 monitor 16:9 aspect ratio 16:9 anamorphic (The dashed line shows the circle’s original size.) 16:9 letterbox 16:9 pan-scan 16:9 video on 4:3 monitors This illustration shows the viewing options for a 4:3 asset. 4:3 monitor 4:3 aspect ratio 4:3 stretched (The dashed line shows the circle’s original size.) 4:3 video on 16:9 monitors 4:3 pillar box Read the following sections to find out more about using 16:9 assets in your projects. What Exactly Is a 16:9 Asset? When you decide to use 16:9 assets in a DVD Studio Pro project, it is crucial that you understand exactly what attributes your 16:9 media should have. Chapter 4 Preparing Video Assets 57 16:9 and SD Projects The DVD specification and DVD Studio Pro require 16:9 video to be anamorphic. An anamorphic 16:9 video frame has the same number of pixels as a 4:3 video frame. When displayed on a 16:9 monitor, the frame is horizontally stretched to fit the screen, and the content appears normal. When viewed on a 4:3 monitor, however, the video content appears horizontally compressed (see the illustrations in Choosing an Aspect Ratio). The most common error is to letterbox your 16:9 video assets before bringing them into DVD Studio Pro. Once a 16:9 asset has been letterboxed, it becomes a 4:3 asset with black bars along the top and bottom of the video image. If you flag letterboxed source video as 16:9 video when encoding it, you will have problems when you play it back later. 16:9 and HD Projects HD projects can use a wide variety of video resolutions. Several of these are true 16:9 (1280 x 720p and 1920 x 1080i) while several others use the same anamorphic method used in SD projects (720 x 480p, 720 x 576p, and 1440 x 1080i). Using Pan-Scan to Display 16:9 Video The pan-scan method of displaying 16:9 video on a 4:3 monitor was developed as a compromise between letterbox, which displays all the video content but with black areas at the top and bottom, and the only other alternative: filling the entire 4:3 screen, but cropping some of the content. With pan-scan, you can choose which bits of the 16:9 content to crop, ensuring the action is not lost by displaying the center of the screen only. The pan-scan method can result in sudden jumps from one side of the screen to the other (for example, to follow a conversation’s dialogue), which may make your video look as if edits have been made. To make pan-scan work, you must have a pan-scan vector, a frame-based value that controls which part of the content to use. Someone watching the video creates the vector, deciding which parts should be seen. This vector must be available when the video is MPEG-encoded. The MPEG encoder included with DVD Studio Pro does not support pan-scan vector information. However, if the information is already part of an MPEG-encoded video stream, created with an encoder that supports the vector information, DVD Studio Pro passes this information along. Virtually all movies shown on TV have been through the pan-scan process; however, pan-scan vectors are rarely used for movies released on DVD. Instead, a version of the movie is made using the 4:3 pan-scanned source and is not intended to be played as a 16:9 video on 16:9 monitors. The other side of the disc often contains the true 16:9 version, set to display as letterboxed video on 4:3 monitors. Important: Do not use pan-scan if your video does not actually support it. If you do, only the center part of the frame will appear. 58 Chapter 4 Preparing Video Assets MPEG Encoding and 16:9 Video It’s important to correctly identify your source video as either 4:3 or 16:9 before encoding it. At this point, you are only identifying it—you are not defining how it should be handled when played back. When using the integrated MPEG encoder, you can select the video’s aspect ratio in the Encoding pane of DVD Studio Pro Preferences. Using 16:9 Assets in Tracks Each track within a DVD Studio Pro project has an aspect ratio setting. This setting lets the DVD player know how to display the video when playing back the title. With a 16:9 track, you specify how it will play back on a 4:3 monitor: Pan-Scan, Letterbox, or Pan Scan & Letterbox (allowing the viewer to choose). As mentioned previously, pan-scan is rarely used and should never be selected unless the encoded video contains pan-scan vector information. Mixing 16:9 and 4:3 Assets in a Track Keep in mind that a track’s aspect ratio setting applies to the entire track. If you mix 16:9 assets with 4:3 assets in a track, you will have problems when playing it back. For example, if you set the aspect ratio to 16:9 Letterbox, the 4:3 video will also be letterboxed and end up looking vertically compressed. To be safe, do not mix 16:9 and 4:3 assets in the same track. Instead, create separate tracks for each. You can use the Connections tab in DVD Studio Pro to control the playback order of the tracks. Some Players Cheat! Unfortunately, not all players handle 16:9 video correctly. The aspect ratio setting for each track is stored in the track’s video title set file (vts_01_1.vob, for example). Most DVD players read the setting and process it correctly, but some DVD players ignore this setting and instead look at the aspect ratio setting of the video itself. For the most part, this works out, but it can result in inconsistencies when playing the title on different DVD players, particularly if you are not careful while encoding and authoring. Buttons over 16:9 Video Tracks To place a button over a video track, you add a menu overlay to a subtitle stream in the track. These overlays are not processed in the same way as the video, so you must create a separate overlay for each display mode (16:9, 4:3 letterbox, and 4:3 pan-scan). You then need to create a script that selects the correct subtitle stream to display based on the DVD player’s settings. See What Happens with Different Aspect Ratios? for information on using subtitle streams to place buttons over a video track, and see Creating Scripts for information on creating scripts. Chapter 4 Preparing Video Assets 59 Using 16:9 Assets in Menus Typically you’ll want to use 16:9 menus with 16:9 tracks. Most of the same concerns with video apply to menus as well—specifically how the 16:9 menu is displayed on a 4:3 monitor. With a 16:9 menu, you specify how it will play back on a 4:3 monitor: Pan-Scan, Letterbox, or Pan Scan & Letterbox (allowing the viewer to choose). As mentioned previously, pan-scan is rarely used, and should never be selected unless the encoded video contains pan-scan vector information. See Understanding Pixel Differences in Graphics and Video for information on the image size settings you should use when creating 16:9 menus. Issues with Film Aspect Ratios While 16:9 is a fairly wide aspect ratio, it is not wide enough to contain an entire frame from a typical Hollywood movie. Two film aspect ratios are widely used now: Normal is 1.85:1 and Widescreen is 2.40:1 (for comparison, 16:9 is 1.78:1). For normal titles (those that use the 1.85:1 aspect ratio), a small amount of letterboxing or pan-scan cropping is required to transfer the title to DVD, but for Panavision titles significant letterboxing or pan-scan cropping is necessary. This processing must be done before the video is MPEG-encoded. The DVD specification supports only 4:3 and 16:9 aspect ratios. 2.40:1 (Widescreen) 1.85:1 (Normal film) 1.78:1 (16:9) 1.33:1 (4:3) You should not be surprised to see some letterboxing when playing a Panavision movie on a 16:9 monitor. About MPEG Video MPEG (Moving Picture Experts Group) is a family of video and audio compression formats that make high-quality titles possible on DVD. There are a broad range of MPEG types and settings; use care to select those that are DVD-compliant with the DVD standard (SD or HD) you are using. DVD Studio Pro imports MPEG assets created with a wide variety of third-party products. The following section, Encoding Video Materials for DVD, provides a general overview of MPEG, as well as details that relate specifically to DVD Studio Pro and its integrated MPEG encoder. 60 Chapter 4 Preparing Video Assets Encoding Video Materials for DVD The DVD specification requires video movies to be in a DVD-compliant MPEG format. There are a number of methods for converting video from its current format to MPEG. DVD Studio Pro includes an integrated MPEG encoder, which can quickly encode your QuickTime movies into DVD-compliant MPEG-2 files. See Using the Integrated MPEG Encoder for more information. For analog sources, you need a hardware video capture card to digitize your video. Depending on the card’s output format, you may then need a transcoder to convert it to MPEG. Elementary and Multiplexed MPEG Files There are two common types of MPEG file structures: elementary and multiplexed. Elementary files contain only one stream of data, either the video or the audio. Multiplexed MPEG files, also known as system, transport, or program files, have the video and audio combined into a single file. MPEG files that are imported directly into DVD Studio Pro must be elementary MPEG files. You can use an MPEG utility to convert multiplexed MPEG files into elementary streams. The integrated MPEG encoder converts QuickTime files into elementary MPEG streams. When creating an HD project, you can import HDV and H.264 streams, both of which are multiplexed QuickTime streams. Choosing Between MPEG-1 and MPEG-2 The DVD specification allows for the use of either MPEG-1 or MPEG-2 encoded video. In general, MPEG-1 provides for smaller file sizes but reduced picture quality (by scaling a half-screen image to full screen), while MPEG-2 provides for better quality with larger file sizes. • MPEG-1 is generally used for titles for which file size is critical and that will be played back on a computer (not a set-top DVD player). • MPEG-2 is usually used for DVD titles on DVD media. The integrated MPEG encoder encodes video into MPEG-2. DVD Studio Pro works with both MPEG-1 and MPEG-2 video assets in your SD project tracks, as long as they are DVD-compliant. MPEG-1 video used as menu backgrounds is rendered to full D1 MPEG-2 when the project is built. Important: HD projects cannot use MPEG-1 video. Chapter 4 Preparing Video Assets 61 Choosing a Bit Rate for SD Projects Bit rate directly determines file size, and thus how many minutes of material you can fit onto a DVD disc. SD-based DVD players support combined bit rates of up to 10.08 megabits per second (Mbps), but this must include the audio and subtitles as well. The maximum video bit rate is 9.8 Mbps. Note: Some DVD players have trouble playing video that uses sustained high bit rates. On such players, you may see dropped frames during playback. Typical maximum bit rates used for video are around 8 Mbps. The maximum MPEG-1 bit rate is 1.856 Mbps, while 1.15 Mbps is most typical. The actual video content determines how low a bit rate you can use and still get acceptable quality. Video with little movement works well at lower bit rates, while higher bit rates are best at handling video with a lot of movement (a quick camera pan, for example). For more information on choosing a bit rate that ensures all the content in your project will fit on a DVD, see Making Sure Your Content Will Fit. Choosing a Bit Rate for HD Projects Choosing a bit rate for use in HD projects is similar to doing so for SD projects, but there are some differences. The maximum overall bit rate for HD projects is 30.24 Mbps. While an HD project can use both SD and HD video assets, the maximum bit rate you can use is different for each: • HD assets: 29.4 Mbps Note: HD assets include the 480p and 576p resolutions. • SD assets: 15.0 Mbps MPEG Encoding Methods There are three common methods of encoding video: CBR (constant bit rate, also known as one-pass), one-pass VBR (variable bit rate), and two-pass VBR. • CBR (one-pass) method: You choose a bit rate and it is used for the entire video, regardless of its content. The advantage of this method is that you can reliably predict the final encoded file size. By adjusting the bit rate, you can ensure the video will fit on the DVD. The disadvantage is that the same bit rate gets applied to all of the video, regardless of the motion content. You must choose a high enough bit rate to provide acceptable results for the scenes with motion, even if they are only a small part of the movie. 62 Chapter 4 Preparing Video Assets • One-pass VBR method: You choose a basic bit rate and a maximum bit rate. The encoder detects the amount of motion present in the video as it encodes and adjusts the bit rate appropriately—scenes with motion use higher bit rates (up to the maximum setting you choose) and scenes with little motion use the lower, basic bit rate. The disadvantage of this method is that the quality will not be as good as with the two-pass VBR method. • Two-pass VBR method: You choose a basic bit rate and a maximum bit rate, just as with the one-pass VBR method. The difference is that the encoder makes two passes through the video to encode it. The first pass examines the video to learn about its motion content. The second pass performs the encode, varying the bit rate to provide better results in scenes with motion (as compared to the one-pass VBR method). The disadvantage of this method is that it takes twice as long as the one-pass VBR method. Important: With the VBR methods, the basic bit rate setting determines the encoded file size. The maximum bit rate setting does not affect the file size. Additionally, the VBR methods are most effective when the maximum bit rate is about double the basic bit rate, or at least 1 to 3 Mbps higher than the basic bit rate. The integrated MPEG encoder allows you to select which of these methods you want to use. Choosing a Video Resolution The resolution determines the number of pixels processed within a frame. The more pixels used, the sharper the details in the image. Note that regardless of the resolution you choose, most DVD players play back at full screen. The following is a list of common resolutions used with MPEG-1 and MPEG-2 video with DVD Studio Pro. Note: Menus must use full D1 resolution MPEG-2 video. If you assign any other resolution or an MPEG-1 asset, the video will be transcoded to full D1 MPEG-2 when you build the project. SD Projects SD projects can use the resolutions shown in the following tables. NTSC All frame rates use the interlaced scanning method (as indicated with an “i”). With the exception of 352 x 240, all resolutions are MPEG-2 only. Resolution Frame rate Aspect ratio Notes 352 x 240 29.97i 4:3 Also known as SIF format; MPEG-1 or MPEG-2 352 x 480 29.97i 4:3 Also known as 1/2 D1 704 x 480 29.97i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic 720 x 480 29.97i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic Chapter 4 Preparing Video Assets 63 PAL All frame rates use the interlaced scanning method (as indicated with an “i”). With the exception of 352 x 288, all resolutions are MPEG-2 only. Resolution Frame rate Aspect ratio Notes 352 x 288 25i 4:3 Also known as SIF format; MPEG-1 or MPEG-2 352 x 576 25i 4:3 Also known as 1/2 D1 704 x 576 25i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic 720 x 576 25i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic HD Projects HD projects can use the resolutions shown in the following tables. Note: MPEG-1 video is not supported. NTSC Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate the progressive scanning method. Resolution Frame rate Aspect ratio Notes 352 x 240 29.97i 4:3 Also known as SIF format 352 x 480 29.97i 4:3 Also known as 1/2 D1 704 x 480 29.97i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic 720 x 480 29.97i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic 720 x 480 59.94p 16:9 HD only, also known as 480p; is anamorphic 1280 x 720 59.94p 16:9 HD only, also known as 720p 1440 x 1080 29.97i 16:9 HD only; 16:9 is anamorphic 1920 x 1080 29.97i 16:9 HD only, also known as 1080i PAL Frame rates with an “i” indicate the interlaced scanning method; those with a “p” indicate the progressive scanning method. Resolution Frame rate Aspect ratio Notes 352 x 288 25i 4:3 Also known as SIF format 352 x 576 25i 4:3 Also known as 1/2 D1 704 x 576 25i 4:3, 16:9 Also known as Cropped D1; 16:9 is anamorphic 720 x 576 25i 4:3, 16:9 Also known as Full D1; 16:9 is anamorphic 720 x 576 50p 16:9 HD only, also known as 576p; is anamorphic 1280 x 720 50p 16:9 HD only, also known as 720p 1440 x 1080 25i 16:9 HD only; 16:9 is anamorphic 64 Chapter 4 Preparing Video Assets Resolution Frame rate Aspect ratio Notes 1920 x 1080 25i 16:9 HD only, also known as 1080i Picture Frame Rate DVD Studio Pro NTSC projects support the NTSC frame rate (29.97 fps) and 23.976 fps assets that use NTSC video resolutions. PAL projects support the PAL frame rate (25 fps) and 23.976 fps assets that use PAL video resolutions. You can set a project’s video standard in the General tab in the Disc Inspector or in the Project pane of DVD Studio Pro Preferences. Warning: You cannot mix NTSC and PAL MPEG assets in a project. Working with GOP Settings A major function of MPEG encoding is to identify redundancy not only within a frame, but also among a group of frames. A scene with no movement except a car driving by has a lot of redundancy over time. In this case, a single complete frame could provide the majority of the video; subsequent frames only need to provide for the areas that change. Each MPEG stream contains three types of frames that define the video. A Group of Pictures (GOP) setting defines the pattern of the three frame types used: Intra (I) frames, Bi-directional (B) frames, and Predicted (P) frames. • I-frames: Also known as reference or key frames, I-frames contain the complete image of the current frame, without reference to frames that precede or follow it. The I-frame is the only type of MPEG frame that can stand by itself, without requiring information from other frames in the GOP. Every GOP contains one I-frame, although it does not have to be the first frame of the GOP. I-frames are the least efficient MPEG frame type, requiring the most disc space. Markers on a DVD track can be placed only at I-frames. • P-frames: P-frames are encoded from a “predicted” picture based on the closest preceding I- or P-frame. P-frames are also known as reference frames, because neighboring B- and P-frames can reference them. P-frames typically require much less disc space than I-frames. • B-frames: B-frames are encoded based on an interpolation from I- and P-frames that come before and after them. B-frames are the most efficient MPEG frame type, requiring the least amount of disc space. While a GOP can begin with a B-frame, it cannot end with one. The goal of encoding video to MPEG is to reduce the video file size as much as possible while maintaining good quality. The B- and P-frames are what make MPEG so good at compressing video into such small files. Because they only contain information about what has changed in the images, they use much less disc space than I-frames. Chapter 4 Preparing Video Assets 65 There are three aspects to choosing a GOP setting: the GOP pattern, the GOP length, and whether the GOP is “open” or “closed.” :04 :05 :06 :07 :08 :09 :10 :11 :12 :13 :14 :15 :16 :17 :18 Closed GOP (IBBP, 15 Frames) I B B P B B P B B P B B P B P GOP Pattern The GOP pattern determines the ratio of P- to B-frames within a GOP. The most common patterns used for DVD are IBP and IBBP. All three frame types do not have to be used in a pattern; an IP pattern is also used in special circumstances. IBP and IBBP GOP patterns, in conjunction with longer GOP lengths, produce the most efficient encodes. Smaller GOP patterns with shorter GOP lengths work better with video that has quick movements. Some encoders can force I-frames to be added sporadically throughout a stream’s GOPs. These I-frames can be placed manually by someone watching for sudden video changes or automatically by an encoder detecting scene changes. You can place markers in Final Cut Pro to identify specific frames to have an I-frame, either for use as a chapter marker or to manually identify high motion areas. See Adding Markers to Your Video for more information. The integrated MPEG encoder uses a GOP pattern of IBBP. GOP Length Longer GOP lengths produce more efficient encodes by reducing the number of I-frames but are less desirable during short-duration effects such as quick fades and quick camera pans. • SD-Based DVDs: The maximum GOP length for SD projects is 18 frames for NTSC or 15 frames for PAL. The minimum GOP length depends on the GOP pattern. For example, an IP pattern can have a length as short as two frames. The integrated MPEG encoder uses a GOP length of 15 frames for NTSC and 12 frames for PAL SD assets. • HD-Based DVDs: Because HD projects can use both interlaced and progressive video assets, they have different GOP length maximums. • NTSC interlaced assets: 18 frames per GOP • NTSC progressive assets: 36 frames per GOP • PAL interlaced assets: 15 frames per GOP • PAL progressive assets: 30 frames per GOP 66 Chapter 4 Preparing Video Assets Note: 24p assets have their GOP structure based on their display rate, not the encoded rate. A 24p asset encoded to play in an NTSC project has a display rate of 29.97 interlaced frames (with an 18 frames per GOP maximum) or 59.94 progressive frames (with a 36 frames per GOP maximum). The integrated MPEG encoder uses a GOP length of 15 frames for NTSC and 12 frames for PAL HD assets. Open or Closed GOPs An open GOP allows the B-frames from one GOP to look at an I- or P-frame from an adjacent GOP. Open GOPs are more efficient, but cannot be used with multi-angle or mixed-angle titles. A closed GOP keeps all references within itself, standing alone with respect to other GOPs. DVD Studio Pro works with either type in single-angle titles and requires closed GOPs with multi-angle and mixed-angle titles. It is important to know that the same pattern can provide different results when used with an open or closed GOP. For example, the integrated MPEG encoder uses a closed GOP type, and it starts its IBBP pattern with an I-frame. Other encoders using an open GOP may start with a B-frame. In this case, starting with a B-frame is a little more efficient; if you start with an I-frame, an extra P-frame must be added to the end (a GOP cannot end with a B-frame). General Quality Issues The quality of the MPEG encoding determines the quality of the title. It is well worth putting some effort into getting the best possible MPEG encoding environment. For example, start with the best quality source material you can. An uncompressed digital source is the best, followed by a DV source, and then an analog Component source. Of the other analog formats, S-Video (Y/C) is much preferable to Composite. Noisy Video Because a large portion of MPEG’s compression power depends on its ability to locate areas of the image that do not change between successive frames, “noisy” video can reduce the efficiency of MPEG encoding. While the actual video may be identical between two frames, if there are noise artifact differences between the two frames, they are detected as a change in video and require more bits to encode. A lot of noise causes poor encodes, because the encoding resources are tied up trying to faithfully reproduce the noise. Transcoding Artifacts Every time video is transcoded from one format to another—for example, from analog to digital, or DV to MPEG-2—artifacts are introduced into it. The visibility of these artifacts depends on the quality of the transcoding device and the content. While transcoding cannot be avoided, its effects can be minimized. Use the highest quality equipment and software you can, and choose products that work well together and support each other’s formats. Chapter 4 Preparing Video Assets 67 Using the Integrated MPEG Encoder When QuickTime assets that are not DVD-compliant are imported into a DVD Studio Pro project, they must be made DVD-compliant. DVD Studio Pro uses its integration with Compressor to encode these assets. This integration with Compressor provides simplified encoding functionality, with the more advanced attributes automatically set. Note: If you would like to encode the assets using more advanced Compressor functionality or to take advantage of distributed encoding, you can encode the assets directly in Compressor. For video assets, the integrated MPEG encoder outputs an MPEG-2 video stream with a closed GOP pattern and a fixed GOP size (15 frames for NTSC and 12 frames for PAL). The exported MPEG video stream can be used for multi-angle tracks. The file type is “.m2v.” See Settings in the MPEG-2 SD and MPEG-2 HD Tabs for information on configuring other aspects of the integrated encoder. If the file to be encoded has audio multiplexed together with the video, the audio is encoded as a PCM audio file and given the same name as the video file, but with an “.aiff” extension. See Preparing Audio Assets for more information on audio formats. Transcoding with the Integrated MPEG Encoder If you import a QuickTime asset whose video standard is different from the project’s current setting, the integrated MPEG encoder automatically transcodes the asset to the project’s video standard while encoding it. For example, if you are working on a PAL project and accidentally import an NTSC QuickTime file, the NTSC file is encoded as a PAL asset and is imported into the project. Similarly, if you import an HD asset into an SD project, the HD asset is automatically transcoded to SD. You should be aware, though, that the integrated encoder uses the default Compressor Frame Controls settings (which control the quality of frame size and rate conversions), and the results you get may not be suitable for use in a project. Using Compressor directly or any of a variety of third-party products can provide good transcoding results. You may also choose to have a facility that specializes in video standards conversion transcode the video. Configuring the Integrated MPEG Encoder DVD Studio Pro Preferences contain the settings that determine how DVD Studio Pro uses the integrated MPEG encoder. 68 Chapter 4 Preparing Video Assets To configure the integrated MPEG encoder 1 Choose DVD Studio Pro > Preferences. 2 Click Encoding to open the Encoding pane. 3 Configure the settings in the Encoding pane. See Encoding Preferences for information about the options in this pane. 4 Click Apply to enable the settings, then click OK to close the Preferences window. Encoding Preferences The Encoding pane of DVD Studio Pro Preferences contains two tabs: MPEG-2 SD and MPEG-2 HD. Each tab has the same settings, with the exception of the higher bit rate settings allowed in the MPEG-2 HD tab. The settings in the MPEG-2 SD tab are automatically applied to all QuickTime video assets added to an SD project (including those with an HD video resolution) and assets with an SD video resolution added to an HD project. The MPEG-2 HD tab’s settings are applied to QuickTime video assets with an HD video resolution added to an HD project. (An exception are H.264 and HDV QuickTime assets, which are already properly encoded.) Settings in the MPEG-2 SD and MPEG-2 HD Tabs • Aspect Ratio: Select the aspect ratio to use. • 4:3: This aspect ratio is only available for SD video assets. • 16:9: This aspect ratio is supported by both SD and HD video assets. Note that selecting 16:9 does not convert the video to the 16:9 aspect ratio. The file to be encoded must already be in a 16:9 anamorphic format. See What Exactly Is a 16:9 Asset? for more information. Chapter 4 Preparing Video Assets 69 • Start: Sets the starting timecode of the encoded MPEG stream. This is most often set to match the timecode of the original video, ensuring that any timecode-based lists you have, such as a chapter list, marker positioning file, or subtitle file, match the encoded video. • Drop Frame: Select this checkbox to use drop frame timecode for assets using the NTSC frame rate. • Field Order: Choose the field order (Top or Bottom) that matches the video being encoded. This is also known as the field dominance setting in other products. Each interlaced NTSC and PAL video frame is comprised of two fields, each containing every other video line. The top field is also known as field two, the upper field, or the odd field. The bottom field is also known as field one, the lower field, or the even field. If the field order is set incorrectly, any motion in the video will appear very jagged when played back. Most professional and DV sources are field one dominant, and should use the Bottom setting. If you are unsure of the field order of your source video, choose Auto to let the encoder attempt to determine the field order. Note: The Field Order setting does not apply to progressive scan video. • Mode: You can choose from three encoding modes, each with its own advantages and disadvantages. See MPEG Encoding Methods for more information on the encoding methods. • One Pass: With this option chosen, the encoder uses a one-pass encoding method with a constant bit rate (CBR). Note that the integrated MPEG encoder One Pass mode actually varies the bit rate a small amount. • One Pass VBR: With this option chosen, the encoder uses the one-pass variable bit rate (VBR) encoding method. • Two Pass VBR: With this option chosen, the encoder uses the two-pass VBR encoding method (one pass to create a motion profile of the video and a second pass to perform the encode). • Bit Rate: Set the bit rate for the One Pass encoding method and the basic bit rate for the One Pass VBR and Two Pass VBR encoding methods. When using one of the VBR encoding methods, you cannot set Bit Rate any higher than 85% of the Max Bit Rate setting. See Choosing a Bit Rate for SD Projects for more information. • Max Bit Rate: Set the maximum bit rate that can be used during a One Pass VBR or Two Pass VBR encode. You cannot set the Max Bit Rate setting lower than the Bit Rate setting or 5 Mbps (whichever is higher). Because the VBR methods are most effective when the maximum bit rate is about double the basic bit rate, or at least 1 to 3 Mbps higher than the basic bit rate, the Max Bit Rate setting is forced to be higher than the Bit Rate setting. Note: The Max Bit Rate setting does not affect the size of the encoded file—it only sets the upper limit that can be used during the encode. 70 Chapter 4 Preparing Video Assets • Motion Estimation: Choose a Motion Estimation setting that provides a balance between quality and speed of encoding. This setting controls how much time is spent determining the motion between video frames. • Good: The fastest Motion Estimation setting. This mode does well even with significant amounts of motion between frames, if the motion has minimal interfield motion within frames. For example, footage that has been exposed to frame-rate conversion or other effects processes tends to have little interfield motion. In general, use Good with the One Pass encoding mode. • Better: A good general purpose Motion Estimation setting. The Better mode provides good results even with complex interlaced motion. Better works well for almost all types of interlaced video sources, even shaky footage from hand-held consumer camcorders. In general, use Better with One Pass VBR and Two Pass VBR. • Best: This is the highest quality Motion Estimation setting and should be used for the most demanding and complex motion for interlaced sources. It is slower than the Better mode. In general, use the Best mode to maximize quality when using One Pass VBR or Two Pass VBR. • Reset to Factory Defaults: Click this to restore the current tab’s settings to the default settings. Settings Outside of the Tabs • Method: Select when you want the asset to be encoded. Note: An advantage of selecting “Background encoding” is that, once the assets are encoded, the encoded versions of them appear in the Simulator and the Viewer when playing a track. This makes it possible to see the video as it will appear on the DVD, and not the QuickTime version. See Is That the QuickTime or MPEG Encoded Version? for more information. • Background encoding: The encoding begins as soon as you import the asset. The encoding takes place in the background, allowing you to continue working on your project. A progress bar appears in the Status column of the Assets tab. Once the encoding process finishes, the Status column displays Done. See Default Columns in the Assets Tab for more information. • Encode on build: The encoding does not start until you complete your project and build the VIDEO_TS or HVDVD_TS files. Using the Integrated MPEG Encoder Depending on the Method setting in Encoding Preferences, video assets can either begin encoding as soon as you add them to your project, or they can wait until you perform a build of the project. Chapter 4 Preparing Video Assets 71 Is That the QuickTime or MPEG Encoded Version? When you import QuickTime assets and assign them to elements in your project, it can be important to know whether you are seeing the original QuickTime version of the asset or the MPEG encoded version in the Viewer or Simulator. Seeing the MPEG encoded version has the advantage of allowing you to see the video as it will appear when the DVD is played. The disadvantage of seeing the MPEG encoded version is that the video must be encoded first. The Method setting in the Encoding pane of DVD Studio Pro Preferences controls whether the encoded versions of the assets can be available while you are authoring the project. With “Background encoding” selected, you will be able to see the encoded versions of the assets as soon as they are encoded. With “Encode on build” selected, you will not be able to see the encoded versions until you build the project. There are some guidelines DVD Studio Pro uses to determine whether to show the original QuickTime version of the asset or the MPEG encoded version: • When you view an asset from the Assets tab in the Viewer, you will see the QuickTime version, whether the encoded version is available or not. • When you view an asset from the Track Editor, you will see the encoded version (if available). This is also true when you view the track in the Simulator. • When you view an asset in the Menu Editor, you will see the QuickTime version, whether or not the encoded version is available. This is also true when you view the menu in the Simulator. When you import a QuickTime video asset into DVD Studio Pro, the current Encoding Preferences settings are assigned to it. If you change the Encoding Preferences settings after you have imported a QuickTime video asset, those changes are applied only to new assets you import—they are not applied to existing assets. Verifying and Changing Encoding Settings If your project contains a mixture of 4:3 and 16:9 assets or has some assets you want to encode differently than others, you must be sure to set the Encoding Preferences settings before you import the assets. You can use the Encoder Settings dialog to verify and change the encoding settings on assets that have been imported. To change the encoding settings after importing an asset Do one of the following: μ Select the asset and choose File > Encoder Settings (or press Command-E). μ Control-click the asset in the Assets tab, then choose Encoder Settings from the shortcut menu. 72 Chapter 4 Preparing Video Assets The Encoder Settings dialog appears with the same settings found in the Encoding Preferences pane, with HD projects getting an added Resolution setting. When you have the “Background encoding” method selected and you make any changes in the Encoder Settings dialog, one of two things happens: • If you change the bit rate setting: The current file, whether a complete or partially complete file, is left as is and the encoder starts encoding a new file. This allows you to compare the quality of the two bit rates. If you decide to continue the encoding of the partially completed file, you can set the bit rate (and all other settings, if you have made changes) to the value it used, and the encoder will continue encoding it. Note: If the encoded files are being written to the project bundle, they are deleted regardless of whether or not you change the bit rate setting. • If you do not change the bit rate setting: The original asset is deleted, whether a complete or partially complete file, and a new encoded file is created. For example, if you want to see the difference between one-pass VBR and two-pass VBR encoding and want to keep the files from both encoding sessions, you need to rename or move the completed one-pass VBR encoded file before re-encoding with the two-pass VBR setting. If you have the “Encode on build” method selected, these changes will apply once you build your project. Encoding Settings in HD Projects Because an HD project can use assets with a wide variety of video resolutions, the Encoder Settings dialog contains a Resolution pop-up menu that shows the asset’s resolution. You are also able to change an asset’s video resolution by choosing a setting from the Resolution pop-up menu. SD resolution assets (720 x 480i and 720 x 576i) in HD projects can use a bit rate up to 15 Mbps. The Bit Rate setting in the Encoder Settings dialog will not go beyond 15 Mbps when an SD resolution is chosen. Important: Encoding an asset at a resolution other than its native resolution may result in unacceptable artifacts appearing in the video. How the Encoded Files Are Named When you import QuickTime video assets into DVD Studio Pro, the integrated MPEG encoder names the encoded files as follows: • The first half is the complete original filename, including its extension. • The second half has three parts—the video standard (NTSC or PAL), the encoding bit rate (shown as a four-digit number), and the “.m2v” extension. For example, if you import an asset named “Main Program.mov,” use the NTSC standard and a bit rate of 5.5 Mbps, the MPEG-encoded filename will be “Main Program.mov_NTSC_5500.m2v.” Chapter 4 Preparing Video Assets 73 Audio files created by the embedded AIFF encoder use the original filename with an added “.aiff” extension. Encoding Video for Multi-Angle Tracks DVD Studio Pro supports multi-angle and mixed-angle video. With multi-angle video, a track can contain up to eight alternate video streams that last the entire length of the main stream (for a total of nine video streams per track). With mixed-angle video, the alternate streams do not last the entire length of the main stream, so you can have alternate streams in only those locations where they are needed, saving disc space. In either case, the viewer can switch among angles using the Angle button on the remote control. Because different MPEG encoders can produce slightly different GOP structures, you should use the same encoder for all streams. Note: Switching angles while playing a DVD affects only the video playback. The audio remains on the currently selected stream. Considerations for Mixed-Angle Tracks Mixed-angle tracks provide the possibility of interesting playback scenarios. The illustration below shows a track that has two sections with three alternate angles, with playback set to angle 3. Angle 1 2 3 4 Mixed-angle track with stream 3 playing There are some additional considerations when creating a mixed-angle track: • Within a track, you can use markers to define multiple sections to use additional angles, but each section must have the same number of streams. For example, you cannot have one section early in the track with two alternate streams and a section later in the track with three alternate streams—both sections must have either two or three streams. • Each alternate angle section can be a different length, but all streams within a section must be the same length. For example, you can have one mixed-angle section early in the track that is 10 seconds long and a second mixed-angle section that is 20 seconds long. All alternate streams in the first mixed-angle section must be 10 seconds long; all alternate streams in the second mixed-angle section must be 20 seconds long. 74 Chapter 4 Preparing Video Assets • You cannot use still images in the V2 through V9 streams. You can use still images in the V1 stream as long as they are outside of the mixed-angle areas (places where video is present in the V2 through V9 streams). Requirements for MPEG Streams in Multi- and Mixed-Angle Video The integrated MPEG encoder produces streams that meet the criteria for multi- and mixed-angle use: • With multi-angle tracks, all streams must be the same length. With mixed-angle tracks, all alternate streams in each mixed-angle section must be the same length. • All streams must have the same resolution and frame rate. • The length and pattern of GOPs (Group of Pictures) must be the same for all streams (angles). If you are not using the integrated MPEG encoder, use an encoder that allows you to turn scene detection off. • All GOPs should be closed. You will not be able to cleanly switch between the streams if you use open GOPs. Using Final Cut Pro and Compressor In addition to the chapter and compression markers you can manually add to a video clip in Final Cut Pro and Final Cut Express, compression markers are automatically added at each edit point. The manually added chapter and compression markers (also known as named markers) are processed by the integrated MPEG encoder and by Compressor when used directly. Be sure to add identically placed chapter and compression markers to each video clip you intend to use in a mixed- or multi-angle track. The integrated MPEG encoder ignores the automatic compression markers, because they can alter the GOP structure and make the clip unusable for mixed- and multi-angle tracks. You can either set Compressor to process the automatic compression markers or ignore them. The Extras pane of the Compressor MPEG-2 presets includes an “Include chapter markers only” checkbox. Select the checkbox to force Compressor to ignore the automatic compression markers if you are encoding clips for use in a mixed- or multi-angle track. See Using Compression Markers to Improve the MPEG Encode for more information about compression markers. Maximum Bit Rates for Multi- and Mixed-Angle Tracks The maximum bit rate for a multi- or mixed-angle track is different from other tracks. Due to the way the DVD specification requires video streams to be multiplexed together, the number of video streams determines the maximum video bit rate you can use. Following is a list of maximum combined bit rates (highest bit rate video stream + all audio streams + all subtitle streams) you can use for each multi- and mixed-angle track. Chapter 4 Preparing Video Assets 75 Important: When calculating the combined bit rate for a track, you only need to add in the bit rate of one video stream, but it needs to be the stream with the highest bit rate. SD Projects • 5 angles or fewer: 8 Mbps maximum for the track’s combined bit rate • 6–8 angles: 7.5 Mbps maximum for the track’s combined bit rate • 9 angles: 7 Mbps maximum for the track’s combined bit rate HD Projects • 2 to 9 angles: 24 Mbps maximum for the track’s combined bit rate Note: 1080i HDV video uses a bit rate of 25 Mbps, which is higher than the maximum allowable multi-angle bit rate. 720p HDV video uses a bit rate of 19 Mbps, which, depending on the number and type of audio and subtitle streams, can be used in a multi-angle project. Adding Markers to Your Video You can add markers to your tracks in the DVD Studio Pro Track Editor. You can use these markers in a variety of ways—the most common usage is to provide a place in a track to which a button on a chapter index menu can connect. Apple video editing applications—Final Cut Pro and Final Cut Express—let you add markers while you edit the video. You can also add markers with Compressor. There are two types of markers that are important to DVD Studio Pro: • Chapter markers: DVD Studio Pro can import these markers and display them in the Track Editor. • Compression markers: The integrated MPEG encoder uses these markers to place custom I-frames in the MPEG-encoded file. Because DVD Studio Pro can import chapter markers added within Final Cut Pro, Final Cut Express, and Compressor, you can choose to create the markers in the editing, compressing, or DVD authoring process. When you import video with chapter markers into DVD Studio Pro, you see the marker position and marker name you set appear in the Track Editor. The markers can then be edited within DVD Studio Pro exactly as if you had manually created them there. Note: The markers embedded in MPEG files encoded with the DVD Studio Pro 4 version of the integrated MPEG encoder are not compatible with 1.X versions of DVD Studio Pro. Placing Chapter Markers Exactly Where You Want Them Adding markers in Final Cut Pro, Final Cut Express, or Compressor offers the potentially large advantage of allowing you to position them on the exact frame where you want them to appear. 76 Chapter 4 Preparing Video Assets When adding markers to a track in DVD Studio Pro, you can only place them at GOP boundaries. This means that you will often not be able to place them exactly where you want them. When you place the markers with a video editor, the integrated MPEG encoder automatically forces an I-frame at that position, placing a GOP boundary exactly at every marker and providing perfect marker placement. Markers placed in Compressor before it is used to encode the video are also perfectly placed. Using Compression Markers to Improve the MPEG Encode MPEG encoding is based on the placement of I-frames, P-frames, and B-frames within a GOP (see Working with GOP Settings). The I-frames encode a complete frame, while the P-frames and B-frames only encode the parts of the video that change between the I-frames. When there is a sudden change in the video content on a P-frame or B-frame, such as a cut to a new scene, the output of the MPEG encoder can have significant artifacts until it reaches the next I-frame. The integrated MPEG encoder uses compression markers to force an I-frame into the encode at a specific frame, modifying the surrounding GOP structure to keep the encode DVD-compliant. Adding compression markers at places in the video where sudden transitions occur can produce better MPEG encodes when you use the integrated MPEG encoder. You can manually place compression markers in Final Cut Pro and Final Cut Express. As with chapter markers, an I-frame is forced at their position. The difference is that compression markers do not import into DVD Studio Pro as chapter markers and do not count against the 99 chapter marker limit for a track. Note: Final Cut Pro automatically adds compression markers at each edit point. These are not processed when encoding the video with the integrated MPEG encoder. Only compression markers you manually add in Final Cut Pro are processed. See Using Final Cut Pro and Compressor for information on these markers and Compressor. About the Markers You Add in an External Editor There are several issues to be aware of when adding chapter and compression markers in an external video editor: • DVD tracks can support a maximum of 99 chapter markers. Because compression markers are only used in the MPEG encoding process, they do not count as chapter markers and do not count against the 99-marker limit. Because you can add several video assets to a single track in DVD Studio Pro, you must keep in mind that the 99-marker limit applies to the total markers of all assets on the track. • You cannot place markers closer than one second to each other or within one second of the clip’s start or end in the editor. This gives the encoder the flexibility to modify the GOP structures in that area to accommodate the added I-frame. Chapter 4 Preparing Video Assets 77 • If you are going to use a video asset to create a mixed-angle or multi-angle track, all video streams must have identical MPEG structures. If you add chapter or compression markers to one stream, you must add them at the exact same place in the other streams. Adding and Configuring Markers in Final Cut Pro and Final Cut Express Using Final Cut Pro or Final Cut Express, you can add markers to a clip or to a sequence. If you intend to export the markers for use with DVD Studio Pro, it is important that you place the markers correctly. • If you export a clip by selecting it in the Browser: The chapter and compression markers can be exported. • If you export a sequence by selecting it in either the Browser or the Timeline: Only markers in the sequence are exported—markers in any clips in the sequence are ignored. For details on adding markers to clips and sequences, see the Final Cut Pro User Manual. The following instructions assume you are familiar with Final Cut Pro and Final Cut Express. Note: The following instructions are for Final Cut Pro 4 through Final Cut Pro 5, and all versions of Final Cut Express. If you are using a different version of Final Cut Pro, you may have different choices. To configure a marker in Final Cut Pro 1 Select the marker and open the Edit Marker dialog. 2 Enter a name for the marker. This is the name that appears in the Track Editor in DVD Studio Pro and can be used as button text. 3 Click either Add Chapter Marker or Add Compression Marker. Text is added to the Comment area. Only chapter markers appear in DVD Studio Pro. Because each chapter marker forces an I-frame at that location, it is unnecessary for you to add both marker types. 78 Chapter 4 Preparing Video Assets To export a Final Cut Pro or Final Cut Express movie with markers 1 Do one of the following: • If exporting a clip with markers: Select the clip in the Browser. • If exporting a sequence with markers: Select the sequence in either the Browser or the Timeline. 2 Choose File > Export > QuickTime Movie. The Save dialog appears. 3 Choose the type of markers to export from the Markers pop-up menu. Choose DVD Studio Pro Markers to export both compression and chapter markers, or choose the type (compression or chapter) you want to export. 4 Ensure all other settings are correct, then click Save. Chapter 4 Preparing Video Assets 79 About H.264 Video You can use the H.264 video format, also known as MPEG-4 part 10 and the Advanced Video Codec (AVC), in your HD projects. The H.264 encoder is twice as efficient as the standard MPEG-2 encoder. When compared to encoding with MPEG-2, this means that with the H.264 encoder: • You can use a lower bit rate to get the same quality, resulting in smaller files. • You can use the same bit rate and get better quality with the same file size. While DVD Studio Pro does not include an embedded H.264 encoder, Compressor includes presets specifically for use in HD projects. You are able to modify these presets to suit your specific needs. Important: You must use H.264 for HD DVD presets in Compressor to encode H.264 video assets for native use in DVD Studio Pro HD projects. Natively Supported H.264 Formats DVD Studio Pro natively supports the following H.264 formats. Native support means that the files are not reencoded when they are imported into the appropriate NTSC or PAL HD project. In some cases, however, frames may be set to repeat during playback to create the HD DVD specification’s required frame rate. NTSC HD projects natively support the following formats: • 720p24 • 720p30 • 720p60 • 1080p24 • 1080p30 PAL HD projects natively support the following formats: • 720p25 • 720p50 • 1080p25 H.264 Bit Rates The process of choosing a bit rate for H.264 video is similar to choosing a bit rate for MPEG-2 video—the higher the bit rate the better the quality, but the more disc space that is required. In general, you are able to use lower bit rates than you would use with an MPEG-2 encoder. While the maximum bit rates you can use are identical to MPEG-2 video, the minimum bit rates are lower. 80 Chapter 4 Preparing Video Assets Video format MPEG-2 range H.264 range Standard definition 2.0 Mbps to 15.0 Mbps 0.5 Mbps to 15 Mbps High definition 2.0 Mbps to 29.4 Mbps 1.5 Mbps to 29.4 Mbps Important: It is strongly suggested that you use H.264 bit rates of 18 Mbps or less to ensure DVD compatibility. H.264 Frame Sync Setting The H.264 encoder in Compressor contains a Frame Sync setting. This setting defines how often the encoder places a key frame, similar to an MPEG-2 I-frame, in the stream. The value is in seconds, with one half second increments. The range is from 0.5 seconds to 5.0 seconds. The smaller the Frame Sync value is, the more key frames are placed in the stream, which results in better quality but with a larger file size. Higher values result in a smaller file but with reduced quality. The Frame Sync setting does not affect where you can place markers in the Track Editor. Due to the structure of the H.264 stream, you are able to place a marker about every half second. About HDV Video DVD Studio Pro natively supports many of the HDV video formats currently in use. Native support means that the files are not reencoded when they are imported into the appropriate NTSC or PAL HD project. In some cases, however, frames may be set to repeat during playback to create the HD DVD specification’s required frame rate. You can edit the following HDV video formats directly in Final Cut Pro and use them directly in your HD DVD Studio Pro projects without the need to transcode them. Note: None of these formats are supported in SD DVD projects. For the best results, use Compressor to convert any unsupported HDV formats to supported HDV, MPEG-2, or H.264 formats. You can use Compressor to convert these formats (and any other HD-format video) to an SD format that you can use in your SD projects. NTSC HD projects natively support the following formats: • 720p24 • 720p30 • 720p60 • 1080p24 • 1080p30 • 1080i60 Chapter 4 Preparing Video Assets 81 PAL HD projects natively support the following formats: • 720p25 • 720p50 • 1080p25 • 1080i50 Note: You can import 24 fps and 23.98 fps HDV-format video into PAL projects, but they are not treated natively and are reencoded to a supported MPEG-2 format. Using HDV Video from the Final Cut Pro Capture Scratch Folder The HDV video clips that Final Cut Pro captures from some HDV sources cannot be imported directly into DVD Studio Pro. Only HDV video clips exported from Final Cut Pro are formatted correctly for use in an HD DVD project. When the clips are captured, they may not have legal opening and closing GOP structures. When HDV clips are exported from Final Cut Pro, the opening and closing GOP structures are made legal. DVD Video Source Settings Summary The following sections, DVD Video Settings for SD Projects and DVD Video Settings for HD Projects, summarize the required settings for MPEG and other sources that can be used with DVD Studio Pro. Note: All assets within a project must use the same video standard (all NTSC or all PAL). For the other settings, such as encoding format, resolution, and bit rates, you can mix assets with different settings. DVD Video Settings for SD Projects The following settings work with SD projects. With the exception of MPEG-1 video, these same settings can also be used in HD projects. MPEG Type Both MPEG-1 and MPEG-2 are supported, at the video resolutions listed below. MPEG Structure Only elementary streams are supported. MPEG Bit Rates Multi-angle and mixed-angle tracks have stricter requirements. See Encoding Video for Multi-Angle Tracks for details. • MPEG-1 Video: Up to 1.856 Mbps (1.15 Mbps is typical.) • MPEG-2 Video: Up to 9.8 Mbps (The typical maximum used is 8 Mbps.) 82 Chapter 4 Preparing Video Assets Video Resolution DVD Studio Pro supports a variety of resolutions. See Choosing a Video Resolution for more information. • MPEG-1: The following resolution is supported: • SIF (Standard Interface Format): 352 x 240 NTSC; 352 x 288 PAL • MPEG-2: The following resolutions are supported: • SIF: 352 x 240 NTSC; 352 x 288 PAL • 1/2 D1: 352 x 480 NTSC; 352 x 576 PAL • Cropped D1: 704 x 480 NTSC; 704 x 576 PAL (matches analog blanking) • Full D1: 720 x 480 NTSC; 720 x 576 PAL Frame Rate There are three supported frame rates: • NTSC with 525 lines (29.97 fps) • PAL with 625 lines (25 fps) • Versions of 23.976 fps video using either the NTSC or PAL video resolutions Aspect Ratio 4:3 and anamorphic 16:9 are supported. (See What Exactly Is a 16:9 Asset?) Chroma Format The DVD specification requires a 4:2:0 chroma format. GOP Size (Maximum) 18 frames NTSC; 15 frames PAL GOP Size (Typical) 15 frames NTSC; 12 frames PAL DVD Video Settings for HD Projects The following settings work with HD projects. MPEG Type MPEG-2, HDV, and H.264 are supported, at the video resolutions listed below. MPEG Structure Only elementary streams are supported. MPEG Bit Rates Multi-angle and mixed-angle tracks have stricter requirements. See Encoding Video for Multi-Angle Tracks for details. • SD MPEG-2 Video: From 2.0 Mbps to 15.00 Mbps Chapter 4 Preparing Video Assets 83 • HD MPEG-2 Video: From 2.0 Mbps to 29.40 Mbps (The typical maximum used is 27 Mbps.) Note: HD assets include the 480p and 576p resolutions. • HDV Video: HDV video is MPEG-2 encoded. The bit rate depends on the video resolution: • 1280 x 720p: 19 Mbps • 1920 x 1080i: 25 Mbps H.264 Bit Rates Multi-angle and mixed-angle tracks have stricter requirements. See Encoding Video for Multi-Angle Tracks for details. • SD H.264 Video: From 0.5 Mbps to 15.00 Mbps • HD H.264 Video: From 1.5 Mbps to 29.40 Mbps (The typical maximum used is 27 Mbps.) Note: HD assets include the 480p and 576p resolutions. Video Resolution DVD Studio Pro supports a variety of resolutions. See Choosing a Video Resolution for more information. • SIF: 352 x 240 NTSC; 352 x 288 PAL • 1/2 D1: 352 x 480 NTSC; 352 x 576 PAL • Cropped D1: 704 x 480 NTSC; 704 x 576 PAL (matches analog blanking, only the interlaced version is supported) • Full D1: 720 x 480 NTSC; 720 x 576 PAL (both interlaced and progressive versions) • 720p: 1280 x 720 (NTSC and PAL, progressive) • Anamorphic 1080i: 1440 x 1080 (NTSC and PAL, interlaced, anamorphic 16:9) • 1080i: 1920 x 1080 (NTSC and PAL, interlaced) Frame Rate There are three supported frame rates: • NTSC with 525 lines (29.97 fps) • PAL with 625 lines (25 fps) • Versions of 23.976 fps video using either the NTSC or PAL video resolutions Aspect Ratio 4:3, anamorphic 16:9, and true 16:9 are supported. Chroma Format The DVD specification requires a 4:2:0 chroma format. 84 Chapter 4 Preparing Video Assets GOP Size (Maximum) 18 interlaced frames or 36 progressive frames NTSC; 15 interlaced frames or 30 progressive frames PAL GOP Size (Typical) 15 frames NTSC; 12 frames PAL Chapter 4 Preparing Video Assets 85 Before you can begin building a DVD project, you must have correctly prepared audio source material. This chapter covers the following: • Introduction to Preparing Audio Sources (p. 87) • Audio Formats Not Supported by the DVD Specification (p. 88) • Audio Formats Supported by the DVD Specification and DVD Studio Pro (p. 88) • Using Multiple Audio Formats in Your Project (p. 91) • Required Audio Formats for SD Projects (p. 91) • DVD Audio Source Settings Summary (p. 92) Introduction to Preparing Audio Sources The DVD specification restricts the types of audio formats that you can include on a DVD. There are also restrictions on mixing audio of different types within a track or set of menus. There are also required audio formats to make a DVD-compliant disc. Three areas in a DVD project can use audio sources: • Tracks: This is the primary area that uses audio sources. • Slideshows: This area can use a single audio source for the entire slideshow or individual audio sources for each slide. See Preparing Slideshow Assets for more information. • Menus: This area uses audio sources when you are creating motion menus. For the most part, audio sources used for motion menus must follow the same rules as audio sources used for tracks. See Preparing Menu Assets for more information. See DVD Audio Source Settings Summary for a complete list of settings required for an audio source to be DVD-compliant. 87 Preparing Audio Assets 5 Audio Formats Not Supported by the DVD Specification If you import an audio format that is not supported by the DVD specification, DVD Studio Pro automatically uses the embedded AIFF encoder to transcode the audio file into an uncompressed AIFF format file. For example, if you import an MP-3 file (a file format that is not supported by the DVD specification), DVD Studio Pro creates an AIFF file from the MP-3 file and that is what is used by your project. Note: Because an AIFF file is not compressed, its file size will be substantially larger than the original MP-3 file. If disc space is an issue, you can use the AC-3 encoder in the Compressor application to transcode the AIFF file to the Dolby Digital AC-3 format. See Dolby Digital AC-3 Audio for more information. Using AAC Audio Files from the iTunes Store DVD Studio Pro is able to import and use AAC format audio files purchased from the iTunes Store as long as the computer you are using them on is authorized to use them. If you import iTunes Store files that the computer is not authorized to use, DVD Studio Pro plays silence when it encounters those files. Additionally, if you select and try to play an iTunes Store file that the computer is not authorized to play in the Audio tab in the Palette, DVD Studio Pro plays silence. As with MP-3 files, AAC files are converted to AIFF files. Audio Formats Supported by the DVD Specification and DVD Studio Pro The following audio formats are supported by the DVD specification and can be imported into DVD Studio Pro without using the embedded AIFF encoder. • MPEG-1 Layer 2 audio • Dolby Digital (AC-3) audio (mono up to six channels) • DTS multichannel audio (preview not supported) • PCM audio (pulse code modulation audio; used by the AIFF and WAVE formats) Note: When importing DVD-compliant audio files, DVD Studio Pro imports only elementary files (not multiplexed). See Elementary and Multiplexed MPEG Files for more information. Uncompressed PCM Audio Uncompressed audio is typically referred to as PCM, although the files usually have a “.wav” or “.aif” extension. The DVD specification supports uncompressed PCM audio at sample sizes of 16 bits and 24 bits and sample rates of 48 kHz or 96 kHz. Audio in this format is completely compatible with DVD players worldwide and is of higher fidelity than data-compressed audio. The disadvantage of PCM audio is the relatively large file sizes, compared to compressed audio formats. 88 Chapter 5 Preparing Audio Assets There are two common PCM audio formats: • AIFF audio (Audio Interchange File Format-uncompressed PCM audio; the most common Macintosh audio format) • WAVE audio (Windows uncompressed PCM audio; the most common Windows audio format, also referred to as WAV) The DVD Studio Pro integrated MPEG encoder creates AIFF format files. In most cases, DVD Studio Pro converts WAVE files into AIFF files. Compressed Audio Formats The DVD medium uses data-compressed (as opposed to sonically compressed) audio for two purposes: • To deliver discrete surround audio (5.1) • To conserve bandwidth and disc space, allowing more room for video. This is especially applicable in long-form material such as feature films, notably when the smaller DVD-5 medium is the target. Data-compressed audio for DVD comes in a few forms, described next. MPEG-1 Layer 2 Audio For DVD products in PAL, MPEG-1 Layer 2 audio is compatible with all players. For NTSC markets (North America, Japan), most (but not all) DVD players support playback of MPEG-1 Layer 2 audio. If you create NTSC titles using MPEG audio, be aware that there may be problems in playback on some players. If you want to ensure that your data-compressed audio is compatible with all players for NTSC, using the AC-3 format is recommended. See the next section for information on encoding and authoring with AC-3 format audio. Dolby Digital AC-3 Audio There are two good reasons to use AC-3 format audio in your DVD production: • To take advantage of 5.1 surround audio (five main speakers and a subwoofer—six channels of audio total), which is supported by AC-3 but not by MPEG-1 Layer 2 • To produce stereo data-compressed audio that is fully compatible with every DVD player in the NTSC markets of North America and Japan. You may run into some compatibility issues with older DVD players in PAL countries. You can use the AC-3 encoder in Compressor to encode everything from stereo to 5.1 surround audio. See Previewing AC-3 and DTS Audio for information on listening to surround audio. Chapter 5 Preparing Audio Assets 89 DTS Audio DTS (Digital Theatre Systems) is an alternative format for surround audio. DVD Studio Pro can import and use DTS audio files. DVD Studio Pro supports DTS ES audio that can have up to 6.1 channels as well as audio that uses either a 48 kHz or a 96 kHz sample rate and a 24-bit sample size. Important: All DTS audio imported into DVD Studio Pro must use the compacted file format, with a “.cpt” file extension. Additionally, DTS audio using a 44.1 kHz sample rate will produce unusable results. See Previewing AC-3 and DTS Audio for information on listening to surround audio. Previewing AC-3 and DTS Audio In most cases, the best way to verify AC-3 and DTS audio is to burn a disc that you can play on a DVD player with suitable audio support. If you play the audio on your computer using its built-in audio support, the following happens: • When you play AC-3 audio from the Assets tab, one of the editors (Track, Story, Slideshow, or Menu Editor), or the Simulator, the audio is automatically converted to two-channel stereo for playback through your computer. • Because there is no DTS decoder on your computer, you cannot hear DTS audio when played from the Assets tab, one of the editors (Track, Story, Slideshow, or Menu Editor), or the Simulator. You are able to add an external AC-3 or DTS decoder to your computer to listen to your surround sound audio from the Assets tab, one of the editors (Track, Story, Slideshow, or Menu Editor), or the Simulator. To configure DVD Studio Pro to use an external audio monitor 1 Choose DVD Studio Pro > Preferences. 2 Click the Simulator icon to show the Simulator preferences. 3 Choose your external audio monitor device from the Playback Output section’s Audio pop-up menu. Common choices include Built-in Audio, for normal system audio, and Built-in Audio (S/PDIF), which uses your system’s optical digital audio output (if available) to output the audio to an external AC-3 or DTS decoder. 4 Click Apply. See External Video and Audio Monitoring for more information. Another option is to build your project and use the Apple DVD Player. Similar to DVD Studio Pro, you can configure DVD Player to use an external audio monitor. 90 Chapter 5 Preparing Audio Assets To configure DVD Player for external audio decoder support 1 Open DVD Player. 2 Choose DVD Player > Preferences. 3 Click the Disc Setup icon to show the Disc Setup pane. 4 Choose the external audio device to use from the Audio Output pop-up menu. 5 Click OK. Using Multiple Audio Formats in Your Project A project can contain audio in a variety of formats; however, there are some restrictions regarding mixing formats within an element or group of elements, such as menus. When you are required to have the same audio format within an element or group of elements, all settings must be the same: • Audio type: AIFF, WAVE, PCM, AC-3, or MPEG-1 Layer 2 • Number of channels: This is especially true with the AC-3 audio format, because it commonly supports a variety of channel configurations. • Sample size: 16 bits or 24 bits • Sample rate: 48 kHz or 96 kHz • Bit rate: 64 kbps to 4608 kbps, depending on the audio type Tracks Each audio stream within a track can be in a different format. Within an audio stream, however, the audio format must be the same for all clips. Menus All menus within a video title set (VTS) must use the same audio format. DVD Studio Pro automatically creates additional VTS blocks as needed to support menus with different audio formats. See VTS Editor for additional information. Slideshows When adding individual audio clips to each slide or when using multiple audio clips for overall audio, all clips must use the same audio format. Required Audio Formats for SD Projects To ensure that a DVD will play on all SD-based DVD players, there is a DVD specification requirement that at least one stream of audio for each element be in a specific format. • For NTSC DVDs: At least one of the audio streams must be either PCM or AC-3. • For PAL DVDs: At least one of the audio streams must be either PCM or MPEG compressed audio. Chapter 5 Preparing Audio Assets 91 Note: HD projects can use any supported audio format and do not require specific ones to be present. DVD Studio Pro verifies your project during the build process to ensure it is DVD-compliant. The build log shows any issues that are found; however, the build will continue and you can write your project to disc. DVD Audio Source Settings Summary Following is a summary of the required settings for MPEG and other audio sources that can be used with DVD Studio Pro. Note: All assets within a project must use the same video standard (all NTSC or all PAL). For the other settings, such as encoding format, resolution, and bit rates, you can mix assets with different settings. DVD Audio Settings for SD Projects The following settings work with SD projects. These same settings can also be used in HD projects. Bit Rates The audio bit rate depends on the format and quality level you need (higher bit rates provide better quality, but reduce the bit rate you can use with the video). • MPEG-1 Layer 2 Audio: 64 to 384 kbps (192 kbps and 224 kbps are typical.) • Dolby Digital AC-3: 64 to 448 kbps (192 kbps, 224 kbps, and 448 kbps [for 5.1] are typical.) • DTS ES: 754.5 kbps or 1509.75 kbps • Stereo PCM @ 16 Bits/48 kHz: 1536 kbps • Stereo PCM @ 24 Bits/96 kHz: 4608 kbps Audio Sample Rate There are two supported audio sample rates: • 16 bits or 24 bits • 48 kHz or 96 kHz DVD Audio Settings for HD Projects The following settings work with HD projects. Bit Rates The audio bit rate depends on the format and quality level you need (higher bit rates provide better quality, but reduce the bit rate you can use with the video). • MPEG-1 Layer 2 Audio: 64 to 384 kbps (192 kbps and 224 kbps are typical.) • Dolby Digital AC-3: 64 to 448 kbps (192 kbps, 224 kbps, and 448 kbps [for 5.1] are typical.) 92 Chapter 5 Preparing Audio Assets • DTS ES: 754.5 kbps or 1509.75 kbps • Stereo PCM @ 16 Bits/48 kHz: 1536 kbps • Stereo PCM @ 24 Bits/96 kHz: 4608 kbps Audio Sample Rate There are two supported audio sample rates: • 16 bits or 24 bits • 48 kHz or 96 kHz Chapter 5 Preparing Audio Assets 93 Before you can begin building a DVD project, you must have correctly prepared menu source material. This chapter covers the following: • Introduction to Preparing Menu Sources (p. 95) • What Is a Menu? (p. 96) • Creating a Menu (p. 96) • Creating Graphics to Use in Menus (p. 97) • Creating Overlays (p. 101) • Creating a Layered Menu (p. 106) • Creating Video for Motion Menus (p. 106) • Defining the Menu Loop Point (p. 107) • Creating Shapes (p. 108) • Creating Graphics for Drop Zones and Buttons (p. 112) Introduction to Preparing Menu Sources This chapter describes the various components, such as backgrounds, overlays, buttons, and drop zones, and strategies you can use to create menus in DVD Studio Pro. The types of menu sources you need for your DVD project depend on the types of menus you want to use: • Will the backgrounds be still images or contain full-motion videos? • Will you use the provided shapes for your buttons or create your own? • Will you use the standard method of creating menus or the layered method? Before you can know how to prepare your menu sources, you need to understand how DVD Studio Pro uses them. Following is an overview of what makes up a menu and how menus are used. 95 Preparing Menu Assets 6 What Is a Menu? Most DVD-Videos have at least one menu. The menu allows the viewer to choose what to see. If no choices need to be made, such as with a looping movie at a sales kiosk, the disc can be configured to immediately begin playing the movie, and no menu is required. For DVDs that have a number of viewing options—such as multiple movies, chapter selections, and bonus items—menus that are clear and logical can greatly enhance the viewing experience. Menus that are cluttered, clumsy, and confusing may cause viewers to become frustrated and give up trying to watch the title. A menu consists of a background and one or more buttons. The background can be a simple still image or a full-motion video (a motion menu). The background may or may not contain content that relates to the buttons; it may be a scenic mountain view or a multilayered graphic including images for each button. Some menus may also have audio. Creating a Menu Creating a menu involves two basic steps: selecting the background graphic or video, and setting up the buttons. Selecting the background graphic or video is fairly simple; the only challenge is when you use multilayer Photoshop files. Setting up the buttons involves identifying where they are located by drawing boxes over them, and then setting up their actions (what happens when they are activated) and the colors to display for their different states. DVD Studio Pro gives you two ways to create menus: the standard method, which uses overlays and allows you to use shapes, templates, and add text; and the layered method. • The standard method: The standard method is usually preferred. It is the most flexible, allowing you to mix overlays with shapes, to use either stills or videos as the menu background, and to include audio. You can also use the templates and styles included with DVD Studio Pro for quick and consistent menu creation. • For more information on overlays, see Creating Overlays. • For a description of shapes, see Creating Shapes. • For information on the templates and styles feature, see Using Templates, Styles, and Shapes to Create Your Menus. • For information on motion menus and setting the loop point, see Creating Video for Motion Menus. • The layered method: The layered method uses layers in a Photoshop (PSD) file to describe each button’s possible states. Layered menus can also use overlays in addition to the Photoshop layers. This method cannot be used with motion menus and cannot include audio. • For more information on overlays, see Creating Overlays. 96 Chapter 6 Preparing Menu Assets • For a description of creating layered menus, see Creating a Layered Menu. An easy source for menu backgrounds are frames grabbed from a track’s video. By setting a marker on the frame you want, you can choose to save that frame as a TIFF file that can then be imported and used as a menu background. You can also open the file in a graphics program and add effects and text before using it as your menu’s background. See Grabbing a Still Image from Your Movie for more information. Creating Graphics to Use in Menus When creating graphics for menus, you need to be aware of several considerations. Some of these apply to all menu types, and some are specific to certain menu types, such as layered menus, menus with a still background, or menus using an overlay. Using Your Graphics Program DVD Studio Pro is designed to import a wide variety of graphics formats, allowing you to use almost any graphics program to create the menus and overlays. Supported formats include: • Adobe Photoshop PSD files • PICT format files • BMP format files • JPEG format files • QuickTime image files • Targa (TGA) format files • TIFF (TIF) format files Additional support is also included for files that conform to the Adobe Photoshop (PSD) format. DVD Studio Pro can recognize individual layers and allows you to assign them to separate functions in a menu. You can even use the same file for several menus by selecting the appropriate layers to use for each menu. • Layers for standard overlay menus: When creating graphics for standard overlay menus, you can select the layer (or layers, as is often the case) to use as the background and the overlay. In this way, a single file can be used in several menus, even sharing elements (such as a background image). To avoid confusion, assign clear names to each of the layers. • Layers for layered menus: When creating graphics for use as layered menus, in addition to the layer (or layers) that make up the background, you must create at least two layers for each button, one showing the selected state and the other showing the activated state. To show the normal state of each button, you can either build it into the background layer or create a third layer. Chapter 6 Preparing Menu Assets 97 Tips for Creating Menu Graphics Most of the following tips apply to all graphics programs. Several apply specifically to Adobe Photoshop, although similar issues may exist in other graphics programs. • Make horizontal lines a minimum of three pixels thick so they won’t flicker on TV screens. For the same reason, avoid using typefaces with narrow lines. Serif fonts tend to be more prone to flicker than sans serif fonts. • Be sure to use a filter that constricts the colors in the graphic to NTSC or PAL color space. To support broadcast bandwidths, NTSC and PAL video must use colors that are substantially limited compared to those your graphics program can create. Highly saturated colors create the biggest problems and produce the biggest disappointments when viewed on a video monitor. • Photoshop’s effects layers, transfer modes, and layer styles do not work with DVD Studio Pro. Be sure to flatten any of these before using them in DVD Studio Pro. Flattening a Photoshop Layer When creating graphics within Adobe Photoshop, you may want to add effects such as bevels, glows, and shadows to a layer, use the transfer modes, or configure layer styles. These Photoshop effects and modes are not supported by DVD Studio Pro. However, you can “flatten” them in Photoshop so that they appear in DVD Studio Pro. Note: Flattening effects is not the same as using the Flatten Image command, which combines all contents of all layers of a Photoshop file (including effects) into a single layer. It’s a good idea to use this procedure on a copy of the original file, just in case something goes wrong. To flatten a layer of a Photoshop file 1 Add a new empty layer immediately below the layer with the effects you want to flatten. 2 Either merge or stamp the layer with the effects into the empty layer. Merging deletes the effects layer, and stamping leaves the effects layer in place (which can be a good idea if you need to make changes to the layer later on). • To merge the layer: Select it and choose Layers > Merge Layers (or press Command-E). • To stamp the layer: Select it and press Command-Option-E. A bitmap image of the effects layer is placed in the new layer. 98 Chapter 6 Preparing Menu Assets Understanding Pixel Differences in Graphics and Video The term square pixel actually refers to the horizontal and vertical distance from a pixel to its neighbors. With a square pixel, the distance is the same in both directions. This distance is a function of the sampling rates, both horizontal and vertical, and the aspect ratio the graphic will be displayed in. Given the right aspect ratio, virtually any combination of horizontal and vertical sampling rates could produce square pixels. Computer graphics programs are optimized to work with square pixels: When you draw a square, it has the same number of pixels in all four of its sides and looks like a square on the display. Unfortunately, SD video is different. Video Pixels Standard definition video uses a 4:3 aspect ratio. No matter what the size of the display, the height is always 75 percent of the width. This is true for both NTSC, which has 525 lines in each frame (480 of these active with DVDs), and PAL, which has 625 lines per frame (576 active). Both standards also have 720 pixels per line when converted to MPEG. To fit the 4:3 aspect ratio perfectly using square pixels and 720 pixels per line, there would have to be 540 lines in each frame. So for NTSC, which has 480 lines, the lines must be spaced slightly apart to fill the same area, resulting in rectangular pixels. For PAL, with 576 lines, they must be squeezed together slightly to fit. The Settings pop-up menu in the DVD Studio Pro Menu Editor has a square/rectangular pixel selection that allows you to choose whether to view menu graphics as rectangular pixels (forcing a 4:3 aspect ratio) or as square pixels while creating menus. The Viewer tab also has the same settings. The Simulator always shows rectangular pixels, simulating what the viewer will see. The real problem arises when you create your menu graphics. Square Pixels in Graphics Graphics programs use square pixels. If you set the dimensions of a graphic to 720 x 480 pixels (the NTSC frame size), you will notice that the drawing area of the graphic in the graphics program is not a 4:3 aspect ratio (it is a bit short). If you set a graphic to PAL dimensions (720 x 576 pixels), the drawing area you see in your graphics program is taller than 4:3. Anything you put in the graphic will be distorted (either vertically stretched or compressed, depending on your video standard) when viewed on a video monitor. If you draw a square, it will look like a rectangle. In some cases, the distortion is not great enough to worry about, but in most cases you should build your graphics with the distortion in mind. Chapter 6 Preparing Menu Assets 99 To compensate for pixel differences between graphics and video, you need to build the graphics at one size and then rescale them to the appropriate video dimensions, as shown in the following table. Aspect ratio Starting dimension Rescale dimension NTSC 4:3 720 x 534 pixels 720 x 480 pixels NTSC 16:9 864 x 480 pixels 720 x 480 pixels PAL 4:3 768 x 576 pixels 720 x 576 pixels PAL 16:9 1024 x 576 pixels 720 x 576 pixels Important: While DVD Studio Pro automatically rescales graphics that use the starting dimensions above, it is strongly recommended that you rescale the graphics in your graphics program. (Graphics that already use the rescale dimensions are imported without any rescaling.) If you rescale the graphics in your graphics program, they will appear distorted in the graphics program but will be correct when viewed in DVD Studio Pro as rectangular pixels. Using Later Versions of Adobe Photoshop Later versions of Adobe Photoshop, including the CS versions, have presets that automatically set Photoshop to display the graphic with 4:3 or 16:9 aspect ratios using nonsquare pixels. Even better, these presets include title and action safe guides. For SD assets, these presets include: • NTSC DV 720 x 480 (with guides) • NTSC DV Widescreen 720 x 480 (with guides) • PAL D1/DV 720 x 576 (with guides) • PAL D1/DV Widescreen 720 x 576 (with guides) You can turn this feature off by choosing View > Pixel Aspect Ratio Correction (a checkmark next to this indicates when the feature is active). Note: See Shape Aspect Ratios for information on how DVD Studio Pro works with graphics used in shapes, buttons, and drop zones. HD Video Pixels There are a variety of video resolutions supported by HD projects: Resolution Square pixels Starting dimension Rescale dimension 480p (NTSC; 16:9) No (anamorphic) 864 x 480 pixels 720 x 480 pixels 576p (PAL; 16:9) No (anamorphic) 1024 x 576 pixels 720 x 576 pixels 720p (NTSC, PAL; 16:9) Yes 1280 x 720 pixels 1280 x 720 pixels 1080i (NTSC, PAL; 16:9) Yes (anamorphic) 1920 x 1080 pixels 1440 x 1080 pixels 100 Chapter 6 Preparing Menu Assets Resolution Square pixels Starting dimension Rescale dimension 1080i (NTSC, PAL; 16:9) Yes 1920 x 1080 pixels 1920 x 1080 pixels Note: HD projects can also use SD assets, which should use the same starting and rescale dimensions as in SD projects. For the 480p and 576p resolutions, you use the same process that you would use with NTSC 16:9 and PAL 16:9. The 720p and the non-anamorphic 1080i resolutions both use square pixels. The anamorphic 1080i resolution is based on square pixels that are rescaled to 1920 x 1080. Note: Later versions of Adobe Photoshop include presets with guides for most of these HD resolutions. Important: You should always try to have the menu’s resolution match the resolution of the items it links to. This includes the two versions of 1080i (anamorphic and non-anamorphic). A noticeable hesitation can occur during playback because HD playback equipment needs to change its resolution to match each asset. Creating Overlays As viewers use the arrow buttons on the DVD player’s remote control to cycle through the buttons on a menu, they need some sort of indication as to which button is currently selected. If they activate the button, they need an indication of that, too. An overlay’s primary function is to show the viewer which button is currently selected or activated. Note: If you intend to use shapes for your menu buttons, you do not need to create overlays. Overlays are still images that contain the graphics used to show each button’s three states (normal, selected, and activated). One overlay file contains all of the buttons. Part of the menu creation process in DVD Studio Pro is to identify each button and set its function. The overlay is almost always used in conjunction with the background image. For example, the normal button art may be in the background, while the overlay supplies only the selected and activated highlights, such as a halo or checkmark. About Simple and Advanced Overlays DVD Studio Pro allows you to choose whether to work with simple overlays that use a single overlay color, or advanced overlays that use up to four colors. Simple overlays are easier to create and configure but are not as flexible when creating complex menus. Advanced overlays give you the ability to use multiple colors for a button’s selected and activated states. Chapter 6 Preparing Menu Assets 101 About the Overlay Colors Overlays can contain up to four colors. A peculiar feature of overlays is that the colors used to create them are not the colors that are displayed when viewers see the menu. The overlay only identifies the areas on the screen where highlights are to be applied—not the color or transparency of the highlights. You define the actual colors viewers see when you create the menu. When you use the simple overlay method, everything in the overlay graphic must be one of two colors: the white background that is set to be transparent and the black highlight graphic to which you assign a color and transparency. If you add an element to the overlay that has a soft glow around it or has been anti-aliased, the areas of the element that are not white or black will appear with additional highlight colors (controlled by the advanced overlay color mapping settings). In this case, you should either correct the graphic or use the advanced overlay method which allows you to control all of the highlight colors. The elements in an advanced overlay use up to four different colors. This gives you the ability to use multiple highlight colors for a button or create pseudo-soft edges and to take advantage of anti-aliased edges. See Creating Advanced Overlays for more information. About Overlay Files Whether you create simple or advanced overlays, the overlay must be a single flattened layer, either as part of a Photoshop (PSD) format file or as a separate file. It is common to have a single PSD file supply both the menu’s background and overlay. The DVD Studio Pro Menu Editor allows you to select as many layers as you want to use as the background, but you can only select a single layer as the overlay. Note: Don’t confuse a PSD file with layers (used to supply the background and overlay) with the type of PSD file used when creating layered menus. Standard menus contain all buttons’ selected and activated states within a single layer of the file; layered menus contain a separate layer in the PSD file for each button’s state (normal, selected, and activated). These layers are not overlays that you assign colors to—they are full-color images of the button in one of the three states. See Creating a Layered Menu for more information. Creating Simple Overlays With simple overlays, you must use only white and black to create the graphics. To create a simple overlay 1 Create a full-screen white background. See Square Pixels in Graphics for information on the frame size to use. 2 Choose black and add the highlight elements to the background. 102 Chapter 6 Preparing Menu Assets Be sure to disable anti-aliasing and avoid using soft edges. Depending on your graphics application, choose to use a 1-bit or bitmap mode. 3 Depending on the graphics application you use, you may need to flatten the overlay elements into a single layer. Creating Advanced Overlays To create advanced overlays, you first need to understand how they are used and the difference between the chroma and grayscale methods. The Four Colors in an Advanced Overlay When creating an advanced overlay, you create your highlights by using up to four specific colors. You can use a chroma method (using red, blue, black, and white as the four overlay colors) or a grayscale method (using black, dark gray, light gray, and white as the four overlay colors). You don’t have to use all four colors when creating an overlay, but you will most likely use at least two. Is White 0% or 100%? Depending on your graphics background, you may assume white to be either 0% or 100%, with black being the opposite (100% or 0%, respectively). Previous versions of DVD Studio Pro considered white to be 0%, while most video people would consider white to be 100%. For the purposes of creating the light gray and dark gray colors used by the grayscale method, you need to use the following values: • If you consider white to be 0%: Use 33% for light gray and 66% for dark gray. • If you consider white to be 100%: Use 66% for light gray and 33% for dark gray. White is commonly used as the overlay’s background color. When creating the menu, white’s transparency is usually set to 0. Any of the other three overlay colors can be used for any aspect of the overlay. For example, if you had a menu background with a group of buttons that were actually just text, such as “Play Movie” and “Select Chapter,” initially your overlay would start as all white. If you wanted the button text to change to green when each button was selected, you’d need to add the text to the overlay and make it an overlay color such as light gray (or dark gray or black—remember that you will set the green color as the “selected” highlight color when you create the menu in DVD Studio Pro). If you wanted the text to change to orange when each button was activated, you wouldn’t have to do anything more to the overlay—you would just set the “activated” highlight color to orange when you created the menu. Chapter 6 Preparing Menu Assets 103 If you also wanted a checkmark to appear next to each text button as it was selected, but you wanted the checkmarks to be yellow when they were selected, you’d need to add the checkmarks to the overlay graphic and set them to be a different overlay color than the text (in this case, dark gray) so that you could apply a different highlight color (in this case, yellow). In the same way, you could add the word “OK!” after each text button and show it only when the button was activated. Simply add the text to the overlay and set it to be black; in DVD Studio Pro, you can set black to be transparent for the normal and selected states but visible with a green color in the activated state. Play Movie OK! Light gray checkmark Dark gray name Black “OK!” White background To create an advanced overlay 1 Create a full-screen white background. See Square Pixels in Graphics for information on the frame size to use. Note: You don’t have to use white as the background color, as you do with simple overlays, but it is a good idea to use white, because the default color mapping settings assume it is the background. 2 Depending on whether you intend to use the chroma or grayscale method, add elements using the three leftover overlay colors (white having been used for the background). 3 Depending on the graphics application you use, you may need to flatten the overlay elements into a single layer. If you use colors other than the four that are specified by the method you chose (chroma or grayscale), they are mapped to their closest equivalent when you use the overlay. In many cases, this produces surprising (but not useful) results. Note: Following is the mapping used for each overlay color with the grayscale method: 100% to 80% is white, 79% to 58% is light gray, 57% to 32% is dark gray, and 31% to 0% is black. 104 Chapter 6 Preparing Menu Assets Pseudo-Soft Overlay Edges Instead of using the advanced overlay’s four colors to create multiple color highlights, you can use them to create pseudo-soft edges and take advantage of anti-aliased graphics. This requires you to use the grayscale method, using either white elements on a black background or black elements on a white background. The soft or anti-aliased edges are mapped to the dark and light gray overlay colors. By mapping the same color to each overlay color, but at reduced opacities on the dark and light gray overlay colors that occur at the edges, you can effectively simulate soft or anti-aliased edges. Keeping Each Button’s Elements Together When creating your menu in DVD Studio Pro, you draw a single box around all of the elements for each button. The box identifies that button’s highlight area. In the above example, you would draw a box around each button that includes its checkmark, the main text, and the word “OK!” When you draw this box, no parts of any of the other buttons should be included, or they will also appear with this button. For example, instead of having an “OK!” after each line, you might want a single large “OK!” on the right side. There’s no way to draw a box that would include both the button name (“Play Movie,” for example) and the large “OK!” without including some of the other button text, making this arrangement unusable. Note: The Menu Editor has three color mapping sets that, in some cases, you can use to work around this problem. See Understanding Color Mapping for more information. You also need to make sure none of the boxes overlap, because this can cause navigation problems, especially when using a pointer to select the buttons while playing the disc on a computer. Active area overlap Play Movie Scene Select Slideshow Chapter 6 Preparing Menu Assets 105 Creating a Layered Menu Layered menus can provide greater flexibility in showing a button’s selected and activated states, compared to standard overlay menus. In addition to the background image (which may contain the buttons in their normal states), a layered menu has two separate layers for each button (or three, if the button’s normal states are not part of the background). For example, a menu with 12 buttons would need 24 layers just to show the selected and activated states of each button, plus 12 more if their normal state is not part of the background. (A Photoshop file can have up to 99 layers.) There are several issues to be aware of when deciding whether to use layered menus: • You cannot add an audio stream to them. • You cannot include a full-motion video in them. • When viewers make selections, they will notice a slower reaction time to button presses. • Layered menus can also use overlays in the same way that standard menus do. Using the Photoshop Layers When you configure a PSD file for use as a layered menu, you select the layer or layers that provide the menu’s background. The background can include all of the buttons’ normal state, but it doesn’t have to. If the background includes the normal state, the selected and activated states must be configured to take into account that the normal state is always present. If you want the button to change significantly when switching to the selected and activated states, you may need to have the normal state on its own layer so that it can be hidden when the other states appear. Using PSD Files to Create Layered Menus There are some issues to be aware of when using PSD files to create layered menus: • Each button’s active area is created the same way as it is when you work with overlays. This means you need to be able to draw a single box around each button’s elements. See Keeping Each Button’s Elements Together for more information. • In addition to the layered buttons, you can use overlay-based buttons. The overlay can be another layer in the PSD file or a separate file. Creating Video for Motion Menus The video used for motion menus must follow the same DVD-compliance rules as video used in tracks. There are a few additional considerations you should be aware of: • If you add any shapes, text items, or drop zones to a menu, the menu will be rendered when you build the project. See About Menu Rendering for more information. Important: If you know your menus will need to be rendered, you should avoid using highly compressed video (MPEG-2 for example) as the background video because it will get compressed again, potentially with visible artifacts. 106 Chapter 6 Preparing Menu Assets • If you want to include button art beyond the capabilities of what an overlay can provide, you need to edit these over the video with an application such as Motion or Final Cut Pro. You can create the button art and associated overlay with your graphics program, then superimpose the button art over the video with your video editor, and use the overlay in DVD Studio Pro to set up the buttons. Note: An alternative is to use shapes to provide buttons over motion video. • You can set the video to loop once it reaches its end. There will be a short pause in the playback as the menu moves from the end back to the beginning. This can be minimized or eliminated by carefully selecting the video to use. For example, a car driving by a mostly static background can be looped cleanly. If you are creating an animation for use as the background, be sure to keep looping in mind. • Don’t create excessively long video for motion menus. The videos can take up a lot of disc space, and if you use a lot of them, you can have problems building your title. See Standard SD DVD Video Zone Files for menu size limitations. • Menus in SD projects can only use full-frame MPEG-2 video as a background. If you use an MPEG-1, 1/2 D1 MPEG-2, or a cropped D1 MPEG-2 file as the background, it will be encoded to full D1 MPEG-2 when you build the project. Menus in HD projects can use either full D1 MPEG-2 video or any of the supported HD video resolutions as the background. Defining the Menu Loop Point When you configure a looping menu, you have the option of setting the loop point (the point playback jumps to once the end of the menu’s video is reached) to be different than the menu’s first frame of video. For example, the menu’s video may have an introduction that plays before the buttons become active—you would not want the introduction to play each time the menu loops. In addition to setting the loop point manually in the Menu Inspector, you can add a chapter marker, named “MenuLoopPoint,” to the background video while you are editing it in Motion or Final Cut Pro. DVD Studio Pro automatically sets the menu’s loop point to match this marker when you assign the video to the menu’s background using one of the dragging methods, such as dragging the video to the Menu Editor and choosing Set Background from the Drop Palette. See Configuring Motion Menu Settings for more information. In Final Cut Pro, you add the chapter marker exactly as you would add a chapter marker for use in a track. The only requirement is that it be named “MenuLoopPoint.” See Adding Markers to Your Video for more information. In Motion, you need to select the Menu Loop Point option when you add the marker to the video. See the Motion documentation for more information. Chapter 6 Preparing Menu Assets 107 Creating Shapes Shapes provide an easy way to create a standard menu using a simple background image (still or moving) without an overlay. These shapes can be either the ones supplied with DVD Studio Pro or shapes that you create. Shapes can be used for buttons and for drop zones. (Drop zones are graphic elements that get added to the menu background and have no effect on the buttons.) You can position the shapes and change their size freely, and even have full-motion video play in them (motion buttons). See Adding Shapes to a Menu for information on using shapes with the Menu Editor. See Importing a Shape for information on importing shapes into the Palette. Creating a Shape A shape is a Photoshop PSD file with up to four layers. DVD Studio Pro uses the layer order to determine which layer serves each function. Layers in a Photoshop PSD file • First (bottom) layer: Contains the mask for the thumbnail image used when you assign an asset to a button or drop zone. This layer should have a grayscale image to control the thumbnail’s appearance. White areas are completely opaque (you see all of the thumbnail image), gray levels are partially transparent, and black levels are completely transparent (you see none of the thumbnail image). The mask can use an irregular shape—the asset is scaled to fill it completely. Any part of the asset that falls outside the mask then gets removed. If you don’t want a thumbnail image, you must still have this layer present, but you can draw a black square or any simple image. When you activate drop shadows on a button or drop zone using a shape, DVD Studio Pro uses this layer, along with the second layer, to define the shape of the drop shadow. 108 Chapter 6 Preparing Menu Assets Note: If you make the image mask layer (the first layer) of a shape the same size as the shape’s graphics layer (the second layer), you may see some of the mask layer around the edges of the graphics layer. This is because the shape’s graphics layer is processed differently than the mask layer. You can work around this issue by making the mask layer slightly smaller than the graphics layer. • Second layer: Contains the shape’s visible graphic. When used as a button, this is the layer that determines how the button looks in its normal state. DVD Studio Pro uses the RGB values for the shape. See Setting a Shape’s Opacity if you want this layer to be partially transparent. Be sure to flatten any effects you apply to the layer. (See Flattening a Photoshop Layer for details.) Because this layer has a higher priority than the first layer, it must provide a “window” to the thumbnail mask (if used). When you activate drop shadows on a button or drop zone using a shape, DVD Studio Pro uses this layer, along with the first layer, to define the shape of the drop shadow. • Third layer: Contains the highlight mask. This layer defines where the highlight colors appear when you use the shape as a button and the button is selected or activated. The actual image color does not matter, because it is this layer’s opacity that defines the highlight, with 100% opacity selecting the black highlight color and 0% selecting the white highlight color. This layer is ignored if you use the shape in a drop zone. Chapter 6 Preparing Menu Assets 109 Important: If you use this layer’s opacity to create pseudo-soft or anti-aliased edges or to have multiple highlight colors appear at once, you can only use the shape in menus set to use the advanced grayscale overlay method. In these cases, the opacity values map to the overlay colors as follows: 100% maps to black, 99% to 67% maps to dark gray, 66% to 17% maps to light gray, and 16% to 0% maps to white. • Fourth layer: Contains the shape’s icon, which appears in the Shapes tab in the Palette and shape selector in the Button and Drop Zone Inspectors. This is an optional layer—the second layer provides this function if this layer is not present. The disadvantage of using the second layer is that often the shape alone does not provide a good indication of what the button will look like once you assign an asset to it. DVD Studio Pro uses the RGB values for the icon. Note: Do not include the fourth layer in the file unless you are adding a graphic to be used as the thumbnail. Adding an empty fourth layer results in a shape that you cannot use in DVD Studio Pro. Setting a Shape’s Opacity DVD Studio Pro does not use the opacity settings you can apply to the layers within Photoshop. As a result, you cannot use the second layer’s opacity setting to control the transparency of the shape’s visible graphic. As an alternative, you can use Photoshop’s merge capability to get the desired effect. To set a shape’s opacity 1 Create the shape in Photoshop as usual. It’s a good idea to save the shape at this point so that you can go back to it if you later need to adjust the opacity or content. 2 Set the opacity for the second layer (the shape’s visible graphic). 3 Add a new layer to the graphic, and place it below the second layer. (It becomes the second layer, and the second layer becomes the third layer.) 110 Chapter 6 Preparing Menu Assets 4 Select the original second layer (which is now the third layer). 5 Press Command-E to merge the selected layer with the new empty layer. The two layers merge into a new second layer, and the original second layer is deleted. When this shape is imported into DVD Studio Pro, this new second layer will use the opacity you set before the merge. General Shape Information When creating a shape in Photoshop, set the new image settings to the following: • Width and Height: Set to values that will hold the shape at the largest size it will ever be used at in DVD Studio Pro (quality tends to suffer much more when you make a shape larger than the original than it does when making the shape smaller). Be sure the shape’s graphics come as close to the edges of the canvas as possible—the canvas defines the button’s active area. A typical button size is 200 pixels wide by 150 pixels high. • Resolution: Set to 72 pixels per inch. DVD Studio Pro bases the image size on the number of pixels there are—the resolution does not affect its size when used on a menu. • Mode: Set to RGB Color. • Contents: Set to Transparent. Keep these additional points in mind when creating your shapes: • It does not matter which layers are visible when you save the shape’s file. • You do not have to rasterize layers with text. You do have to flatten them if you apply an effect to them. • Be sure that the colors you use are within broadcast limits. You can create shapes that look great in the graphics program but look a lot different once you use them in a DVD project. • You may want to design shapes with the specific intention of using them for drop zones. This allows you to have drop zones with irregular edges. You need to use the layers exactly as you do when creating a button’s shape, except that the highlight layer is not used with drop zones. Shapes created for buttons can also be used for drop zones. See Adding Drop Zones to Your Menu for more information. Shape Aspect Ratios Shape graphics are automatically scaled to maintain their aspect ratio. If you create a square graphic and import it as a shape, it will be scaled so that it remains a square graphic in DVD Studio Pro (as long as you add it to a menu by dragging it to an empty area). Chapter 6 Preparing Menu Assets 111 While the rescaling makes the graphic look correct in the Menu Editor, the shape’s dimensions look incorrect as shown in the Button Inspector or Drop Zone Inspector. For example, if you create a square shape that is 200 pixels wide by 200 pixels high, its size will appear as either 200 pixels wide by 180 high (if applied to an NTSC menu) or 187 pixels wide by 200 pixels high (if applied to a PAL menu), when added to a menu as a button or drop zone. Creating Graphics for Drop Zones and Buttons Assets used in drop zones and buttons do not need to conform to video aspect ratios because drop zones and buttons can be resized independently in the horizontal and vertical directions. Additionally, drop zones and buttons support a graphic’s transparency. This means you can create a graphic with irregular edges, such as a logo, and when it is assigned as the asset for a drop zone or button, the transparency will control how the graphic appears. Similar to graphics used for shapes, drop zone and button graphics are automatically scaled to maintain their aspect ratio. If you create a square graphic and import it as an asset for a drop zone or button, it is scaled so that it remains a square graphic in DVD Studio Pro. See Shape Aspect Ratios for more information. Note: To force the drop zone or button active area to match the graphic’s aspect ratio, press Shift while dragging one of its corners. Getting Good Results Using Assets That Include an Alpha Channel A video asset, either still or with motion, that includes an alpha channel can be very effective when assigned as a drop zone’s asset. DVD Studio Pro composites the asset over the menu background using the alpha channel to control the compositing. For best results, be sure the video is premultiplied (also known as shaped). Premultiplied video will have correct soft and anti-aliased edges when used in the Menu Editor. A video channel that is straight (also known as unshaped) will have incorrect edges when composited in the Menu Editor. If the application you are using to create your assets provides a choice, it is best to choose premultiplied video. 112 Chapter 6 Preparing Menu Assets Before you can add a slideshow to a DVD project, you must have correctly prepared slideshow source material. This chapter covers the following: • Slideshow File Formats (p. 113) • Aspect Ratio and Resolution (p. 114) • Colors (p. 114) • Audio (p. 114) Slideshow File Formats When preparing still images for use in DVD Studio Pro slideshows, most of the same rules for preparing menu backgrounds apply. These same considerations apply if you intend to add slides to a track. DVD Studio Pro lets you use most common image formats in slideshows: • Photoshop PSD files using the 8-bit RGB mode Slideshows do not support layer selection, as menus do. The layers visible when the file was last saved become the visible image of the graphic. • PICT files • BMP files • JPEG files • QuickTime image files • Targa (TGA) format files • TIFF (TIF) format files Once a still is imported into DVD Studio Pro and you build the project it is assigned to, it is converted into an MPEG image and, if necessary, automatically scaled to fit the frame size defined by the slideshow’s resolution and display mode settings. 113 Preparing Slideshow Assets 7 Aspect Ratio and Resolution You can create 4:3 and 16:9 slideshows. In HD projects, you can also choose a resolution for the slideshow. Note: In HD projects, the 720 x 480p, 720 x 576p, 1280 x 720p, and 1920 x 1080i resolutions do not support the 4:3 aspect ratio. When creating 16:9 slideshows, you are able to choose the display mode (pan and scan, letterbox, or pan and scan and letterbox) used when viewed on a 4:3 monitor. For the best results, you should make sure your slides match the resolution of your slideshow. Slides that are smaller or larger than the slideshow’s resolution are automatically scaled to fit it. Slides whose aspect ratio does not match the slideshow’s aspect ratio have a background color added to fill in the gaps. The background color is part of DVD Studio Pro Preferences. See Setting DVD Studio Pro Preferences for more information. Colors The DVD specification requires all video, including stills and menu graphics, to conform to the NTSC or PAL video broadcast standard for allowable colors. In order to support broadcast bandwidths, NTSC and PAL video must use colors that are substantially restricted compared to those your graphics program can create. It’s important to work within the broadcast standard, because pictures and graphics that look fantastic when viewed in a graphics application can look very different when viewed on a DVD. Highly saturated colors create the biggest problems and produce the biggest disappointments when viewed on a video monitor. Before importing your pictures and graphics, be sure to open them in a graphics application and use a filter to constrict the colors to NTSC or PAL color space. Audio Slideshows can have either an individual audio clip assigned to one or more of the stills or one or more audio clips for the overall slideshow. Important: If you assign an audio clip to the individual stills or use multiple audio clips as the overall slideshow audio, all audio clips in the slideshow must be in the same format (AC-3, AIFF, and so on), have the same bit rate, and have identical resolution. 114 Chapter 7 Preparing Slideshow Assets Alpha Transitions make it possible for you to create customized transitions for use in your DVD Studio Pro menus, tracks, and slideshows. This chapter covers the following: • Introduction to Preparing Alpha Transitions (p. 115) • Transition Asset Folder (p. 116) • Asset Movie (p. 117) • Asset Matte Movie (p. 118) • Background Matte Movie (p. 119) • About Alpha Transition Durations (p. 119) • About NTSC and PAL Alpha Transitions (p. 120) Introduction to Preparing Alpha Transitions All DVD Studio Pro transitions have a start and end frame, based on where the transition is being used. The standard transitions are able to transform the start and end frame video, providing the ability to have a variety of effects, such as rotating or blurring, directly applied to the video. An Alpha Transition does not directly transform the start and end frame video—it simply transitions from the start to the end based on QuickTime movies you create. Creating an Alpha Transition requires from one to three QuickTime movies, depending on the type of transition you want to create. Some features to consider include: • Do you want any kind of video other than the start and end frames to appear during the transition? For example, if you want a spinning DVD to fly across the screen during the transition, you must have an asset movie that provides the flying DVD image. • Do you want to see the start and end frames on the screen at the same time during the transition? In the example with the spinning DVD, maybe you want to see the start frame around the outside edge of the DVD and the end frame in the DVD’s center. To see the start and end frames at the same time, you must have a background matte movie. 115 Preparing Alpha Transitions 8 • Do you want a simple wipe transition that uses a custom shape? You can use a background matte movie to create a wipe transition with hard or soft edges in any shape you like. An Alpha Transition has several components: • The transition asset folder: Contains the transition’s assets. Additionally, the name of this folder is the name of the transition. Each Alpha Transition requires a separate transition asset folder. • The asset movie: Required if you want any kind of video other than the start and end frames to appear during the transition. • The asset matte movie: Required if your asset movie does not include an alpha channel. • The background matte movie: Required if you want to see the start and end frame video at the same time or if you want to create a wipe transition. The DVD image is from the asset movie, with an asset matte movie controlling where the background video appears. Start frame (red in this example) End frame (blue in this example) The background matte movie (not visible) controls whether the background shows the start or end video. Important: For best results, be sure to use progressive (non-interlaced) video in your movies at either 60 fps for NTSC or 50 fps for PAL. Also, make sure to create movies that match the aspect ratio (4:3 or 16:9) and, in the case of HD projects, the resolution of the elements you will use the transitions with. DVD Studio Pro will scale the movies to match the element if necessary; however, there will be a loss in quality. Transition Asset Folder The transition asset folder contains the movies that make up the Alpha Transition. The name of this folder becomes the name of the transition. The names of the files within the folder must include the folder name, with additional text to distinguish the file’s purpose. 116 Chapter 8 Preparing Alpha Transitions When you open DVD Studio Pro, it looks in two locations for transition asset folders: • At the root of your disk, in this location: [root]/Library/Application Support/Final Cut Studio/DVD Studio Pro/Transitions/ • In your home folder, in this location: [user]/Library/Application Support/Final Cut Studio/DVD Studio Pro/Transitions/ Note: If you add a transition folder while DVD Studio Pro is open, it is ignored until the next time you open DVD Studio Pro. Asset Movie The asset movie is required if you want any kind of video other than the start and end frames to appear during the transition. For example, if you want a spinning DVD to fly across the screen during the transition, it is the asset movie that provides the flying DVD image. The asset movie must have the same name as the transition asset folder and can have an extension. For example, if the transition asset folder’s name is Spinning DVD, the asset movie could be named Spinning DVD.mov. The asset movie provides transition video in addition to the start and end frames. The asset movie can contain an alpha channel to control where the background appears. There are two optional aspects to the asset movie: an alpha channel and a switch point. Alpha Channels In the example with the spinning DVD flying by discussed in the previous section, Asset Movie, you would most likely want to be able to see the start or end frame video through the DVD’s hole and around its edges. For this to happen, there must be an alpha channel for DVD Studio Pro to know which parts of the asset movie video should appear and which should be ignored. There are two ways to provide this alpha channel: embedded with the asset movie or as a separate asset matte movie (described in Asset Matte Movie). Chapter 8 Preparing Alpha Transitions 117 Important: When the alpha channel is embedded with the asset movie, be sure the video output is premultiplied. Switch Points If your transition does not require the start and end frame video to be on the screen at the same time, you can add a switch point marker to the asset movie to control when the transition switches from showing the start frame to showing the end frame. If you do want to have both the start and end frame video on the screen at the same time, you must use a background matte movie (described in Background Matte Movie). If the transition asset folder does not contain a background matte movie, DVD Studio Pro does the following to set the switch point: • DVD Studio Pro first looks in the asset movie to see if it includes a marker named TransitionSwitchPoint. If present, this marker is used as the switch point. • If not present, DVD Studio Pro looks to see if there are any markers in the asset movie. If present, the first marker is used as the switch point. • If no markers are present in the asset movie, the switch point is set to the asset movie’s halfway point. Asset Matte Movie The asset matte movie is required only when an asset movie that does not include an alpha channel is used by the transition. Having a separate asset matte movie is particularly useful when the asset movie is normal video (as opposed to an animation). The asset matte movie must have the same name as the transition asset folder, followed by “-matte” and can have an extension. For example, if the transition asset folder’s name is Spinning DVD, the asset matte movie could be named Spinning DVD-matte.mov. The white areas define where the asset movie video appears. The black areas define where the background video (start or end frame, depending on the switch point or background matte movie) appears. The gray areas define where the asset movie video appears, but is transparent. 118 Chapter 8 Preparing Alpha Transitions The asset matte movie needs to be monochrome, with white identifying the asset movie video to use, and black identifying the places where the start or end frame video appears. You can also use levels in between white and black to set a transparency and add soft edges. Background Matte Movie The background matte movie can be used in one of two different ways: • It can be used in conjunction with the asset movie to control which areas of the screen should show the start frame video and which should show the end frame video. • It can be used as the only movie in the transition assets folder to provide a wipe transition. As when used with the asset movie, the background matte movie controls which areas of the screen should show the start frame video and which should show the end frame video. The background matte movie must have the same name as the transition asset folder, followed by “-backgroundMatte” and can have an extension. For example, if the transition asset folder’s name is Spinning DVD, the background matte movie could be named Spinning DVD-backgroundMatte.mov. The white areas define where the start frame background video appears. The black areas define where the end frame background video appears. The background matte movie needs to be monochrome, with white identifying where the start frame video appears, and black identifying where the end frame video appears. As a general rule, the background matte movie should start with a full white screen and end with a full black screen. You can also use levels in between white and black to set a transparency and add soft edges. About Alpha Transition Durations The asset movie (if present) or the background matte movie (if the asset movie is not present) determine the default duration of the Alpha Transition. When configuring the transition in DVD Studio Pro, you are able to set the duration from one half the default (but not less than one second) to twice the default duration. Chapter 8 Preparing Alpha Transitions 119 About NTSC and PAL Alpha Transitions Each Alpha Transition is either NTSC or PAL. DVD Studio Pro uses the frame rate of the transition assets to determine whether they are NTSC or PAL. Only those appropriate to the current project’s video standard are available in DVD Studio Pro. Note: Alpha Transitions using a frame rate of 24 fps can be used only in NTSC projects, though they may show undesirable artifacts when the frame rate is scaled to match the project. 120 Chapter 8 Preparing Alpha Transitions When you start a new DVD project, especially if it’s the first project you’ve created on a particular system, you need to set certain preferences and disc properties before you begin working with your assets. DVD Studio Pro includes a number of views and windows that you use while building your DVD. See The DVD Studio Pro Interface for a complete description. This chapter covers the following: • Opening DVD Studio Pro (p. 121) • Setting DVD Studio Pro Preferences (p. 124) • Creating a New Project (p. 138) • Opening an Existing Project (p. 143) • Video Standards of the World (p. 145) • Changing a Project’s Video Standard (p. 145) • Changing a Project’s DVD Standard (p. 146) Opening DVD Studio Pro The first time you open DVD Studio Pro, a dialog appears where you choose the user interface configuration, the video standard, the DVD standard, and the default language to use. When opened after this, DVD Studio Pro uses the configuration, video standard, and DVD standard in use when it was last closed. Note: The choices you make in this dialog are not permanent; all of these can be changed in either DVD Studio Pro Preferences or, in the case of the configurations, in the Window menu. To open DVD Studio Pro the first time 1 Start up your computer. 2 Double-click the DVD Studio Pro icon (in the Applications folder) to open the application. 121 Starting a Project 9 The Choose Application Defaults dialog appears. 3 Select the configuration that best fits your needs. • Basic: Use this configuration if you intend to use the templates and styles provided by DVD Studio Pro, and intend to rely on dragging and dropping assets to create your projects. This configuration is intended for users familiar with iDVD and users new to creating DVDs. 122 Chapter 9 Starting a Project • Extended: Use this configuration if you are familiar with the DVD creation process and require easy access to more of the features of DVD Studio Pro. The extended configuration displays three quadrants to provide access to additional tabs, and the Inspector. • Advanced: Use this configuration to gain access to all of the capabilities of DVD Studio Pro. Use this configuration if you are authoring complex titles. Chapter 9 Starting a Project 123 Note: Once DVD Studio Pro opens, you can choose from these three configurations and others suitable for specific monitors. In addition, you can create and save your own configurations. See Configuring the Interface for more information on selecting, creating, and saving configurations. 4 Select the video standard, NTSC or PAL, that you will use for your projects. If you are unsure of which standard to use, see Video Standards of the World. 5 Select the default project resolution, SD DVD (Standard Definition DVD) or HD DVD (High Definition DVD), that you will use for your projects. 6 Select the default language for your projects. 7 Select the “Show at startup” checkbox to have this dialog appear each time you open DVD Studio Pro. 8 Click OK to confirm your choices and continue opening DVD Studio Pro. An untitled project opens, using the selected configuration and defaults. See The DVD Studio Pro Interface for information on working with the quadrants, tearing off tabs into their own windows, and configuring the toolbar. Setting DVD Studio Pro Preferences The DVD Studio Pro Preferences window contains settings that you can use to configure its default operations. These settings affect all projects you create, although most of them can be overridden for individual projects within the DVD Studio Pro editors and Inspectors. Taking some time now to select these settings can make creating your projects faster and easier. To open DVD Studio Pro Preferences μ Choose DVD Studio Pro > Preferences, or press Command-Comma (,). 124 Chapter 9 Starting a Project The Preferences window opens, displaying the last selected pane. The Preferences window includes ten panes, each containing settings related to specific areas of DVD Studio Pro. To use the Preferences window Do one of the following: μ Click an icon along the top to open its pane. μ Click Apply to apply the current settings and leave the Preferences window open. μ Click OK to apply the current settings and close the Preferences window. μ Click Cancel to close the Preferences window without applying the current settings. Project Preferences The Project pane in DVD Studio Pro Preferences contains settings used to define basic aspects of new projects. Note: These settings do not affect the currently open project. • DVD Standard: Choose to define whether new projects are SD DVD (Standard Definition DVD) or HD DVD (High Definition DVD). • Video Standard: Select the video standard to use. • NTSC: Select this to set new projects to use the NTSC video standard. Chapter 9 Starting a Project 125 • PAL: Select this to set new projects to use the PAL video standard. • Default Language: Choose to set the default menu language for new projects. General Preferences The General pane in DVD Studio Pro Preferences contains settings used in a variety of areas in DVD Studio Pro. Slideshows and Tracks • Default Slide Length: Enter a value, in seconds, that is used as the duration of still images added to slideshows and to a track’s video stream. • Background Color: You can set the color used as a background by the Slideshow Editor. Normally, this color is not seen because it is covered by the slide. It is seen if the still image is not the correct size to fit in the video frame. In that case, this background color fills the gaps that exist. This color is also used by the Track Editor if you add still images that are not the correct size to fit in the video frame. Important: This setting is not saved as part of the project. If you change this setting, it will affect all projects, including previously saved ones, that have this color visible. SD DVD Menus, Tracks, and Slideshows • Display Mode: Choose the default aspect ratio to use when creating menus, tracks, and slideshows in SD projects. You can choose from 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and 16:9 Pan-Scan & Letterbox. HD DVD Menus, Tracks, and Slideshows • Resolution: Choose the default video resolution to use when creating menus, tracks, and slideshows in HD projects. You can choose from 720 x 480i, 720 x 480p, 1280 x 720p, 1440 x 1080i, and 1920 x 1080i. 126 Chapter 9 Starting a Project • Display Mode: Choose the default aspect ratio to use when creating menus, tracks, and slideshows in HD projects. You can choose from 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and 16:9 Pan-Scan & Letterbox. Note: The 4:3 setting is not available if you choose a Resolution setting that does not support it (720 x 480p, 720 x 576p, 1280 x 720p, and 1920 x 1080i). Thumbnail Size • Palette: Select a thumbnail size. • Small: Select this to use small thumbnails in the Palette. • Large: Select this to use large thumbnails in the Palette. • Slideshow: Select a thumbnail size to use in slideshows. • Small: Select this to use small thumbnails in the Slideshow Editor. • Large: Select this to use large thumbnails in the Slideshow Editor. Subtitle • Fade In: Enter a value, in frames, that controls whether a subtitle, by default, appears instantly (0 frames) or fades on over a number of frames. • Length: Enter a value, in seconds, that controls the default length of new subtitles you create. • Fade Out: Enter a value, in frames, that controls whether a subtitle, by default, disappears instantly (0 frames) or fades off over a number of frames. Menu Preferences The Menu preferences allow you to set a variety of defaults used when creating menus. • Motion Duration: Enter a default duration, in seconds, to use when you create a motion menu. See Configuring Motion Menu Settings for more information. • Auto Assign Button Navigation: See Right-to-Left Reading Mode for more information. • Left to right: Set the Auto Assign feature to wrap button navigation for left-to-right reading. Chapter 9 Starting a Project 127 • Right to left: Set the Auto Assign feature to wrap button navigation for right-to-left reading. • Final Rendering: Because menus can contain a variety of elements layered over the background, such as buttons, drop zones, and text, they must be rendered into a single layer, similar to flattening a multiple layer graphic file. With still menus, this takes little time, but with motion menus, where each frame must be rendered, this can be a time-consuming process. Additionally, all transitions you add to your project must be rendered. See About Menu Rendering for more information. The Final Rendering settings allow you to select how the menus and transitions are rendered: • Hardware based: This setting provides the fastest rendering. However, because the quality is dependent on your system’s video card, the quality might not be as good as when using the “Software based” setting and may not be consistent between different systems. • Software based: This setting provides consistent, good-quality rendering on all systems. However, depending on your system, it may take substantially longer than the “Hardware based” setting. • Drop Palette Delay: Position the slider to control how long of a delay there is before the Drop Palette appears over the Menu Editor when you drag an asset to it. • Video Background Color: You can set the color used as a background by the Menu Editor when no asset has been assigned as the menu’s background. Normally, this color is not seen because it is covered by the menu background. It is seen if the background image is not the correct size to fit in the video frame. In that case, this background color fills the gaps that exist. Important: This setting is not saved as part of the project. If you change this setting, it will affect all projects, including previously saved ones, that have this color visible. 128 Chapter 9 Starting a Project Track Preferences The Track preferences allow you to set a variety of defaults used when creating tracks. • Marker Prefix (Root) Name: Enter the name that all new markers use as their prefix. The Generate Marker Names setting, below, controls whether this root name is followed by a number of timecode value. • Check for unique name: Select this checkbox to ensure you will not have two markers with the same name within a track. • Generate Marker Names: You can select how markers are named when you create them. Note: You can rename the markers in the Marker Inspector. • Automatically: This setting names new markers with the prefix followed by a number that increments each time you add a marker. (You set the prefix below.) An advantage of this option is that you can easily tell how many markers have been added (although the number does not take into account any markers that you may have deleted). A disadvantage is that, because you can add markers between existing ones, the numerical order of the markers is not necessarily the same as their order in the timeline—the numerical order is based on the order the markers are created, not on their position. • Timecode based: This setting names new markers with the prefix followed by the timecode of the video asset. (You set the prefix below.) An advantage of this option is that the marker names are always in the order they appear in the timeline. A disadvantage is that you cannot easily tell how many markers you have in the track. When you select “Timecode based,” the “Auto update” checkbox becomes available. Selecting this checkbox causes the timecode value assigned to a marker’s name to update if you move the marker. Chapter 9 Starting a Project 129 • Snap To: This setting controls what happens when you place a marker in the timeline. In DVD Studio Pro, markers can only be placed on I-frames, which occur once per group of pictures (GOP). A GOP is typically 12 to 15 frames long, which means that when you place a marker, you generally will not be able to place it on the exact frame you would like. This setting allows you to control how DVD Studio Pro chooses the frame to use. See Working with GOP Settings for more information on GOPs. • Previous GOP: This setting places the marker on the GOP occurring before the selected location. • Next GOP: This setting places the marker on the GOP occurring after the selected location. • Nearest GOP: This setting places the marker on the GOP closest to the selected location, either before or after it. • Thumbnail Offset: A thumbnail image of the video asset, representing its first frame, appears in the Video tab in the Palette, in the Video Asset Inspector that appears when you select a video asset in the Assets tab, and at the first frame of the video stream in the Track Editor. This setting allows you to determine whether the thumbnail used in those places is based on the video frame at the start of the video asset or on a frame up to five seconds later in the asset. Because video assets often start at black and fade up, this setting allows you to set the thumbnail to a frame that has video that better represents the asset. • Default Language: You can choose a language that is automatically assigned to all audio and subtitle streams in new tracks. Choose Not Specified to have no language assigned to the streams. • Space bar toggles between play/pause: This setting controls what happens when you press the Space bar while viewing a track. When you play a track, the timeline’s playhead follows along. With the checkbox next to “Space bar toggles between play/pause” selected, the playhead in the track’s timeline remains at its current position when you press the Space bar. When the checkbox is not selected, the playhead jumps back to where you started playing from when you press the Space bar. Note: This setting does not affect the pause and stop controls in the Viewer tab—only what happens when you use the Space bar while playing a track. • Fix invalid markers on build: While creating your tracks, it is possible to end up with markers that either are not positioned on GOP boundaries or fall outside of the V1 stream. When this checkbox is not selected, a build operation stops if any invalid markers are detected. With the checkbox selected, a build operation automatically repositions any markers that are not placed on GOP boundaries and removes any markers that are outside the V1 stream. 130 Chapter 9 Starting a Project • Find matching audio when dragging: Select this checkbox to have DVD Studio Pro automatically try to locate an audio file with the same name as the video file you have dragged to an element, such as a menu or the Assets tab, of your project. DVD Studio Pro only checks the folder the video file was dragged from. DVD Studio Pro does not try to find matching audio if you drag a mixture of video and audio files. You can press the Command key after you start dragging a video asset to temporarily override this setting. Alignment Preferences The Alignment preferences apply to the Menu and Subtitle Editors, allowing you to customize the rulers, guides, and snapping actions. • Rulers: These settings allow you to customize the rulers that appear in the Menu Editor. Note: Alignment guides can only be dragged onto the Menu Editor if the rulers are visible. • Show: Select this to show the rulers in the Menu Editor. • Hide: Select this to hide the rulers in the Menu Editor. • Units: Choose the units for the rulers from the pop-up menu. • Pixels: The rulers show the number of pixels. • Centimeters: The rulers show the number of centimeters, based on 28.35 pixels per centimeter. • Inches: The rulers show the number of inches, based on 72 pixels per inch. • Percentage: The rulers show the percentage of the frame. • Center ruler origin: Select this checkbox to have the rulers start at the center of the frame. This places “0” at the center of the rulers, with the units counting up from there in both directions. When this checkbox is not selected, the ruler’s origin is the frame’s upper-left corner. Chapter 9 Starting a Project 131 • Show ruler guide tooltips measurements: Select this checkbox to have the pointer’s coordinates appear when dragging an alignment guide. The values are in pixels, based on a position of 0, 0 for the upper-left corner. • Guides: These settings apply to the guides that appear in the Menu and Subtitle Editors. Note: You cannot add menu guides in the Subtitle Editor. • Show: Select this to show the guides in the Menu and Subtitle Editors. • Hide: Select this to hide the guides in the Menu and Subtitle Editors. • Guide color: Set the color for the menu guides and the dynamic guides that appear when you move an item in the Menu or Subtitle Editor. Click to open the Colors window. • Show Dynamic Guides at object center: Select this checkbox to have the dynamic guides that appear when you drag an item in the Menu and Subtitle Editors show lines referenced to the item’s center. • Show Dynamic Guides at object edges: Select this checkbox to have the dynamic guides that appear when you drag an item in the Menu and Subtitle Editors show lines referenced to the item’s edges. Text Preferences The Text preferences contain the default settings that apply when adding text to a menu, a menu’s button, and to a subtitle. 132 Chapter 9 Starting a Project All Text Types The following settings apply to all types of text you can configure. • Show: Choose the type of text to configure (subtitle, menu, or menu button). The type you choose determines the other settings available in this pane. • Font: Shows the current settings. • Font Panel: Click to open the Fonts window to configure the font. Subtitle Text Settings The following settings apply to subtitle text. Note: You cannot set the subtitle text color as you can for the menu button and menu text items. • Horizontal: Select the horizontal justification (left, center, or right) to use for your subtitle text. Use this to set the default positioning of text-based subtitles you create in DVD Studio Pro. See Creating Subtitles with DVD Studio Pro for more information. • Horizontal Offset: Enter values to modify the horizontal justification setting. For example, you can enter a horizontal offset value to move the text slightly toward the center when you have selected left justified as the horizontal setting. Negative values move the text to the left and positive values move it to the right. • Vertical: Select the vertical justification (top, center, or bottom) to use for your subtitle text. • Vertical Offset: Enter values to modify the vertical justification setting. For example, you can enter a vertical offset value to move the text slightly toward the center when you have selected bottom justified as the vertical setting. Negative values move the text up and positive values move it down. Menu Button Defaults The following settings apply to menu button text. See Adding Text to a Button for more information. • Color Panel: Click to open the Colors window for configuring the text color. • Position: Select the default position for the button’s text (Bottom, Top, Right, Left, or Center). • Include text in highlight: Select this checkbox to have the text included as part of the button’s highlight area. Menu Text Settings The following setting applies to menu text. See Adding Text Objects to a Menu for more information. • Color Panel: Click to open the Colors window for configuring the text color. Chapter 9 Starting a Project 133 Colors Preferences The Colors pane contains the color mapping settings for the Menu and Subtitle Editors. • Show: Choose whether to show the settings for the Menu Editor or Subtitle Editor. This affects all other settings in this pane. • Mapping Type: Choose the type of overlay mapping, Chroma or Grayscale, you are using. This only applies if you are using advanced overlays. See Using Advanced Overlay Color Mapping for more information. • Selection State: Choose which of the three selection states (Normal, Selected, or Activated) to configure. • Set: Select which of the three color mapping sets to configure. These settings are only active when the Selection State is set to Selected or Activated. See Color Mapping Sets for more information. • Key, Color, and Opacity Settings: Choose the color and opacity setting for each of the overlay’s four colors (shown in the Key column) for each selection state and set. See Colors Tab in the Menu Inspector with Advanced Selected for more information. Note: Shapes and simple overlays use the black key color (the top one) for their highlights. • Palette: This shows the colors in the color mapping palette. You can change a color by clicking it and selecting a new color in the Colors window. See Setting the Colors in the Color Palette for more information. 134 Chapter 9 Starting a Project Simulator Preferences The Simulator preferences apply to the Simulator you can use to test your project. See Simulating Your Project for more information. Default Language Settings • Audio, Subtitle, and DVD Menu Default Language: Choose the languages to use as the Simulator’s default for menus, audio, and subtitles. This simulates the language settings in a DVD player. If you want any of these elements to use the stream settings in the Disc Inspector in place of the language settings, choose Not Specified. Features • Enable DVD@CCESS Web Links: Select so that the Simulator can process any DVD@CCESS links in the project. This is useful to verify that email and web links work correctly. See Testing DVD@CCESS Links for more information. Region Code • Default Region: Choose the region code to simulate. You can choose All or a specific region. Playback Output • Video: Choose the destination for the Simulator video. The two choices are Simulator Window, which is the default setting, and Digital Cinema Desktop Preview, which actually selects your system’s second monitor, whether it is an S-Video monitor, an Apple Cinema Display, or any other appropriate display. See Simulating with an External Video and Audio Monitor for more information. • Audio: Choose the destination for the Simulator, Assets tab, and any of the editors’ (Track, Story, Slideshow, and Menu Editor) audio. Common choices include Built-in Audio, for normal system audio, and Built-in Audio (S/PDIF), which uses your system’s optical digital audio output (if available) to output the audio to an external AC-3 or DTS decoder. Chapter 9 Starting a Project 135 • Resolution: Choose the monitor resolution to simulate. The choices include SD, HD 720, and HD 1080. • Display Mode: Choose the monitoring situation to simulate. • 4:3 Pan-Scan: This setting simulates a 4:3 aspect ratio monitor with a DVD player configured to use the pan-scan method when showing 16:9 content. • 4:3 Letterbox: This setting simulates a 4:3 aspect ratio monitor with a DVD player configured to use the letterbox method when showing 16:9 content. • 16:9: This setting simulates a 16:9 aspect ratio monitor. Destinations Preferences The Destinations preferences control the location of files created during a variety of processes within DVD Studio Pro. • Show: Choose the process whose path you want to configure. • Encoding: This process specifies the location for the video and audio files that are created by the integrated MPEG and AIFF encoders when you import QuickTime files into your project. See Importing Assets That Are Not DVD-Compliant and Using the Integrated MPEG Encoder for more information. • Image Encoding: This process specifies the location for the MPEG files that are created when you use non-MPEG still images in your menus, slideshows, and within a track. See Using Still Assets That Are Not DVD-Compliant for more information. • MPEG Parsing: This process specifies the location for the parse files that are created when you import MPEG files. See About the Parse Files for more information. • Build/Format: This process contains settings that define the default location to which the AUDIO_TS and VIDEO_TS folders, created during the build process, are saved. See Building Your Project for more information on building your project. • Palette Elements: This process specifies the location for the stock (Apple supplied) and custom items that appear in the Palette. Each setting has its own Choose and Reset buttons. Click Choose to open a dialog to choose the folder to use. Click Reset to revert to the factory default settings. The default location for the stock items is /Library/Application Support/Final Cut Studio/DVD Studio Pro/. 136 Chapter 9 Starting a Project • Location: Select the location to save files to. • Same Folder as the Asset: This is the default setting. It places the files into an MPEG or PAR subfolder (depending on the type of file being created) in the original file’s folder. For QuickTime assets, an MPEG folder is created, with a PAR subfolder. The encoded file is placed in the MPEG folder and, if necessary, the parse file is placed in the PAR folder. For assets that are already MPEG-encoded, a PAR folder is created and the parse file is placed there. If the original files are on a volume that can’t be written to, such as a CD-ROM disc or a disk you do not have Write privileges for, DVD Studio Pro automatically writes to the Specified Folder/Fallback Folder location. • Project Bundle: This setting saves the files to the project file. To see the contents of the project file (the file created when you saved your project), locate the file in the Finder, Control-click it, then choose Show Package Contents from the shortcut menu. If you have not saved your project yet, the files are saved at your Specified Folder/Fallback Folder location. • Specified Folder/Fallback Folder: This setting saves the files to a disk and folder you choose. You can either enter the path directly or click Choose to open a dialog to choose the folder to use. It is also used when DVD Studio Pro is unable to write to the Same Folder as the Asset or Project Bundle locations. The default path is in your home folder at /Library/Caches/DVD Studio Pro Files. If you specify a location that cannot be written to, this default path is used in its place. Encoding Preferences The Encoding pane contains the settings that control the integrated MPEG encoder, which is used when you import a QuickTime asset. See Using the Integrated MPEG Encoder for more information on the integrated MPEG encoder and details on these settings. Chapter 9 Starting a Project 137 Creating a New Project When you open DVD Studio Pro, a new project file is automatically created. You can also create a new project at any time. To create a new project 1 Choose File > New (or press Command-N). A dialog asks whether you want to save the currently open project. Once you select an answer, a new, empty project opens. 2 Choose File > Save, specify a name and location for your project file, then click Save. Saving your project early ensures that if any files need to be saved to your project during the authoring process, they have a place to be written to. Once you have created and saved your project, there are four areas you might want to configure before you begin. • Setting the video standard: DVD-Video titles are based on one of two video standards: NTSC or PAL. You cannot create a DVD-Video title that supports both video standards. DVD Studio Pro includes a video standard setting that applies to projects created after the standard has been set. It’s a good idea to confirm this setting if this is the first DVD Studio Pro project you are creating or if you author both NTSC and PAL titles on this system. See Setting the Video Standard for more information. • Setting the DVD standard: You can author either SD or HD projects with DVD Studio Pro. If you are authoring an SD project, you can change it to HD. If you are authoring an HD project, you cannot change it to an SD project just by changing the DVD standard. See Changing a Project’s DVD Standard for more information. • Naming the project: Each project is given a name that can be seen by the viewer when the finished DVD is played on a computer or on some set-top DVD players. DVD Studio Pro automatically uses the project’s filename, created when you saved the project, as the project name. See Naming the Project for information on how to change this. • Setting the disc size: By default, DVD Studio Pro is set to use a 4.7 GB disc. This setting affects not only the disc burning process but also the toolbar’s disc meter. See Setting the Disc Size for information on changing this setting if you intend to work with other disc sizes. • Setting the First Play element: Each project must have an element designated as “first play.” This is the element that appears when the viewer first starts playing the DVD. By default, it is Menu 1. You can set this to be any element in your project. See Setting the Project’s First Play for more information. 138 Chapter 9 Starting a Project Setting the Video Standard The DVD-Video specification supports two video standards: NTSC and PAL. This may appear to leave out those countries that use the SECAM or PAL-M video standards. However, because the MPEG video on DVDs is in a component format, your sources, once MPEG-encoded, only need to conform to the line and frame rates of either the NTSC or PAL standard. • Use the NTSC video standard: If you are in a country that supports either the NTSC or PAL-M video standard. Both standards use a 29.97 fps frame rate with 525 lines per frame. As a general rule, if your country uses 60 Hz AC power, you should use the NTSC video standard. • Use the PAL video standard: If you are in a country that supports either the PAL or SECAM video standard. Both standards use a 25 fps frame rate with 625 lines per frame. As a general rule, if your country uses 50 Hz AC power, you should use the PAL video standard. See Video Standards of the World for a list of countries and the video standards they support. You cannot mix NTSC and PAL assets on a DVD. See NTSC or PAL? for more information. Also see Changing a Project’s Video Standard for information on converting a project from one video standard to the other. Important: If you have any doubts about whether your system is set to the correct standard, you should verify its setting (described next) and change it if necessary before you start adding assets to your project. To set the video standard for the current project in the Disc Inspector 1 Choose View > Show Inspector if the Inspector is not visible. 2 Do one of the following: • Select the project’s name (next to the disc icon) in the Outline tab. (Choose Window > Outline if the Outline tab is not visible.) • Click an empty area in the Graphical tab. The Disc Inspector appears. Select the video standard before adding assets. 3 In the General tab, select either NTSC or PAL to set the project’s video standard. Chapter 9 Starting a Project 139 Note: You cannot change a project’s video standard once you have added motion assets to it. See Changing a Project’s Video Standard for more information. The other Disc Inspector settings can be made later. See Finishing a Project for details on these settings. To set the video standard for DVD Studio Pro in the Preferences window 1 Choose DVD Studio Pro > Preferences, or press Command-Comma (,) to open the Preferences window. 2 Click the Project icon at the top of the Preferences window to open the Project pane. 3 Choose either the NTSC or PAL video standard. This setting only affects projects created after it is set. Setting the DVD Standard You can choose from two DVD standards when you start your project: the original SD DVD standard based on standard definition video assets and the new HD DVD standard designed to use high definition video assets. Most asset formats supported by SD-based DVDs are also supported by HD-based DVDs. The exception is MPEG-1 video, which is not supported in HD projects. See About Standard and High Definition DVDs for more information. There are two places to set the DVD standard—each is used for different circumstances. Setting the DVD Standard in DVD Studio Pro Preferences You can set the DVD standard for all new projects in the Project pane of DVD Studio Pro Preferences. This setting does not affect the current project. To set the DVD standard for new projects 1 Choose DVD Studio Pro > Preferences, or press Command-Comma (,) to open the Preferences window: 2 Click the Project icon at the top of the Preferences window to open the Project pane. 3 Choose either SD DVD or HD DVD from the DVD Standard pop-up menu. Setting the DVD Standard in the Disc Inspector The General tab in the Disc Inspector contains a setting that shows the DVD standard for the currently open project. • If SD DVD is selected: You can change the project to HD DVD. • If HD DVD is selected: The settings are deactivated and you cannot change the project to SD DVD. 140 Chapter 9 Starting a Project Note: If you create a new project and it has HD DVD selected when you actually intend to create an SD project, you must change the DVD Standard setting in the Project pane of DVD Studio Pro Preferences. To change the DVD standard for the current project using the Disc Inspector 1 Choose View > Show Inspector if the Inspector is not visible. 2 Do one of the following: • Select the project’s name (next to the disc icon) in the Outline tab. • Click an empty area in the Graphical tab. The Disc Inspector appears. 3 Select the General tab (if it’s not already selected). 4 Note the DVD Standard setting. • If SD DVD is selected: You can change the project to HD DVD. A warning appears saying that you will not be able to change the project back to the SD DVD standard. • If HD DVD is selected: The settings are deactivated and you cannot change the project to SD DVD. See Changing a Project’s DVD Standard for more information. Naming the Project By default, each DVD disc you create is automatically given the same name as the project’s file, entered when you saved it. The disc’s name can be seen by the viewer when the finished DVD is played on a computer or on some set-top DVD players. In most cases, the name of the project’s file is suitable to use as the disc’s name. However, there are some cases in which you might want to set the disc’s name independently of the project’s filename. For example, you may have several versions of a project, such as Bicycles 1, Bicycles 2, and Bicycles 3, that you will choose from for the final project. In this case, if you choose the Bicycles 2 version of the project, you would not want the final disc to appear as Bicycles 2 when the viewer plays the title—you would want it to say simply Bicycles. The name of the disc is restricted to uppercase letters, numbers, and the underscore character. There is a maximum of 32 characters. The project’s filename is automatically converted to work with these restrictions when it is used as the disc’s name. For example, a project filename of Bicycle 2 is converted to a disc name of BICYCLE2. To name the disc in the Disc Inspector 1 Do one of the following: • Select the disc’s name (next to the disc icon) in the Outline tab. • Click an empty area in the Graphical tab. Chapter 9 Starting a Project 141 The Disc Inspector appears. Note: Choose View > Show Inspector if the Inspector is not visible. 2 Enter the new name for the disc in the Name field at the top of the Disc Inspector, then press Return. Setting the Disc Size The DVD Studio Pro default is set to a 4.7 GB DVD-5. This setting affects both the actual disc burning process when you finish your project and the disc meter icon in the toolbar. In addition to showing the estimated project size numerically, the disc meter also shows how full the disc is getting graphically. The disc meter uses the project’s disc size setting to determine the disc’s capacity. As long as you intend to burn DVD-5 discs, the disc meter is accurate. If you intend to burn a blue laser, dual-layer, or 8 cm disc, you need to set the disc size to the proper format so that the disc meter reflects the changed requirements of your project. To set a project’s disc size 1 Do one of the following: • Select the project’s name (next to the disc icon) in the Outline tab. • Click an empty area in the Graphical tab. The Disc Inspector appears. (Choose Window > Outline if the Outline tab is not visible. Choose View > Show Inspector if the Inspector is not visible.) 2 Click the Disc/Volume tab in the Disc Inspector. Select the disc capacity required for this project. Select the disc size required for this project. Select the disc media required for this project (HD projects only). Based on the other settings, shows the disc capacity. 3 Select Red Laser or Blue Laser as the Disc Media (HD projects only). 4 Select Single or Dual as the Layer Options. 5 Select 8 cm or the standard 12 cm as the Disc Size. 142 Chapter 9 Starting a Project The maximum size for the project appears below the Disc Size setting. The other Disc Inspector settings can be made later. See Finishing a Project for details on these settings. See Disc Options for more information on available DVD sizes. See topics relating to finishing a project for more information on these settings. Setting the Project’s First Play An important consideration when starting a project is deciding which of its elements will be the first to appear when a viewer starts playing the DVD. Some examples might be: • Using the default setting and opening Menu 1 when the DVD starts playing • Setting First Play to a motion menu or track that plays before the main menu appears. This motion menu or track could be a short animated company logo or a disclaimer. • Creating a DVD for continuous kiosk playback. You may want to have a disc that plays a track over and over, with no menus or other viewer interaction. In that case, you would set the track to be the First Play element and set the track’s End Jump setting to be that same track. • Running a script to determine if the DVD should be allowed to play on this player. A script could also be used to configure playback to match the DVD player’s languages or its display’s aspect ratio. The script would end by choosing the first element to play for the viewer. (The viewer would not actually know that a script is the First Play element.) To set the project’s First Play to an element other than Menu 1, you must first create that element. For this reason, you do not have to (and often can’t) set the project’s First Play when you start creating your project, but it is a good idea to have a plan in mind. You can set the project’s First Play in the Disc Inspector, the Connections tab, the Outline tab, and the Graphical tab. See Assigning the First Play Element for information on using the Outline and Graphical tabs to set the First Play. See Settings at the Top of the Disc Inspector for information on using the Disc Inspector to set the First Play. See Source Details for information on using the Connections tab to set the First Play. Opening an Existing Project There are several methods you can use to open an existing DVD Studio Pro 4 project. These methods can also be used to open projects created with earlier versions of DVD Studio Pro. See Importing Other Projects for more information on opening earlier DVD Studio Pro projects. To open an existing project Do one of the following: μ Choose File > Open (or press Command-O). Chapter 9 Starting a Project 143 μ Press Command-O. μ Double-click the project file in a Finder window. If a project is already open in DVD Studio Pro, a dialog appears, prompting you to save it if it has not already been saved. Note: DVD Studio Pro only allows you to have one project open at a time. To open a recently opened project μ Choose File > Open Recent > [name of project]. You can choose File > Open Recent > Clear Menu to remove existing projects from the Open Recent submenu. There are several issues to be aware of when opening an existing project: • If you open a DVD Studio Pro project that uses a font that is not on the computer you are opening it on (either because the font was deleted or the project was created on a different computer), any items using the missing font have a different font substituted with no warning. There are three items in a DVD Studio Pro project that utilize fonts: a menu’s text objects, a button’s text, and text-based subtitles. • When you open a project that uses assets requiring parse files, DVD Studio Pro checks to see if the files are available. If not, it creates them as part of the project-opening process; in these cases, the project takes longer to open. It is not uncommon for the parse files to be left behind when moving a project and its assets from one computer to another. Creating the parse files can take from a few seconds to several minutes, depending on the number and length of the assets used in the project. A progress bar indicates the completion status of the parse file. See About the Parse Files for more information about parse files. • When you open a project that DVD Studio Pro is unable to locate assets for, a Missing Files window appears. You can use the window to manually locate the assets. If you choose to open the project with missing assets, those assets are displayed in red in the Assets tab, and any elements that use them are disabled. See Missing or Renamed Assets for more information. • Multiple users can open the same project over a network. This can lead to problems if each user makes changes and resaves the project. When another user opens the same project you are currently working with, an alert appears that names the other user and computer that opened the project. Important: DVD Studio Pro does not prevent multiple users from writing to a project. You must use care to avoid this situation and immediately resolve any alerts that appear. 144 Chapter 9 Starting a Project Video Standards of the World Because you may find yourself needing to know the video standard of a particular country, following is a list of the different continents and regions of the world and the video standards they use. Note: This list is subject to change and should be used as a guideline only. Continents and regions Video standard All countries in the African continent use either the PAL or SECAM video standard. Africa All countries in the Asian continent use either the PAL or SECAM video standard, with the exception of Burma, Japan, the Philippines, South Korea, Taiwan, and Vietnam, which use the NTSC video standard. Asia All islands in the Caribbean region use the NTSC video standard, with the exception of Guadeloupe and Martinique, which use the SECAM video standard. Caribbean Central America All countries in Central America use the NTSC video standard. All countries in the European continent use either the PAL or SECAM video standard. Europe All countries in the Middle East use either the PAL or SECAM video standard. Middle East All countries in North America use the NTSC video standard, with the exception of Greenland, which uses the PAL video standard. North America All countries in the Oceania region, including Australia and New Zealand, use either the PAL or SECAM video standard, with the exception of American Samoa, Guam, the Marshall Islands, Micronesia, the Midway Islands, Palau, and Samoa, which use the NTSC video standard. Oceania All countries in South America use the NTSC video standard, with the exception of Brazil, which uses the PAL-M video standard, and Argentina, Paraguay, Uruguay, and French Guyana, which use either the PAL or SECAM video standard. South America Changing a Project’s Video Standard When you create a project, all assets used in it must be the same video standard (NTSC or PAL). If you want the project to be available in both video standards, you need to create two projects—one for each standard. You can minimize the amount of work involved in re-creating the project in the other video standard by keeping the following rules in mind: • You cannot have any video assets assigned to the project when you try to change the project’s video standard. Before you can remove the assets from the project, they must not be in use by any of the project’s elements. Chapter 9 Starting a Project 145 • Any markers placed in the Track Editor remain behind when you remove the video asset. If you then change the project’s video standard and import a version of the video asset in the new video standard, the markers are applied to the new asset. The timecode values of the markers change to match the new video standard. Depending on the encoding used, the markers may no longer occur at GOP boundaries. Be sure to select the “Fix invalid markers on build” setting in the Track pane of DVD Studio Pro Preferences to ensure you will be able to build the project. See Track Preferences for more information. • Still assets do not need to be removed before you change a project’s video standard. DVD Studio Pro automatically rescales still assets (except overlays) to the new video standard; however, for the best quality, it is recommended that you remove the original assets and import versions that match the new video standard. • All menu settings, including button connections, drop zones, and text objects, are retained when you change a project’s video standard. This reduces the amount of reconfiguration you have to go through when changing video standards, even if you have to change the menu’s background. Note: An exception is if any buttons or drop zones use motion assets—the assets must be removed from these elements before you change the video standard. • Audio assets can be used with either video standard. • If you add a QuickTime asset whose video standard is different from the project’s current setting, the integrated MPEG encoder automatically transcodes the asset to the project’s video standard while encoding it. For example, if you are working on a PAL project and accidentally import an NTSC QuickTime file, the NTSC file is encoded as a PAL asset and is imported into the project. • Templates and styles are specific to the video standard. If your project relies on custom templates and styles, you will need to create versions in both NTSC and PAL to be able to use them in both standards. Note: Apple templates and styles are supplied in both the NTSC and PAL standards. Shapes are not specific to the video standard. Changing a Project’s DVD Standard DVD Studio Pro makes it easy to convert an SD project to an HD project. However, there is no comparable method to use to convert an HD project to an SD project. For that reason, if you are intending to build both an SD and HD version of the project, you should start by building the SD version first. Note: If you create a new project and it has HD DVD selected when you actually intend to create an SD project, you must change the DVD Standard setting in the Project pane of DVD Studio Pro Preferences. 146 Chapter 9 Starting a Project To convert an SD project to an HD project 1 Do one of the following: • Select the project’s name (next to the disc icon) in the Outline tab. • Click an empty area in the Graphical tab. The Disc Inspector appears. (Choose Window > Outline if the Outline tab is not visible. Choose View > Show Inspector if the Inspector is not visible.) 2 Click the General tab in the Disc Inspector. 3 Select the HD DVD setting for DVD Standard. A warning appears stating that you will not be able to convert the project back to the SD DVD standard. 4 Save the project using a new project name. This ensures the original SD project will remain as it is and not be overwritten. There are a few things to keep in mind when converting an SD project to an HD project: • HD projects cannot have MPEG-1 video. • When you import QuickTime HD assets into an SD project, DVD Studio Pro automatically creates an SD MPEG-2 format version of them using its integrated MPEG encoder. If you then convert the project to an HD project, the HD project continues to use these SD MPEG-2 assets. You can have the integrated MPEG encoder create MPEG-2 HD versions of those assets by Control-clicking them, choosing Encoder Settings from the shortcut menu, and then choosing new encoder settings for the asset. Once the assets have been reencoded, you can change the resolution of any elements that use them, such as menus or tracks, to match their new HD format. Note: If you choose a new bit rate when reencoding an asset to an HD format, the original SD-encoded asset remains available for use by the SD project. If you do not choose a new bit rate, the SD-encoded asset may be overwritten by the HD-encoded asset. • If your SD project contains QuickTime video assets that use an HD video resolution, you can have the integrated MPEG encoder create MPEG-2 HD versions of those assets by Control-clicking them, choosing Encoder Settings from the shortcut menu, and then choosing new encoder settings for the asset. Chapter 9 Starting a Project 147 The DVD Studio Pro user interface is designed to provide a flexible environment that can be configured easily to fit the needs and skill levels of all users. This chapter covers the following: • Introduction to the DVD Studio Pro Interface (p. 150) • Configuring the Interface (p. 152) • Working with the Quadrants (p. 154) • Working with the Tabs (p. 157) • Overview of the Quadrant Tabs (p. 161) • Inspector (p. 167) • Palette (p. 168) • Toolbar (p. 174) • Drop Palette (p. 177) • Comparing the Outline and Graphical Project Views (p. 177) • Using the Outline Tab (p. 178) • Using the Graphical Tab (p. 180) • Managing Elements Using the Outline and Graphical Tabs (p. 190) 149 The DVD Studio Pro Interface 10 Introduction to the DVD Studio Pro Interface A wide variety of users use DVD Studio Pro, from those who are familiar with iDVD and want to access a few more DVD authoring features, to those who have extensive experience with professional DVD authoring applications. Tabs in the lower-right quadrant Toolbar You can arrange the DVD Studio Pro interface to display as much information as you need. The main interface can be arranged to display from one to four quadrants. Each quadrant can contain one or more tabs. Each tab provides access to specific functions. For example, the Menu tab contains the Menu Editor which you use to create menus. Some tabs will be used by all users while others are only used for advanced features. See Overview of the Quadrant Tabs for information on the tabs. The interface also includes a customizable toolbar. You can choose which tools appear and which are hidden. See Toolbar for more information. 150 Chapter 10 The DVD Studio Pro Interface A floating Inspector displays properties for each project element, with its contents changing based on the currently selected element. For example, if you are working on a menu’s buttons, the Inspector displays all properties and settings that apply to buttons. When creating basic DVD Studio Pro projects, you might find it easier to keep the Inspector closed, only opening it when necessary. See Inspector for more information. Inspector A floating Palette provides easy access to features that help you create menus and tracks. These features include: • Templates and styles • Shapes • Media tabs Chapter 10 The DVD Studio Pro Interface 151 See Palette for more information. Palette Configuring the Interface To make it easy to change between different configurations of the DVD Studio Pro interface, DVD Studio Pro lets you save each configuration. For example, once you configure the quadrants so they are optimized for creating subtitles, you can save that configuration for easy recall later. Each configuration includes: • The current arrangement of the quadrants, including their sizes, the tabs assigned to them, and the tab that is currently visible • Any tabs that have been torn off into separate windows. See Tearing Off a Tab into Its Own Window for more information. • The tools in the toolbar • The column configuration in the Assets tab • The Inspector and Palette window arrangements, including whether they are visible, their size, and their position DVD Studio Pro includes several standard configurations you can choose from. These configurations provide three levels of access to the features of DVD Studio Pro—basic, extended, and advanced. You can use these configurations as they are, perhaps adding a new tool to the toolbar or another tab to a quadrant, or as a starting point for creating your own configurations. 152 Chapter 10 The DVD Studio Pro Interface To choose a DVD Studio Pro configuration μ Choose Window > Configurations, then choose a configuration from the submenu. Each standard configuration has a keyboard shortcut assigned. The submenu lists the supplied configurations plus any that you have created. Each of the first three supplied configurations are automatically assigned keyboard shortcuts F1 through F3. You can assign keyboard shortcuts for any custom configurations in the Manage Configurations dialog. Once you select a configuration, the DVD Studio Pro interface changes to the new settings. You can make your own changes to the interface and save it as a new, custom configuration. To save a configuration 1 Configure the interface as needed, including the quadrants and their tabs, the toolbar, the Inspector, and the Palette. See the following for more information: • Working with the Quadrants • Inspector • Palette • Toolbar 2 Choose Window > Save Configuration. The following dialog appears. 3 Enter a name for the configuration. 4 Click Save. Chapter 10 The DVD Studio Pro Interface 153 The new configuration is added to the list of configurations available to your system. Note: To update a custom configuration, save the updated version using the original version’s name. To manage your configurations 1 Choose Window > Manage Configurations. A list of existing configurations appears. The Key column lists the “F” key assigned as each configuration’s keyboard shortcut. 2 Do any of the following: • Click the Add (+) button to add a new configuration. • Delete a configuration by selecting it and then clicking the Delete (–) button. • Rename a configuration by double-clicking it and entering a new name. • Assign a keyboard shortcut to a configuration by choosing an “F” key from its Key pop-up menu. Important: F9, F10, and F11 are used by default by the Mac OS X Exposé feature. You can reconfigure them in System Preferences. F14 and F15 are used by Mac OS X to control the monitor brightness. • Apply a configuration by selecting it and then clicking the Apply button. 3 Click Done to close the dialog and save the changes. Working with the Quadrants The main DVD Studio Pro interface can contain from one to four quadrants. Each quadrant contains one or more tabs that contain controls for specific functions. You have great flexibility in customizing what is displayed in each quadrant and how it’s displayed. If you choose the basic configuration, one quadrant appears. With the extended configuration, three quadrants appear. See Adding Quadrants to the Basic and Extended Configurations for details on working with the basic and extended configurations. 154 Chapter 10 The DVD Studio Pro Interface You can adjust each quadrant’s size by dragging its borders, or adjust the size of all four quadrants at once by dragging the point where they intersect. You can “close” a quadrant by dragging its inside edge to the DVD Studio Pro interface edge. Resizing the Quadrants You can resize the quadrants in pairs, either horizontally or vertically, or resize them all at once. When all four quadrants are displayed, making individual horizontal or vertical adjustments affects all four quadrants. For example, dragging the horizontal boundary up causes both lower quadrants to get bigger, while both upper quadrants get smaller. The pointer changes its shape when it is at a quadrant boundary, indicating that you can drag it from there. You can also quickly make the current quadrant expand to full window. To make the current quadrant full window Do one of the following: μ Choose Window > Expand [tab name]. The currently active tab’s name is shown, and its quadrant is the one that becomes full window. μ Press Shift-Space bar. μ Press Command-Option-Grave Accent (`, on the same key as the tilde). In all cases, you can use these same methods to restore the quadrant to its normal size. Note: If you perform a function that requires a different tab to appear, the quadrant is automatically restored to its normal size. To resize the quadrants manually Do one of the following: μ To change only the heights of the upper and lower quadrants, drag the boundary between the upper and lower halves up or down. Chapter 10 The DVD Studio Pro Interface 155 μ To change only the widths of the left and right quadrants, drag the boundary between the left and right halves left or right. μ To change both the heights and widths of the four quadrants, drag the point where they intersect. μ To split either the vertical or horizontal boundary, so that you can resize two quadrants while leaving the other two as they are, Option-drag the boundary you want to move. This creates two intersection points, each of which can be dragged as needed. To reconnect the split boundaries, drag one of them so that it aligns with the other, then release it. They are now reconnected and will move as a single boundary. When a horizontal or vertical boundary gets close to an edge of the user interface, the boundary snaps to that edge, instantly hiding the smaller quadrant. This makes it easy to quickly display only one or two of the quadrants. You can display the hidden quadrants by dragging the edge back toward the center of the window. 156 Chapter 10 The DVD Studio Pro Interface Adding Quadrants to the Basic and Extended Configurations There are two ways to add quadrants to the basic and extended configurations: Choose a different configuration or drag their edges in toward the center. The basic configuration is actually just the upper-right quadrant with its left and bottom boundaries dragged to the edges of the interface. To add a quadrant to the left half of the interface, drag the left edge toward the center. To add a quadrant to the bottom half, drag the bottom edge toward the center. The extended configuration has the lower-left quadrant hidden. To add it, drag the lower-left edge toward the center. Working with the Tabs The quadrants hold the tabs that contain the primary controls of the DVD Studio Pro interface. You can select a tab to make it active, move the tab to a different quadrant, or “tear off” the tab to make it available in its own window. Viewing a Tab’s Contents When you have multiple tabs in a quadrant, only one is active and can be seen. There are several methods you can use to make a tab active so that it appears in front of the others. To view a tab’s contents Do one of the following: μ Click the tab you want to view. μ Choose Window > [name of tab]. μ Use the tab’s keyboard shortcut. For a compete list of keyboard shortcuts, see Keyboard Shortcuts. Note: If a tab is hidden, choosing it from the Window menu or using the keyboard shortcut makes it appear as a separate window. In many cases, selecting an element in the Outline or Graphical tab automatically activates related tabs (if they are assigned to a quadrant). For example, if you double-click a menu in the Outline tab, the Menu tab becomes active. Rearranging Tabs Within a Quadrant You can change the order in which tabs appear within a quadrant. To change the order of tabs μ Drag a tab to a new position. Chapter 10 The DVD Studio Pro Interface 157 Moving a Tab to a Different Quadrant You can move a tab from one quadrant to another. This allows you to group tabs that work best for you. For example, you may group the tabs so that you can reduce the number of quadrants that appear and see just the tabs you use most. To move a tab to a different quadrant by dragging μ Drag a tab to the new quadrant’s tab area. Dragging the Graphical tab to the upper-right quadrant As you drag the tab, an outline surrounds the tab area in the quadrant to which you’re moving the tab. You can drag the tab to a specific position among the quadrant’s current tabs. To move a tab to a quadrant using a shortcut menu μ Control-click an empty part of the tab area in the quadrant you want to add a tab to, then choose the tab to add from the shortcut menu. (Tabs with checkmarks are already part of the quadrant.) The tab you choose is removed from its existing location and added to the end of the quadrant’s current tabs. (If the tab was torn off into a separate window, its window is closed as long as there are no other tabs in the window.) 158 Chapter 10 The DVD Studio Pro Interface Tearing Off a Tab into Its Own Window You can “tear off” a tab so that it appears in its own window. This is useful if you have a large computer display or use multiple displays and are able to spread out. It is also useful if you have a small display and a limited workspace, because it allows you to have larger windows without resizing the quadrants. To tear off a tab Do one of the following: μ Drag a tab to a position outside of the immediate tab area. μ Control-click the tab, then choose Tear Off Tab from the shortcut menu. μ Control-click in the area next to the tabs in its quadrant, then choose the tab’s name from the shortcut menu. The tab’s window can be sized and positioned as needed. You can also drag additional tabs to the window. Restoring a Torn-Off Tab to a Quadrant You can add a tab back into a quadrant using several methods. To restore a tab to its quadrant Do one of the following: μ Drag the tab’s name to a quadrant. The tab snaps back into place and its window closes (as long as the window has no other tabs). Chapter 10 The DVD Studio Pro Interface 159 Note: This is different from dragging the window’s title bar, which just repositions the window. Dragging the Graphical window’s tab to add it to the upper-left quadrant μ Control-click an empty area of a quadrant’s tab area, then choose the tab from the shortcut menu. You can also do this if the tab’s window has been closed. What Happens If You Close a Torn-Off Tab’s Window? If you close a tab’s window by clicking the close button in the upper-left corner of the window, the tab does not automatically get added back to a quadrant, and it is no longer displayed. You can either reopen the window or add the tab to one of the quadrants (as described in the previous section, Restoring a Torn-Off Tab to a Quadrant). To reopen the tab in its own window Do one of the following: μ Choose Window > [the tab name]. μ Press the tab’s keyboard shortcut. μ Double-click an element that requires the tab in the Outline or Graphical tab. The tab opens in its window at the same position and size as when it was closed. 160 Chapter 10 The DVD Studio Pro Interface Overview of the Quadrant Tabs Following is an alphabetical list of the tabs that can be included in the quadrants. Assets Tab The Assets tab is a central location for managing the assets used in your project. It displays extensive information about each asset in columns that you can configure to see just the information you want. Additionally, you can create folders and subfolders to help organize assets when you are working with large projects. See About the Assets Tab for details on working with the Assets tab. Connections Tab The Connections tab provides a comprehensive tool for linking elements—such as a menu button and a track marker—to each other. While there are a number of ways to make most connections, including directly in the Menu Editor, the Connections tab is the only way to access some advanced features. See Establishing Connections for details on working with the Connections tab. Chapter 10 The DVD Studio Pro Interface 161 Graphical Tab The Graphical tab provides a tile-based view of all elements in your project. You are able to arrange the tiles and display lines indicating how they connect to each other. This makes it possible to create a flowchart of your project, which can be printed and used for project planning and approvals. See Using the Graphical Tab for more information. Log Tab You can use the Log tab to see status information for a variety of functions: • Build: Displays messages generated while building your project’s files in preparation for writing them to a DVD disc. • Encode: Displays messages generated by the integrated MPEG and AIFF encoders. • Simulate: Displays messages generated while using the Simulator with your project. 162 Chapter 10 The DVD Studio Pro Interface Menu Tab The Menu tab contains the Menu Editor. You use the tools in the Menu Editor to build your project’s menus. The editor contains a display to show the menu’s video contents, along with controls to configure the display. See About the Menu Editor for details on using the Menu Editor. Outline Tab The Outline tab provides an organized list of all project elements. Each element is grouped by type, such as Menus or Tracks, in sections that function a bit like file folders. Next to each section name is a disclosure triangle—clicking the triangle allows you to hide or display the elements listed in that section. See Using the Outline Tab for details on using the Outline tab. Chapter 10 The DVD Studio Pro Interface 163 The Outline tab also contains the VTS Editor. The VTS Editor (Video Title Set Editor) allows you to manually place project elements into specific VTS blocks. See VTS Editor for more information. Script Tab The Script tab contains the Script Editor. You use the Script Editor to add and manage commands in your scripts. The editor lists each command and its step number. See The Scripting User Interface for details on using the Script Editor. 164 Chapter 10 The DVD Studio Pro Interface Slideshow Tab The Slideshow tab contains the Slideshow Editor. You use the tools in the Slideshow Editor to create and edit slideshows. The editor contains thumbnails of each slide in display order, along with the slide’s duration. You can also add audio to your slideshow in the editor. See Slideshow Editor Settings for details on using the Slideshow Editor. Story Tab The Story tab contains the Story Editor, which you use when creating a story for a track. To create a story, you choose which sections of the track to play, as defined by chapter markers. See Using the Story Editor for details on using the Story Editor. Chapter 10 The DVD Studio Pro Interface 165 Track Tab The Track tab contains the Track Editor. The Track Editor displays all streams associated with a track (video, audio, and subtitle) in a linear, timecode-based manner. It provides tools for adding and editing markers. It allows you to trim and combine multiple assets on a single stream. See Configuring the Track Editor for details on using the Track Editor. Viewer Tab The Viewer tab lets you view your project’s elements. See Viewing a Track for details on using the Viewer tab. The Viewer tab is also used when editing subtitles. You use the tools along the bottom to build subtitles within DVD Studio Pro or to view subtitles imported from an external source. The display shows both the subtitle and the first frame of video that it appears over. See Creating Subtitles with DVD Studio Pro. 166 Chapter 10 The DVD Studio Pro Interface Inspector The Inspector is a floating window that displays the properties of the element you are currently working with. In some cases, it contains multiple tabs, with the properties grouped by type and function. With the exception of the Palette, the Inspector always has the highest viewing priority of the DVD Studio Pro windows—it is never covered by any other DVD Studio Pro window. (If the Inspector and Palette are in the same area of the screen, the one last selected will cover the other.) Because it is always on top of the other interface elements, you may find it useful to keep the window closed until you need it. You can hide and show the Inspector to suit your needs. To hide the Inspector Do one of the following: μ Choose View > Hide Inspector (or press Command-Option-I). μ Click the close button in the upper-left corner of the window. μ Click Inspector in the toolbar. To show the Inspector Do one of the following: μ Choose View > Show Inspector (or press Command-Option-I). μ Click Inspector in the toolbar. Chapter 10 The DVD Studio Pro Interface 167 Palette The Palette provides easy access to the templates, styles, and shapes used to create menus. Additionally, the Palette includes three media tabs—Audio, Stills, and Video—that can make it easier to locate the assets you want to import. Hiding and Showing the Palette With the exception of the Inspector, the Palette always has the highest viewing priority of the DVD Studio Pro windows—it is never covered by any other DVD Studio Pro window. (If the Palette and Inspector are in the same area of the screen, the one last selected will cover the other.) Because it is always on top of the other interface elements, you may find it useful to keep the window closed until you need it. To hide the Palette Do one of the following: μ Choose View > Hide Palette (or press Command-Option-P). μ Click the close button in the upper-left corner of the window. μ Click Palette in the toolbar. To show the Palette Do one of the following: μ Choose View > Show Palette (or press Command-Option-P). μ Click Palette in the toolbar. 168 Chapter 10 The DVD Studio Pro Interface Templates and Styles Tabs A template comprises up to five styles that define most aspects of a menu. You can create your own templates and styles or use those that DVD Studio Pro provides. You can apply all or just selected parts of a template or style to a menu or a selected part of a menu. This makes it easy to create a series of menus using an identical button layout and background. See Using Templates, Styles, and Shapes to Create Your Menus for details on using templates and styles to create your menus. Click to select the category of styles you want to view. Shapes Tab Shapes are graphics elements that you can add to your menu as either a button or a drop zone. You can drag them directly from the Shapes tab to your menu background or choose the shape to use in the Button Inspector’s Style tab or in the Drop Zone Inspector. You can use the shapes that DVD Studio Pro provides, or you can create and import your own. Chapter 10 The DVD Studio Pro Interface 169 See Creating Shapes for details on creating shapes and Adding Shapes to a Menu for details on using them in your menus. 170 Chapter 10 The DVD Studio Pro Interface Media Tabs The Palette includes a set of three media tabs—labeled Audio, Stills, and Video—that display DVD Studio Pro–compatible assets located in folders that you specify. You can add these assets to your project by dragging them from the Palette to the Assets tab, Menu Editor, or anywhere else you can directly add assets. Select a folder from this list to view its contents. Click this button to play the selected audio or video asset. The assets in the selected folder Drag this separator bar to control how many folders appear. Enter text to search for in the selected folder. Use these to add and delete folders. The media tabs, and the folders assigned to them, are available to all DVD Studio Pro projects. They provide an additional method to organize your assets, and are especially useful for accessing assets you use often. Important: Assets that appear in the media tabs are not automatically part of a project in DVD Studio Pro. You must add them to a project by dragging them to it. You should think of the media tabs as being a specialized Finder window. Adding Folders to the Folder List The folder list appears at the top of the three media tabs. Before you can see your assets in any of the media tabs, you must add one or more folders to the folder list. To add a folder to the folder list 1 Click the tab of the asset type to add a folder to (Audio, Stills, or Video). 2 Add a folder by doing one of the following: • Drag a folder from a Finder window to the folder list. Chapter 10 The DVD Studio Pro Interface 171 Note: If you click outside of DVD Studio Pro without dragging a folder to a media tab, the Palette disappears and you will need to reselect DVD Studio Pro to see the Palette again. • Click the Add (+) button. A folder selection dialog appears. Select the folder or folders to add and click Add. • Control-click in the list where you want the added folder to go, then choose Add Folder from the shortcut menu. A folder selection dialog appears. Select the folder or folders to add and click Add. The folder appears in the folder list. You can now select the folder to see a list of its assets. Note: Only assets in the selected folder appear. Assets in subfolders (nested folders) are ignored. Managing the Folder List There are different ways to make the folder list easier to use: • You can change the folder list display order to have folders you use frequently appear at the top. • You can remove folders that are no longer needed, such as those specific to a project that is completed. To change the folder list display order 1 Click the tab whose display order you want to change (Audio, Stills, or Video). 2 Drag the folder to be moved slightly to the right or left, then up or down to its new location. A black line appears to show where the folder will be placed when you release it. Note: Dragging straight up or down does not move the folder—it selects the folders the pointer moves over and shows their contents in the assets area. To remove a folder from the folder list 1 Click the tab to remove the folder from (Audio, Stills, or Video). 2 Select the folder or folders to remove in the folder list. 3 Do one of the following to remove the folder: • Click the Delete button. • Control-click the folder, then choose Remove Folder from the shortcut menu. • Press the Delete key. The folder is removed from the folder list. Note: This does not delete the folder or its assets from your hard disk and has no effect on assets that may have been added to your project from this folder. 172 Chapter 10 The DVD Studio Pro Interface Viewing and Using Assets Once you have added folders containing compatible assets, you can show the assets and drag them to your project. To show a folder’s assets μ Select the folder that contains the assets you want to see. You can select multiple folders by dragging the pointer over a group of folders, holding down the Shift key and clicking the folders (if they are contiguous), or holding down the Command key and clicking the folders (if they are not together). You can change the Palette’s size to control how many assets you can see. You can also drag its separator bar to control the sizes of the folder list and assets area. There are five columns in the Audio tab (Name, Artist, Length, Sample, and Type) that show additional information about each asset. Similar to the columns in the Assets tab, you can change the column order and size, and sort the list based on the column heading you click. See Managing Columns in the Assets Tab for more information. To play a folder’s video or audio asset μ Click the Play button in the bottom-right corner of the Audio or Video tab. Click it a second time to stop playback. Audio assets play through your system’s audio setup. Video assets play in their thumbnail image. The General pane in DVD Studio Pro Preferences contains a setting that allows you to choose small or large thumbnail images, which may make viewing the video easier. Also, audio will play along with the video if it is a QuickTime file with video and audio together or an MPEG file with an audio file in the same folder with the same root name. To use the assets in your project μ Drag the asset to the Menu Editor, Assets tab, or to any other project element within DVD Studio Pro that allows you to drag assets in. You can select and drag multiple assets. You can also drag a folder from the folder list to the project element to create a slideshow. Depending on the “Find matching audio when dragging” setting in the Track pane in DVD Studio Pro Preferences, when you drag an MPEG video asset to an element, DVD Studio Pro can automatically add the companion audio asset to the element as long as it is in the same folder and has the same root name as the video asset. Press the Command key after you start dragging to override the preferences’ setting for dragging a video file. When you drag a QuickTime asset that also has audio from the Video tab, it is treated like a video/audio pair. Chapter 10 The DVD Studio Pro Interface 173 Toolbar The DVD Studio Pro interface includes a toolbar that can be customized to display exactly the tools you need. The toolbar provides one-click access to a variety of functions, such as creating menus and slideshows or simulating your title. You can customize the toolbar in a variety of ways, including selecting the tools to include, rearranging them, and choosing whether both the tool’s icon and text appear. Note: Choosing a new user configuration from the Window menu also changes the toolbar contents. Be sure to save a new user configuration once you are finished customizing the toolbar. Hiding and Showing the Toolbar You can choose to hide the toolbar completely. To hide the toolbar μ Choose View > Hide Toolbar. To show a toolbar that has been hidden μ Choose View > Show Toolbar. Managing the Toolbar DVD Studio Pro provides a simple drag-and-drop interface for managing the toolbar. To manage the toolbar 1 To display the toolbar palette, do one of the following: • Choose View > Customize Toolbar. • Control-click the toolbar, then choose Customize Toolbar from the shortcut menu. 2 To add tools to the toolbar, drag their icons from the toolbar palette to their new position in the toolbar. 3 Do one of the following to remove tools from the toolbar: • Drag the tool you want to remove out of the toolbar. 174 Chapter 10 The DVD Studio Pro Interface • Control-click the tool you want to remove and choose Remove Item from the shortcut menu. 4 To change the order of the tools in the toolbar, drag each tool to its new position. 5 To set the toolbar to a default configuration, drag the default set of tools to the toolbar. 6 Do one of the following to control whether each tool’s icon and text appear in the toolbar: • Choose Text Only, Icon Only, or Icon & Text from the Show pop-up menu in the toolbar palette. • Control-click the toolbar and choose Text Only, Icon Only, or Icon & Text from the shortcut menu. 7 Click Done when you are finished configuring the toolbar. Toolbar Items The following items (listed in alphabetical order) can appear in the toolbar. Note: With the exception of Space, Flexible Space, and Separator, you can have only one of each item in the toolbar. • Add Language: Adds a new menu language to the project. • Add Layered Menu: Adds a new layered menu to the project. • Add Menu: Adds a new standard menu to the project. • Add Slideshow: Adds a new slideshow to the project. • Add Story: Adds a story to the currently selected track (or the first one, if none is currently selected). • Add Script: Adds a new script to the project. • Add Track: Adds a new track to the project. Chapter 10 The DVD Studio Pro Interface 175 • Build: Compiles your project and creates a video title set (VIDEO_TS folder) of your project. • Build/Format: First builds the video title set, then writes it to a DVD drive, DLT drive, or as a disk image to a hard disk. • Burn: Builds the video title set and writes it to your DVD burner using the current Disc Inspector settings. • Configurations: Opens the Configuration Manager dialog so that you can manage or apply an interface configuration. • Customize Toolbar: Opens the toolbar palette. • Disc Meter: Displays the disc meter. A progress bar shows both the amount of disc space used and what is still available (based on the Disc Media you select in the Disc/Volume tab in the Disc Inspector). The number underneath the progress bar shows the amount of space used. • Flexible Space: Inserts a space into the toolbar that automatically expands to fill any existing empty space. This ensures that there are tools at the left and right edges of the toolbar. • Format: Writes the video title set to a DVD drive, Digital Linear Tape (DLT) drive, or as a disk image to a hard disk. • Import Asset: Opens the Import Asset dialog, allowing you to select assets to import into the project. • Inspector: Displays the Inspector. • Menu Editor: Displays the Menu Editor. • Palette: Displays the Palette in its last configuration. • Read DLT: If a DLT drive is connected and a DLT tape inserted, reads the tape contents and writes them to the designated drive. • Separator: Inserts a vertical bar into the toolbar, allowing you to group tools. • Show Colors: Opens the Colors window. • Show Fonts: Opens the Fonts window. • Simulate: Opens the project Simulator, allowing you to try out your project before actually building it. • Slideshow Editor: Displays the Slideshow Editor. • Space: Inserts a fixed space into the toolbar. This allows you to group tools by adding a fixed space between them. • Story Editor: Displays the Story Editor. • Track Editor: Displays the Track Editor. • Viewer: Displays the Viewer tab. 176 Chapter 10 The DVD Studio Pro Interface Drop Palette The Drop Palette appears in the Menu Editor when you drag an asset or project element to it. Once you stop moving the pointer, the Drop Palette appears, allowing you to choose how to use the asset within the menu. The contents of the Drop Palette vary, depending on the asset or element type, how many assets you drag, and whether you have dragged to an existing button. See Options in the Drop Palette for Standard Menus and Options in the Drop Palette for Layered Menus for a complete listing of the options in the Drop Palette. Comparing the Outline and Graphical Project Views DVD Studio Pro includes two tabs you can use to view and work with your project: the Outline tab and the Graphical tab. Each tab has its own advantages, and you will most likely find yourself using both as you create your project. The Outline and Graphical tabs both: • Show all project elements • Allow you to select an element so that you can work on it • Allow you to rename an element • Allow you to add, delete, and duplicate elements • Allow you to show the selected element in the Simulator • Automatically create new elements when assets are dragged to the tabs, or modify existing elements if assets are dragged to an existing element in the tabs • Allow you to drag elements to the Menu Editor to establish connections Chapter 10 The DVD Studio Pro Interface 177 The Outline tab also has these capabilities: • It includes the menu language elements that you use when configuring your menus to support multiple languages. • It includes the VTS Editor that provides extensive control over how your project’s elements are burned to a DVD. The Graphical tab also has these capabilities: • You can choose whether to view all elements or just specific types. • Elements that use the transitions feature are marked. • The element assigned as First Play has a special icon. • You can view connection lines that show which elements have targets set to other elements. • You can arrange the tiles to provide a flowchart view of the project. • You can print the Graphical tab. • You can set a flag on specific elements, making it easy to distinguish them. See Using the Outline Tab and Using the Graphical Tab for detailed information on using each tab. See Managing Elements Using the Outline and Graphical Tabs for information on using the tabs to manage your project’s elements. See Dragging Assets to the Outline and Graphical Tabs for information on what happens when you drag assets directly to the Outline or Graphical tab. Using the Outline Tab The Outline tab provides a simple list view of your project’s elements. It contains two displays: By Type and By VTS. You can click the Alternate View button to switch between the two displays or drag the partition to show both displays at the same time. The elements in the By VTS and By Type displays are very similar and can be used to do many of the same things. For example, double-clicking an element in either display opens it in its editor and inspector. (Selecting an element in one display also selects that same element in the other.) The primary difference is in how they are organized. • By VTS: Lists the elements based on the VTS they belong to. A VTS can have only one track (which can also have stories) or one slideshow, but it can have multiple menus and scripts. The primary use of the By VTS display is to control how your project’s elements are written to a DVD. See VTS Editor for more information. • By Type: Lists the elements based on their type (menus, tracks, slideshows, and scripts). See Using the Outline Tab for more information on using the By Type display. 178 Chapter 10 The DVD Studio Pro Interface Note: The Languages section in the By Type display does not represent actual elements—it represents languages that can be used for the menus. It does not appear in the By VTS display because it is not specific to a VTS. Click each section’s disclosure triangle to view its contents. Option-click the Tracks disclosure triangle to also show the stories. Layered menus use a different icon than standard menus. Alternate View button swaps view between By Type and By VTS. Drag this partition to split the tab and show both By Type and By VTS. Adds a new empty VTS (active only in the By VTS view). Selecting Elements The most common way to use the Outline tab is to select a project element so that you can configure it. Selecting an element changes the Inspector and the element’s editor to display settings for that particular element. Double-clicking an element brings the editor to the front of the DVD Studio Pro interface, the same as if you clicked its tab. You can select several elements at once by holding down the Command key while clicking the elements, or select all elements by pressing Command-A. You can delete, duplicate, and save descriptions of a group of elements. If you hold the pointer over an element in the Outline tab, a tooltip appears that shows additional information about the element, such as what type of menu it is or how many streams it has. Moving Elements in the By Type Display You can move an element from one position to another within the same section. Note: The order of the elements in the By Type display does not affect how the elements are written to the DVD. Chapter 10 The DVD Studio Pro Interface 179 To change an element’s position in the Outline tab’s By Type display μ Drag the element to its new position. As you drag, a line appears between elements to indicate where the dragged element will be moved when you release it. Using the Graphical Tab The Graphical tab uses a tile-based interface to show a project’s elements. Tile viewing and editing tools Macro view shows entire tile area. Connections, tile size, and snap grid settings Project element tile Connection line Choose tile types to view. 180 Chapter 10 The DVD Studio Pro Interface Graphical Tab Introduction The Graphical tab uses tiles to represent each element in your project. Similar to the Outline tab, you can use the Graphical tab to select elements to work with and can rename the elements. Each tile contains a thumbnail image that represents the element. You are able to position the tiles as needed and can choose to view either large or small versions of the tiles. You can also choose to view connection lines between the elements. Graphical Tab Viewing Options Depending on the size of your project, the Graphical tab can have a large number of tiles and not be able to fit in the tab’s window. You can make the tab’s view larger so that more tiles can be seen, zoom out to fit the tiles to the window, or use scrollers to view a portion of the tile area. To make the tab’s view larger Do one of the following: μ With the Graphical tab selected, press Shift–Space bar. The tab’s contents fill the DVD Studio Pro interface. Press Shift–Space bar again to restore the tab to normal size. If you double-click a tile, the tab’s view reverts to normal size so that you can see the editors. Note: If you hold down Shift–Space bar, the large view becomes temporary and will revert back to normal once you release the keys. μ Press Command–Option–Grave Accent (`, on the same key as the tilde). μ Drag an edge of its quadrant. See Resizing the Quadrants for more information. μ Tear the tab off into its own window. See Tearing Off a Tab into Its Own Window for more information. To fit the tiles to the current window size Do one of the following: μ Press Shift-Z. μ Click the Graphical tab’s Zoom to Fit button. Zoom to Fit button Chapter 10 The DVD Studio Pro Interface 181 When there are more tiles than can be displayed in the Graphical tab, scrollers appear that allow you to control which part of the tile area shows. The scrollers also allow you to zoom in or out on the tile area. To use the Graphical tab scrollers Do one of the following: μ Drag them to control which part of the tile area you can see. μ Drag the ends of the horizontal scroller to zoom in or out on the tile area. Drag the scroller ends to zoom in or out on the tile area. There are also several zoom and positioning keyboard shortcuts available. To zoom using keyboard shortcuts Do one of the following: μ Press Z, then click the area of the Graphical tab that you want to zoom in on. Press Option-Z, then click to zoom out. μ Press Z, then drag the pointer across the area that you want to zoom in on. μ Press the Space bar. The pointer changes to a hand that you can use to control which part of the tile area is visible, similar to using the scrollers. μ Press Command–Plus Sign (+) to zoom in and Command–Hyphen (-) to zoom out on the Graphical tab, maintaining its center position. Using the Macro View The Graphical tab includes a macro view capability. The macro view is a small display showing a view of the entire tile area. It includes a visible-view rectangle that indicates the part of the tile area currently showing. You can drag the visible-view rectangle to choose the part of the tile area that shows, and you can change the rectangle’s size to zoom in or out. Displaying the Macro View The macro view floats over the top of the Graphical tab. There are several methods you can use to display or hide the macro view. To display and hide the macro view Do one of the following: μ Press M. 182 Chapter 10 The DVD Studio Pro Interface Note: You can temporarily display the macro view by holding down the M key. μ Click the Graphical tab’s macro view button. Shows and hides the macro view. μ Position the pointer over the macro view (which causes the title bar to appear), then click the hide symbol in the macro view’s title bar to hide the macro view. Note: The title bar can appear on the top or bottom of the macro view, depending on where the pointer is. Working with the Macro View You are able to position the macro view anywhere within the tab, but you cannot move it outside the tab’s boundaries. To move the macro view within the Graphical tab μ Position the pointer over the macro view (which causes the title bar to appear), then drag the title bar to the new position. To change the size of the macro view display μ Drag the resize corner of the title bar. Chapter 10 The DVD Studio Pro Interface 183 The visible-view rectangle can be moved and resized to control the tile area that shows. To use the visible-view rectangle Do one of the following: μ Click within the rectangle to drag it to a new position. μ Click outside the rectangle to have the rectangle jump to a new position, with the point you clicked being as close as possible to the rectangle’s center. μ Drag a corner of the rectangle to change its size. Making the rectangle bigger zooms out on the tile area, showing more tiles. Making the rectangle smaller zooms in on the tile area, showing fewer tiles. Selecting and Managing Tiles You can use several tools to select and arrange tiles—many are the same as those used with buttons in the Menu Editor. There are also a variety of methods you can use to add, delete, and copy tiles. Selecting Tiles There are several reasons you might want to select one or more tiles: • Selecting a tile makes it the current element, and opens it in its editor. • Selecting one or more tiles allows you to arrange them. • Selecting one or more tiles allows you to delete or copy them. To select one or more tiles Do one of the following: μ Click a tile to select it. Any other selected tiles are deselected. μ Press the Shift or Command key, then click a tile to select it. Any other selected tiles remain selected. μ Drag the pointer over a group of tiles. This creates a selection rectangle that selects all tiles it touches. μ Choose Edit > Select All (or press Command-A) to select all tiles. You can also choose Edit > Deselect All (or press Command-Shift-A) or click an empty part of the Graphical tab to deselect all tiles. Moving Tiles by Dragging You can move a tile or group of tiles once they are selected by simply dragging them. If connections are showing, they move with the tiles. You can also use the arrow keys to move selected tiles. If you move a tile to an edge of the Graphical tab, the tile area scrolls to show its new position. If the edge of the tile area is reached, it is automatically expanded to accommodate the tile’s new position. 184 Chapter 10 The DVD Studio Pro Interface To make it easier to see a larger area while dragging a tile, you can press the Z key after you start dragging the tile to temporarily zoom out. You can enable a snap grid to make it easier to organize the tile in straight lines and columns. To enable the snap grid μ Choose Snap to Grid from the Graphical tab’s Settings pop-up menu. You may want to drag a tile to the Menu Editor. This is an easy way to link either a new or an existing button in the current menu to the element being dragged. To drag an element to the Menu Editor 1 Click the element’s tile and hold down the mouse button for a moment without moving the tile. A transparent tile appears. 2 Drag the transparent tile to the Menu Editor. You can also drag multiple tiles to the Menu Editor by selecting them before holding down the mouse button when the pointer is on one of them. Using Distribute Objects The distribute objects feature allows you to select a group of tiles and evenly space them between each other using one of four methods: • Horizontally: Only active when more than one tile is selected. Tiles in between the tile furthermost to the left and furthermost to the right are positioned evenly horizontally. • Vertically: Only active when more than one tile is selected. Tiles in between the tile furthermost to the top and furthermost to the bottom are positioned evenly vertically. • By Type: With no tiles selected, all tiles are affected; with one or more tiles selected, only the selected tiles are affected. Arranges the tiles in evenly spaced rows and columns based on their types. The type order is: • Menus • Layered menus • Tracks • Stories • Slideshows • Scripts • Autolayout: With no tiles selected, all tiles are affected; with one or more tiles selected, only the selected tiles are affected. The tiles are arranged based on connections, types, and quantity. Chapter 10 The DVD Studio Pro Interface 185 To use the distribute objects feature 1 Depending on the distribution method you intend to use, select the group of tiles to distribute. See Selecting and Managing Tiles for details on how to do this. 2 Choose Arrange > Distribute Objects, then choose the distribution method to use (Horizontally, Vertically, By Type, or Autolayout). Locking the Tile Positions You can lock the tile positions and prevent accidentally rearranging them. To lock the tile positions Do one of the following: μ Choose Arrange > Lock All Tiles (or press L). μ Click the Graphical tab’s Lock button. Tile position lock button You can use the same button and keyboard shortcut to unlock the tiles. If you need to move any tiles while they are locked, you can press the Option key, then drag the tiles to the new location. While the tile positions are locked, you are still able to change your view of the tiles by zooming or using the scrollers. You can also change the connections view. About the Tiles There are six different tile types that can appear in the Graphical tab. Each type uses a different color to differentiate it: • Menu: Light blue • Layered menu: Dark blue • Track: Green • Story: Teal • Slideshow: Purple • Script: Brown 186 Chapter 10 The DVD Studio Pro Interface Each tile has a thumbnail image of the element. The aspect ratio of the thumbnail changes to indicate whether the element uses 4:3 or 16:9 assets. A tooltip showing information about the element appears when you position your pointer over it. First Play icon Transitions icon Element name The element designated as First Play has an icon added to it. Elements that are using the transitions feature also have icon indications. Tile Sizes You can choose large or small sizes to view the tiles. To change the tile size μ Choose Small Tiles or Large Tiles from the Graphical tab’s Settings pop-up menu. Flagging Tiles You can flag a tile so that it stands out from the others. For example, you might want to flag tiles for elements that still require assets or use DVD@CCESS. To flag one or more tiles Do one of the following: μ Control-click a tile, then choose Flag from the shortcut menu. This also selects this tile and deselects any others that are selected. μ Shift-Control-click a tile, then choose Flag from the shortcut menu. This also selects this tile and flags any others that are selected. μ Position the pointer over a tile and press F. It does not matter whether the tile is selected or not. μ Select a group of tiles to be flagged, then choose Edit > Flag Tiles (or press F). μ Select a group of tiles to be flagged, Control-click an empty area in the tile display, then choose Flag from the shortcut menu. You can use any of these methods to also turn off the flags on one or more tiles. Chapter 10 The DVD Studio Pro Interface 187 Viewing Specific Tile Types You can choose specific tile types to view. For example, you may only want to see the slideshows. Note: If you choose to hide a tile type, all connections to that tile type are also hidden. The Graphical tab’s tile type Show/Hide buttons control which tiles are visible and which are hidden. Story tiles Slideshow tiles Menu tiles Track tiles Script tiles Clicking a button hides its tile type and the button background becomes lighter. Clicking the button again shows its tile type and the button background becomes darker. Viewing Connections You can configure the Graphical tab to show lines indicating which elements are connected to each other. Arrows indicate which element is the target. The connection lines are useful when you want to view the project as a flowchart. They can also be helpful to ensure you have not inadvertently left out an intended connection. Note: You cannot make connections or change existing connections in the Graphical tab. 188 Chapter 10 The DVD Studio Pro Interface You can customize how many connections appear with the Graphical tab’s Settings pop-up menu. • No Connections: No connection lines appear. • Relative Connections: Only the connections relating to the currently selected tile or tiles appear. • All Connections: All tiles show their connections. • Basic, Standard, and Advanced Connections: Control how much connection detail to show. These three levels match a similar setting in the Connections tab. See Sources and Source Details for more information. To configure the Graphical tab’s connections view 1 Open the Graphical tab’s Settings pop-up menu. 2 Choose to show no connections, relative connections for selected tiles only, or all connections. 3 Choose the level of connections to show (basic, standard, or advanced). Printing the Graphical Tab’s Tile Area Printing the Graphical tab’s tile area can be a useful way to show others the basic construction of a project. The contents of the Graphical tab print as they currently appear with respect to tile size and placement and connection view status. You can choose to print the whole tile area on a single sheet of paper or to print the tile area over multiple sheets of paper. To print the Graphical tab’s tile area 1 Choose File > Print Graphical View (or press Command-P). 2 Choose DVD Studio Pro from the print configuration pop-up menu. 3 Select one of the following: • Fit to Page: Prints the entire tile area on one sheet. Chapter 10 The DVD Studio Pro Interface 189 • Multiple Pages: Prints the tile area at full size, using as many sheets of paper as necessary. 4 Select the Page Numbers option to add page numbers to each sheet. This is especially useful when you select Multiple Pages. 5 Click Preview to see an example of how the printed document will look, or Print to print the tile area. Managing Elements Using the Outline and Graphical Tabs You can use either the Outline or Graphical tab to manage your project’s elements. Renaming Project Elements In addition to entering an element’s name in its Inspector, you can rename an element in the Outline or Graphical tab. To rename an element in the Outline tab 1 Select the element whose name you want to change. 2 Click the element’s name. 3 Type the new name, then press Return. The element’s name is changed. To rename an element in the Graphical tab 1 Double-click the element’s name. 2 Type the new name, then press Return. The element’s name is changed. Deleting Elements You can delete elements to remove them from your project. To delete an element or group of elements 1 Select the element or group of elements to delete. 190 Chapter 10 The DVD Studio Pro Interface 2 Do one of the following: • Choose Edit > Delete (or press the Delete key). • Control-click in an empty area of the Outline or Graphical tab, then choose Delete from the shortcut menu. Important: If you delete a track that has stories, the stories are also deleted. An alert appears to warn you of this. Duplicating Elements You can duplicate elements within the Outline and Graphical tabs. You can build a chapter index menu, for example, and quickly make duplicates of it that just need to have their connections changed to become functional. To duplicate an element 1 Select the element to duplicate. You can also select multiple elements. 2 Do one of the following: • Choose Edit > Duplicate (or press Command-D). • If you have selected a single element, Control-click the element, then choose Duplicate from the shortcut menu. • If you have selected a group of elements, Control-click in an empty area of the tab, then choose Duplicate from the shortcut menu. The new element is named with its type (menu, track, and so on) followed by the next number. For example, if you duplicate a menu when there are already five menus, the new one becomes “Menu 6.” In the Outline tab, the new element appears last in the section. Assigning the First Play Element In addition to using the Disc Inspector or the Connections tab, you can assign your project’s First Play element directly in the Outline or Graphical tab. The First Play element is the one that plays when a DVD player begins playing the project. To assign the First Play element in the Outline tab Do one of the following: μ Control-click the disc element, choose First Play from the shortcut menu, then choose the First Play element from the submenu. This method allows you to select a specific button (menu), slide (slideshow), or chapter marker (track or story) within an element to play from. Chapter 10 The DVD Studio Pro Interface 191 μ Control-click an element, then choose First Play from the shortcut menu. This method uses the element’s default button (menu), first slide (slideshow), or first marker (track or story) to play from. To assign the First Play element in the Graphical tab Do one of the following: μ Control-click in an empty area of the Graphical tab, choose First Play from the shortcut menu, then choose the First Play element from the submenu. This method allows you to select a specific button (menu), slide (slideshow), or chapter marker (track or story) within an element to play from. μ Control-click a tile, then choose First Play from the shortcut menu. This method uses the element’s default button (menu), first slide (slideshow), or first marker (track or story) to play from. See Setting the Project’s First Play for more information. Simulating Elements The Simulator provides a way to verify your project before you build the title. Starting the Simulator by clicking Simulate in the toolbar simulates the project from its beginning, at the element designated as “First Play.” However, often you will want to start the Simulator at a specific project element, for example, to verify the navigation of a chapter index menu. You can use the Outline or Graphical tab to start the Simulator at a specific element so that you can quickly verify it is working as planned. To start the Simulator at a specific element Do one of the following: μ Choose File > Simulate Element, where “Element” is the type of element currently selected. μ In the Outline or Graphical tab, Control-click the element at which you want to start the Simulator, then choose Simulate from the shortcut menu. μ Select the element to start the Simulator with, then press Command-Option-0 (zero). Note: Clicking Simulate in the toolbar always starts the Simulator with the element assigned as first play. If no first play element has been assigned, the Simulator starts by playing the first track. Using Item Descriptions An item description is an XML text file that lists all the properties of an element. You can save and load an item description, and view the description using TextEdit. You can also load an item description from one project into another. This can make it easy to create menus in multiple projects that all look the same or to copy a script between projects. 192 Chapter 10 The DVD Studio Pro Interface To save an item description 1 Select the element for which you want to save a description. You can select the element in the Outline or Graphical tab or in any of the editors. Note: You cannot export an item description of a story. Item descriptions of tracks include their stories. 2 Choose File > Export > Item Description. 3 Enter a name for the file and select its destination in the dialog that appears, then click Export. DVD Studio Pro creates the file and saves it in the location you specified. To load an item description 1 Choose File > Import > Item Description. 2 Locate the description file to load and click Import in the dialog that appears. Important: Item descriptions from previous versions of DVD Studio Pro cannot be loaded into DVD Studio Pro 4. An alternative is to open a project in DVD Studio Pro 4 that contains the element you originally made the item description from, then save a new item description from it. With the exception of script item descriptions, you cannot import item descriptions created in one DVD standard (SD DVD or HD DVD) into the other DVD standard. Additionally, you cannot import item descriptions from one video standard (NTSC or PAL) into another video standard. The description file loads and a new element appears in the Outline and Graphical tabs. The description file uses the same name it had when it was saved, unless that name is already in use. If the name already exists, a number is added to the end of its name, or if a number already exists, the number increments to form a unique name. Note: When you load an item description into a project, all of the assets used when the description was saved must still be available. An error message appears if any problems are encountered. Chapter 10 The DVD Studio Pro Interface 193 DVD Studio Pro provides tools and workflow options that give you the flexibility to decide how best to import and manage your assets. This chapter covers the following: • How DVD Studio Pro Manages Assets (p. 195) • About the Assets Tab (p. 201) • Importing Assets (p. 207) • Removing Selected Assets (p. 213) • Renaming Assets (p. 213) • Refreshing Still and QuickTime Assets (p. 214) • Opening Assets in Their Editor (p. 216) • Identifying an Asset (p. 216) • Previewing Assets (p. 216) • Asset Inspector (p. 218) How DVD Studio Pro Manages Assets As you work on your DVD project, it’s important to give some thought as to how best to organize and manage your assets. Even a simple project can use enough assets to make it worth investing the time to plan for them. Moderately ambitious projects can use hundreds of assets, creating a large potential for confusion as you try to keep track of them. Additionally, if you intend to author both SD and HD versions of your project, keeping the assets organized is crucial to avoid confusing an SD version of a video asset with an HD version of it. There are several methods you can use to import an asset into a project, but in all cases the assets are treated the same. 195 Importing and Managing Assets 11 Importing an asset into a DVD project does not actually copy or move the asset file from its current location. The Assets tab simply lists references to the actual asset files. The folder structure you create in the Assets tab does not affect the folder structure of the files on your hard disk; it only helps you manage the asset names while working on your project. Missing or Renamed Assets Once you import an asset into a project, it’s important not to move or rename its source file. A Missing Files window appears if you open a project and DVD Studio Pro cannot locate an asset in its original location. You can manually locate the asset or cancel the dialog. To locate a missing asset when opening a project 1 Select the asset in the Missing Files window. 2 Do one of the following: • Click Locate and use the file location dialog to find the asset. • If the asset is a QuickTime file and its MPEG-2 or AIFF encoded version is available, you can click “Replace with encoded file.” In these cases, the QuickTime version of the asset is not required, and instead its encoded versions are used by the project. See Should You Remove the Original QuickTime Files? for more information. If you open the project without locating the assets, or the assets become missing while the project is open, the names of the missing assets are displayed in red and any elements in which the assets are used are disabled. To reconnect an asset to a project Do one of the following: μ Choose File > Asset > Re-Link. μ In the Assets tab, Control-click the asset’s name, then choose Relink from the shortcut menu. You can only relink assets whose names appear in red. 196 Chapter 11 Importing and Managing Assets Any elements that use missing assets are displayed in red in the Outline and Graphical tabs. The elements cannot be opened, either from the Outline tab, the Graphical tab, or in their editor. If you select an element with missing assets, a dialog appears with three choices: • Relink: The Missing Files window opens so that you can locate the missing files. • Delete Clips/Slides/Assets: The missing assets are removed from the element. • For tracks: Any clips with missing assets are removed. • For menus: Any item with a missing asset is set to “not set” as its asset (no items are removed—only their asset assignment is changed). • For slideshows: Any missing slides are removed from the slideshow. • Continue: The element shows as being selected in the Outline and Graphical tabs, but it is not opened in its editor. This provides the opportunity to delete the element, which removes it from the project. Using Video and Audio Assets That Are Not DVD-Compliant When you import motion assets (video or audio) that are not DVD-compliant into a DVD Studio Pro project, the integrated MPEG encoder converts them to be DVD-compliant (if they are in a supported format). In addition to the general MPEG encoding settings, the Encoding pane in DVD Studio Pro Preferences includes a setting that controls whether the encoding begins immediately as a background function or waits until you build the final project into the VIDEO_TS folder. There is also a preferences setting in the Destinations pane to control where the encoded files are saved. See Destinations Preferences for more information. To set the Encoding preferences 1 Choose DVD Studio Pro > Preferences. 2 Click the Encoding icon to open the Encoding pane. 3 Set the encoding method by selecting one of the following: • Background encoding: The encoding begins as soon as you import the asset. The encoding takes place in the background, allowing you to continue working on your project. A progress bar appears in the Status column of the Assets tab. Once the encoding process finishes, the Status column displays Done. See Default Columns in the Assets Tab for more information. • Encode on build: The encoding does not start until you complete your project and build the VIDEO_TS or HVDVD_TS files. 4 Configure the remaining encoding items as needed. See Using the Integrated MPEG Encoder for more information. 5 Click Apply to enable the settings and OK to close the Preferences window. Chapter 11 Importing and Managing Assets 197 The current encoding settings are applied to assets as soon as they are imported, whether you choose to start encoding them right away or wait to encode them when you build your project. Changes you make to the Encoding preferences only affect assets you import from then on. See Verifying and Changing Encoding Settings for more information. How the Encoded Files Are Named When you import QuickTime video assets into DVD Studio Pro, the integrated MPEG encoder names the encoded files as follows: • The first half is the complete original filename, including its extension. • The second half has three parts—the video standard (NTSC or PAL), the encoding bit rate (shown as a four-digit number), and the “.m2v” extension. For example, if you import an asset named “Main Program.mov,” use the NTSC standard and a bit rate of 5.5 Mbps, the MPEG-encoded filename will be “Main Program.mov_NTSC_5500.m2v.” Audio files created by the embedded AIFF encoder use the original filename with an added “.aiff” extension. See Using the Integrated MPEG Encoder for more information on the integrated MPEG encoder. Should You Remove the Original QuickTime Files? When you import motion assets that are not DVD-compliant, the integrated MPEG and AIFF encoders create the files (video and audio) required by the DVD-Video specification. To free up hard disk space, you may decide to remove the original files. Even after the encoders have created the new DVD-compliant files, DVD Studio Pro continues to keep track of the original files. The advantage of this is that you can reencode the files if you decide later to use a different bit rate or encoding mode. For example, you might find that, after the initial encoding, the MPEG-2 video looks great but is a larger file than you planned for. You can decide to re-encode using a lower bit rate and use the slower but higher quality two-pass VBR option. Additionally, if you convert an SD project to an HD project, HD assets imported as QuickTime files can be encoded to HD MPEG-2. If you decide to remove the original file, DVD Studio Pro notices it is missing and presents you with the Missing Files window. If you then click “Replace with encoded file,” the original file will no longer be associated with the project, and DVD Studio Pro will no longer try to find it. See Missing or Renamed Assets for more information. You also will no longer be able to re-encode the asset. 198 Chapter 11 Importing and Managing Assets Verifying and Changing Encoding Settings If your project contains a mixture of 4:3 and 16:9 assets or has some assets you want to encode differently than others, you must be sure to set the Encoding preferences settings before you import the assets. You can verify and change the encoding settings on assets that have been imported. You can also re-encode a QuickTime asset if you want to try different encoding settings. To change the encoding settings after importing an asset 1 Do one of the following: • Select the asset and choose File > Encoder Settings (or press Command-E). • Control-click the video asset in the Assets tab, then choose Encoder Settings from the shortcut menu. Note: The Encoder Settings option in the Assets tab shortcut menu is only available if the original QuickTime video file is available. A dialog appears that contains the same settings found in the Encoding preferences pane. 2 Configure the encoder settings and click OK. When you have the “Background encoding” method selected in Encoding preferences and you make any changes in this dialog, one of two things happens: • If you change the bit rate setting: The current file, whether a complete or partially complete file, is left as is and the encoder starts encoding a new file. This allows you to compare the quality of the two bit rates. If you decide to continue the encoding of the partially completed file, you can set the bit rate (and any other settings you might have changed) to the value it used, and the encoder will continue encoding it. Note: If the encoded files are being written to the project bundle, they are deleted whether or not you change the bit rate setting. • If you do not change the bit rate setting: The original asset is deleted, whether a complete or partially completed file, and a new encoded file is created. For example, if you want to see the difference between one-pass VBR and two-pass VBR encoding and want to keep the files from both encoding sessions, you need to rename or move the completed one-pass VBR encoded file before re-encoding with the two-pass VBR setting. If you have the “Encode on build” method selected, these changes will apply once you build your project. Note: Changing the encoding settings for an asset does not affect the encoding settings for other assets. Chapter 11 Importing and Managing Assets 199 This method of configuring encoding settings for specific assets allows you to customize how the integrated MPEG encoder gets used in your project. It also makes it possible to have a mixture of assets with different encoding requirements (such as some that use the 4:3 aspect ratio and others that use the 16:9 aspect ratio). Using Still Assets That Are Not DVD-Compliant You can add still assets in any format supported by QuickTime to a slideshow or a track. DVD Studio Pro automatically converts them to the MPEG format once you start the build process. It creates an MPEG folder in the location specified in the Destinations pane of DVD Studio Pro Preferences. See Destinations Preferences for details on setting up this preference. Using DVD-Compliant Assets When you import supported assets that are DVD-compliant, they are left in their original locations with no processing (other than the parse file being created, as described in the next section). About the Parse Files To use an asset in a project, DVD Studio Pro needs to know some general information about it, such as its length, type, and integrity. Video assets encoded within DVD Studio Pro can include this information in the encoded files, or can create separate files for it. Assets encoded by Compressor outside of DVD Studio Pro can include this information if you select the “Add DVD Studio Pro meta-data” option in the Extras pane of the Encoder settings. Assets encoded with other encoders, or with the “Add DVD Studio Pro meta-data” option deselected when using Compressor, must be parsed before DVD Studio Pro can use them. Parsing creates a small file, with the same name as the video asset and a “.par” extension that contains the required information. The parse file can take from several seconds to several minutes to create, depending on the size of the asset file. See Destinations Preferences for details on setting up the parse file preference. About Segmented MPEG Files The segmented MPEG files created by some third-party encoders do not import correctly into DVD Studio Pro. Some encoders segment their large encoded files into 1 GB files. When imported into DVD Studio Pro, only the first 1 GB segment is imported. You need to append the files into a single file before importing the asset into DVD Studio Pro. There are several third-party applications that can be used to append a segmented MPEG file into a single file. 200 Chapter 11 Importing and Managing Assets Using Motion, LiveType, and Soundtrack Pro Projects DVD Studio Pro allows you to import Motion, LiveType, and Soundtrack Pro projects directly into your DVD project. This has several benefits: • You do not have to render the projects before importing them. DVD Studio Pro allows you to use them as if you had rendered them and exported a QuickTime movie from them. You import the projects using the same methods you would use to import other assets. Note: Playing projects requires significantly more system resources than playing a QuickTime movie. Depending on your system, projects may skip frames or show artifacts when playing as part of a menu or track. • You can open the Motion, LiveType, or Soundtrack Pro project from DVD Studio Pro. If you make changes to the project in Motion, LiveType, or Soundtrack Pro, DVD Studio Pro automatically uses the updated project. To open a Motion or LiveType project in that application, from within DVD Studio Pro Do one of the following: μ Select the project in the Assets tab, then choose File > Asset > Open in Editor. μ Control-click the project in the Assets tab, then choose Open in Editor from the shortcut menu. μ Double-click the project in the Assets tab. Note: The Motion or LiveType application must be available on your computer. About the Assets Tab The Assets tab displays a list of all assets imported into the project, whether they were directly imported to the Assets tab or dragged to the Menu or Track Editor from the Palette or a Finder window. About QuickTime Files QuickTime files often contain a video and audio stream. When you import a QuickTime file with both video and audio, it is displayed in the Assets tab as two files, each with the same name, one with the video icon and the other with the audio icon. The Type column lists them as QuickTime Video or QuickTime Audio. In most cases, these files are encoded with the integrated MPEG or AIFF encoder. You can re-encode the video files by Control-clicking them, then choosing Encoder Settings from the shortcut menu. An exception is the HDV and H.264 QuickTime files you can import into HD projects. These QuickTime files do not require encoding with the integrated MPEG encoder and cannot be re-encoded. Chapter 11 Importing and Managing Assets 201 Note: Subtitle text files and shapes do not appear in the Assets tab. Video icon Still image icon Audio icon Click a folder’s disclosure triangle to show or hide its contents. Click to open the Import Assets dialog. Click to create a new folder. Click to remove the selected asset. The Assets tab can contain up to 15 columns. For information on choosing which columns appear, see Managing Columns in the Assets Tab. The Assets tab also has three buttons you can use to manage the assets. • Import: Opens the Import Assets dialog so you can choose assets to import. See Using the Import Asset Feature for more information. • New Folder: Creates a new folder in the assets list. If you have an existing folder selected, the new folder becomes its subfolder. See Creating Asset Folders for more information. • Remove: Removes the selected asset or assets, including folders, from the assets list. A message appears if you try to remove assets that are currently in use by the project. This does not affect the asset’s actual file—it just controls whether it appears in this list. See Removing Selected Assets for more information. Default Columns in the Assets Tab The following columns appear by default in the Assets tab. You can remove these, change their order, and add additional columns as needed. See Managing Columns in the Assets Tab for more information. • Name: Applies to all asset types. Displays the asset’s name and an icon that represents the asset type. By default the asset name is the same as the asset filename, but you can rename the asset to make it easier to identify within your project. See Renaming Assets for more information. 202 Chapter 11 Importing and Managing Assets The Name column also displays folders, with disclosure triangles, which you can use to organize your assets. • Status: Applies to all asset types. Displays whether the asset is being encoded, parsed, or is ready to use. • Progress bar: Appears while the asset is encoding or parsing. • Yellow: The asset has not been encoded (applies to assets to be encoded with the integrated MPEG or AIFF encoder). If the setting in the Encoding pane of DVD Studio Pro Preferences is set to “Encode on build,” the yellow dot appears for any assets that will be encoded once you build the project. • Green: The asset has been encoded (applies to assets encoded with the integrated MPEG or AIFF encoder only). • Red: The asset encountered an error while encoding or parsing. • In Use: Applies to all asset types. Shows a checkmark next to all assets currently in use within the project. • Type: Applies to all asset types. Displays the type of asset (QuickTime video, AC-3 audio, and so on). • Length: Applies to video and audio asset types. Displays the length (in hours:minutes:seconds:frames) of the asset. • Size: Applies to all asset types. Displays the file size of the asset. In the case of QuickTime assets, shows the size of the original QuickTime file. You can select the asset to see its encoded file size in the Asset Inspector. • Rate: Applies to video and audio asset types. For video assets, displays the original frame rate. For audio, displays the original sample rate (typically 48000 or 96000). Additional Columns You Can Add You can add the following additional columns to the Assets tab. • Location: Applies to all asset types. Displays the asset’s actual filename and location within your system. • Timestamp: Applies to video and audio asset types. Displays the timecode value of the first frame. • Channels: Applies to audio assets. Displays the number of audio channels contained in the file. • Dimensions: Applies to video and still assets. Displays the size of the image in pixels (before rescaling, if applicable). • Layers: Applies to still assets. Displays the number of layers the still contains. • Bit Depth: Applies to still assets. Displays the number of bits the still contains. Chapter 11 Importing and Managing Assets 203 • Aspect: Applies to video and still assets. For video assets, displays the aspect ratio of the asset (4:3 or 16:9). For still assets, shows whether the asset is being rescaled to fit the video aspect ratio (Retain) or is displaying actual pixels (blank). • Markers: Applies to video assets. Displays the number of chapter markers the video contains. Managing Columns in the Assets Tab DVD Studio Pro lets you customize the columns in the Assets tab, making it easy to display only the information you want. To display a hidden column μ Control-click the column name to the left of where you want the hidden one to appear, then choose the column’s name from the shortcut menu. All columns that are currently displayed have checkmarks next to their names. To hide a column μ Control-click in the column name area, then choose the column’s name from the shortcut menu. You can choose to display as few or as many of the columns as you like. To change the order of the columns μ Drag a column’s name to a new position. When you drag a column to a new position, the other columns shift to make room for the one you are moving. 204 Chapter 11 Importing and Managing Assets To change a column’s width μ Position the pointer on its right edge. When the pointer changes to a double arrow, drag to the new size. The pointer changes to a double arrow when you change a column’s width. Managing the Contents of the Assets Tab As you add assets to your project, you will want to keep them organized to reduce the potential for confusion. There are several tools you can use to organize and keep track of your assets: • Folders: Folders are the most powerful organizing tool for managing your assets. For added flexibility, you can create subfolders (folders within folders), import assets directly into a folder, and move assets between folders. You can also drag a folder to a new location. • Sorting: You can sort the assets based on any of the columns. • Asset information: You can select any asset to see its properties in the Asset Inspector. Creating Asset Folders You can create folders in the Assets tab at any time—before or after you have imported your assets. Chapter 11 Importing and Managing Assets 205 Important: Folders in the Assets tab help you organize your assets in your project. They do not affect the actual media files on your hard disk. Click the disclosure triangle to open and close folders. To create and name a folder 1 Do one of the following: • Choose Project > New Asset Folder (or press Command-Shift-N). • Control-click anywhere within the Assets tab, then choose Create New Folder from the shortcut menu. • Click the New Folder button in the Assets tab. 2 Select the folder, click the folder’s name, then type a new name. To create a new folder within an existing folder μ Control-click the existing folder, then choose Create New Folder from the shortcut menu. Sorting Assets You can sort the assets in the Assets tab by any of the columns. To sort the assets 1 Click the name of the column by which you want to sort the assets. The assets sort in the order of that column’s contents, and a triangle appears next to the column’s name to indicate it is controlling the sort and to show the sort’s direction (up or down). The triangle indicates the column controlling the sort and the sort direction (up or down). 2 Click the name of the column a second time to change the sort’s direction. 206 Chapter 11 Importing and Managing Assets Scrolling Through the Assets List Once you have added a number of assets to your project, DVD Studio Pro provides a variety of methods for scrolling through them. To scroll through a list of assets Do one of the following: μ Drag the scroller located on the right edge of the Assets tab. Hold down the Option key to scroll slowly through the list (useful with long lists). μ Press the Up Arrow and Down Arrow keys to scroll through one asset at a time. μ Press Option–Up Arrow to jump to the first asset in the list. μ Press Option–Down Arrow to jump to the last asset in the list. μ Press the Page Up and Page Down keys or hold down the Option key while clicking the scroller’s arrows to scroll through the list one page at a time. Importing Assets DVD Studio Pro provides several methods for importing assets into a project. • Using the Import Asset feature: You can click the Import Asset icon in the toolbar, click the Import button in the Assets tab, or use a shortcut menu in the Assets tab to import assets directly into the Assets tab. • Dragging assets to the Assets tab: You can drag assets from the media tabs in the Palette or a Finder window to the Assets tab. • Dragging assets directly to project elements: You can drag assets directly to the Menu Editor, Track Editor, and several other elements in your DVD Studio Pro project. These assets are also automatically added to the Assets tab. See Media Tabs for information on using the Audio, Stills, and Video tabs in the Palette. Note: To help organize your assets, it’s a good idea to create folders in the Assets tab before you import your assets, although you can create folders and move assets into them at any time. Importing Assets That Are Not DVD-Compliant When you import video and audio assets that are not DVD-compliant, DVD Studio Pro uses its integrated MPEG encoder to convert them. In DVD Studio Pro Preferences, you can specify whether the encoding happens immediately, in the background, or waits until you build your completed project. See Using Video and Audio Assets That Are Not DVD-Compliant for more information. Once the encoding starts, a progress bar appears in the Status column of the Assets tab. Chapter 11 Importing and Managing Assets 207 Using the Import Asset Feature You can import assets directly from within the Assets tab by using the Import button or by using the Import Asset icon in the toolbar. You can import single assets, multiple assets, or entire folders of assets. Note: The “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro Preferences does not apply when you use the Import Asset dialog. Only the files you select are imported into the Assets tab. To import assets from within the Assets tab 1 Select the folder in the Assets tab that you want to import the assets into (if applicable). 2 Open the Import Asset dialog by doing one of the following: • Choose File > Import > Asset (or press Command-Shift-I). • Control-click the folder or an empty area of the Assets tab, then choose Import from the shortcut menu. • Click the Import button in the Assets tab. • Click Import Asset in the toolbar. • Double-click an empty area of the Assets tab. 3 Locate the assets or folder to be imported, then click Open. The assets are imported into the Assets tab. If you select a folder, the folder and all recognized asset files in it are added to the Assets tab. Any subfolders within the imported folder are also imported. A message appears if the folder contains assets that are not supported by DVD Studio Pro. Note: An asset cannot be imported more than once, and it can only appear once in the Assets tab. However, any asset in the Assets tab can be used multiple times in a project. Dragging Assets to the Assets Tab You can drag one or more assets from the Palette or a Finder window to the Assets tab and place them directly in folders if desired. To import assets from the Palette or a Finder window 1 In the Palette or a Finder window, select the assets to be imported. 2 Do one of the following: • To import them at the root level of the Assets tab: Drag the assets to an empty area of the tab. • To import them into a folder in the Assets tab: Drag the assets directly to the folder. 208 Chapter 11 Importing and Managing Assets If you select a folder in the Finder window and drag it to the Assets tab, the folder and all recognized asset files in it are added to the Assets tab. Any subfolders within the imported folder are also imported. A message appears if the folder contains assets that are not supported by DVD Studio Pro. The Track pane of DVD Studio Pro Preferences includes a “Find matching audio when dragging” setting. When this checkbox is selected and you drag a video asset or group of video assets, DVD Studio Pro automatically looks for audio assets with the same base name in the same folder, and imports them as well. This does not happen if you drag a mixture of asset types, such as video and still images. It also does not happen when you use the Import Asset dialog. You can temporarily override the preferences setting by holding down the Command key after you start dragging video assets. About Dragging Assets Directly to a Project Element You can drag an asset from the Assets tab, the Palette, or a Finder window directly to the element that is going to use it. Assets dragged from the Palette or a Finder window are also added to the Assets tab. See Dragging Assets to the Menu Editor, Dragging Assets to the Track Editor, Dragging Assets to the Slideshow Editor, and Dragging Assets to the Outline and Graphical Tabs for more information. As is the case when you drag video assets to the Assets tab, the “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro Preferences controls whether audio assets automatically follow the video assets when they are dragged to an element. Dragging Assets to the Menu Editor You can drag video, audio, and still images to the Menu Editor. You can drag multiple assets, but they must all be of the same type (video or still image). You can drag a folder that contains still images to create a slideshow. • If you drag the asset to the Menu Editor and drop it immediately: It uses the default action for that asset type. • If you drag the asset to the Menu Editor and pause: The context-sensitive Drop Palette appears so that you can choose the asset’s action. The choices available depend on the type of asset you are dragging and whether you are dragging it to an empty part of the Menu Editor, a button, or a drop zone. See Options in the Drop Palette for Standard Menus and Options in the Drop Palette for Layered Menus for a complete list of the actions available. • If you drag video assets to the Menu Editor: DVD Studio Pro automatically looks for audio assets with the same base name in the same folder and imports them as well. This does not happen if you drag a mixture of asset types, such as video and still images. Chapter 11 Importing and Managing Assets 209 You can also drag templates and styles from the Palette. Any assets used by the template or style, such as a background video or an asset assigned to a drop zone, are also added to the list in the Assets tab, in a folder named Templates. See Using Templates, Styles, and Shapes to Create Your Menus for more information on using templates and styles. Dragging Assets to the Track Editor You can drag video, audio, and still images to streams in the Track Editor. You can drag multiple assets, but you cannot drag a folder. See Adding Video and Audio Assets for details on how the assets are placed in their streams. You can also drag one or more still images, as well as a folder containing multiple still images, to a subtitle stream. Each still image creates a subtitle clip. See Importing a Graphics File for more information. Dragging Assets to the Slideshow Editor You can drag one or more still images, as well as a folder, to the Slideshow Editor. The still images are automatically added to the slideshow. See Creating Slideshows for more information on slideshows. Dragging Assets to the Outline and Graphical Tabs You can drag video, audio, and still images to the Outline and Graphical tabs. How the assets are used depends on where you drag the assets. The only difference between dragging to the Outline or Graphical tab is that only the Outline tab has section titles for each element type. The following tables list the supported actions. Note: Most of the following actions work with the Outline tab’s By Type and By VTS displays. The exceptions are dragging assets to the Tracks and Slideshows sections, because the By VTS display does not have these sections. Additionally, with the By VTS display, all menus created by dragging assets to the Menu section of a VTS are automatically assigned to that VTS. See Showing the VTS Editor for more information on the By VTS display. The following table lists the actions when you drag assets to an empty area or the disc’s name. Assets Action One video asset Creates a track and adds the video to stream V1. Multiple video assets Creates a track for each and adds the video to stream V1. One audio asset Creates a track and adds the audio to stream A1. Multiple audio assets Creates a track for each and adds the audio to stream A1. Creates a track and adds the video to stream V1 and the audio to stream A1. One video/audio asset pair One still image Creates a menu and sets the still image as its background. 210 Chapter 11 Importing and Managing Assets Assets Action Multiple still images Creates a slideshow and adds the still images to it. Creates a standard menu and sets the file as the background with all layers selected. One multiple-layer PSD file One folder Creates a slideshow and adds the still images to it. The following table lists the actions when you drag assets to the Menus section title in the Outline tab. Assets Action One video asset Creates a menu and sets the video as its background. Multiple video assets Creates multiple menus and sets the video as their backgrounds. One audio asset Creates a menu and assigns the audio to it. Creates a menu and sets the video as its background and assigns the audio to it. One video/audio asset pair One still image Creates a menu and sets the still image as its background. Creates multiple menus and sets the still images as their backgrounds. Multiple still images Creates a standard menu and sets the file as the background with all layers selected. One multiple-layer PSD file The following table lists the actions when you drag assets to a specific standard menu. Assets Action One video asset Sets the video as the menu’s background. One audio asset Assigns the audio to the menu. Multiple audio assets Assigns the audio to the menu. Sets the video as the menu’s background and assigns the audio to it. One video/audio asset pair One still image Sets the still image as the menu’s background. One multiple-layer PSD file Sets the file as the menu’s background with all layers selected. The following table lists the actions when you drag assets to a specific layered menu. Assets Action One still image Sets the still image as the menu’s background. One multiple-layer PSD file Sets the file as the menu’s background with all layers selected. The following table lists the actions when you drag assets to the Tracks section title in the Outline tab. Chapter 11 Importing and Managing Assets 211 Assets Action One video asset Creates a track and adds the video to stream V1. Creates a track for each video asset and adds the video to stream V1 on each track. Multiple video assets One audio asset Creates a track and adds the audio to stream A1. Creates a track and adds the video to stream V1 and the audio to stream A1. One video/audio asset pair One still image Creates a track and adds the still image to stream V1. Multiple still images Creates a track and adds the still images to stream V1. Creates a track and adds the still image to stream V1, using only the layers set as visible in Photoshop. One multiple-layer PSD file The following table lists the actions when you drag assets to a specific track. Assets Action One video asset Adds the video to stream V1, at the end of any existing video. Multiple video assets Adds the videos to stream V1, at the end of any existing video. One audio asset Adds the audio to stream A1, at the end of any existing audio. Multiple audio assets Adds the audios to stream A1, at the end of any existing audio. Adds the video and audio to streams V1 and A1, at the end of any existing video and audio. One video/audio asset pair One still image Adds the still image to stream V1, at the end of any existing video. Multiple still images Adds the still images to stream V1, at the end of any existing video. Adds the still image to stream V1, at the end of any existing video, using only the layers set as visible in Photoshop. One multiple-layer PSD file The following table lists the actions when you drag assets to the Slideshow section title in the Outline tab. Assets Action One audio asset Creates a slideshow and assigns this as its overall audio. One still image Creates a slideshow and adds the still image to it. Multiple still images Creates a slideshow and adds the still images to it. Creates a slideshow and adds the still image to it, using only the layers set as visible in Photoshop. One multiple-layer PSD file One folder of images Creates a slideshow and adds the still images to it. The following table lists the actions when you drag assets to a specific slideshow. Assets Action One still image Adds the still image at the end of the slideshow. 212 Chapter 11 Importing and Managing Assets Assets Action Multiple still images Adds the still images at the end of the slideshow. Adds the still image at the end of the slideshow, using only the layers set as visible in Photoshop. One multiple-layer PSD file One folder of images Adds the still images at the end of the slideshow. Removing Selected Assets If you no longer need assets in a project, you can remove them from the Assets tab. Important: The Assets tab only contains links to the actual asset files. Removing an asset from the Assets tab does not actually delete the asset’s file from your hard disk. To remove assets from the Assets tab 1 Select one or more assets to remove. 2 Do one of the following: • Choose Edit > Remove Asset (or press Delete). • Control-click in the Assets tab, then choose Remove from the shortcut menu. • Click the Remove button in the Assets tab. You cannot remove assets that are currently in use by the project. If you try to do so, an error message appears listing the selected assets that are in use and which project element is using them. List of assets that cannot be removed Locations that use the asset you select in the above assets list You can click an asset in the list to see which elements use it, or use the Up Arrow and Down Arrow keys to scroll through the assets list. Renaming Assets You can rename assets as they appear in DVD Studio Pro. This does not affect the actual name of the asset’s file. Chapter 11 Importing and Managing Assets 213 To rename an asset 1 Select the asset in the Assets tab. 2 Change its name by doing one of the following: • Click the asset’s name after the asset has been selected and type a new name. • Enter a new name in the Asset Inspector’s Name field. See Asset Inspector for more information on the Asset Inspector. Refreshing Still and QuickTime Assets It is possible, during the course of creating your project, that you will need to update a still or QuickTime asset. DVD Studio Pro includes both an automatic and a manual asset refresh capability to make it easier to use updated versions of your still and QuickTime assets. Important: An alert appears when updated assets have been detected, and the Encode view of the Log tab lists specific elements that use those assets. It is important to verify that each of these elements function correctly. All still and QuickTime assets are automatically refreshed any time you bring DVD Studio Pro to the foreground on your computer. For example, if you are working in DVD Studio Pro and switch to a graphics program to update a still or QuickTime asset used in the current project, the asset refreshes as soon as you switch back to DVD Studio Pro. Important: If the Simulator is active when assets are refreshed, you must close it and restart it for the refreshed assets to appear correctly in it. You can also manually refresh selected assets. To manually refresh selected assets Do one of the following: μ Choose File > Asset > Refresh. μ Control-click the asset to be refreshed in the Assets tab, then choose Refresh from the shortcut menu. Manually refreshing still and QuickTime assets is useful when you are updating them using a networked computer. Note: You cannot refresh MPEG motion assets. Issues with Refreshing Still Assets When used in slideshows and as clips in tracks, still assets that have been refreshed will have no impact outside of the change you made to the still asset itself. 214 Chapter 11 Importing and Managing Assets When used in a menu, there may be issues for you to work with. For example, if the asset is used in a menu also using overlays, you may have to readjust the button active areas to match any changes you have made to the graphic. The same is true if you have made changes to the layers of a multiple-layer PSD file. Issues with Refreshing QuickTime Assets Changes made to QuickTime assets, which can include video, audio, or both together, can have large impacts on any project elements that use them. Re-encoding Any QuickTime assets you make changes to that have already been MPEG encoded by the DVD Studio Pro integrated MPEG encoder will need to be re-encoded. If you have enabled background encoding in the Encoding pane of DVD Studio Pro Preferences, this re-encoding will start automatically. Video Asset Length Changes If you have changed the length of a video asset that is used in a track, there could be audio sync problems if other assets are used in the same track. For example, making the asset shorter would cause all video assets in the timeline that are placed after it to shift earlier because the V1 stream cannot have any gaps in it. The corresponding audio does not shift though, because audio streams can have gaps. Making the QuickTime video asset longer does not change the clip in any tracks that use it. You have to manually change the clip’s duration in the tracks to use the added video. When used as backgrounds in motion menus, you may need to adjust the menu’s duration to better fit with the asset’s new length. Video Asset Content Changes If you have changed the content of a video asset, you may need to adjust marker positions to match the new content or, in the case of motion menus, adjust the loop point. Audio Asset Length Changes If you have changed the length of an audio asset that is used in a slideshow, there are several issues that may arise. • If the audio is assigned to a specific slide: That slide’s length will change. • If the audio is assigned to the slideshow as overall audio and Fit to Audio has been selected: The slideshow’s duration will change. In both cases, if you have shortened the audio asset it is possible that the slide and transition durations cannot be shortened enough to match the audio. Making the QuickTime audio asset longer does not change the clip in any tracks that use it. You have to manually change the clip’s duration in the tracks to use the added audio. Chapter 11 Importing and Managing Assets 215 Opening Assets in Their Editor You can open a selected asset in a different application. This can make it easier for you to update the asset. Note: See Using Motion, LiveType, and Soundtrack Pro Projects for information on opening Motion and LiveType projects. To open an asset in a different application Do one of the following: μ Choose File > Asset > Open In Editor or File > Asset > Open With. μ Control-click the asset to be opened in the Assets tab, then choose Open In Editor or Open With from the shortcut menu. Open In Editor and Open With have the following differences: • Open In Editor: Choose this if you want to open the asset using its registered application (exactly as would happen if you double-clicked the asset in the Finder). • Open With: Choose this if you want to select the application to open the asset. This is useful when the registered application for that asset type is not the application you want to use. With still assets, you can edit and save them using the selected application, and DVD Studio Pro automatically refreshes the assets. With audio and video motion assets, you may find that you are unable to resave the assets once you have edited them. To ensure you can resave the audio or video motion assets, close the DVD Studio Pro project once you have opened the asset in its application. Identifying an Asset You can identify an asset’s actual filename and location and even open a Finder window that displays it. This is especially useful if you have renamed the assets within DVD Studio Pro. To identify an asset’s filename and location Do one of the following: μ Control-click the asset’s name, then choose Reveal In Finder from the shortcut menu. This opens a Finder window displaying the asset’s file. μ Add the Location column to the Assets tab. This column lists the details of the asset’s file. Previewing Assets You can display an asset in the Viewer tab or listen to its audio. 216 Chapter 11 Importing and Managing Assets To preview an asset 1 Select the asset in the Assets tab. 2 Preview the asset by doing one of the following: • Choose File > Asset > Preview (or press the Space bar). • Control-click the asset, then choose Preview from the shortcut menu. • Double-click the asset. Preview controls You can use the controls in the Viewer tab to pause and stop playback. QuickTime video assets preview in their native format, even if they have been encoded with the integrated MPEG encoder. To preview the MPEG-encoded version of the QuickTime asset, you must add the asset to a track and preview it from the Track Editor. The Settings pop-up menu contains several settings that control what you see in the Viewer tab. • Title Safe Area and Action Safe Area: These settings turn on a shaded area around the outside edge of the menu, indicating portions of the menu that may not be viewable on most consumer monitors. Placing buttons or text in these shaded areas can be risky and should be avoided. There are two safe areas: title and action. The title safe area is more constricted and should be observed for items that must be seen by the viewer. All text and buttons should be within this area. The action safe area is closer to the menu edges and is considered a boundary for items that you would like the viewer to see but that are not required. You can also press Command-E to show or hide the title safe area and Command-Option-E to show or hide the action safe area. Chapter 11 Importing and Managing Assets 217 • Square Pixels and Rectangular Pixels: You can choose to switch between viewing assets with square pixels or scaled to the video aspect ratio (either 4:3 or 16:9). See Understanding Pixel Differences in Graphics and Video for more information. You can also press P to toggle the pixel display type. • Show Single Field: This setting optimizes playback when using field-based video sources. This is especially important with video that has fast motion because it will reduce the motion artifacts. However, selecting Show Single Field with frame-based video sources results in reduced resolution (edges may appear jagged). This setting only affects how the assets appear in the Viewer and does not change the actual assets themselves. Note: Anamorphic still assets will preview as 4:3 assets. Asset Inspector When you select an asset in the Assets tab, the Asset Inspector appears. The Asset Inspector shows general information about the selected asset. The only information you can edit is the asset’s name as it appears in DVD Studio Pro. Video assets include a thumbnail image and a scrubber so you can scrub through the video. Still assets also include a thumbnail image. 218 Chapter 11 Importing and Managing Assets Menus are the backbone of your project. To ensure a positive experience for the viewer, it’s important to create menus that provide logical navigation and a consistent experience. This chapter covers the following: • About Menus (p. 219) • About the Menu Editor (p. 224) • Starting and Working with a Menu (p. 231) About Menus Menus provide the buttons that the person viewing a DVD uses to configure the disc’s playback and to choose the tracks and slideshows that supply the DVD’s content. DVD menus are made up of a background, which can be a still image or a full-motion movie, and buttons. For the most part, the elements that make up a menu are created outside of DVD Studio Pro. You use DVD Studio Pro to combine these elements into a complete menu and assign actions to the buttons. See Preparing Menu Assets for details on creating the graphics used in your menus. DVD Studio Pro includes templates and styles that can make it easier to create menus. You can use the supplied templates and styles to quickly create your menus, or you can create your own templates and styles. Using templates and styles lets you apply a standardized look to your menus for all of your projects—for example, to maintain a corporate image. See Using Templates, Styles, and Shapes to Create Your Menus for more information. Before you create your menus, you need to understand the two different methods used to create menus in DVD Studio Pro, and be aware of special considerations for menus with a 16:9 aspect ratio. If you are authoring HD projects, you also need to be aware of special issues when creating HD menus. In DVD Studio Pro, you can create menus using either a standard, or overlay method, or a layered method. You can use menus created with both methods in a project, so you can use the method best suited to each individual menu. 219 Introduction to Creating Menus 12 The menu creation methods differ primarily in how each button’s states are displayed. Each button in a menu has three states: • Normal: How the button looks when not in the selected or activated state • Selected: How the button looks when you navigate to it using the DVD player’s arrow buttons • Activated: How the button looks after you navigate to it and press Enter. This state is typically displayed for just a short time before the menu clears and the next element appears, based on the action assigned to the button. Standard Menu Creation Method The standard method uses an overlay structure to display each button’s states. As described in detail in Creating Overlays, an overlay is a four-color image used to identify the highlight area of each button. Each of the four colors is mapped to the actual color and transparency values that appear for each of the three button states. The standard method provides the most flexibility when creating menus. • The background can be static, or it can be a full-motion video clip. • The background can contain the normal state of the buttons, or it can be plain, with the overlay supplying the normal button image. • You can use DVD Studio Pro to type text over the menu. The text can be used to title the menu or just provide basic information. • You can add text to buttons or even create text-only buttons. • You can use shapes on the menu as either buttons or drop zones. Shapes are self-contained graphics that include the normal state image, a graphic that defines the highlight area, and that can even display a full-motion thumbnail image of an assigned asset. Some shapes, called patches, contain animated effects. Shapes can be fully positioned and resized. DVD Studio Pro includes many stock shapes and can import shapes you create. The stock shapes are particularly useful when you are creating menus with minimal reliance on graphics programs. • You can create drop zones on the menu. A drop zone is an area of the menu you can assign an asset or shape to. You can reposition, resize, and rotate drop zones. Drop zones become a part of the menu’s background when you build the project. They allow you to add graphic elements to your menu that are not text- or button-related, making it possible to create complex menu backgrounds. • You can use templates and styles. • You can add audio to the menu. 220 Chapter 12 Introduction to Creating Menus The drawback of the standard method is that using overlays limits your creativity when showing the different states of a button. While the normal state of a button can be a full 24-bit image, you can only use up to four colors (as defined by the DVD-Video specification) to modify the normal image to show the selected and activated states. Because one of these colors is typically used as a transparent background color, that leaves only three colors. This is sufficient to add an outline or highlight to show when the button is selected or activated, but it is not enough to allow you to radically alter the button. See Creating Menus Using the Standard Method for details on creating standard menus. Layered Menu Creation Method The layered method allows you to create independent 24-bit versions of each button for each of the three states (normal, selected, and activated). This gives you great flexibility in changing a button’s appearance when it is selected and activated. The layered method requires an Adobe Photoshop (PSD) graphics file that contains a separate layer for each state of each button, in addition to the background graphic. This means a menu with 12 buttons requires 36 layers to show the normal, selected, and activated states of each button. You can combine overlays with buttons created using the layered method. There are several drawbacks to using the layered method: • You cannot have motion in the background; backgrounds must be still images. • You cannot use the text or shape features. • You cannot use templates and styles. • You cannot add audio to the menu. • Viewers may experience a slow reaction time while navigating around the buttons on DVD players. Because layered menus use separate layers for each button state, DVD Studio Pro performs some behind-the-scenes processing, creating separate hidden menus for each possible state of the menu. In the above example with 12 buttons, 25 versions of the menu would need to be created (one with all buttons in their normal state, and one for each button in its selected and activated states). These menus are not visible as separate elements within your project, but are displayed when you use the arrow buttons on the DVD player’s remote control to navigate to a button and activate it. Due to the number of menus that are created using the layered method, some DVD players may have a slight delay in displaying the menus as viewers navigate around the buttons, which may confuse impatient viewers. See Creating Menus Using the Layered Method for details on creating layered menus. Chapter 12 Introduction to Creating Menus 221 Working with 16:9 Menus When using 16:9 menus in your project, you need to be aware of several things. How the Menu Will Be Displayed on a 4:3 Monitor Be sure to choose the proper display mode in the Menu tab of the Menu Inspector. Also, a default Display Mode setting in DVD Studio Pro Preferences sets all new menus, tracks, and slideshows to the proper display mode. The options include 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and 16:9 Pan-Scan & Letterbox. If you select Pan-Scan, be aware that areas at the left and right edges of the menu will not be visible. See Choosing an Aspect Ratio for more information on this and other aspect ratio issues. Fewer Buttons Can Be Used When you set a menu’s display mode to 16:9 Pan-Scan or 16:9 Letterbox, you reduce the total number of buttons you can have on the menu. For SD projects, the total number of buttons drops from 36 to 18; for HD projects, the total drops from 48 to 24. This is because DVD Studio Pro must create two menu overlays, one for each aspect ratio, and automatically select the one to use based on the DVD player’s aspect ratio setting. When you set a menu’s display mode to 16:9 Pan-Scan & Letterbox, the total number of buttons you can have on a menu drops to 12 for SD projects, and 16 for HD projects, because three menu overlays must be created. 16:9 Graphics Must Be Anamorphic in SD Projects All graphics for 16:9 menus in SD projects must be anamorphic (horizontally compressed to fit the 4:3 aspect ratio). See What Exactly Is a 16:9 Asset? for details on creating graphics for 16:9 menus. Creating Menus for HD Projects Creating menus for HD projects is not much different from creating menus for SD projects. The most common issue is understanding how the HD-based DVD menus handle background video assets with respect to their resolutions. There is a Resolution setting in the General pane of DVD Studio Pro Preferences that defines the default resolution of all new menus (and tracks and slideshows) you create. However, the actual resolution of a menu is usually defined by the background video asset you assign to it. For example, if your default resolution as defined by the preferences setting is 1280 x 720p and you create a new menu, its resolution is 1280 x 720p. If you set the menu’s background video to a 1920 x 1080i asset, the menu’s resolution automatically changes to match it. 222 Chapter 12 Introduction to Creating Menus If you set a menu’s background asset to something that is non-standard, for example, a still that is 800 x 600, the menu’s resolution changes to the highest resolution that is smaller than the non-standard size (in this example, full D1, which is 720 x 480 for NTSC or 720 x 576 for PAL), and the image is scaled to fit. If you set a menu’s background to something that is smaller than full D1, it is scaled up to the full D1 size. Note: As with SD-based DVD menus, when a menu’s background asset does not match the 4:3 or 16:9 display mode, the empty areas are filled with the menu background color, as defined in the Menu pane of DVD Studio Pro Preferences. You must also be aware that the limit on the number of buttons your menu can have is different than with SD-based DVD menus. Menus using the 4:3 aspect ratio can have up to 48 buttons. Menus using the 16:9 Pan-Scan or 16:9 Letterbox modes can have up to 24 buttons. Menus using the 6:9 Pan-Scan & Letterbox modes can have up to 16 buttons. Adding Intro and Transition Clips to Menus You can make the DVD viewing experience more polished by adding short video clips that play at the beginning of a menu (intro clips) and when buttons are pressed (transition clips). There are several approaches you can take to add these clips to your project. See Adding Intro and Transition Clips to Menus for more information. Chapter 12 Introduction to Creating Menus 223 About the Menu Editor The Menu Editor is contained in the Menu tab. It displays the menu graphics in either a 4:3 or 16:9 aspect ratio (depending on what is set in the Menu tab in the Menu Inspector). There are also several buttons and pop-up menus that let you select what appears in the editor and provide tools that help with the menu creation process. Menu Editor tools Drag the Menu Editor rulers to create guides. Click this to hide and show the Menu Editor tools. Choose a menu to configure. Open this pop-up menu to choose a menu language. Open to configure additional Menu Editor settings. The Menu Editor scales the menu to fit within its quadrant. As you make the quadrant larger, the menu also increases up to the point that it reaches full size, when it stops growing and the extra area around it is filled with gray. When working with the larger HD resolutions, however, you may find it difficult to increase the quadrant’s size enough to show the menu at full size. One option is to tear off the Menu tab into its own window, which you can then resize without affecting the rest of the DVD Studio Pro interface. See Tearing Off a Tab into Its Own Window for more information. Using the Menu Rulers The left and top sides of the Menu Editor can display rulers. When you click within the Menu Editor, marks on the ruler show the pointer’s position. The Alignment pane in DVD Studio Pro Preferences contains configuration settings for the ruler. These settings include whether the rulers are shown and the units they use (pixels, percentage, and so on). See Alignment Preferences for details on setting the ruler’s preferences. To show or hide the menu rulers Do one of the following: μ Select the relevant setting in the Alignment pane of DVD Studio Pro Preferences. 224 Chapter 12 Introduction to Creating Menus μ Press Command-R. Using Menu Guides You can create horizontal and vertical guides to assist you while creating your menu. The guides are useful when lining up buttons or text on a menu. You can create as many guides as you need, reposition them, and remove them. The guides include a snapping feature that makes it easy to position menu items. The Alignment pane in DVD Studio Pro Preferences contains configuration settings for the guides. These settings include whether the guides are shown and their color. See Alignment Preferences for details on setting the guide’s preferences. To create a guide μ Place the pointer over the top or left ruler, then drag into the Menu Editor. Note: The rulers must be visible before you can add guides to the Menu Editor. To reposition a guide μ Drag the guide where you want it. To hide or show previously created guides Do one of the following: μ Click the Guides button on the Menu Editor. Shows and hides the menu guides. μ Press Command-Semicolon (;). To temporarily disable snapping to the guides while moving an item μ Press Command while dragging the item. This also disables the dynamic guides discussed in the next section, Using Dynamic Guides. To remove a guide μ Drag the guide back to the ruler. Note: Like button outlines, guides are not included when you build your project, so it is not necessary for you to remove them when you are done. Chapter 12 Introduction to Creating Menus 225 Using Dynamic Guides In addition to the menu guides, there are also dynamic guides that automatically appear as you drag menu objects. Dynamic guides make it easy to align menu objects with each other and with the menu’s center. As you move a menu object around, lines appear and the object snaps into position whenever one of its edges or its center is in alignment with another object’s edge or center or the menu’s center. This tool is especially useful when you are creating duplicates of an existing button (by Option-dragging it) and want them all to line up with each other. Only the guide preference’s color setting applies to dynamic guides—they do not disappear when you hide the menu guides. To temporarily hide the dynamic guides and disable their snapping action μ Hold down the Command key while you drag the menu object. Using the Align Objects Feature The align objects feature allows you to select a group of objects and apply an alignment mode to them. For example, you could select three buttons and set them so that their left edges align. The usual way of dragging to select a group of items will not work—you will end up creating a new button. To select multiple menu items Do one of the following: μ To individually select items, hold down the Shift key and click them. μ To select a group of items by dragging, press the Command key while dragging over them. μ To select all items in the Menu Editor, press Command-A. 226 Chapter 12 Introduction to Creating Menus μ To deselect all items, press Command-Shift-A. Once you have the objects selected, you can align them. To use the align objects feature 1 Select the group of objects to align. Note: The last object you select is the reference object that the others align to. 2 Do one of the following: • Choose Arrange > Align Objects, then choose the alignment to use (Top, Center, Bottom, Left, Middle, or Right). • Control-click one of the selected objects, then choose the alignment to use (Top, Center, Bottom, Left, Middle, or Right) from Align Objects in the shortcut menu. The objects move to the new alignment. If you get a surprising result, press Command-Z to undo the alignment and verify that you had the right buttons selected and that you selected the reference button last. Using the Distribute Objects Feature The distribute objects feature allows you to select a group of objects and evenly space them between each other. To use the distribute objects feature 1 Select the group of objects to distribute. See Using the Align Objects Feature for details on how to do this. Note: The order that you select the objects does not matter. The objects are distributed between the two outermost objects. 2 Do one of the following: • Choose Arrange > Distribute Objects, then choose the distribution method to use (Horizontally or Vertically). • Control-click one of the selected objects, then choose the distribution method to use (Horizontally or Vertically) from Distribute Objects in the shortcut menu. Menu Editor Pop-Up Menus and Tools The Menu Editor tools let you customize the editor to your needs. To show or hide the Menu Editor tools μ Click the dots at the bottom of the Menu Editor. Chapter 12 Introduction to Creating Menus 227 Menu Editor Pop-Up Menus The top of the Menu Editor contains several pop-up menus. • View: Choose the menu you want to open in the Menu Editor from this pop-up menu. This is an alternative to selecting the menu in the Outline or Graphical tab. • Language selection: Choose a language to configure for this menu from the pop-up menu next to the View pop-up menu. See Using Languages with Menus for more information. • Settings: Contains a variety of settings that control what you see in the Menu Editor. • Auto Assign Buttons Now and Auto Assign Buttons Continuously: You can choose to have DVD Studio Pro automatically assign button navigation settings to the current menu configuration or continuously. See Configuring Button Navigation for more information. • Display Background, Display Overlay, and Display Composite: You can choose to show the background or overlay by itself or as a composite image. You can also press Q to step through these options. • Title Safe Area and Action Safe Area: These settings turn on a shaded area around the outside edge of the menu, indicating portions of the menu that may not be viewable on most consumer monitors. Placing buttons or text in these shaded areas can be risky and should be avoided. There are two safe areas: title and action. The title safe area is more constricted, and should be the boundary for items that must be seen by the viewer. All text and buttons should be within this area. The action safe area is closer to the menu edges, and is considered a boundary for items that you would like the viewer to see but are not required. You can also press Command-E to show or hide the title safe area, and Command-Option-E to show or hide the action safe area. • Square Pixels and Rectangle Pixels: You can choose to switch between viewing the menu images with square pixels or scaled to the video aspect ratio (either 4:3 or 16:9). See Understanding Pixel Differences in Graphics and Video for more information. You can also press P to toggle the pixel display type. • Show Single Field: Optimizes playback when using field-based video sources. This is especially important with video that has fast motion, because it reduces the motion artifacts. However, selecting Show Single Field with frame-based video sources results in reduced resolution (edges may appear jagged). 228 Chapter 12 Introduction to Creating Menus Menu Editor Tools The lower part of the Menu Editor contains a variety of buttons. • Arrange controls: These buttons allow you to change the priority of the selected item, letting you control which items have a higher priority by bringing them forward, or by sending lower-priority items to the back. See About Button Numbers for more information. Brings the item to the front, making it the highest priority. Sends the item’s priority one step back. Sends the item to the back, making it the lowest priority. Moves the item’s priority one step up. • Add Submenu, Add Slideshow, and Add Track buttons: These buttons allow you to create a new element in your project and add a button to the current menu that connects to them. You can also press Command-Option-Y to create a submenu, Command-Option-K to create a slideshow, and Command-Option-T to create a new track. Creates an empty slideshow. Creates an empty track. Creates a submenu that uses this menu’s template. The new button added to the menu uses the menu’s default button style. See Setting Default Styles for more information. Chapter 12 Introduction to Creating Menus 229 • Button state selections: These buttons allow you to see the selected button in any of the three states (normal, selected, or activated). You can also press W to step through these options. Shows the selected state. Shows the activated state. Shows the normal state. • Button Outlines button: You can turn on button outlines, which show each button’s active area box and the button name. When your menu has buttons without an asset or shape assigned, turning off button outlines can make them disappear, which can be confusing if you later forget they are there and add them again. • Guides button: You can show or hide the menu guides created when you drag from the rulers into the Menu Editor. This does not affect the dynamic guides that appear when you drag items in the menu. See Using Menu Guides for more information. See Alignment Preferences for details on setting the menu guide preferences. You can also press Command-Semicolon (;) to show or hide these guides. Shows the menu guides. Shows the button outlines. • Motion button: Applies to standard menus only. Use this button to start or stop playback of video and audio assets assigned to the menu. This is useful for motion menus and still menus that include audio, providing a preview of how the motion elements appear. You can also press the Space bar or Command-J to turn the motion on and off. Note: The Motion button in DVD Studio Pro does not work the same way as the similar button in iDVD. In DVD Studio Pro, the Motion button does not have to be active to create a motion menu. It does not affect how the menu will appear when you finish the project and build the title. 230 Chapter 12 Introduction to Creating Menus Starting and Working with a Menu By default, all projects have an empty standard menu for you to start with. You can also add additional menus as needed. Creating a New Menu The following describes how to add a new standard or layered menu to your project. To add a standard menu Do one of the following: μ Choose Project > Add to Project > Menu (or press Command-Y). μ Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then choose Menu from the submenu. μ Click Add Menu in the toolbar. A new standard menu is added to the project, with the name “Menu _,” where “_” is the number of that menu. You can rename menus, making it easier to locate specific ones. To add a layered menu Do one of the following: μ Choose Project > Add to Project > Layered Menu (or press Command-Shift-Y). μ Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then choose Layered Menu from the submenu. μ Click Add Layered Menu in the toolbar. A new layered menu is added to the project, with the name “Menu _,” where “_” is the number of that menu. You can rename menus, making it easier to locate specific ones. You can also create a new standard submenu from an existing menu (standard or layered) by clicking the Add Submenu button in the Menu Editor. Creates an empty slideshow. Creates an empty track. Creates a submenu that uses this menu’s template. This creates a new menu based on the original menu, using its background, buttons, and other settings. This also adds a new button to the existing menu that is linked to the new submenu. Chapter 12 Introduction to Creating Menus 231 Opening a Menu To work with a menu, you need to open the Menu Editor for that menu. You can do so from the Outline tab, the Graphical tab, or within the Menu Editor. To open a menu from the Outline tab 1 Click the Outline tab. 2 Click the disclosure triangle next to Menus to display a list of current menus (if they are not already visible). 3 Select a menu by clicking its name. The menu appears in the Menu Editor, and the Inspector switches to show the menu’s settings. If the Menu Editor is not visible, you can double-click the menu’s name in the Outline tab to make it appear. To open a menu from the Graphical tab 1 Click the Graphical tab. 2 Select a menu by clicking its tile. The menu appears in the Menu Editor, and the Inspector switches to show the menu’s settings. If the Menu Editor is not visible, you can double-click the menu’s tile in the Graphical tab to make it appear. To choose a menu in the Menu Editor μ Choose the menu to open from the View pop-up menu, located along the top of the Menu Editor. The menu appears in the Menu Editor, and the Inspector switches to show the menu’s settings. Naming a Menu As you add menus to your project, you should rename them to make it easier to locate and group them. To rename a menu Do one of the following: μ In the Outline tab, select the menu, click its name, then type the new name. μ In the Graphical tab, select the menu tile, double-click its name, then type the new name. μ Select the menu in the Outline tab, the Graphical tab, or the Menu Editor, then enter the new name in the Name field of the Menu Inspector. Adding Assets to a Menu There are several ways to add assets to a menu: • Drag an asset to the Menu Editor. See Dragging Assets to the Menu Editor for details. 232 Chapter 12 Introduction to Creating Menus • Apply a template or style from the Palette. See Applying a Template or Style for details. • Select the assets in the Menu Inspector. See Creating Menus Using the Standard Method or Creating Menus Using the Layered Method for details. Dragging Assets to the Menu Editor One way to add an asset to a menu is to drag the asset to the Menu Editor, and then use the Drop Palette to assign the asset a function. You can drag the asset from the Assets tab, the Palette, or from the Finder. You can also drag tracks, menus, and slideshows from the Outline or Graphical tab. When you drag an asset, the Drop Palette appears after a short delay to let you choose what function the asset will serve. For example, if you drag a still graphic, the menu may offer the options of using it as a background, an overlay, or a button. The top item in the Drop Palette is the default function. If you drag an asset or element to the Menu Editor and release it before the Drop Palette appears, the default function is applied. Viewing the Drop Palette The Drop Palette appears when you drag items to the Menu Editor. To see the Drop Palette μ Drag the asset to the Menu Editor. When it’s positioned exactly where you want it, hold the asset there while you keep the mouse button pressed. The Menu pane of DVD Studio Pro Preferences contains a setting that controls the length of the delay before the Drop Palette appears. See Menu Preferences for more information. Chapter 12 Introduction to Creating Menus 233 The options in the Drop Palette depend on the type of asset you are dragging, whether you drag it to a button or an empty area of the menu, and the type of menu (standard or layered). For example, if you drag a video asset to an existing button, the Drop Palette provides the options of linking the video to the button and creating a track for it. If you drag the same asset to an empty part of the menu, the Drop Palette contains options for either using the video as the background, or adding a button at that location and linking it to the video. • If you drag an asset and you don’t see the options you expect in the Drop Palette: You may not have dragged it to the right place. Continue holding down the mouse button and drag the asset to the correct location. • If you drag to the menu but do not wait for the Drop Palette to appear: A default action is applied. • If you select an option that creates a new button on the menu: That button will use the default button style assigned to that menu. This style can determine whether or not the new button shows a thumbnail image of the asset. • If you are dragging multiple assets or elements and will be creating multiple buttons: The new buttons will be stacked together. To avoid problems with having overlapping buttons on a menu, be sure to drag them away from each other after they have been created. See Options in the Drop Palette for Standard Menus and Options in the Drop Palette for Layered Menus for a complete list of Drop Palette options and details on what they do. About Dragging Video and Audio Assets Together Several of the Drop Palette options only appear when you select and drag a video/audio asset pair. A video/audio asset pair is created when you select a video asset, and then hold down the Command key and select a companion audio asset. (There are also other ways to select an asset pair, depending on where you are dragging from.) Having Audio Automatically Follow the Video If you drag a motion video asset by itself to the Menu Editor and choose an option from the Drop Palette that supports audio, DVD Studio Pro checks to see if there is an audio asset in the same folder with the same basic name as the video asset. If the option does support audio (such as creating a track or setting a menu’s background), and an audio file is not already assigned to the target element, DVD Studio Pro can automatically add the audio asset to the element, depending on the “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro Preferences. Note: You can override the “Find matching audio when dragging” preferences setting by pressing the Command key after you start dragging the video asset. 234 Chapter 12 Introduction to Creating Menus If you drag a QuickTime movie, from a Finder window or the Video tab in the Palette, that contains both video and audio to the Menu Editor, it is treated as if it were a video/audio pair, with both the video and audio being added to the element. Selecting Multiple Menu Items As you create your menus, there will be times when you need to select multiple menu items, such as buttons, drop zones, or text objects, so that they can all be moved, deleted, or have an attribute applied. The usual way of dragging to select a group of items will not work—you will end up creating a new button. To select multiple menu items Do one of the following: μ To individually select items, hold down the Shift key and click them. μ To select a group of items by dragging, press the Command key while dragging over them. Any currently selected items are deselected first. Press the Command-Shift keys while dragging to keep any currently selected items selected. μ To select all items in the Menu Editor, press Command-A. μ To deselect all items, press Command-Shift-A. Copying Menu Items You are able to copy menu items, such as buttons, drop zones, and text objects, within an existing menu or from one menu to another. You can even copy multiple items at once. See Selecting Multiple Menu Items for more information. The copied items retain all attributes of their original, including assigned assets and, in the case of buttons, their target settings. The new items have a higher priority than the original items. See About Button Numbers for information on how you can modify the item priorities. There are several issues that can cause a copy operation to fail. • You are not allowed to copy items that are incompatible with their destination (such as copying a drop zone to a layered menu). • You are not allowed to copy buttons to a menu that would cause it to exceed the maximum allowed number of buttons. Menus with a 4:3 aspect ratio can have a maximum of 36 buttons. Menus with a 16:9 aspect ratio can have a maximum of 18 buttons. Copying Items by Dragging You can copy one or more items within a menu by selecting them and then dragging them to a new location. To copy one or more items within a menu by dragging 1 Select the items to be copied. Chapter 12 Introduction to Creating Menus 235 2 Press the Option key, then drag the items to their new position. If multiple items are selected, they all move as a group, maintaining their relationships to each other. Using Copy, Cut, and Paste You can use the Copy and Paste commands to copy items within a menu and between menus. To copy one or more items using the Copy and Paste commands 1 Select the items to be copied. 2 Choose Edit > Copy (or press Command-C). This copies the selected items to the Clipboard. The selected items are not affected. 3 Select the menu where you want to paste the copied items. 4 Choose Edit > Paste (or press Command-V). If no items are selected in the menu before you paste the copied items, the copied items are placed in the same locations as the originals. If an item is selected in the menu before you paste the copied items, the copied items are positioned relative to the selected item with a small offset. You can use the Paste command multiple times after using the Copy command. This makes it easy to add a button to multiple menus. To move one or more menu items using cut and paste 1 Select the items to be moved. 2 Choose Edit > Cut (or press Command-X). This copies the items to the Clipboard and removes the items from the current menu. 3 Select the menu where you want to paste the cut items. 4 Choose Edit > Paste (or press Command-V). This is most useful when you are moving menu items from one menu to another. Moving and Resizing Menu Items There are a number of methods you can use to move or resize your buttons, drop zones, and text objects in your menu. To move the item by dragging μ Click inside the dashed lines and drag it to the new position. To move the item by dragging in one direction only (horizontal or vertical) μ Press the Shift key, then drag the item. 236 Chapter 12 Introduction to Creating Menus To move the item by dragging with snapping and the dynamic guides temporarily disabled μ Press Command, then drag the item. To move the item using the arrow keys Do one of the following: μ Select the item and press the arrow keys to move it one pixel at a time. μ Press Shift and the arrow keys to move it 10 pixels at a time. μ Press Shift-Option and the arrow keys to move it 20 pixels at a time. To move a button or drop zone μ Use the Coordinates & Size area in the Advanced tab in the Button Inspector or in the Drop Zone Inspector to precisely set a button’s or drop zone’s size and position. To move an item’s edge μ Click the resize handle at the center of the edge and drag it to the new position. This changes the item’s size. To move an item’s corner (which moves two edges at once) μ Click the resize handle at the corner and drag it to the new position. This also changes the item’s size. To change a button’s or drop zone’s size while maintaining the button’s aspect ratio μ Shift-drag an edge or corner. See Working with Assets in Buttons and Drop Zones for more information. To change a button’s or drop zone’s size while keeping the button centered at its current location μ Click an edge or corner, start dragging, then press the Option key. To delete an item μ Select it (resize handles appear on its dashed line), then press the Delete key. Verifying Your Menus As you create your menus, you will want to verify several aspects of them: • Button connections: Do the buttons connect to the correct project elements? • Button navigation: As you navigate around the menu’s buttons using the arrow keys, does the button selection follow a logical path? • Menu aspect ratios and languages: Does the menu perform correctly with different displays and DVD player languages? Chapter 12 Introduction to Creating Menus 237 Verifying Button Connections Each button’s Target setting (set in the Button Inspector) states its connection. Sometimes, however, the names of the various project elements can make it easy to choose a target that is not the one intended. For this reason, it’s important to verify the connections are correct. There are two ways you can do this: • Double-clicking the button in the Menu Editor: If you double-click a button that is connected to a different menu, the Menu Editor automatically switches to show that menu. If you double-click a button connected to a track, story, or slideshow, the appropriate editor opens to that element and the Viewer prepares to play it (all you need to do is click its play button). • Simulating the menu: You can simulate the menu by either Control-clicking in the Menu Editor, then choosing Simulate from the shortcut menu, or Control-clicking the menu in the Outline or Graphical tab, then choosing Simulate from the shortcut menu. This forces the Simulator to start at this menu instead of the First Play connection, as it does when started from the toolbar. Verifying Button Navigation To verify button navigation, you need to use the Simulator. Either Control-click in the Menu Editor, then choose Simulate from the shortcut menu, or Control-click the menu in the Outline or Graphical tab, then choose Simulate from the shortcut menu. You can now use the Simulator’s arrow keys to verify the navigation and highlight settings. Verifying Menu Aspect Ratios and Languages When you create menus using the 16:9 aspect ratio or multiple languages, you can use the Simulator to verify the menu configurations. In DVD Studio Pro Preferences, you can configure the Simulator to mimic a 16:9, 4:3 letterbox, or 4:3 pan-scan display. You can also configure the default language settings of the Simulator. Once you have configured the Simulator preferences, Control-click the menu’s name in the Outline or Graphical tab, then choose Simulate from the shortcut menu. About Chapter Index Menus When you drag a video asset, track, or slideshow to the Menu Editor, you are given the option of creating a chapter index menu. A chapter index menu is created automatically and has buttons linked to the asset’s and track’s markers or the slides in a slideshow. How the chapter index menu is created depends on the menu already in the Menu Editor: • If the menu does not contain any buttons, text objects, or drop zones: That menu becomes the first chapter index menu (with additional chapter index menus added if more buttons are needed). • If the menu contains one or more buttons (whether you drag to them or not): A new menu is created to become the first chapter index menu (with additional chapter index menus added if more buttons are needed). 238 Chapter 12 Introduction to Creating Menus When you create a chapter index menu, a Choose Template or Layout Style dialog appears. You use this dialog to select a template or layout style to provide the template for what the menu will look like. The template or layout style you select defines: • How many buttons are on a menu • Where the buttons are placed • What shape the buttons use • The navigation between the buttons • Whether the marker names are used as button text • Whether the marker’s video is used as a button asset Templates can also define the menu background, assign an audio asset to the menu, and add text objects, such as a title. If there are more markers or slides than buttons on the template or layout style you select, additional chapter index menus are created. Templates and layout styles can also include buttons that do not get markers assigned to them. These are special-purpose buttons that you can use to provide navigation between the chapter index menu and other menus in your project. Once the chapter index menu (or menus) are created, you need to configure the navigation between each of them and the other menus in your project. For example, you would need to provide a way to access the main menu from each chapter index menu, as well as access to the chapter index menus from the main menu. DVD Studio Pro can automatically configure the navigation if you use the correct special-purpose buttons. See Applying Templates or Layout Styles to a Menu with Buttons for information on how button attributes affect the creation of chapter index menus. Additionally, you can modify any aspect of the chapter index menu that the template or layout style you chose defined. For example, you can move the buttons around, change their shapes, and add additional ones. Chapter 12 Introduction to Creating Menus 239 DVD Studio Pro includes several templates and layout styles you can choose from, and you can also create some of your own. See Using Templates, Styles, and Shapes to Create Your Menus to learn more about templates and styles. About the First Marker Button in a Chapter Index Menu DVD Studio Pro automatically adds the first marker to all tracks. It is named “Start” when the track is created by dragging a video asset to the Menu Editor. (When the asset is dragged to the Track Editor, the name is based on the marker naming settings in the Track pane of DVD Studio Pro Preferences.) When you create a chapter index menu, the first button linked to a marker is linked to the “Start” marker set by DVD Studio Pro. Because this marker is at the start of the track, pressing this button plays the track from its beginning. If the marker names appear on your chapter index menu’s buttons, you may want to edit this button’s text to better describe its function. 240 Chapter 12 Introduction to Creating Menus Standard menus provide the most flexibility when you create menus. You can choose to use static or full-motion backgrounds, audio, text objects, and drop zones. This chapter covers the following: • About Standard Menus (p. 242) • Choosing the Menu’s Background (p. 243) • Choosing the Menu’s Overlay (p. 246) • Understanding Color Mapping (p. 248) • Configuring the Menu Inspector for Standard Menus (p. 256) • Adding Buttons to Your Menu (p. 265) • Configuring Button Navigation (p. 281) • Adding Drop Zones to Your Menu (p. 285) • Working with Assets in Buttons and Drop Zones (p. 288) • Adding Text Objects to a Menu (p. 288) • Adding Audio to a Menu (p. 291) • Configuring the Menu’s Drop Shadow Settings (p. 292) • Configuring Motion Menu Settings (p. 293) • Options in the Drop Palette for Standard Menus (p. 296) • Drop Palette for Standard Menus—Dragging Assets (p. 296) • Drop Palette for Standard Menus—Dragging Project Elements (p. 304) • Drop Palette for Standard Menus—Dragging Templates and Styles (p. 309) 241 Creating Menus Using the Standard Method 13 About Standard Menus When creating a menu using the standard method, you have a wide variety of options: • Choosing the background: You need to assign an asset as the menu background. This can be a still graphic or a full-motion video image. It can contain art and text that represents the buttons, or it can be plain, relying on an overlay, shapes, drop zones, and the Menu Editor’s text capability to provide background and button art. • Choosing the overlay: Although an overlay graphic is not required for a menu, you typically use one to provide art for selected and activated button states, and in some cases, for the normal state as well. If you do not choose an overlay, DVD Studio Pro generates a full-screen white frame to be used in its place. • Using shapes: You can use shapes either in place of the overlay, or in conjunction with it. • Adding drop zones: You can add graphic elements to your background by creating drop zones and assigning assets to them. • Adding text: You can type text onto the background. This text can be used to create button labels, add titles to the menu, or provide viewing instructions. • Adding drop shadows: You can configure the menu’s drop shadow settings and apply them to the menu’s shapes, drop zones, and text. • Configuring motion settings: In addition to the menu’s background, you can use motion video in the shapes and drop zones. You choose whether the video loops once it reaches the end. • Adding audio: You can assign one or more audio assets to the menu. You can also simplify the standard method by using the templates and styles feature and choosing from the provided elements or adding your own. See Using Templates, Styles, and Shapes to Create Your Menus for more information. 242 Chapter 13 Creating Menus Using the Standard Method About Menu Rendering Depending on how you create your standard menus, they may have to be rendered into an MPEG-2 video asset when you build your project. The menu must be rendered if it uses any of the following: • Assets assigned to a button • Shapes • Drop zones • Text objects • SIF (MPEG-1 or MPEG-2), 1/2 D1, or cropped D1 video Standard menus that only use a background (whether still or video), an overlay, and one or more audio files do not get rendered. Whether the menu gets rendered or not can be important for a couple of reasons: • The time it takes: Rendering menus is a process that composites all of the menu elements, one frame at a time, and creates an MPEG-2 file out of these composited frames. Depending on your system and the length of your menus, this can take a significant amount of time to process. See Menu Preferences for more information. • Extra processing can affect video: If your menu background video must be rendered, the extra processing has the potential to change the video a small amount. Anytime you decode compressed video, process it (such as by compositing shapes or text over it), then recompress it, you can expect some subtle changes to the background video. In those cases where you have meticulously encoded your background video before assigning it to a menu, this extra processing could noticeably change the video. When SD menus are rendered, they are encoded at 7 Mbps using the one-pass VBR method. HD menus are rendered at 21 Mbps using the one-pass VBR method. Choosing the Menu’s Background The first step in creating a menu is to choose its background. The menu background can be a still image or a video clip. Still Images for Backgrounds You can use a wide variety of graphic formats as still backgrounds in DVD Studio Pro. See Using Your Graphics Program for a list of supported formats. Chapter 13 Creating Menus Using the Standard Method 243 For best quality, be sure your graphic: • Matches the menu’s resolution and aspect ratio (4:3 or 16:9): If you are creating 16:9 menus in SD projects, or with the 720 x 480p, 720 x 576p, or 1440 x 1080i HD resolutions in HD projects, be sure the graphic is anamorphic. See Creating Graphics to Use in Menus and Choosing an Aspect Ratio for details. • Conforms to the broadcast video color space: Graphics that look stunning in your graphics program can look very different when viewed on DVD. Most graphics applications let you scale colors to NTSC or PAL color space. DVD Studio Pro automatically scales the size of the background graphic to fit the frame size if necessary. This can result in the menu’s background color being visible along some edges. Note: The color of an empty menu’s background can be set in the Menu pane of DVD Studio Pro Preferences. By default this color is set to dark gray. Video Clips for Backgrounds Assigning a video clip as a menu’s background creates a motion menu. The video can be an animation or live action. Often the video is actually a still background with several small moving images representing scenes you can jump to. See Creating Video for Motion Menus for more information on creating the video. You can choose what happens when a menu’s video clip reaches its end: • It can simply stop, displaying a still image of the last frame. • It can loop, jumping from the end back to a point in the video clip that you choose. It is common for a menu’s video clip to have a relatively complicated introduction—perhaps with the buttons flying in and a piece of dialogue providing the audio—and then resolve into a mostly still graphic, with lights flickering or objects moving in a repetitive way. This kind of design makes it easier to create a loop that jumps from the end back to the loop point as smoothly as possible. See Configuring Motion Menu Settings for more information on setting looping options. Assigning a Background to a Menu There are several ways to assign a background to a menu. Use the method that you feel most comfortable with. In all cases, these methods also replace an existing background. Assigning a Menu Background Using the Inspector You can assign a menu background using the Inspector. With this method, you can only choose from assets already imported into DVD Studio Pro. To assign a menu background using the Inspector 1 Select the menu and make sure the Menu Inspector displays the menu properties. 244 Chapter 13 Creating Menus Using the Standard Method 2 Choose a background from the Background pop-up menu. The selected file appears as the menu background. Assigning a Menu Background by Dragging You can assign a background to a menu by dragging the asset from the Assets tab, the Palette, or a Finder window. To assign a menu background by dragging it to the Menu Editor 1 Select the menu in the Outline or Graphical tab or choose it from the Menu Editor’s View pop-up menu to display it in the Menu Editor. 2 Locate the background file you want to use in the Assets tab, Palette, or Finder window. 3 Drag the asset to an empty part of the Menu Editor and pause until the Drop Palette appears. 4 Choose Set Background from the Drop Palette. The background appears in the Menu Editor. To assign a menu background by dragging it to the Outline or Graphical tab 1 Select the menu in the Outline or Graphical tab or choose it from the Menu Editor’s View pop-up menu to display it in the Menu Editor. 2 Locate the background file you want to use in the Assets tab, Palette, or Finder window. 3 Assign the background file to the menu by dragging it to the menu’s name in the Outline tab or the menu’s tile in the Graphical tab. A box appears around the name or tile to let you know the menu will receive the background file. The background appears in the Menu Editor when you release the mouse button. Choosing a Menu’s Background from a Layered Photoshop File You can choose a layer (or several) from an Adobe Photoshop format (PSD) file to use as the menu background. One PSD file can supply backgrounds and overlays for several menus. To choose a menu background from a PSD file 1 Either create a new menu or select an existing one. 2 Click the Menu tab in the Menu Inspector. 3 Assign the PSD as the menu’s background by doing one of the following: • Choose it from the Background Asset pop-up menu in the Menu Inspector. • Drag it to the Menu Editor and choose Set Background from the Drop Palette. The PSD file’s layer names appear in the Background area of the General tab. Chapter 13 Creating Menus Using the Standard Method 245 4 Select the checkboxes next to the layers that make up the background. Select these checkboxes to make the layers part of the background. Choosing the Menu’s Overlay The second step in creating a menu is to choose its overlay (if you are using one). The overlay is a graphic that defines what kind of highlight appears when the viewer selects each button using the DVD player’s remote control, and where each button’s highlights occur on the menu. The highlight can be an outline of the button, an underline, or even text. Note: If you intend to use shapes to create your menu buttons, you do not need to choose an overlay file. You can use an overlay file and shapes in the same menu. There are two types of overlays you can use when creating your menus: • Simple overlay graphics: These have a single highlight color. Simple overlays use white where they will be transparent, and black to define the highlight areas. • Advanced overlay graphics: These can have up to four colors or shades of gray, depending on the mapping type you intend to use. Using advanced overlays, you have multiple highlight colors appear when selecting or activating buttons. A single overlay graphic provides the highlights for all buttons. When creating your buttons, you must single out each button’s active area to ensure that when the viewer selects a button, only its part of the overlay graphic is highlighted. The overlay typically provides the art only for each button’s selected and activated states. It can also provide the art for the normal state, but this state is most often incorporated into the background, allowing for very nice-looking, 24-bit resolution buttons. An advanced overlay’s four-color limit, and especially a simple overlay’s one-color limit, greatly restrict the visual quality of normal-state buttons. The four colors used in an advanced overlay depend on the mapping type used for the overlay: • Chroma: The overlay must use the colors black, red, blue, and white, with white typically being the background color. • Grayscale: The overlay must use the colors black, dark gray, light gray, and white. White is usually used as the background color. 246 Chapter 13 Creating Menus Using the Standard Method The Mapping Type setting in the Menu Inspector’s Colors tab indicates the type of overlay you are using. If colors other than those specified are present in the overlay, they are mapped to their closest equivalents, which can produce surprising results. Use care to include only the specified colors when creating your overlays. See Creating Overlays for details on creating overlay graphics, including the color values used by the chroma and grayscale mapping types. It is important to understand that the actual colors used in the overlay, whether you use the chroma or grayscale method, are not what appear as the highlights in the menu. They only identify where the actual highlight colors should appear. DVD Studio Pro uses color mapping to set the highlight colors. See Understanding Color Mapping to learn more about color mapping. Assigning a Menu Overlay Using the Inspector You can assign a menu overlay using the Inspector. With this method, you can only choose from assets already imported into DVD Studio Pro. To assign a menu overlay using the Inspector 1 Select the menu and make sure the Menu Inspector displays the menu properties. 2 Click the General tab in the Menu Inspector (if it’s not already visible). 3 Choose an overlay from the Overlay File pop-up menu. The selected file is assigned as the menu overlay. Depending on other menu settings, you may not see any changes in the Menu Editor. Assigning a Menu Overlay by Dragging You can assign an overlay to a menu by dragging it from the Assets tab, the Palette, or a Finder window. To assign a menu overlay by dragging it to the Menu Editor 1 Select the menu in the Outline or Graphical tab or choose it from the Menu Editor’s View pop-up menu to display it in the Menu Editor. 2 Locate the overlay file you want to use in the Assets tab, Palette, or Finder window. 3 Drag the asset to an empty part of the Menu Editor and pause until the Drop Palette appears. 4 Choose Set Overlay from the Drop Palette. The selected file is assigned as the menu overlay. Depending on other menu settings, you may not see any changes in the Menu Editor. Chapter 13 Creating Menus Using the Standard Method 247 Choosing a Menu Overlay from a Layered Photoshop File You can choose a layer from an Adobe Photoshop format (PSD) file to use as the menu overlay. One PSD file can supply backgrounds and overlays for several menus. To choose a menu overlay from a PSD file 1 Either create a new menu or select an existing one. 2 Click the General tab in the Menu Inspector. 3 Assign the PSD asset as the menu’s overlay by doing one of the following: • Choose it from the Overlay File pop-up menu in the Menu Inspector. • Drag it to the Menu Editor and choose Set Overlay from the Drop Palette. 4 Choose the layer to use as the overlay from the Overlay Layer pop-up menu. Choose the overlay file. Choose the overlay layer. Understanding Color Mapping Color mapping is the process of assigning highlight colors with transparency values to the colors used in an overlay. The colors you assign can be different for each of the three button states (normal, selected, and activated). You can use two types of overlays: a simple one that uses a single overlay color and an advanced one that uses up to four overlay colors. For many menus, a simple overlay will provide what you need with minimal complexity. You may find, however, that an advanced overlay provides greater flexibility when you are creating complicated menus. Differences Between Simple and Advanced Overlays The simple and advanced overlays differ primarily in how they use the overlay file. • For simple overlays: The color white in the overlay graphic is set to be transparent—this cannot be changed. The only other color allowed is black. If you add a graphic element that has a soft glow or has been anti-aliased, the areas that are not black or white appear with additional highlight colors (controlled by the advanced overlay color mapping settings). You get to choose a highlight color and its transparency for each of the three button states (normal, selected, and advanced). See Creating Simple Overlays for more information. • For advanced overlays: You can use up to four colors when creating your overlay graphic. When setting up the color mapping, you assign a highlight color and transparency to each of the four overlay colors, for each of the three button states. This allows you to create much more varied looks to the menu. For example, you do not need to make all highlight colors for a button the same color. Using an advanced overlay can also allow you to take advantage of anti-aliased edges. 248 Chapter 13 Creating Menus Using the Standard Method Both simple and advanced overlays use the same color mapping palette and color mapping sets. When you map a color in a simple overlay, you are also mapping the color to the black overlay color in the advanced overlay. You can use simple overlay mapping for some buttons and advanced overlay mapping for other buttons on the same menu. Color Mapping Palette The DVD specification allows a single 16-color palette to be assigned to each menu. This palette provides the colors used by the overlay to create the three button states. You can set each of the 16 colors and save the palette as the default palette for DVD Studio Pro. You can also create a different palette for each menu. Note: Avoid choosing highly saturated colors. All colors used in your project must conform to broadcast limits. If necessary, the colors are restricted during playback and you may find the colors you configured do not match those used in the title. Setting the Colors in the Color Palette You set each of the 16 colors in the palette independently. To set a palette color 1 Select the menu and make sure the Menu Inspector displays the menu properties. 2 Click the Colors tab in the Menu Inspector. 3 Click Edit Palette at the bottom of the Colors tab. The Color Palette window appears. 4 Select the color you want to change. The Colors window appears. 5 Select the color-choosing method you want to use, then choose the color. See Methods for Choosing Colors for information on the different methods. 6 As you choose your color, the color in the palette also changes. To change another color in the palette, select it in the Color Palette and repeat the above process. Click the close button once you have set the colors in the Color Palette. Chapter 13 Creating Menus Using the Standard Method 249 In the Colors tab in the Menu Inspector, clicking the Save as Default button makes this set of colors the DVD Studio Pro default palette, and it will be used in all menus and projects created from now on (until it is changed again). Clicking Restore to Default overrides any changes you have made to this palette and sets it to match the default palette. Note: Although they are identical in how they appear and work, the Color Palette used for subtitles is independent of the one used for menus. Methods for Choosing Colors DVD Studio Pro uses the standard Mac OS X Colors window. The window provides a variety of methods for choosing your colors, including a magnifying glass for grabbing colors from anywhere on your system’s display. See Mac Help for information on using the Colors window. Color Mapping Sets While the DVD specification limits you to 4 colors in a menu overlay and 16 colors in a menu’s palette, you can use those colors in different ways on each button on a menu. DVD Studio Pro lets you choose from three color mapping sets for each button. Each set uses the same Color Palette, but allows you to assign different colors and transparencies to each overlay color for the selected and activated states of the buttons. There are two reasons you might want to do this: • To include buttons with different highlight colors on the same menu • To get around problems with overlapping buttons Both the Menu and Button Inspectors have tabs with color mapping settings. The settings you make in the Colors tab in the Menu Inspector affect all buttons that you have created and will create for that menu. All buttons use color mapping set 1 when first created. Once a button has been created, its properties appear in the Button Inspector. You can select a different color mapping set (2 or 3) for this button in the Style tab. You can also change the color mapping settings (for example, picking a different color for the selected state of overlay color 2) in the Colors tab. However, this affects all buttons that use that setting, not just the current button. 250 Chapter 13 Creating Menus Using the Standard Method The illustration below shows a menu with six buttons. The menu uses the three color mapping sets to group buttons with similar functions. Color map set 1 Color map set 1 Color map set 1 Color map set 1 Credits OK! Bonus OK! Color map set 2 Color map set 3 Play Movie Select Scene Trailers Cast Bios OK! OK! OK! OK! Using Simple Overlay Color Mapping Simple overlays have one color setting for each button state (normal, selected, and activated). All white areas of the overlay graphic are automatically set to be transparent—all black areas become a highlight area. You can use palettes and color mapping sets with a simple overlay. The following steps show you how to set up color mapping for a menu when using a simple overlay. Once you start creating buttons (described in Adding Buttons to Your Menu), you will be able to select the color mapping sets for them. To set up color mapping for a menu using a simple overlay 1 Select a menu that has a background and overlay assigned. The Menu Inspector appears. 2 Click the Colors tab in the Menu Inspector. 3 Select Simple next to Overlay Colors. 4 In the Menu Editor, choose Display Composite from the Settings pop-up menu to see the normal color settings take effect as you set them. (You will not see the selected and activated settings take effect until you start creating buttons.) 5 Set the color and opacity settings for the normal selection state. • To choose the color: Open the Color pop-up menu and choose a color from the 16-color palette that appears. Chapter 13 Creating Menus Using the Standard Method 251 • To set the opacity: Either enter a new value in the fields to the right of the Opacity slider, or drag the sliders. The values range from 0 (completely transparent) to 15 (completely opaque). Select Simple or Advanced, depending on the overlay you are using. Select the color mapping set to configure. Set the highlight’s opacity. Choose a color for each button state. Set the normal color settings based on whether the background includes the normal button graphics. • If the normal button graphics are included in the background: Set the opacity for the Normal color to 0 (completely transparent). • If the normal graphics are not included in the background: Set the opacity and select the color so that the buttons appear as intended. 6 Select Selected and Activated under Selection States and set the highlight color settings for the selected and activated states. You will not see any of these settings take effect until you start creating buttons. You can configure the settings for all three of the color mapping sets by selecting their buttons (1, 2, and 3). Note: If you set the Normal opacity to 15 and see other colors around the edges of items in the overlay graphic, the graphic has anti-aliased edges. To prevent the extra colors from appearing, you should either correct the overlay graphic or use the advanced overlay method. Using Advanced Overlay Color Mapping Using an advanced overlay, you can map highlight colors to up to four overlay colors. You choose one of two mapping types for the overlay graphic (chroma or grayscale), based on how you created the overlay graphic. See Creating Overlays for details. 252 Chapter 13 Creating Menus Using the Standard Method Because advanced overlays can have up to four colors, you’re more likely to use them to create the normal button states (in addition to the selected and activated states) than you would be with a simple overlay. The following sections describe strategies you can use for each button state. Normal State Normal settings determine what a button looks like when not selected or activated. They apply to the entire overlay graphic, not just the areas identified by the button active areas. • If the normal state of the button is part of the background (the overlay does not provide button graphics): You generally set the opacity for each of the overlay colors to 0, making them invisible (and making the highlight colors mapped to them unimportant). • If the normal state of the button is not part of the background (the overlay provides the button graphics): You need to assign a color and opacity for each overlay color for the normal state. Selected State To avoid viewer confusion, it is important to clearly show that a button has been selected. The way you do this depends on whether the normal state of the button is part of the background. • If the normal state of the button is part of the background: The overlay typically provides a highlight by adding something to the existing button, such as an outline or a small graphic (for example, a checkmark, logo, or some text). • If the normal state of the button is not part of the background: You can change the colors and transparency of the overlay colors used for the normal state button. For example, you could have one of the overlay colors be transparent in the normal state and appear as an additional graphic in the selected state. Activated State The activated state, like the selected state, must appear clearly to the user. However, the activated state generally appears for only a short time—the amount of time it takes the DVD to process the button’s action. The following is an example of an advanced overlay, showing only one button and using the grayscale mode. Play Movie OK! Light gray checkmark Dark gray name Black “OK!” White background Chapter 13 Creating Menus Using the Standard Method 253 This overlay uses a white background, main text that is dark gray, a light gray checkmark, and a black “OK!” Using color mapping, you can control how each of these elements appears in each of the three states. Overlay color Normal state Selected state Activated state Black Transparent Transparent Yellow, opaque Dark gray Yellow, opaque Yellow, opaque Brown, opaque Light gray Transparent Green, opaque Transparent White Transparent Transparent Transparent In the above example, for the normal state only the main text (using the dark gray overlay color settings) is visible, with its color set to yellow. When the button is selected, a green checkmark (using the light gray overlay color settings) appears. When activated, the checkmark disappears, the text turns brown, and a yellow “OK!” (using the black overlay color settings) appears. Setting Up a Menu’s Color Mapping Using an Advanced Overlay The following steps show you how to set up color mapping for a menu when using an advanced overlay. Once you start creating buttons (described in Adding Overlay-Based Buttons), you will be able to select the color mapping sets for them separately. To set up color mapping for a menu using an advanced overlay 1 Select a menu that has a background and overlay assigned. The Menu Inspector appears. 2 Click the Colors tab in the Menu Inspector. 3 Select Advanced next to Overlay Colors. 4 Set the Mapping Type to either Chroma or Grayscale, depending on how the overlay was created. 5 Select Normal under the Selection State. 6 In the Menu Editor, choose Display Composite from the Settings pop-up menu to see the normal color settings take effect as you set them. (You will not see the selected and activated settings take effect until you start creating buttons.) 7 Set the color and opacity settings for the normal selection state. • To choose the color: Open the Color pop-up menu and choose a color from the 16-color palette that appears. • To set the opacity: Either enter a new value in the fields to the right of the Opacity sliders, or drag the slider next to the value. The values range from 0 (completely transparent) to 15 (completely opaque). 254 Chapter 13 Creating Menus Using the Standard Method 8 Set the normal color settings based on whether the background includes the normal button graphics. • If normal button graphics are included in the background: Set the opacity for each overlay color to 0 (completely transparent). • If normal graphics are not included in the background: Set the opacity and select the color for each overlay color so that the buttons appear as desired. 9 Select Selected and Activated under Selection State and set the highlight color settings for the selected and activated states. You will not see any of these settings take effect until you start creating buttons. You can configure the settings for all three of the color mapping sets by selecting their buttons (1, 2, and 3). Using an Advanced Overlay to Support Anti-Aliasing Instead of using the advanced overlay’s four colors to create multiple color highlights, you can use them to create pseudo-soft edges and take advantage of anti-aliased graphics. This requires you to use the grayscale method, using either white elements on a black background or black elements on a white background. The soft or anti-aliased edges are mapped to the dark and light gray overlay colors. By mapping the same color to each overlay color, but at reduced opacities on the dark and light gray overlay colors that occur at the edges, you can effectively simulate soft or anti-aliased edges. To configure an advanced overlay for anti-aliased edges 1 Select a menu that has a background and overlay with anti-aliased edges assigned. The Menu Inspector appears. 2 Click the Colors tab in the Menu Inspector. 3 Select Advanced next to Overlay Colors. 4 Set the Mapping Type to Grayscale. 5 Select Normal under the Selection State. 6 In the Menu Editor, choose Display Composite from the Settings pop-up menu to see the normal color settings take effect as you set them. (You will not see the selected and activated settings take effect until you start creating buttons.) 7 If the overlay should appear in the normal selection state, set the color and opacity settings as follows: • Choose the same color from the Color pop-up menus for each of the overlay colors. • Set the opacity for the primary overlay color (usually black) to 15. • Set the opacity for the next overlay color (dark gray) to 10. • Set the opacity for the next overlay color (light gray) to 5. Chapter 13 Creating Menus Using the Standard Method 255 If the overlay should not appear in the normal selection state, set the opacity settings to 0 for each overlay color. 8 Select Selected and Activated under Selection State and set the highlight color settings for the selected and activated states. Set the color and opacity settings using the same method used in step 7. You will not see these settings take effect until you create buttons on the menu. Configuring the Menu Inspector for Standard Menus The tabs within the Menu Inspector provide a variety of menu configuration settings. These settings control everything from background and overlay configuration, to transition and timeout settings. The Menu Inspector has five tabs: General, Menu, Transition, Colors, and Advanced. The Colors tab changes depending on whether you are using simple or advanced overlay color mapping. Settings at the Top of the Menu Inspector for Standard Menus There are three settings at the top of the Menu Inspector: • Name: Enter the name for this menu. • Est. Size: Displays the estimated amount of disc space the menu requires based on the type and duration of the assigned assets. • Background: Choose the menu’s background. See Choosing the Menu’s Background for more information. 256 Chapter 13 Creating Menus Using the Standard Method General Tab in the Menu Inspector for Standard Menus The General tab in the Menu Inspector is divided into four sections: The upper section contains basic menu settings, the next section contains settings for motion menus and menu timeout actions, the next section contains the overlay selection settings, and the bottom section contains the audio file settings. Motion menu settings Audio settings Menu timeout and jump actions Overlay selections Motion Menu Settings The motion menu settings apply whenever you assign a video asset as the menu’s background or add audio to the menu. See Configuring Motion Menu Settings for more details on these settings. • Start: Defines the starting frame for the motion background. Use either the slider or timecode field to set this value. • Loop Point: Defines the frame that is jumped back to when the motion background is looped. By default this frame is set to be the same as the Start timecode. This is also the point where button highlights appear and the viewer can begin navigating the buttons. (Because button highlights are still images, you may want to delay their appearance until the buttons stop moving if you are flying them onto the screen.) Use either the slider or timecode field to set this value. This value can also be set by a chapter marker in the background video. • End: Defines the last frame for the motion background. The At End setting becomes active once this frame is reached. Use either the slider or timecode field to set this value. • Duration: Adjusts automatically to match the time between the Start and End settings. Adjusting Duration only affects the End setting. Chapter 13 Creating Menus Using the Standard Method 257 • Single Field: Optimizes playback when using field-based video sources. This is especially important with video that has fast motion, and will reduce any motion artifacts. Selecting Single Field with frame-based video sources results in reduced resolution (edges may appear jagged). • At End: Sets the motion menu action when the End time is reached during playback. Choose one of these settings: • Still: Freezes the video’s last frame once the video asset finishes playing. If there is an audio file assigned, it will also play once and then stop. • Loop: Activates the Start, Loop, and End controls if there is a video asset assigned as the background. See Configuring Motion Menu Settings for information on using these controls. • Timeout: Activates the Sec and Action settings. This allows you to configure the menu so that if the viewer does not select a button for a specified amount of time, the title automatically jumps to the element specified with the Action setting. Menu Timeout and Jump Action You can set whether a menu appears indefinitely or has a timeout duration. If you set a timeout duration, the title jumps to the element chosen in the Action pop-up menu after the specified amount of time. If the menu has a video asset assigned as the background, the timeout’s countdown does not start until the video finishes playing. You’d generally use a timeout setting with titles played at a sales kiosk, where you want to have something playing onscreen as much as possible. • Sec: Enter the amount of time, in seconds, that the menu appears if no button is selected. • Action: Choose the element to jump to once the timeout value is reached. If the menu has a default transition, the transition plays before the element is jumped to. Overlay Selections You use these settings only if you are using an overlay with this menu. • Overlay File: Choose the file with the menu’s overlay. See Choosing the Menu’s Overlay for more information. • Overlay Layer: Becomes active whenever you assign a PSD file with layers as the menu’s subpicture overlay. You choose the overlay layer from the pop-up menu. Audio Settings See Adding Audio to a Menu for more information on using the settings in this area. • Filename area: Lists the audio files assigned to the menu. You can add audio files to the menu by dragging them here. You can rearrange their order by dragging the filenames to a new position. 258 Chapter 13 Creating Menus Using the Standard Method • Add (+): Opens the file selection dialog, allowing you to add one or more audio files to the menu. • Delete (–): Removes the selected audio file from the menu. • Total Audio Duration: Shows the combined duration of all audio files assigned to the menu. Menu Tab in the Menu Inspector for Standard Menus Most settings in the Menu tab in the Menu Inspector are optional. Exceptions are the Resolution and Display Mode settings, which must be set correctly for each menu, and the Background Layers area that is used when a Photoshop layered file (PSD) is assigned as the background. Miscellaneous menu settings PSD background layer selections Drop shadow settings Miscellaneous Menu Settings • Default Button: Choose the button to be selected when the menu appears during playback of the title. This setting can be overridden by any element that jumps to this menu, based on its jump setting and the Highlight Condition setting. • Return Button: Choose the project element to jump to if you press the Return button on the DVD player’s remote control. • Highlight Condition: Provides an alternative method to the Default Button setting for determining which button to highlight. When Highlight Condition is set to Default, the Default Button setting supplies the button highlight setting. When Highlight Condition is set to one of its stream settings (audio, subtitle, camera angle), the number of the stream last played determines the button to highlight. This setting can be overridden by any element that jumps to this menu, based on its jump setting. • Language: Choose the language in which this menu should be displayed. See Using Languages with Menus for more information. Chapter 13 Creating Menus Using the Standard Method 259 • Resolution: Choose the menu’s resolution. • For SD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL). • For HD projects: You can choose from any of the supported resolutions. DVD Studio Pro Preferences includes a setting for the default resolution. The resolution automatically changes to match the menu’s background video resolution if it matches one of the supported resolutions. Choosing a resolution different than that used by the menu’s background video results in the menu being scaled and rendered to this setting when you build the project. • Display Mode: Set the aspect ratio for this menu (4:3 or 16:9), and with 16:9, choose how it displays on a 4:3 monitor. The aspect ratio of the background and overlay must match this setting. See Working with 16:9 Menus for more information. • Number Pad: Defines which buttons are directly accessible by a DVD player’s numeric keypad. Choose All, None, or a button number from the pop-up menu. When you choose a button number, that button and all buttons less than that number are accessible via the numeric keypad—buttons greater than this value are blocked from direct access. Important: This feature is based on the button order as shown along the top of each button’s Button Inspector, and not the button names you see in the Menu Editor. See About Button Numbers for information on verifying and changing the button numbers. • Btn Offset: You can use this setting to offset button numbers so they make sense to a viewer who wants to select a button by entering its number. For example, you may have a set of scene selection menus with numbered scenes. One of the menus may have scenes 23 to 34, with the button for scene 23 being the first button on the menu. If you enter an offset value of 22 for this menu, when the viewer enters 23 on the remote control, 22 is subtracted from it, with the result being 1—the button’s actual number. Background Layers Selections • Background Layers: This table becomes active whenever you assign a PSD file with layers as the menu’s background. A list of all layers in the file appears, with checkboxes so that you can select which ones to use for the background. See Choosing a Menu’s Background from a Layered Photoshop File for details on these settings. Drop Shadow Settings • Menu Shadow: This area configures the drop shadow settings for this menu. See Configuring the Menu’s Drop Shadow Settings for more information. 260 Chapter 13 Creating Menus Using the Standard Method Transition Tab in the Menu Inspector for Standard Menus The Transition tab is used to configure a button transition for this menu. See Transition Tab in the Menu and Button Inspectors for details on this tab. Colors Tab in the Menu Inspector with Simple Selected The following settings are available in the Colors tab in the Menu Inspector when you select the simple overlay color mode. Select Simple or Advanced, depending on the overlay you are using. Select the color mapping set to configure. Set the highlight’s opacity. Choose a color for each button state. • Overlay Colors: Select the overlay color method to use. • Simple: Select Simple if you are using a simple overlay. • Advanced: Select Advanced if you are using an advanced overlay. Chapter 13 Creating Menus Using the Standard Method 261 • Set: Select the color mapping set (1, 2, or 3) to configure. You cannot assign sets to buttons from the Menu Inspector; you must select a button or group of buttons and select their set in the Button Inspector. All new buttons use set 1. Note: These sets apply only to the selected and activated states of the buttons. The normal state color mapping setting applies to the entire overlay graphic unless a button’s active area is selected or activated. See Color Mapping Sets for more information. • Color: Choose the color for each of the three button states from the current Color Palette. Note: This also sets the highlight colors for the black overlay color if an advanced overlay is also used on this menu. • Opacity: Set the opacity for each of the highlight colors. You can use the slider or enter a value from 0 (completely transparent) to 15 (completely opaque). Note: This also sets the opacity for the black overlay color if an advanced overlay is also used on the menu. • Save As Default: Saves this color mapping configuration as the default to be used on all new menus you create. Simple and advanced overlays use the same default mapping configuration. • Restore Defaults: Replaces the existing settings with those of the default color mapping configuration. • Edit Palette: Displays the Color Palette window, which you can use to change colors within the palette. 262 Chapter 13 Creating Menus Using the Standard Method Colors Tab in the Menu Inspector with Advanced Selected The following settings are available in the Colors tab in the Menu Inspector when you select the advanced overlay color mode. Select the color mapping set to configure. Set the highlight’s opacity. Shows the overlay graphic’s colors. Select the mapping type used for the overlay graphic. Choose the colors to map to each overlay graphic color. Select the button state. Select Simple or Advanced, depending on the overlay you are using. • Overlay Colors: Select the overlay color method to use. • Simple: Select Simple if you are using a simple overlay. • Advanced: Select Advanced if you are using an advanced overlay. • Mapping Type: Select the colors used to create the overlay graphic. • Chroma: Chroma uses black, red, blue, and white as the overlay colors. • Grayscale: Grayscale uses black, dark gray, light gray, and white as the overlay colors. • Selection State: Select the button state you want to configure. This setting also determines which state’s colors and transparencies to display. • Normal: Selects the normal state for configuration and display. • Selected: Selects the selected state for configuration and display. • Advanced: Selects the advanced state for configuration and display. • Set: Select the color mapping set (1, 2, or 3) to configure. You cannot assign sets to buttons from the Menu Inspector—you must select a button or group of buttons and select their set in the Button Inspector. All new buttons use set 1. Chapter 13 Creating Menus Using the Standard Method 263 Note: These sets apply only to the selected and activated states. The normal state color mapping setting applies to the entire overlay graphic unless a button’s active area is selected or activated. • Key: Shows the overlay file’s colors as selected with the Mapping Type. • Color: Choose the color for each of the four overlay colors from this pop-up menu, which displays the current Color Palette. You must do this for all three button states. • Opacity: Set the opacity for each of the highlight colors. You can use the slider or enter a value from 0 (completely transparent) to 15 (completely opaque). • Save As Default: Saves this color mapping configuration as the default to be used on all new menus you create. Simple and advanced overlays use the same default mapping configuration. • Restore Defaults: Replaces the existing settings with those of the default color mapping configuration. • Edit Palette: Displays the Color Palette window, which you can use to change colors within the palette. Advanced Tab in the Menu Inspector for Standard Menus The Advanced tab in the Menu Inspector for standard menus contains settings that are used only in specialized projects. Disabled User Operations settings Playback Options settings Disabled User Operations Settings • Disabled User Operations: Select the functions that you want to be disabled while this menu plays. See User Operations for more information. 264 Chapter 13 Creating Menus Using the Standard Method Playback Options Settings • Pre-Script: Choose a script to run before the menu appears. This script can decide whether to show the menu or configure the DVD player before showing it. See Pre-Scripts for information on pre-scripts. • DVD@CCESS: Selecting this checkbox allows you to add DVD@CCESS links, which provide additional functionality to your title when played on a computer. See DVD@CCESS for more information. • Display Condition: Selecting this checkbox enables the Display Condition settings that control whether or not this menu should be displayed and to define what should be displayed if not this menu. See Display Condition for more information. Adding Buttons to Your Menu Once you have set your background and overlay, you are ready to start adding buttons to your menu. You can add buttons either by creating active areas in the overlay or by dragging shapes to the Menu Editor. You can then set each button’s properties, such as what the button jumps to when activated and how to navigate from it when using the DVD player’s remote control. The number of buttons a menu can have depends on the DVD standard and its display mode. SD Projects • Menus using a 4:3 display mode can have up to 36 buttons. • Menus using a 16:9 Pan-Scan or 16:9 Letterbox display mode can have up to 18 buttons. • Menus using a 16:9 Pan-Scan & Letterbox display mode can have up to 12 buttons. HD Projects • Menus using a 4:3 display mode can have up to 48 buttons. • Menus using a 16:9 Pan-Scan or 16:9 Letterbox display mode can have up to 24 buttons. • Menus using a 16:9 Pan-Scan & Letterbox display mode can have up to 16 buttons. Adding Overlay-Based Buttons To add an overlay-based button, you must identify each button’s “active area.” The active area is where selected and activated state highlights will occur, whether the title is played on a set-top DVD player or on a computer. Additionally, when the title is played on a computer, the active areas also determine the area in which a mouse-click activates the button. To create the active area, you use the pointer to drag over the area containing the button’s elements. See the next section for details. Chapter 13 Creating Menus Using the Standard Method 265 Creating and Modifying Button Active Areas While you can create a button’s active area without a background or overlay assigned, most of the time you will need to assign them first so you know where to place the button active areas. See Creating Menus Using the Standard Method and Creating Menus Using the Layered Method for details on assigning these files. To create and modify a button’s active area 1 Click the menu background where you want one of the button’s corners to be, then drag to the opposite corner. You see a rectangle with dashed lines. 2 Do any of the following to modify the button’s active area: • To move the button by dragging: Click inside the dashed lines and drag it to the new position. • To move the button by dragging in one direction only (horizontal or vertical): Press the Shift key, then drag the button. • To move the button by dragging with snapping and the dynamic guides temporarily disabled: Press Command, then drag the button. • To move the button using the arrow keys: Select the button and press the arrow keys to move it one pixel at a time. Press Shift and the arrow keys to move it 10 pixels at a time, or press Shift-Option and the arrow keys to move it 20 pixels at a time. • To move an edge: Click the resize handle at the center of the edge and drag it to the new position. This changes the button’s size. • To move a corner (which moves two edges at once): Click the resize handle at the corner and drag it to the new position. This also changes the button’s size. • To change a button’s size while maintaining the button’s aspect ratio: Shift-drag an edge or corner. See Working with Assets in Buttons and Drop Zones for more information. • To change a button’s size while keeping it centered at its current location: Click an edge or corner, start dragging, then press the Option key. • To delete a button: Select it (resize handles appear on its dashed line), then press the Delete key. You can also use the Coordinates & Size area in the Advanced tab in the Button Inspector to precisely set a button’s size and position. 266 Chapter 13 Creating Menus Using the Standard Method Viewing the Selected and Activated States You can view the highlights for all three button states when you have a button selected. This makes it easy to see how the color mapping settings interact with the overlay. To view and set highlights for a button 1 In the Menu Editor, choose Display Composite from the Settings pop-up menu. The Menu Editor displays both the background and the overlay based on the color mapping settings. 2 Use the Menu Editor’s button state buttons to select the state (normal, selected, or activated) to display. Shows the activated state. Shows the selected state. Shows the normal state. 3 With the button state set to either selected or activated, select Highlight Set 1, 2, or 3 in the Style tab in the Button Inspector to select the color mapping configuration to apply to the current button. Note: The Set 1, 2, and 3 buttons in the Button Inspector’s Colors tab are for configuring the sets. They do not apply the sets to the current button. Why Don’t Highlight Colors Appear Without an Overlay? In earlier versions of DVD Studio Pro, you could see the selected and activated highlights in the active area rectangle even without an overlay. This made it easy to create a menu by just creating underlines (which were short and wide active areas) that showed the selected and activated highlights. The shapes feature of DVD Studio Pro 4 includes a SimpleButton shape that you can use to create these same types of highlights. By applying the SimpleButton shape to the first button active area you add to a menu, and then setting that button to be the menu’s default, all subsequent buttons will automatically have the SimpleButton shape and will show the selected and activated highlights. See the following section, Adding Shapes to a Menu, for information on applying shapes, and Setting Default Styles for information on defining a menu’s default button style. Adding Shapes to a Menu There are two ways to add a shape to a menu: • Drag it from the Shapes tab in the Palette. Chapter 13 Creating Menus Using the Standard Method 267 • Create a button active area, then select the shape from the Button Inspector. When you drag a shape from the Palette, it appears at its actual size, as created in the graphics program. When you add a shape by assigning it to an active area, it is scaled to fit the area, which can make it appear squashed or stretched. Dragging a Shape from the Palette The Palette offers three groups of shapes and shows you thumbnails of all the shapes you have to choose from. To drag a shape from the Palette 1 Select the Shapes tab in the Palette. Select the group of shapes to display. A soft gray border appears around the selected shape. 2 Select the group of shapes to display: • To display the shapes included with DVD Studio Pro: Click Apple. Note: Not all shapes supplied with DVD Studio Pro support highlights. Some are intended to be used only with drop zones and do not include the highlight layer used by buttons. • To display the shapes that have been imported for use by all projects: Click Custom. • To display shapes imported for use by this project only: Click Project. 3 Scroll through the available shapes, then select the one you want to use. 268 Chapter 13 Creating Menus Using the Standard Method 4 To add the shape to any empty part of the menu, drag it to the Menu Editor. If you hover over the area for a second, the Drop Palette appears, where you can choose to create a button or drop zone. See Adding Drop Zones to Your Menu for additional information about drop zones. 5 To apply the shape to an existing button, select the button in the Menu Editor, then do one of the following: • Click Apply in the Palette. • Drag the shape to the button. When dragged to an empty part of the menu, the shape becomes a button and appears at its actual size. You can move it and change its size by either dragging it or entering coordinate and size values in the Advanced tab in the Button Property Inspector. When applying or dragging the shape to an existing button, the shape’s size changes to match the existing button’s size. Assigning a Shape in the Button Inspector In the Button Inspector, you can select from the same shapes displayed in the Palette. To assign a shape in the Button Inspector 1 In the Menu Editor, select the button you want to apply the shape to. 2 Click the Style tab in the Button Inspector. 3 Choose a shape group from the Shape pop-up menu, then choose the shape to use. A thumbnail of the shape appears in the Button Inspector and the shape is applied to the button. The shape’s size changes to fit the button’s active area. You can move the button and change its size by either dragging it or entering coordinate and size values in the Advanced tab in the Button Inspector. See Managing Shapes for information on the different types of shapes available and details on how to import your own shapes. Copying a Button You can make a copy of a button to use on the same menu. Chapter 13 Creating Menus Using the Standard Method 269 To make a copy of a button 1 Select the button to be copied in the Menu Editor. 2 Hold down the Option key, then drag the button’s copy to its new location. The copy is automatically given the same name as the original, with a number added to distinguish it. The copy has all the same properties as the original, including its Target and navigation settings. Setting a Button’s Connection The main purpose of a button is to provide a way for the viewer to jump to a new disc location. For this to work, you must assign an element from your project as the button’s connection. There are several ways to set a button’s connection: • Using the Target setting in the Button Inspector • Using the shortcut menu that appears when you Control-click a button • Using the Connections tab. See Establishing Connections for more information. In some cases, when using the dragging methods to add assets to a menu and selecting options from the Drop Palette, the connection is automatically set. See Dragging Assets to the Menu Editor for more information. You can see a button’s current connection by placing the pointer over it and reading the tooltip that appears. To set a button’s connection in the Button Inspector 1 Select the button whose connection you want to set. 2 Choose the element to connect to from the Target pop-up menu in the top section of the Button Inspector. 270 Chapter 13 Creating Menus Using the Standard Method To set a button’s connection using the shortcut menu μ Control-click the button whose connection you want to set, choose Target from the shortcut menu, then choose the element to connect to from the submenus. A checkmark appears next to the currently selected target. Those elements that can have a pre-script assigned to them (menus, tracks, stories, and slideshows) are listed in square brackets. Setting a button’s target to the element in brackets allows the pre-script, if one is assigned to the element, to run before the element appears. If you set the target to anything else in the list, the pre-script is not run. See Pre-Scripts for more information. About Resume If you jump to a menu while watching a track, for example, by pressing the remote control’s Menu button, the DVD player remembers what track you were playing and how far you were into it. A mostly unknown feature of DVD players is that you can press the Menu button while in a menu to resume playing the track at the same place you jumped from. Creating a button on the menu and setting its Target to Resume provides the viewer with a more obvious way to resume playing the track. About Button Properties When you select or create a button, the Button Inspector appears. Note: There is a different Button Inspector for buttons on layered menus. See About Layered Menu Button Properties for more information. Chapter 13 Creating Menus Using the Standard Method 271 There are four tabs in the Button Inspector: Style, Advanced, Colors, and Transition. See the following sections for details: • Settings at the Top of the Button Inspector • Style Tab in the Button Inspector • Advanced Tab in the Button Inspector • Colors Tab in the Button Inspector • Transition Tab in the Button Inspector Settings at the Top of the Button Inspector There are three settings at the top of the Button Inspector. • Name: By default, buttons you manually add are named “Button _,” where “_” is the button number on that menu. To reduce confusion when viewing a list of the menu’s buttons, it is helpful to rename the buttons based on their functions. Note: Buttons created as a result of a Drop Palette action that creates other project elements are named after the new project elements. In the case of actions that create a new track, the button and the track are named after the video asset. • Button #: Next to the button’s name is its number. This number is based on the order in which the buttons are added to the menu. See About Button Numbers for information on changing this number and why it can be important. • Target: You can use this pop-up menu to define a button’s action when activated. (You can also use the Connections tab or Control-click the button.) Often you must set the connection later because what you want to jump to has not yet been added to the project. The pop-up menu contains all possible elements you can jump to. 272 Chapter 13 Creating Menus Using the Standard Method Style Tab in the Button Inspector The Style tab of the Button Inspector contains the most commonly used settings. • Asset: Use this pop-up menu to assign an asset to the thumbnail of the shape (if present) or, when there is no shape, to the button’s active area. You can choose any existing applicable assets. • Start Frame: When the asset assigned to this button is a video clip, this area displays the video. Use the slider or timecode entry to choose the start point for motion playback (if motion is enabled) or to choose the frame to use in the button’s thumbnail if motion is not enabled. • Motion: Select this checkbox to enable motion in the button when the button’s asset is a video clip. See Configuring Motion Menu Settings for looping details with motion buttons. • Shape: Use this pop-up menu to choose a shape to assign to the selected button. A thumbnail image of the selected shape appears next to the pop-up menu. The pop-up menu lists the existing shapes by their names, grouped as Apple Shapes (supplied with DVD Studio Pro), Custom Shapes (added shapes available to all projects), Project Shapes (added shapes available to this project only), and Patch Shapes. Use the Palette’s Shapes tab to manage the shapes and as another way to select a shape. • Shadow: Select this checkbox to apply the menu’s drop shadow setting to this shape. • Selected Highlight: Choose the button’s selected state highlight color from the 16-color palette. Note: This does not affect the button’s normal or activated states. Use the settings in the Colors tab for those highlights. • Highlight Set: Select the color mapping set (1, 2, or 3) to use for this button. Chapter 13 Creating Menus Using the Standard Method 273 • Opacity: Use this slider or enter a numeric value to set the selected highlight’s transparency from 0 (completely transparent) to 15 (completely opaque). Note: The Selected Highlight and Opacity settings affect the black color mapping settings for the selected color mapping highlight set. These settings affect all buttons on this menu, including overlay buttons, that use the same color mapping set. • Text: You can type text directly on the button in the Menu Editor or type it in this text area, then press Return to apply it to the button. To start a new line, press Option-Return. See Adding Text to a Button for more information. • Shadow: Select this checkbox to apply the menu’s drop shadow setting to this button text. • Text Position: Choose where you want to place the text when adding text to a button. Choices include Bottom, Top, Right, Left, and Center. Use the Center setting when creating a text-only button. • Text Offset X and Y: Adjust the position of the text using these settings. For the horizontal (X) offset, positive numbers move the text to the right and negative numbers move it to the left. For the vertical (Y) offset, positive numbers move the text down and negative numbers move the text up. • Include Text in Highlight: Select this checkbox to make the button text highlight when the button is selected or activated. 274 Chapter 13 Creating Menus Using the Standard Method Advanced Tab in the Button Inspector The Advanced tab of the Button Inspector contains settings you can use to fine-tune a button. • Navigation: The pop-up menus in this area let you set the actions that take place when the viewer uses the arrow buttons on the DVD player’s remote control to navigate around the title. Because this is the typical way the title will be viewed, it is important to spend some time configuring the navigation in a logical, predictable way. See Configuring Button Navigation for information. • Angle/Audio/Subtitle Streams: Use these three pop-up menus to connect a button to specific audio, subtitle, and angle streams to play back. For the subtitle stream, you can also choose whether subtitles should appear. • Auto Action: If you enable Auto Action for a button, it will activate automatically as soon as it is navigated to, without the viewer needing to press Enter. This is useful in menus, such as scene selection menus, in which you use Next and Previous buttons; you can assume that if viewers navigate to the Next or Previous button, they want to activate it. With overlay-based buttons, if you select this option, only the activated color mapping appears when the button is navigated to, skipping the selected color mapping. Important: When viewed with most software-based DVD players, such as the Apple DVD Player, auto action buttons must be clicked if a mouse is used to select buttons. If you use the computer’s arrow keys, however, auto action buttons activate automatically as with set-top DVD players. Chapter 13 Creating Menus Using the Standard Method 275 • Invisible: Applies to overlay-based buttons. This option allows you to have a button that does not display highlights in the normal, selected, or activated state. This is useful when you want to have a menu with text and no visible buttons. The text could tell the viewer to press the Enter button to go to the next menu or start playback (or whatever the button is set to jump to). • Coordinates & Size: This area lets you set the location of each edge of the button’s active area, plus the area’s height and width. The upper-left corner of the menu is at pixel 0, line 0. You can enter values for each edge, allowing you to precisely position and size the button’s active area. (You can also drag the active area and each of its edges with the pointer.) Colors Tab in the Button Inspector The Colors tab works exactly as does the Colors tab in the Menu Inspector. See Colors Tab in the Menu Inspector with Simple Selected and Colors Tab in the Menu Inspector with Advanced Selected for information on this tab. 276 Chapter 13 Creating Menus Using the Standard Method Transition Tab in the Button Inspector The Transition tab is used to configure a button transition for this button. See Transition Tab in the Menu and Button Inspectors for details on this tab. About Button Numbers Each time you add a button to a menu, in addition to its name (which you can change), it is assigned a number (which you cannot directly change) based on the order in which you added it to the menu. The button’s number The button’s name The first button you manually add to a menu is named and numbered “Button 1,” the second is “Button 2,” and so on. How a button fits in the order is important for four reasons: • Button number 1 is the default button selected when the menu plays if no other button has been set as the menu’s default button. • The button order determines the priority of the buttons if they overlap. Higher numbered buttons have a higher priority and can cover up lower numbered buttons. • The button order affects the creation of chapter index menus (see Applying Templates or Layout Styles to a Menu with Buttons). • The button order affects the number pad setting for viewers directly accessing a menu’s buttons from the DVD player’s remote control. While you cannot change this number in the Button Inspector, you can change it using the shortcut menu that appears when you Control-click a button. Chapter 13 Creating Menus Using the Standard Method 277 When you Control-click a button, a shortcut menu appears that allows you to rearrange the button order (and also set other button properties). There are also four buttons along the bottom of the Menu Editor (the Arrange controls) that allow you to rearrange the button order. Brings the item to the front, making it the highest priority. Sends the item’s priority one step back. Sends the item to the back, making it the lowest priority. Moves the item’s priority one step up. • Send To Back: Makes the selected button button 1, the lowest priority button. The existing button 1 now becomes button 2, and so on. The button names don’t change, however. You can also press Command-Shift-B to send it to the back. • Send Backward: Swaps the selected button’s number with the button below it, making it a lower priority than the button below it. If this is button 12, then it becomes button 11, and button 11 becomes button 12. You can also press Command–Left Bracket ([) to send it backward. • Send Forward: Swaps the selected button’s number with the button above it, making it a higher priority than the button above it. If this is button 12, then it becomes button 13, and button 13 becomes button 12. You can also press Command–Right Bracket (]) to send it forward. 278 Chapter 13 Creating Menus Using the Standard Method • Bring to Front: Makes the selected button the highest priority button on the menu. All buttons that were above it move down one number. You can also press Command-Shift-F to bring it to the front. The priority is generally not important unless you overlap your buttons or you intend to use this layout as a style for creating chapter index menus. (Overlapping is discouraged; see About Overlapping Buttons for more information.) Note: Drop zones, text objects, and buttons are included in the same priority list; a drop zone can have a higher priority, and thus cover up, a button. Adding Text to a Button You can add text to any button on a standard menu. You can even create text-only buttons by creating a button active area and then adding the text to it. The default text font and color are set in the Text pane in DVD Studio Pro Preferences. To add text to a button 1 Make sure the Style tab in the Button Inspector is displayed. 2 To add the text, do one of the following: • Select the button in the Menu Editor, then press Return. An insertion point appears at the bottom of the button. Type your text here. Press Return to add an additional line, or press Enter to exit the text entry mode. • Select the button in the Menu Editor, then type the text in the Text entry area of the Button Inspector. To add an additional line, press Return or Enter. • Select the button in the Menu Editor, then click just below its active area. An insertion point appears. Type your text. Press Return to add an additional line, or press Enter to exit the text entry mode. Note: The default settings in the Button Inspector’s Text Formatting section at the bottom of the Style tab place the text at the bottom of the button. You can change these settings before typing the text, in which case the text appears at the new position. 3 Select the Shadow checkbox (next to the text entry area) to apply the menu’s drop shadow settings to the text. 4 Choose the text’s position (Bottom, Top, Left, Right, or Center) from the Position pop-up menu. You can use the X Offset and Y Offset entries to fine-tune the position. 5 Select Include Text in Highlight if you want the text to highlight along with the button when selected or activated. You can edit the text by clicking within it or by dragging the pointer over the portion of the text to be replaced, then typing the new text. Chapter 13 Creating Menus Using the Standard Method 279 The button’s active area extends to include the text if you choose to include the text in the highlight. Use care to ensure that the active area does not inadvertently overlap other buttons on the menu. Setting the Button Text’s Font and Color A button’s text can use a mix of colors and fonts. To change the text font and color 1 Select the text you want to change. 2 Do one of the following to open the Font panel: • Choose Format > Font > Show Fonts (or press Command-T). • Click Fonts in the toolbar. 3 Choose the font and size to use. 4 Do one of the following to open the Colors window: • Choose Format > Font > Show Colors (or press Command-Shift-C). • Click Colors in the toolbar. 5 Choose the color to use. You can also add bold, italic, and underline attributes to the text. Note: The bold and italic attributes are available only if the current font supports them. To apply bold, italic, and underline attributes 1 Select the text you want to change. 2 Choose Format > Font > Bold (or press Command-B) to add the bold attribute. 3 Choose Format > Font > Italic (or press Command-I) to add the italic attribute. 4 Choose Format > Font > Underline (or press Command-U) to add the underline attribute. By selecting different parts of the button’s text, you can mix different fonts, colors, and attributes on the same button. Creating Text-Only Buttons You can create text-only buttons that only have the text as their graphic. This is useful if you want a simple button that says something like “Play Movie.” By centering the text in the button and configuring the button so that the selected and activated highlights apply to the text, you can create a button that works well in a DVD title. To create a text-only button 1 Create a button active area by dragging in the Menu Editor. 2 Add text to the button, either in the Button Inspector or by typing directly in the Menu Editor. 3 Set the text’s font and color. 280 Chapter 13 Creating Menus Using the Standard Method 4 In the Style tab in the Button Inspector, choose Center for the Position, and select Include Text in Highlight. 5 Adjust the size of the button’s active area so that it fits the text. You can now set the button’s selected and activated highlights as you would any simple overlay graphic. Note: If you open a DVD Studio Pro project that uses a font that is not on the computer you are opening it on (either because the font was deleted or the project was created on a different computer), any items using the missing font have a different font substituted with no warning. About Overlapping Buttons In general, it’s a good idea to avoid overlapping buttons. Some DVD players may behave erratically when they try to process menus with overlapping buttons. This problem is worse if you are playing the title on a computer and using a pointer to select a button. Sometimes, however, while the button graphics do not actually overlap, their active areas do. Active area overlap Play Movie Scene Select Slideshow In this case, if viewers watch the title on a computer, they may get unexpected results if they click in an overlap area. Another problem occurs when using overlay-based buttons. Because the active areas control the overlay area that is highlighted when you select or activate a button, you may end up with portions of neighboring buttons highlighting at inappropriate times. It is possible to get around this problem by using different color mapping sets on neighboring buttons. See Color Mapping Sets for more information. Configuring Button Navigation Because most viewers will use the arrow buttons on a DVD player’s remote control to navigate through the buttons on a menu, it’s important that the navigation is easy and logical. Chapter 13 Creating Menus Using the Standard Method 281 DVD Studio Pro includes three methods for setting button navigation: • Dragging: In the Menu Editor, you can Command-Option-drag the resize handle on each button’s edge to the button it should navigate to. • Manually: You can manually set each button’s navigation using the Navigation section in the Button Inspector’s Advanced tab. • Auto Assign: You can use the Auto Assign feature in the Menu Editor. This sets the navigation for all buttons on the menu at the same time. • Continuous Auto Assign: You can use the Continuous Auto Assign feature in the Menu Editor. This sets the navigation for all buttons each time you add a new button or reposition an existing button. This feature is activated when you first open DVD Studio Pro. See Setting Button Navigation with Continuous Auto Assign for more information. In general, if you are manually setting button navigation or modifying automatic button navigation, you should wait until all buttons have been added to the menu, ensuring that all possibilities are taken into account. It is also helpful to name each button before setting the navigation so that you can easily distinguish them from each other. Setting Button Navigation Manually by Dragging in the Menu Editor You can set button navigation in the Menu Editor by dragging a button’s edge to the button that it should navigate to. Each edge of a button corresponds to an arrow button on a remote control. For example, dragging the right edge of a button determines what will happen when you press the Right Arrow button. To set button navigation by dragging button edges 1 Select the button whose navigation you want to set. The active area rectangle appears around it. 2 Hold down the Option and Command keys and click the resize handle on the edge you want to set. For example, click the right edge to set the right-arrow jump for the button. 3 Drag from the resize handle to the button you want to link to. A line appears to indicate which edge you started at. 4 As you drag, the line’s color changes from white to green once you reach a button’s active area. When the line is green, release the mouse button to make the connection. Once the connection is made, the line disappears. 282 Chapter 13 Creating Menus Using the Standard Method The biggest drawback to setting navigation this way is that, unless you verify the connections carefully, you can easily miss setting all four edges of all buttons, resulting in some peculiar navigation. Setting Button Navigation Manually with the Button Inspector You can manually set each button’s navigation using the Button Inspector. You can also change a button’s navigation that has been set with the Auto Assign feature. To manually set button navigation 1 Select a button. 2 Click the Advanced tab in the Button Inspector. 3 In the Navigation area, open the pop-up menu for each direction (left, right, up, and down) and choose the button that should be jumped to for each. Leave the setting at “not set” if you do not want an action to occur when a viewer presses a particular arrow button. Each button’s settings are completely independent. The settings you make for one button have no effect on the other buttons in the menu. Setting Button Navigation with the Auto Assign Feature The Auto Assign feature makes it easy to configure the button navigation for a menu. You can also use it as a starting point for configuring your navigation, and then freely adjust the settings it creates. To use Auto Assign to set button navigation 1 Set up your menu as you want it, with its buttons in their final locations. 2 Choose Auto Assign Buttons Now from the Menu Editor’s Settings pop-up menu (or press Command-Shift-D). It’s important to understand that Auto Assign works with the buttons as they currently exist on the menu. If you move, delete, or add buttons to the menu, you need to use Auto Assign again to update the navigation. Note: Using Auto Assign overrides any existing navigation settings. If you intend to manually modify the settings Auto Assign creates, be sure you have all buttons in place before using it. This reduces the risk of having to use Auto Assign again, and undoing any modifications you may have made. How Auto Assign Works Auto Assign strives to configure the navigation in a logical manner. For example, pressing a Right Arrow button on the remote control selects the button to the right (if there is one). If a menu has a peculiar button layout, however, Auto Assign can produce surprising results. Chapter 13 Creating Menus Using the Standard Method 283 Auto Assign uses the following rules when configuring the navigation: • It assigns every button a navigation setting. This is an advantage, because you may accidentally skip a button when manually assigning navigation, resulting in orphaned buttons. • The navigation loops through all buttons. When you reach the edge of a menu and press the same arrow button on the remote again, you jump to the menu buttons in the next row at the opposite edge. This means that if you keep pressing any of the arrows, you will eventually get to all menu buttons. 1 2 3 4 5 6 7 8 9 Setting Button Navigation with Continuous Auto Assign The Menu Editor includes a Continuous Auto Assign feature that updates the navigation of all buttons on the menu each time you add a new button or move an existing one. You are unable to manually assign button navigation while the Continuous Auto Assign feature is active. To enable Continuous Auto Assign μ Choose Auto Assign Buttons Continuously from the Menu Editor’s Settings pop-up menu. The Continuous Auto Assign feature remains enabled until you choose it again to disable it. Unlike using the Auto Assign feature, you can enable the Continuous Auto Assign feature before the buttons are in their final positions—you can even enable it before you have added any buttons to the menu. Right-to-Left Reading Mode Auto Assign and Continuous Auto Assign have a Right-to-Left Reading option, designed for use with titles whose viewers are used to reading right-to-left (such as Farsi and Hebrew). To use the Right-to-Left option, choose the appropriate setting in the Menus pane in DVD Studio Pro Preferences. 3 2 1 6 5 4 9 8 7 284 Chapter 13 Creating Menus Using the Standard Method The illustration above shows the path for a menu intended for viewers familiar with right-to-left reading. Note that the difference is in what happens when you reach a menu edge; when you are not on an edge, the arrow buttons work the same in both reading modes. Adding Drop Zones to Your Menu Drop zones are similar to buttons; you can assign an asset to them, move them around, and change their size. Unlike buttons, however, they do not have jump targets and they are not counted as buttons in the menu’s button count. Drop zones allow you to add graphics to a menu that you would otherwise have had to add to the background using an external video editing application. To create a drop zone by dragging an asset 1 Drag a still image, video clip, or shape to an empty part of the Menu Editor. You can drag this from the Assets tab, the Palette, or a Finder window. 2 Choose Create Drop Zone from the Drop Palette. A 120-pixel high by 180-pixel wide rectangle appears, with the still image, video clip, or shape filling it. You can position and resize the drop zone the same as you would a button’s active area. See Working with Assets in Buttons and Drop Zones for more information. To create a drop zone by drawing a rectangle μ Hold down the Option key while dragging to create a rectangle in the Menu Editor, similar to the way you create a button’s active area. You can use the Drop Zone Inspector or drag to assign a shape and asset to the drop zone. To convert a button to a drop zone Do one of the following: μ Choose Project > Convert Button to Drop Zone. μ Control-click the button, then choose Convert Button to Drop Zone from the shortcut menu. The name of the drop zone is “DropZone _,” with “_” being the next available number. To convert a drop zone to a button Do one of the following: μ Choose Project > Convert Drop Zone to Button. μ Control-click the button, then choose Convert Drop Zone to Button from the shortcut menu. Chapter 13 Creating Menus Using the Standard Method 285 The name of the button is “Button _,” with “_” being the next available number. Once you have created a drop zone, you can drag an asset to the drop zone, or select an asset in the Drop Zone Inspector. See Working with Assets in Buttons and Drop Zones for more information. Setting Drop Zone Properties The Drop Zone Inspector appears once you create a drop zone. It contains basic settings for configuring the drop zone. • Name: Enter a name for the drop zone. • Asset: Use this pop-up menu to assign an asset to the drop zone. You can choose any applicable assets. • Start Frame: When the asset assigned to the drop zone is a video clip, this area displays the video. Use the slider or the timecode entry to choose the start point for motion playback (if motion is enabled) or to choose the frame to use in the drop zone if motion is not enabled. • Motion: Select this checkbox to enable motion in the drop zone when the drop zone’s asset is a video clip. See Configuring Motion Menu Settings for details on looping video within drop zones. • Shape: Use this pop-up menu to choose a shape to assign to the selected drop zone. A thumbnail image of the selected shape appears next to the pop-up menu. The pop-up menu lists the existing shapes by their names, grouped as Apple Shapes (supplied with DVD Studio Pro), Custom Shapes (added shapes available to all projects), Project Shapes (added shapes available to this project only), and Patch Shapes. Use the Palette’s Shapes tab to manage the shapes and as another way to select a shape. 286 Chapter 13 Creating Menus Using the Standard Method • Shadow: Select this checkbox to apply the menu’s drop shadow setting to this drop zone. • Coordinates & Size: This area lets you set the location of each edge of the drop zone, plus the drop zone’s height and width. The upper-left corner of the menu is at pixel 0, line 0. You can enter values for each edge, allowing you to precisely position and size the drop zone. (You can also drag the drop zone and each of its edges with the pointer.) • Rotation: Rotate the knob or enter a value to rotate the drop zone. The values can go from 0.0 to 359.9, with a value of 0.0 as normal. About Using Drop Zones Any drop zones you add to your menu will become part of the menu’s background when the project is built. Overlapping Drop Zones While you should avoid overlapping buttons, you can feel free to overlap drop zones, because they are not involved in navigation. Because drop zones can be overlapped, you should use care when adding them to the menu—those added later have a higher priority and will cover up those added earlier. To change a drop zone’s priority μ Control-click it, then choose an option from the shortcut menu. See About Button Numbers for more information. Note: Drop zones, text objects, and buttons are included in the same priority list; a drop zone can have a higher priority, and thus cover up a button. Shapes in Drop Zones While shapes are primarily intended to be applied to buttons, they can be useful when applied to drop zones, too. Without a shape, a drop zone usually has a rectangular outline, because that is the shape of the still images and video clips you can add to the drop zones. Shapes, however, can have an irregular outline, and when applied to a drop zone, the irregular outline is maintained. This makes it possible to have heart- or star-shaped drop zones—or any shape you want to create and import. Using a shape in a drop zone, you could add your corporate logo to your menus without having to composite it externally. Shapes with patches can also be used with drop zones. See Adding Shapes to a Menu for more information. Note: A drop zone can also have an irregular edge if the asset assigned to it has an alpha channel. See Creating Graphics for Drop Zones and Buttons for more information. Chapter 13 Creating Menus Using the Standard Method 287 Working with Assets in Buttons and Drop Zones A button’s or drop zone’s active area aspect ratio may not match the aspect ratio of the asset assigned to it. In these situations, part of the asset ends up being cropped off. You have two options for working with the asset: • You can leave the active area’s aspect ratio as it is, and move the asset to control which part of it is cropped off. • You can force the active area’s aspect ratio to match the asset’s aspect ratio. Positioning Images in a Button or Drop Zone If you want to keep the button’s or drop zone’s active area at its current aspect ratio, you can position the asset within the active area, choosing which parts of the asset are cropped off. To position an asset in an active area μ Shift-Option-click the asset within the active area, then drag it. The active area remains where it is, and the asset moves within it (similar to moving a picture behind a window). Matching the Active Area Aspect Ratio to the Asset If you want the asset to appear without being cropped, you need to adjust the active area’s aspect ratio to match the asset’s aspect ratio. To match the active area’s aspect ratio to the asset’s aspect ratio μ Shift-drag a corner of the active area. The active area snaps to match the asset’s aspect ratio, ensuring none of it is being cropped off. As long as you hold down the Shift key while changing the active area’s size, this aspect ratio is maintained. Adding Text Objects to a Menu You can type text directly onto a menu’s background, creating a text object. When you build the project, this text object merges with the background—it cannot be selected by the viewer or have jump actions assigned to it. A text object can contain characters with different colors, fonts, and sizes. The Text pane in DVD Studio Pro Preferences contains settings that define the text font and color used when you create new text objects. You can change the text font and color after you have typed it. Text objects can also be rotated and have the menu’s drop shadow applied. 288 Chapter 13 Creating Menus Using the Standard Method To add a text object to a menu 1 Double-click the menu where you want to add a text object. You will be able to move the object later, so the actual position is not critical. 2 Start typing the text. As you type, the text appears on the menu, with a handle on each end. To create a new line, press the Return key, or press Enter to exit the text entry mode. The Text Object Inspector appears. Note: You can also type the text in the Text entry area in the Text Object Inspector, and use either Return or Enter to create a new line. 3 Click the Shadow checkbox to add the menu’s drop shadow to the text. 4 To change the text’s justification, do one of the following: • Click the appropriate button in the Text Object Inspector. • Press Command–Shift–Left Bracket ([) to left align the text. • Press Command–Shift–Right Bracket (]) to right align the text. • Press Command-Shift-Backslash (\) to center the text. 5 Rotate the Rotation knob or enter a value to rotate the text object. You can reposition the text object by dragging the text to a new position. (If you are in the text edit mode with the blinking insertion point showing in the Menu Editor, you need to click an empty area of the Menu Editor to exit the text edit mode before you can drag the text object to a new position.) To change the text object’s font and color 1 Select the text you want to change. 2 Do one of the following to open the Font panel: • Choose Format > Font > Show Fonts (or press Command-T). • Click Fonts in the toolbar. 3 Choose the font and size to use. Note: If you open a DVD Studio Pro project that uses a font that is not on the computer you are opening it on (either because the font was deleted or the project was created on a different computer), any items using the missing font have a different font substituted with no warning. 4 Do one of the following to open the Colors window: • Choose Format > Font > Show Colors (or press Command-Shift-C). • Click Colors in the toolbar. Chapter 13 Creating Menus Using the Standard Method 289 5 Choose the color to use. You can also add bold, italic, and underline attributes to the text. Note: The bold and italic attributes are available only if the current font supports them. To apply bold, italic, and underline attributes 1 Select the text you want to change. 2 Choose Format > Font > Bold (or press Command-B) to add the bold attribute. 3 Choose Format > Font > Italic (or press Command-I) to add the italic attribute. 4 Choose Format > Font > Underline (or press Command-U) to add the underline attribute. By selecting different parts of the text, you can mix different fonts, colors, and attributes in the same text object. Setting Text Object Properties The Text Object Inspector appears once you type text on a menu or select an existing text object. It contains basic settings for configuring the text. • Text: This area contains the text displayed in the text object. You can also enter or edit the text here. To add additional lines, press Return. • Shadow: Select this checkbox to apply the menu’s drop shadow setting to this text object. • Position: Select the justification to apply to the text object (left, center, or right). • Rotation: Rotate the knob or enter a value to rotate the text object. The values can go from 0.0 to 359.9, with a value of 0.0 as normal. About Text Objects Any text objects you add to your menu will become part of the menu’s background when the project is built. While you should avoid overlapping buttons, you can feel free to overlap text objects because they are not involved in navigation. Because text objects can be overlapped, use care when adding them to the menu—those added later have a higher priority and will cover up those added earlier. 290 Chapter 13 Creating Menus Using the Standard Method To change a text object’s priority μ Control-click it, then choose an option from the shortcut menu. See About Button Numbers for more information. Note: Text objects, drop zones, and buttons are included in the same priority list; a text object can have a higher priority, and thus cover up, a button or drop zone. Adding Audio to a Menu All menus created with the standard method, including menus with still backgrounds, can have one or more associated audio files. Adding audio to a menu can be an easy way to make it more engaging. The audio can come from files created specifically for this purpose, portions of the soundtrack, or from an audio library. The Apple audio applications Soundtrack and GarageBand are both great for creating high-quality background audio. If you assign a video asset to the menu’s background by dragging it to the Menu Editor, DVD Studio Pro can automatically assign its companion audio file (with the same base name and in the same folder) to the menu. The “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro Preferences controls whether or not the audio is assigned. See Track Preferences for more information. You can also manually assign an audio file to a menu. To assign an audio file to a menu Do one of the following: μ Drag an audio file to the Menu Editor, then choose Set Audio or Add to Existing Audio from the Drop Palette. μ Click the General tab in the Menu Inspector, then do one of the following: • Drag an audio file to the Audio Filename area. • Click the Add (+) button and select the audio file from the file selection dialog. In addition to adding audio files to your menu, you can use the General tab in the Menu Inspector to set the order of the audio files and to remove them from the menu. Chapter 13 Creating Menus Using the Standard Method 291 To manage the audio files assigned to a menu Do one of the following: μ To set the order of the audio files, drag them in the file list. μ To remove audio files, select them and click the Delete (-) button. To hear the audio μ Click the Motion button in the Menu Editor. If there is a still image as the menu’s background, you can use the motion settings in the Menu Inspector’s General tab to set the start and end points of the audio. See Configuring Motion Menu Settings for information on how the audio interacts with any video clips assigned to the menu, including when looping is enabled. Configuring the Menu’s Drop Shadow Settings Each standard menu can have a drop shadow that can be shared by button text, shapes, drop zones, and text objects. You configure the drop shadow in the Advanced tab in the Menu Inspector and then enable it in the Inspector for each button text, shape, drop zone, and text object you want it applied to. Enabling Drop Shadows Enabling the drop shadows on a menu is a two-step process: Enable drop shadows for each menu item you want to apply them to, and then configure the menu’s drop shadow settings. This allows you to see the effect of the menu settings on all of the items at once. To enable the drop shadow 1 Select a menu item that supports drop shadows (button text, button shapes, drop zone shapes, or text objects). 2 In that item’s Inspector, click the Shadow checkbox to enable it. 3 Click an empty part of the menu in the Menu Editor so the Menu Inspector appears. 4 Click the Menu Inspector’s Menu tab. The drop shadow settings appear along the bottom part of the tab. 5 Configure the drop shadow settings. (Keep in mind that the drop shadows only appear on items that have been enabled.) See Setting the Drop Shadow Properties for more information. 292 Chapter 13 Creating Menus Using the Standard Method Setting the Drop Shadow Properties Once you have enabled drop shadows on one or more menu items, you can start adjusting the drop shadow settings. Note: You will not see the drop shadow if any of the settings are at 0.0. • Angle: A rotary control that sets the direction of the drop shadow. The control’s indicator points in the drop shadow’s direction. Rotate the indicator to the desired direction. You can also enter an angle value. A value of 0 places the shadow directly above the item; 90 places it to the right. • Alpha: Sets the drop shadow’s transparency. A value of 0.0 makes the drop shadow completely transparent while a value of 1.0 makes it completely opaque. • Diffusion: Sets the drop shadow’s softness. Smaller numbers provide harder edges while larger numbers (up to a maximum of 15.0) provide softer edges. • Distance: Sets the distance of the drop shadow from the item. Smaller numbers position the drop shadow closer while larger numbers (up to a maximum of 15.0) position it farther away. • Colored rectangle: Sets the color of the drop shadow. Click it to open the Colors window where you can choose the color to use. Configuring Motion Menu Settings There are several parts of a standard menu that can include an asset with motion or a time setting: • The menu’s background • The menu’s audio • Buttons • Drop zones A motion menu can have anywhere from one to all four of these motion items. The items it contains determine how they will interact. About Motion Menu Playback The Menu Editor contains a motion menu start/stop button. Chapter 13 Creating Menus Using the Standard Method 293 Clicking the button starts motion menu playback. Clicking it a second time stops playback. You can also press Command-J to turn the playback on and off. Unlike a similar button in iDVD, this button does not determine whether or not this menu is a motion menu. It only controls whether the motion menu plays while you are working on it. Once you add motion assets to a menu, it is a motion menu. Note: Depending on your system and the number of motion items in the menu, motion menu playback may not be perfectly smooth in the Menu Editor. Once you build your project, playback will be perfect. About the Motion Settings The Menu Inspector’s General tab contains a section for configuring a menu’s start, end, loop, and duration times. You can drag the slider located under the thumbnail images of the background, click the arrow controls, or enter a timecode value for each of the entries. The way the Start, Loop Point, End, and Duration settings function depends on the type of assets assigned to the menu. Start Setting You can use the Start setting to set the video’s starting frame. By default, the start is set to the background video’s first frame. If there is audio assigned to the menu, its start time is also moved by the same number of frames as the video. Note: If there are other motion assets assigned to buttons or drop zones, they are not affected by the change in start time. When the menu’s background is a still image, the Start setting only affects the menu’s audio. Loop Point You can use the Loop Point setting to set a frame different from the starting frame to use when you choose Loop as the At End setting. By default, the Loop setting is the same as the Start setting. When you adjust the Loop setting, you are choosing the frame that is jumped to once the end frame is reached. This allows you to have a looping background with a beginning section—for example, a fade up from black or a transition from another menu—that only plays the first time through. If there is audio assigned to the menu, it automatically follows the video as it loops. 294 Chapter 13 Creating Menus Using the Standard Method This setting also defines when the button highlights appear—the viewer cannot navigate the menu’s buttons until the loop point is reached. Additionally, the Loop Point setting controls the video used for the menu’s tile in the Graphical tab. If you are creating your menu background video in an application such as Motion or Final Cut Pro, you can set a chapter marker named “MenuLoopPoint” to define the loop point. When you assign a menu’s background by dragging the video to the Menu Editor and choosing Set Background from the Drop Palette, or dragging the video to the Outline or Graphical tab, DVD Studio Pro checks to see if a chapter marker named “MenuLoopPoint” is present. If it is, the Loop Point setting is set to its time. If it is not present, the Loop Point setting is set to match the Start setting. Note: When you assign the menu’s background using the Menu Inspector’s Background pop-up menu, you must manually set the Loop Point setting, even if the video contains a “MenuLoopPoint” chapter marker. See Defining the Menu Loop Point for more information on setting the chapter markers. About Jumping Directly to a Menu’s Loop Point When you configure a motion menu with a loop point, you may find that, in some cases, you would prefer to jump directly to the loop point rather than to the start point. This is especially true if the menu has a long period between the start and loop points. You can write a simple script that will allow you to jump to the loop point. When you select Jump as the command in the Script Inspector and choose a menu to jump to, a Start At Loop Point option becomes available. When selected, this option sets the jump to skip the start point and jump directly to the loop point. See Start At Loop Point Checkbox for more information, and Jumping to a Menu’s Loop Point for an example script. End Setting You can use the End setting to set the menu’s ending frame. By default, this is set to the value entered in the Menu pane in DVD Studio Pro Preferences if the menu has any motion assets. You can adjust it to be shorter or longer. This is most useful when you do not want to use the entire video background asset—when used along with the Start setting, you can choose the specific part of the video to use. • When using the slider: Its maximum setting matches the length of the menu’s background video. If the background is a still image, the slider maximum setting matches the longest of the other menu assets (audio or assets assigned to buttons and drop zones). • When using the numeric timecode entry: You are able to choose any length. Chapter 13 Creating Menus Using the Standard Method 295 When the end is reached during playback, either all assets stop and display their last frame as a still image (At End set to Still), or the playback jumps to the Loop, if available, or Start setting. If any assets assigned to the menu reach their end before the menu reaches the End setting, they are looped back to their start to keep playing. Duration Setting You can use the Duration setting to set the menu’s duration. It is equal to the End setting minus the Start setting. If you enter a value, the End setting automatically updates. Options in the Drop Palette for Standard Menus Following are descriptions of the various Drop Palette options that can appear when you drag an asset or element to the Menu Editor. See Viewing the Drop Palette for information on using the Drop Palette options. The following descriptions are grouped by the type of item you are dragging (asset, project element such as a track or slideshow, and a template, style, or shape from the Palette). Details for standard menus are listed first, followed by the details for the layered menus. For those Drop Palette options that appear when you drag a motion video asset, a matching audio asset is also added (if applicable), as long as: • The “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro Preferences is selected. • An audio file with the same base name as the video file is located in the same folder as the video asset. The following details assume the “Find matching audio when dragging” preference is selected and a suitable audio file is found. Drop Palette for Standard Menus—Dragging Assets The following sections list the choices in the Drop Palette that appear when you drag assets to an empty area, button, or drop zone on a standard menu. Dragging a Motion Video Asset to an Empty Area The following options appear in the Drop Palette: 296 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions • Uses the video as this menu’s background. • Assigns matching audio as the menu’s audio. Set Background (default option) • Creates a button at this menu location. • Assigns this video to the button’s thumbnail. • Creates a new track with this video. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Adds a link from the new button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Button and Track This option does not create a track or link the button to anything. • Creates a button at this menu location. • Assigns this video to the button’s thumbnail, creating a motion button. Create Button • Creates a drop zone at this menu location. • Assigns this video to the drop zone. Create Drop Zone Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. If the menu contains no buttons, drop zones, or text objects, this option changes to Create Chapter Index. Instead of creating a separate menu as the first chapter index menu, this menu is used. Additional chapter index menus are created if necessary. • Creates a track and adds the chapter markers to it. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Button and Chapter Index Dragging a Motion Video Asset to a Button The following options appear in the Drop Palette: Drop Palette options Actions This option does not create a track or link the button to anything. • Sets this video to be the button’s thumbnail image. Set Asset (default option) Chapter 13 Creating Menus Using the Standard Method 297 Drop Palette options Actions • Assigns this video to the button’s thumbnail. • Creates a new track with this video. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Adds a link from the button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Set Asset and Create Track The button’s thumbnail image does not change. • Creates a new track with this video. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Adds a link from the button to the first marker of the new track. Create Track Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers to it. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Links the button to the first of the new chapter index menus. • Sets this video to be the button’s thumbnail image. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Set Asset and Create Chapter Index Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers to it. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Chapter Index Dragging a Motion Video Asset to a Drop Zone The following options appear in the Drop Palette: 298 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions Set Asset (default option) • Sets this video to be the drop zone’s asset. The drop zone is unaffected. • Creates a button on top of the drop zone. • Assigns this video to the button’s thumbnail. • Creates a new track with this video. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Adds a link from the new button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Button and Track Dragging Multiple Motion Video Assets to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions For each video asset: • Creates a button. • Assigns each video as its button’s asset. • Creates new tracks. • Assigns matching audio as each track’s audio. • Names each track the same as their video asset. • Sets each new track’s End Jump setting to this menu. • Adds links from the new buttons to the first marker of the new tracks. Create Buttons and Tracks (default option) This option does not create any tracks or link the buttons to anything. • Creates a button for each video asset. • Assigns each video as its button’s asset. Create Buttons Dragging One or More Audio Assets to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions Set Audio (default option) • Assigns this audio as the menu’s audio. Add to Existing Audio • Adds this audio to the existing audio assets assigned to thismenu. Dragging a Video/Audio Pair to an Empty Area The following options appear in the Drop Palette: Chapter 13 Creating Menus Using the Standard Method 299 Drop Palette options Actions • Sets this video to be the menu’s background. • Sets this audio to be the menu’s audio. Set Background and Audio (default option) • Creates a button at this menu location. • Assigns this video to the button’s thumbnail. • Creates a new track with this video and audio. • Names the track the same as the video asset. • Adds a link from the new button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Button and Track Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. If the menu contains no buttons, drop zones, or text objects, this option changes to Create Chapter Index. Instead of creating a separate menu as the first chapter index menu, this menu is used. Additional chapter index menus are created if necessary. • Creates a track and adds the chapter markers and audio to it. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Button and Chapter Index Dragging a Video/Audio Pair to a Button The following options appear in the Drop Palette: Drop Palette options Actions • Sets this video to be the button’s thumbnail image. • Creates a new track with this video and audio. • Names the track the same as the video asset. • Adds a link from the button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Set Asset and Create Track (default option) The button’s thumbnail does not change. • Creates a new track with this video. • Names the track the same as the video asset. • Adds a link from the button to the first marker of the new track. Create Track 300 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers and audio to it. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Links the button to the first of the new chapter index menus. • Sets this video to be the button’s thumbnail image. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Set Asset and Create Chapter Index Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers and audio to it. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Chapter Index Dragging a Still Picture to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions Set Background (default option) • Uses the picture as this menu’s background. Set Overlay • Uses the picture as this menu’s overlay. This option does not create a new menu or link the button to anything. • Creates a button at this menu location and assigns this picture to its thumbnail. Create Button Chapter 13 Creating Menus Using the Standard Method 301 Drop Palette options Actions • Creates a drop zone at this menu location and assigns this picture to it. Create Drop Zone • Creates a button at this menu location. • Assigns this picture to the button’s thumbnail. • Creates a new menu with this picture as the background. • Adds a link from the new button to the new menu. Create Submenu Dragging a Still Picture to a Button The following options appear in the Drop Palette: Drop Palette options Actions This option does not create a menu or link the button to anything. • Sets this picture to be the button’s thumbnail image. Set Asset (default option) • Sets this picture to be the button’s thumbnail image. • Creates a new menu with this picture as the background. • Adds a link from the button to the new menu. Set Asset and Create Submenu The button’s thumbnail does not change. • Creates a new menu with this picture as the background. • Adds a link from the new button to the new menu. Create Submenu Dragging a Still Picture to a Drop Zone The following options appear in the Drop Palette: Drop Palette options Actions Set Asset (default option) • Sets this picture to be the drop zone’s asset. This option does not create a new menu or link the button to anything. The drop zone is unaffected. • Creates a button on top of the drop zone and assigns this picture to its thumbnail. Create Button Dragging Multiple Still Pictures (or a Folder) to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions This is the only action available if you drag a folder to an empty area (uses only the still pictures of the folder’s first level). • Creates a button with the first picture assigned as its thumbnail image. • Creates a new slideshow. • Adds a link from the new button to the new slideshow. • Sets the slideshow’s End Jump setting to this menu. Create Button and Slideshow (default option) 302 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions This option does not create any menus or link the buttons to anything. • Creates a button for each picture, and assigns each picture as its thumbnail. Create Buttons • Creates a button for each picture. • Assigns each picture as its button’s asset. • Creates new menus with each picture as their backgrounds. • Adds a link from the new buttons to the new menus. Create Submenus Dragging Multiple Still Pictures (or a Folder) to a Button The following options appear in the Drop Palette: Drop Palette options Actions • Sets the button’s thumbnail to the first picture. • Creates a new slideshow. • Adds a link from the button to the new slideshow. • Sets the slideshow’s End Jump setting to this menu. Set Asset and Create Slideshow (default option) The button’s thumbnail image does not change. • Creates a new slideshow. • Adds a link from the button to the new slideshow. • Sets the slideshow’s End Jump setting to this menu. Create Slideshow Dragging a Multiple-Layer Still Picture to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions Once set, you can disable layers in the Menu Inspector. • Uses the picture as this menu’s background, with all layers visible. Set Background—All Layers Visible (default option) Once set, you can enable layers in the Menu Inspector. • Uses the picture as this menu’s background, with no layers visible. Set Background—No Layers Visible Once set, you can select the layer to use as the overlay in the Menu Inspector. • Uses the picture as this menu’s overlay, with no layers assigned to the overlay. Set Overlay This option does not create a new menu or link the button to anything. You cannot select the layers to show—because they are composited together. • Creates a button at this menu location and assigns this picture to its thumbnail, using the layers left visible by the graphics application. Create Button Chapter 13 Creating Menus Using the Standard Method 303 Drop Palette options Actions Once set, you can disable layers for the new menu in the Menu Inspector. • Creates a button at this menu location. • Assigns this picture to the button’s thumbnail, using the layers left visible by the graphics application. • Creates a new standard menu with this picture as the background, with all layers visible. • Adds a link from the new button to the new menu. Create Standard Submenu Once set, you can disable layers for the new menu in the Menu Inspector. • Creates a button at this menu location. • Assigns this picture to the button’s thumbnail, using the layers left visible by the graphics application. • Creates a new layered menu with this picture as the background, with all layers visible. • Adds a link from the new button to the new menu. Create Layered Submenu Drop Palette for Standard Menus—Dragging Project Elements The following sections list the choices in the Drop Palette that appear when you drag project elements from the Outline or Graphical tab to an empty area or a button on a standard menu. Dragging an Existing Track to an Empty Area The following options appear in the Drop Palette: 304 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions • Creates a button at this menu location. • Assigns the video from the first video clip of stream 1 to the new button’s thumbnail. • Adds a link from the new button to the first marker of the track. • Sets the track’s End Jump setting to this menu (if it has not already been set). Create Button (default option) If the menu contains no buttons, drop zones, or text objects, this option changes to Create Chapter Index. Instead of creating a separate menu as the first chapter index menu, this menu is used. Additional chapter index menus are created if necessary. • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. • Sets the track’s End Jump setting to this menu (if it has not already been set). Create Button and Chapter Index Dragging an Existing Track to a Button The following options appear in the Drop Palette: Drop Palette options Actions • Sets the video from the first video clip of stream 1 to be the button’s thumbnail image. • Adds a link from the button to the first marker of the track. • Sets the track’s End Jump setting to this menu (if it has not already been set). Set Asset (default option) The button’s thumbnail does not change. • Adds a link from the button to the first marker of the track. • Sets the track’s End Jump setting to this menu (if it has not already been set). Connect to Track Chapter 13 Creating Menus Using the Standard Method 305 Drop Palette options Actions • Links the button to the first of the new chapter index menus. • Sets this track to be the button’s thumbnail image. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. • Sets the track’s End Jump setting to this menu (if it has not already been set). Set Asset and Create Chapter Index • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. • Sets the track’s End Jump setting to this menu (if it has not already been set). Create Chapter Index Dragging Multiple Existing Tracks to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • For each track, creates a button. • Assigns each track as its button’s asset. • Adds a link from the new buttons to the first marker of the tracks. • Sets each track’s End Jump setting to this menu (if it has not already been set). Create Buttons (default option) Dragging an Existing Story to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Assigns the video from the story’s first video clip to the new button’s thumbnail. • Adds a link from the new button to the story’s first video clip. • Sets the story’s End Jump setting to this menu (if it has not already been set). Create Button (default option) Dragging an Existing Story to a Button The following options appear in the Drop Palette: 306 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions • Sets the video from the story’s first video clip to be the button’s thumbnail image. • Adds a link from the button to the story’s first video clip. • Sets the story’s End Jump setting to this menu (if it has not already been set). Set Asset (default option) The button’s thumbnail does not change. • Adds a link from the button to the story’s first video clip. • Sets the story’s End Jump setting to this menu (if it has not already been set). Connect to Story Dragging Multiple Existing Stories to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • For each story, creates a button. • Assigns each story as its button’s asset. • Adds a link from the new buttons to each story’s first video clip. • Sets each story’s End Jump setting to this menu (if it has not already been set). Create Buttons (default option) Dragging a Slideshow to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Assigns the first slide to its thumbnail. • Adds a link from the new button to the slideshow. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Create Button (default option) If the menu contains no buttons, drop zones, or text objects, this option changes to Create Chapter Index. Instead of creating a separate menu as the first chapter index menu, this menu is used. Additional chapter index menus are created if necessary. • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of slides and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each slide from the slideshow to buttons in the chapter index menus. • Assigns the picture from each slide to its button’s thumbnail. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Create Button and Chapter Index Chapter 13 Creating Menus Using the Standard Method 307 Dragging a Slideshow to a Button The following options appear in the Drop Palette: Drop Palette options Actions • Sets the first slide’s image to be the button’s thumbnail. • Adds a link from the button to the slideshow. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Set Asset (default option) The button’s thumbnail does not change. • Adds a link from the button to the slideshow. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Connect to Slideshow • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus, depending on the number of slides and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each slide from the slideshow to buttons in the chapter index menus. • Assigns the picture from each slide to its button’s thumbnail. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Create Chapter Index Dragging Multiple Slideshows to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button for each slideshow. • Assigns each slideshow as its button’s asset. • Adds a link from the new buttons to the slideshows. • Sets each slideshow’s End Jump setting to this menu (if they have not already been set). Create Buttons (default option) Dragging a Menu to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Assigns the menu’s background as the button’s thumbnail. • Adds a link from the new button to the menu. Create Button (default option) Dragging a Menu to a Button The following options appear in the Drop Palette: 308 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions • Sets the menu’s background to be the button’s thumbnail. • Adds a link from the button to the menu. Set Asset (default option) • Adds a link from the button to the menu. The button’s thumbnail does not change. Connect to Menu Dragging a Script to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Adds a link from the new button to the script. Create Button (default option) Dragging a Script to a Button The following option appears in the Drop Palette: Drop Palette options Actions Connect to Script (default • Adds a link from the button to the script. option) Drop Palette for Standard Menus—Dragging Templates and Styles The following sections list the choices in the Drop Palette that appear when you drag shapes, templates, and styles from the Palette to an empty area or a button on a standard menu. Dragging a Shape to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Assigns this shape to the button. Create Button (default option) • Creates a drop zone at this menu location. • Assigns this shape to the drop zone. Create Drop Zone Dragging a Shape to a Button or Drop Zone The following options appear in the Drop Palette: Chapter 13 Creating Menus Using the Standard Method 309 Drop Palette options Actions Set Shape (default option) • Assigns this shape to the button or drop zone. Only available when dragging to a drop zone. The drop zone is unaffected. • Creates a button on top of the drop zone. • Assigns this shape to the button. Create Button Dragging a Template to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Template buttons are only applied to existing buttons (no new buttons are created). An exception is if the menu has no buttons, in which case all buttons from the template will be added. Apply to Menu (default option) • Template buttons are all applied, replacing existing buttons and adding new ones (if necessary). Apply to Menu—Add All Buttons • Creates a button at this menu location. • Assigns this template’s background to the button’s thumbnail. • Creates a new standard menu with this template. • Adds a link from the new button to the new menu. Create Submenu Dragging a Template to a Button The following option appears in the Drop Palette: Drop Palette options Actions • Creates a new standard menu with this template. • Adds a link from the button to the new menu. Create Submenu and Apply Template (default option) Dragging a Button Style to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Assigns this style to the button. Create Button (default option) • Creates a button at this menu location. • Assigns this style to the button. • Assigns this style as the default button style for this menu. Create Button—Set Default Button Style No button is created. • Assigns this style as the default button style for this menu. Set Default Button Style Dragging a Button Style to a Button The following option appears in the Drop Palette: 310 Chapter 13 Creating Menus Using the Standard Method Drop Palette options Actions Apply to Button (default option) • Applies this button style to the button. Dragging a Text Style to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Creates a text object at this menu location. • Assigns this style to the text object. Create Text Object (default option) • Creates a text object at this menu location. • Assigns this style to the text object. • Assigns this style as the default text style for this menu. Create Text Object—Set Default Text Style No text object is created. • Assigns this style as the default text style for this menu. Set Default Text Style Dragging a Text Style to a Text Object The following option appears in the Drop Palette: Drop Palette options Actions Apply to Text Object (default • Assigns this style to the text object. option) Dragging a Drop Zone Style to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a drop zone at this menu location. • Assigns this style to the drop zone. Create Drop Zone (default option) Dragging a Drop Zone Style to a Drop Zone The following option appears in the Drop Palette: Drop Palette options Actions Apply to Drop Zone (default • Assigns this style to the drop zone. option) Dragging a Layout Style to the Menu Editor The following options appear in the Drop Palette: Chapter 13 Creating Menus Using the Standard Method 311 Drop Palette options Actions • Layout style buttons are only applied to existing buttons (no new buttons are created). An exception is if the menu has no buttons, in which case all buttons from the layout style will be added. Apply to Menu (default option) • Layout style buttons are all applied, replacing existing buttons and adding new ones (if necessary). Apply to Menu—Add All Buttons 312 Chapter 13 Creating Menus Using the Standard Method DVD Studio Pro includes templates and styles that can make it easier to create menus. You can use the supplied templates and styles to quickly produce your menus, or you can make your own templates and styles. This chapter covers the following: • Introduction to Templates, Styles, and Shapes (p. 313) • What Are Templates and Styles? (p. 314) • Templates and Styles in the Palette (p. 316) • Applying a Template or Style (p. 321) • Setting Default Styles (p. 323) • Creating a Template or Style (p. 324) • Importing Templates and Styles (p. 326) • Deleting Templates and Styles (p. 327) • Managing Shapes (p. 329) Introduction to Templates, Styles, and Shapes DVD Studio Pro includes templates and styles that are designed to make the menu creation process quicker and easier. By applying a template or style to all menus in a project, you can create a cohesive, consistent look for your project. • You can use the supplied templates and styles to create your menus. Use a template to supply everything needed for a menu, or choose certain styles to use in combination with menus you create. • You can create your own templates and styles. This makes it easy to create a consistent look to apply to all of your menus that meets your specific needs. DVD Studio Pro also includes a shapes feature that allows you to add buttons to your menu that include the art and highlight areas. The shapes can also be used to create drop zones with irregular edges. See Managing Shapes for more information. 313 Using Templates, Styles, and Shapes to Create Your Menus 14 What Are Templates and Styles? Templates and styles both contain properties, such as background assets, button highlights, and text colors, that you use to create a menu. While templates cover all aspects of a menu, styles are targeted to specific areas. Applying a template to a menu can result in a mostly finished menu—you may only need to link the buttons. With styles, you generally work with an existing menu, and then use the styles to change specific areas such as a button’s shape or a text object’s font. In addition to the supplied templates and styles, you can create your own. You can import and use these templates and styles in many different projects. Each template and style can be self-contained, including the actual assets used in the template or style, such as backgrounds, audio files, and shapes. Or, they can reference assets located in a folder on your hard disk. Note: Templates and styles are in either PAL or NTSC format. You cannot use a template or style created using NTSC assets in a PAL project. The Palette only shows templates and styles that are compatible with the current project’s video standard. Additionally, templates using HD-specific resolutions (such as 1280 x 720p) or HD-specific video formats (HDV or H.264) cannot be imported into SD projects. About the Apple Templates Using the templates and styles provided with DVD Studio Pro is the quickest way to create professional looking menus. They can also help you to understand the different aspects of a template and give you ideas on how to create your own. Also, keep in mind that the Apple templates can be modified and saved as user templates. The Apple templates are installed when you install Final Cut Studio. If you chose not to install them, you can install them later by starting the Final Cut Studio install process and deselecting everything except the DVD Studio Pro content. See the Installing Your Software document included with Final Cut Studio for more information. In general, each template theme includes three templates designed for use in different situations: • Cover: Use these as the main menu. These include a text item for the menu title, one or more drop zones for you to customize their look, and several buttons that you can link to other menus and project elements. • Detail: Use these when you need to have a menu with several lines of explanation-type text. These include a text item for the menu title, one or more drop zones for you to customize their look, and several buttons. • Index: Use these for chapter index menus. These include a text item for the menu title, multiple buttons for linking to a track’s chapters, and three buttons, Back, Main, and Next, that the viewer uses to navigate to the next element. 314 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus The best way to learn what a template contains is to apply it to a menu and look for button, drop zone, and text items. Any menu item that you can assign an image to has a transparent arrowhead assigned by default. These arrows indicate menu items you can assign images to. Most of the templates contain motion backgrounds—be sure to have the menu play in the Menu Editor to see how it is intended to look. About the Template Intro Movies The Final Cut Studio installation disc includes several video assets that are intended to be used as menu intro files for specific supplied templates. These assets can be used to provide a smooth transition when a menu is selected that uses the associated template. See the “About Template Intro Movies” file, located in the Template Intro Movies folder on the installation disc for more information. Also see Using Menu Intro Clips. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 315 Templates and Styles in the Palette Templates and styles are contained in the Palette’s first two tabs. Click to select the group of templates or styles to display. See Managing Shapes for information on the Shapes tab, and Media Tabs for information on the Audio, Stills, and Video tabs. You can choose either small or large as the size for the thumbnails that appear in the Palette in the General pane of DVD Studio Pro Preferences. See General Preferences for more information on the preferences. Template and Style Groups To see the available templates and styles, you click the buttons at the top of the tabs. There are three choices for templates and four for styles: • Apple: The templates and styles provided by DVD Studio Pro. These are available to all projects. • Custom: The templates and styles you create and do not designate as “Project.” These are available to all projects. • Project: The templates and styles you create for use only in a specific project. These do not appear when you are working on other projects. Note: You must have saved your project before you can create a template or style belonging to the project group. • Current: For styles only, these are the styles that have been linked to the template assigned to the current menu. See Linking Styles to Templates for more information. 316 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus Style Types In addition to the style group you select, when you click the Styles tab in the Palette, you also need to select the type of style. Click to select the style type to display. There are four style types you can choose from: • Buttons: Contains almost all settings (except navigation and jump settings) from the Button Inspector. • Text: Contains the font, size, color, rotation, and default text. • Drop Zones: Contains details about drop zones. • Layouts: Contains locations, sizes, shapes, and other attributes of one or more buttons on a menu. Linking Styles to Templates You can link, or associate, styles to templates. That way, if you apply a template to a menu and then want to use a different button style on one of the buttons, you can choose to see only those button styles that have been linked to that template. This makes it easier to create menus based on families of templates and styles, helping you maintain a consistent look while creating a project. Once you have applied a template to a menu, you can see which styles are linked to that template by selecting the Current view in the Styles tab in the Palette. When you select a style type (buttons, text, layouts, or drop zones), only the styles linked to that menu appear. Note: You can only link the styles you create to templates. The supplied Apple styles are already linked to the Apple templates. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 317 To link a style to a template 1 Control-click a style, then choose Link to Templates from the shortcut menu. A selection dialog that lists all templates appears. 2 Select the checkbox next to all templates that you want to link this style to. Because menus keep track of the last template applied to them, you can open a menu at any time and, by selecting the Current view in the Styles tab, see those styles linked to the menu’s template. Note: If no template is applied to the menu, or no styles have been linked to the template, no styles appear when the Current view is selected. About Template and Style Properties Properties define the look and content of templates and styles. For example, properties define what kind of menu background a template has, how many buttons a layout style has, and where the buttons are located on the menu. Not all templates and styles need to use all of the properties available to them. For example, you can create a set of templates that have no menu background—when they are applied to an existing menu, the menu’s current background is maintained while other template properties, such as groups of buttons and text objects, are added to the menu. A template contains the properties of each of the four styles plus some additional properties. See the following sections for details: • Button Style Properties • Text Style Properties • Drop Zone Style Properties • Layout Style Properties • Other Template Properties Button Style Properties Button styles and all buttons in a template contain the following properties. Templates also contain the following properties as the default button style, used when a Drop Palette action requires new buttons to be created on the menu. See Setting Default Styles for information on setting a default button style. • Size: The width and height of the button’s active area 318 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus • Asset: The asset file assigned to the button and the timecode setting below the thumbnail. When a button style is applied to an existing button, this asset only appears if the existing button does not already have an asset assigned. • Motion: Whether or not motion has been enabled for the asset • Shape: The shape file assigned to the button • Shadow: Whether or not the menu’s drop shadow has been enabled for the shape • Color Set: Which of the three highlight sets the button uses • Auto Action: Whether or not Auto Action has been enabled for the button • Invisible: Whether or not the button has been set to be invisible • Default Text: The actual text that the button uses. When a button style is applied to an existing button, this text only appears if the existing button does not already have text. • Font: The font’s name and size used for the button text • Text Color: The text’s color • Text Position: The text’s position on the button (top, left, right, center, or bottom) • Text Offset: The offset values for the text’s position • Text Shadow: Whether or not the menu’s drop shadow has been enabled for the text • Text in Highlight: Whether or not the text is included in the button’s highlight Text Style Properties Text styles and all text objects in a template contain the following properties. Templates also contain the following properties as the default text style, used when you double-click the menu background to create a text object. See Setting Default Styles for information on setting a default text style. • Default Text: The actual text that the text object uses. This text does not appear when a text style is applied to an existing text object. • Font: The font’s name and size used for the text object • Text Color: The text’s color • Rotation: The rotation setting used for the text object Drop Zone Style Properties Drop zone styles contain the following properties. Templates contain the following properties for each of their drop zones. • Size: The width and height of the drop zone’s active area • Asset: The asset file assigned to the drop zone and the timecode setting below the thumbnail. When a drop zone style is applied to an existing drop zone, this asset only appears if the existing drop zone does not already have an asset assigned. • Shape: The shape file assigned to the drop zone Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 319 • Shadow: Whether or not the menu’s drop shadow has been enabled for the drop zone • Rotation: The rotation setting used for the drop zone • Motion: Whether or not motion has been enabled for the asset Layout Style Properties Layout styles and templates contain the following properties. • Position/Size: The position and size of all buttons in the layout • Button Assets: The assets assigned to the buttons. This asset does not appear when a layout style is applied to a menu with buttons already containing assets. This asset only appears if the existing buttons do not already have an asset assigned. • Button Shapes: The shapes assigned to the buttons • Button Text: The text assigned to the buttons. This text does not appear when a layout style is applied to a menu with buttons already containing text. This text only appears if the existing buttons do not already have text assigned. • Default Button: The button number of the button assigned as the default button. This is the button selected when the menu appears, unless the connection to the menu specified a different button. • Guides: The guide configuration, including the number of guides and their positions Other Template Properties In addition to the button, text, drop zone, and layout style properties, templates contain the following properties: • Default Button Style: The default button style is used when a Drop Palette action requires new buttons to be created on the menu. See Setting Default Styles for information on setting a default button style. • Default Text Style: The default text style is used when you double-click the menu background to create a text object. See Setting Default Styles for information on setting a default text style. • Background Asset: The name of the asset assigned to the menu as the background • Overlay: The name of the asset assigned to the menu as the subpicture overlay • Audio Asset: The name of the audio asset assigned to the menu • Drop Zones: All drop zones added to the menu. Each drop zone includes its own settings. • Text Objects: All text objects added to the menu. Each text object includes its own settings. • Color: The color mapping settings for the menu. These include the color and opacity assigned to each button state for each of the three color sets, as well as the Color Palette’s 16 colors. • Mapping Type: Whether the menu uses the chroma or grayscale mapping type 320 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus • Motion: The timecode values for the start, loop point, end, and duration settings, as well as the action for the menu’s end • Shadow: The drop shadow settings that the buttons, text objects, and drop zones can use • Display Mode: Whether the menu uses a 4:3,16:9 Pan-Scan, 16:9 Letterbox, or 16:9 Pan-Scan & Letterbox display mode • Resolution: The video resolution of the video background • Transitions: All transitions assigned to the menu and its buttons Applying a Template or Style When you select a template or style in the Palette, it does not affect the menu until you click the Apply button. Before you click Apply, it is important to make sure that the Menu Editor is displaying the correct menu, and in the case of some of the styles, that the correct items in that menu are selected. Note: The Menu Editor always has a menu assigned to it, and it is that menu that templates and styles are applied to. Templates and styles can be applied to a menu even if you are working on a different element, such as a track. The Menu Editor does not even have to be visible. You do not need to select anything in the menu before applying templates or layout styles. These items can be applied to an existing menu or a new empty one. Important: Applying a template to a menu changes the menu’s resolution and display mode to match the template (if they are different). Applying layout styles (or any of the other styles) does not change the menu’s resolution or display mode. In the case of layout styles, the layout is scaled to match the menu’s current resolution. For the button, text, and drop zone styles, you can either select one or more items in an existing menu before applying the style, or you can drag the style to an item. Styles are applied only to selected items in an existing menu, so you can actually use multiple versions of these styles on a single menu. For example, if you want the buttons on a menu to use different shapes, you can set up several different styles to provide those shapes. Note: Applying a template or style to a menu is a one-time action—the menu does not become locked to the template or style. You can make changes to the menu just as if you had manually configured it. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 321 Using the Palette’s Apply Button The Palette includes an Apply button that you can use to apply the selected template or style to a menu. When applying button, text, or drop zone styles using the Apply button, the style is applied to all selected items at once. When dragging, you can only apply the style to one item. To apply a template or style using the Apply button 1 Make sure the Menu Editor is displaying the correct menu. 2 In the case of the button, text, and drop zone styles, select the item on the menu to apply the style to. 3 Select the template or style to apply to the menu. 4 Click Apply. The Apply button is unavailable if more than one template or style is selected. You can also apply a template or style by double-clicking it. Dragging Templates and Styles to a Menu In addition to the Palette’s Apply button, you can apply templates and styles by dragging them to the menu. The Menu Editor’s Drop Palette appears when you drag templates and styles to it. The Drop Palette provides options not available when using the Apply button. For example, you can drag a button style to an empty area of the Menu Editor and create a new button with it. With the Apply button, you need to select an existing button before the style can be applied. The area to which you drag the template or style determines the options available to you. For example, if you drag a template to an empty part of the menu, you have the options of applying it to the menu, applying it to the menu and adding all buttons, and creating a submenu. If you drag a template to an existing button, your only option is to create a submenu and apply this template to it. See Drop Palette for Standard Menus—Dragging Templates and Styles for a complete list of options. To apply a template or style by dragging 1 Make sure the Menu Editor is displaying the correct menu. 2 Select the template or style to apply to the menu and drag it to the Menu Editor. Be sure to drag it to an empty area or to an existing item, depending on how you want to apply the template or style. If you select more than one item before dragging, only the item you actually drag gets applied to the menu—the others are ignored. 322 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus Applying Templates or Layout Styles to a Menu with Buttons When you apply a template or layout style to a menu that already has buttons, you are given the option of adding only enough buttons to replace the existing ones, or of adding all template or layout style buttons. If the menu has more buttons than the template or layout style, all buttons are added with the extra ones on the menu remaining unchanged. When replacing existing buttons, DVD Studio Pro first looks at their names to see if they match the names of any buttons in the template or layout. If an existing button and a new button have the same name, the link and asset of the original button are copied to the new button. By carefully naming your buttons, you can apply one template after another to a menu and still maintain the original button settings. To be able to switch templates easily while using the templates and layout styles supplied with DVD Studio Pro, you need to name the buttons on your menus according to the button-naming convention used by DVD Studio Pro. In the Apple templates and layout styles provided with DVD Studio Pro, button names fall into two categories: general-purpose buttons and special-purpose buttons. General-Purpose Buttons General-purpose buttons use the DVD Studio Pro default naming structure for buttons, starting with “Button 1.” Additionally, the Apple templates and layout styles can have assets and text assigned to each of the general-purpose buttons. When you create a chapter index menu, DVD Studio Pro checks each button to see if it has an asset assigned—if it does, the asset is changed to match the marker’s video. Similarly, if the button has text assigned, it is replaced with each marker’s name. Special-Purpose Buttons Any buttons not intended to link to chapter markers have underscores before and after their names—this causes DVD Studio Pro to ignore them when assigning chapter markers to buttons. The Apple templates and layout styles include three of these: _NEXT_ (to link to the next chapter index menu), _PREV_ (to link to the previous chapter index menu), and _UP_ to link to the original menu (if applicable). These three buttons automatically link to the appropriate menus when used to create a chapter index menu. See About Chapter Index Menus for more information on chapter index menus. Setting Default Styles You can set a default button and text style for each menu. Additionally, you can choose a default text style for the entire project in DVD Studio Pro Preferences. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 323 DVD Studio Pro uses the default button style any time you create a button, whether by dragging the pointer in the Menu Editor or dragging an asset to the Menu Editor and choosing an option from the Drop Palette that creates buttons. The default text style is used whenever you add a text object to any menu in a project. You can also set a default text style for each menu. The text style includes the font, its size, and its color. It can also include default text. You can set the default button and text styles by dragging the style to the Menu Editor or using shortcut menus. Important: Setting the default button or text style for a menu only affects that menu—each menu has its own default button and text style settings. To set a button or text style as the menu default by dragging 1 Select a button or text style in the Palette and drag it to the Menu Editor. 2 When the Drop Palette appears, choose Set Default Button (or Text) Style. To set a button or text object as the menu default in the Palette μ In the Palette, Control-click the button or text object you want to use as the default, then choose Set as Default from the shortcut menu. To set a button or text object as the menu default in the Menu Editor μ In the Menu Editor, Control-click the button or text object you want to use as the default, then choose Set as Default from the shortcut menu. Additionally, you can set the default button and text styles for a menu when you apply a template. See Setting DVD Studio Pro Preferences for information on setting a default text style in DVD Studio Pro Preferences. Creating a Template or Style While creating a template or style is not difficult, it is worth spending some planning time so that you can make the templates and styles as useful as possible. To create a template or style 1 Configure a standard menu to match what you want the template or style to be. If you’re creating a template or a layout style, use care to name the buttons and create them in the correct order. See About Button Numbers and Applying Templates or Layout Styles to a Menu with Buttons for details. 2 If you’re creating a button, text, or drop zone style, select the specific item on the menu whose settings you want to include in the style. For templates and layout styles, you do not need to select anything on the menu. 324 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 3 Do one of the following: • Choose Project > Create in Menu > Template or Project > Create in Menu > Style. • Click Create in the Palette. The Create Template or Create Style dialog opens. Select Self-Contained to copy the assets in this template or style to its file. Leave unselected to have the template or style reference the assets. The thumbnail of the template or style Select Project to have this template or style available to only this project. Enter the name of the template or style. 4 Enter a name for the template or style. 5 Select the Project checkbox if you want the template or style to be available only to this project. Leaving this unselected makes this template or style available to all projects on this system. 6 Select the Self-Contained checkbox to copy the assets used by this template or style into its file. This makes it easier to copy the file to another system where it can be imported by another project. 7 Click Save. The template or style is now saved and appears in the Palette. About Self-Contained Templates and Styles A template or style can use a surprising number of assets. Motion backgrounds and assets assigned to the button thumbnails can be very large files. In many cases, templates and styles you create that use motion assets will be specific to a particular project. In these cases, there is no reason to save them as self-contained. If you are creating a template or style and want to be sure it will always have the assets it requires, you can save it as self-contained. In this case, the assets are added to the template or style’s file. This makes it possible to copy the file to a different system and still have a working version of it. The drawback is that the file may be very large. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 325 Locations of Template and Style Files Template and style files are placed in different locations based on whether or not they are project-exclusive. When you import template and style files, they are also copied to these locations. Custom Template and Style Files When you save a template that is not specific to a project, it is placed at the root of your disk, in this location: /Library/Application Support/DVD Studio Pro/Templates. All template files have a “.dsptemplate” extension. Style files are placed at the same location, in a Styles folder: /Library/Application Support/DVD Studio Pro/Styles. All style files have a “.dspstyle” extension, regardless of the type of style they are. To avoid confusion, be sure to indicate the style type when naming your style. Project Template and Style Files When you save a project template or style, it is added to the project bundle file (the file created when you save your project). Project templates and styles cannot be shared with other projects or systems. If you want to share them, you can add a menu to your project, apply the template or style to it, and then create a new template or style from the menu, setting it so that it is not specific to the project. This creates a new template or style file in the folders mentioned above. Apple Template and Style Files The Apple template and style files provided with DVD Studio Pro are at /Library/Application Support/Final Cut Studio/DVD Studio Pro/. Because these are the same for all DVD Studio Pro systems, there is no reason to copy these to another system. Naming Buttons in Your Templates and Styles If you create a template or layout style, you should follow a consistent button-naming convention. This will allow you to apply different templates or styles, one after the other, without having to reconfigure your buttons. For information on the button-naming conventions used in DVD Studio Pro templates and layout styles, see Applying Templates or Layout Styles to a Menu with Buttons. Importing Templates and Styles You can import templates and styles from other systems. When you import a template or style, it is copied to the same locations used when you create a custom or project template or style. See Locations of Template and Style Files for more information. To import a template or style using the File menu 1 Choose either File > Import > Style or File > Import > Template. 326 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 2 Use the import dialog to navigate to the templates or styles you want to import. You can select a single file or multiple files. 3 Select the Project checkbox if you want the template or style to be available to this project only. Deselecting Project makes this template or style available to all projects on this system. 4 Click Import to import the files. To import a template or style using the Palette 1 Click the Templates or Styles tab in the Palette. Note: When importing a style, it is not necessary to select the proper style type (button, layout, and so on). All style types can be imported. 2 Control-click in the Palette’s thumbnail area, then choose Import from the shortcut menu. 3 Use the import dialog to navigate to the templates or styles you want to import. You can select a single file or multiple files. 4 Select the Project checkbox if you want the template or style to be available to this project only. Deselecting Project makes this template or style available to all projects on this system. 5 Click Import to import the files. The imported templates and styles appear in the Palette and are ready for use. There are several factors that determine how well an imported template or style will work on your system. • Templates and styles only work with the video standard (NTSC or PAL) of the system on which they were created. You cannot import templates and styles from one standard into the other. • Self-contained templates and styles work on all systems using the same video standard, regardless of what assets they contain or how they are arranged. • Referencing templates and styles requires the assets to be in the same location on the new system as they were on the original system. Any assets that cannot be found when a template or style is applied are skipped, leaving those areas of the menu empty. Deleting Templates and Styles You can delete templates and styles once you no longer need them. To delete a template or style 1 Select the template or style to delete. You can select multiple items to delete. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 327 2 Do one of the following: • Control-click the item to be deleted, then choose Delete Selected Template or Delete Selected Style from the shortcut menu. • Click Delete at the bottom of the Palette. 3 A dialog appears, warning that deleting this item may affect this and other projects. Click OK. Note: You cannot delete a template or style that contains assets currently in use on a menu. The template or style is deleted. Deleting Really Deletes When you delete a template or style, the file is actually deleted from the disk. You cannot undo a deletion. This can be a serious issue if the template or style is self-contained because the assets used in the template or style are also deleted. Any projects that used the deleted template or style will no longer be able to access those assets, and you will need to relink their assets. Deleting Apple Templates and Styles You cannot delete the Apple templates supplied with DVD Studio Pro; however, you can delete the Apple styles. If you later decide you want to use the deleted styles, you must reinstall DVD Studio Pro to get them back. 328 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus Managing Shapes The Palette contains a Shapes tab. You can use this tab to view thumbnails of the shapes, drag the shapes to the Menu Editor to use them as buttons or drop zones, and import shapes that you have created. You can choose either small or large as the size for the thumbnails in the Palette in the General pane in DVD Studio Pro Preferences. See General Preferences for more information on the preferences. Two Types of Shapes There are two types of shapes that are available: normal and patches. You can create your own normal shapes; however, patches only come with DVD Studio Pro, and you cannot create your own. What’s a Patch? Patches are shapes that are able to modify the assigned asset. For example, a shape may add a tint or a blur filter to the assigned asset. Some patches have a motion element although most are static. Patches can be positioned and sized just like normal shapes, and have still or video assets assigned to them. Unlike normal shapes, you are not able to create custom patches. Patches appear in the Apple group of the Shapes tab along with the normal shapes. You can tell which shapes are patches by choosing Patch Shapes in the Button Inspector’s Style tab. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 329 Applying a Shape You can apply a shape to an existing button or drop zone (or group of buttons or drop zones) on a menu, or you can create a new button when you apply the shape. The method you use to apply the shape (use the Apply button or drag the shapes) determines what you are able to do. Shapes are sorted into three groups: • Apple: The shapes provided by DVD Studio Pro. These are available to all projects. Note: Not all shapes supplied with DVD Studio Pro support highlights. Some are intended to be used only with drop zones and do not include the highlight layer used by buttons. • Custom: The shapes you import and designate as available to all projects created on this system • Project: The shapes you import for use only in this project. These will not appear when you are working on other projects. The Shapes tab in the Palette includes buttons so that you can choose which of these groups of shapes to view. To apply a shape using the Apply button 1 In the Palette, select the shape’s group (Apple, Custom, or Project), then select the shape you want to apply. 2 In the Menu Editor, do one of the following: • To apply the shape to an existing button or drop zone: Select the button or drop zone. • To apply the shape to a group of buttons or drop zones: Select the buttons or drop zones by holding down the Shift key while clicking them. 3 Click Apply. The shape is applied to the selected items. Note: The Apply button is disabled if you select more than one shape in the Palette. You cannot create a new button or drop zone using the Apply button. To apply a shape by dragging 1 In the Palette, select the shape’s group (Apple, Custom, or Project) so that the shape’s thumbnail appears. 2 Drag the shape from the Palette to the Menu Editor, then do one of the following: • To apply the shape to an existing button or drop zone: Drag the shape to it. • To create a new button or drop zone: Drag the shape to an empty area of the menu and when the Drop Palette appears, choose either Create Button or Create Drop Zone. 330 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus Note: You cannot apply the shape to multiple existing buttons or drop zones by dragging. To assign a shape in the Button Inspector 1 In the Menu Editor, select the button to which you want to apply the shape. 2 Click the Style tab in the Button Inspector. 3 Choose a shape group from the Shape pop-up menu, then choose the shape to use from the submenu. A thumbnail of the shape appears in the Button Inspector and the shape is applied to the button. When you create a new button by dragging a shape to the Menu Editor, the shape is added to the menu at its actual size. This can be important if you intend your shapes to be a specific size when used on a menu. (When shapes are applied to an existing button, they are squeezed to fit it, which can distort it significantly.) Importing a Shape You can import shapes that you create. See Creating Shapes for information on creating shapes. When you import shapes, you choose whether they are specific to a project or shared. To import a shape 1 Click Import in the Shape tab in the Palette. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 331 2 In the selection dialog that appears, locate and select the shape (or shapes) to import. Select if you want the imported shapes to be used only with this project. 3 Select the Project checkbox if you want the shapes to be used only with this project. Deselect the checkbox to make them available to all projects on this system. 4 Click Import. The imported shapes now appear in their group (Project or Custom). For custom shapes, the shape file is copied to the [root]/Library/Application Support/DVD Studio Pro/Shapes folder. For project shapes, the shape is copied to the project bundle. (Apple shapes are contained in the DVD Studio Pro application bundle.) Updating a Shape When you create a custom shape, you will often find, once you’ve applied it to a button or drop zone on a menu, that you need to make an adjustment to it. For example, you might need to make the highlight area larger. To reimport a shape 1 Click Import in the Shape tab in the Palette. 2 In the selection dialog that appears, locate and select the shape (or shapes) to reimport. 3 Select the Project checkbox if the shapes are used only with this project. Deselect the checkbox if they are available to all projects on this system. 4 Click Import. A dialog appears, stating that the shape already exists. 5 Click Replace to import the new versions of the shapes, replacing the existing ones. 332 Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus To see the new versions of the shapes, either in places they are already in use or in new places you want to use them, you must save your project, close it, and then open it again. Any older versions of the shapes are updated to the new versions. Deleting a Shape You can delete one or more shapes. To delete a shape 1 In the Palette, select the shape’s group (Apple, Custom, or Project) that contains the shape or shapes to be deleted. Note: If you delete an Apple shape, you must reinstall DVD Studio Pro to get the shape back. 2 Select the shape or shapes to delete. Use the Shift key to select multiple shapes. 3 Click the Shape tab’s Delete button. The shape’s file is deleted from its location (as determined by its group). Note: You cannot delete a shape that is currently in use on a menu. Chapter 14 Using Templates, Styles, and Shapes to Create Your Menus 333 The layered method allows you to create independent versions of each button for each of the three states. This gives you great flexibility in changing a button’s appearance when it is selected and activated. This chapter covers the following: • About Layered Menus (p. 335) • Choosing the Menu’s Background (p. 336) • Choosing the Menu’s Overlay (p. 338) • About the Menu Inspector for Layered Menus (p. 338) • Adding Buttons to Your Layered Menu (p. 343) • About Layered Menu Button Properties (p. 344) • Options in the Drop Palette for Layered Menus (p. 348) • Drop Palette for Layered Menus—Dragging Assets (p. 349) • Drop Palette for Layered Menus—Dragging Project Elements (p. 353) About Layered Menus When you create menus using the layered method, you specify independent 24-bit layers in an Adobe Photoshop file (PSD) for each state (normal, selected, and activated) of each button (as opposed to using an overlay or shapes, as you do with the standard method). See Layered Menu Creation Method for a discussion of the advantages and disadvantages of this method. Menus created with the layered method can also use overlays. See Choosing the Menu’s Overlay for details on using overlays. See Starting and Working with a Menu for information on creating a layered menu, naming it, and adding assets to it. Note: You cannot change an existing menu from one kind of menu (standard or layered) to the other. 335 Creating Menus Using the Layered Method 15 Choosing the Menu’s Background Layered menus must use the same PSD file for both the menu’s background and the layered buttons. Because of this requirement, only PSD files with multiple layers can be used as backgrounds for layered menus. For best quality, be sure your graphic: • Matches the menu’s resolution and aspect ratio (4:3 or 16:9): If you are creating 16:9 menus in SD projects, or with the 720 x 480p, 720 x 576p, or 1440 x 1080i HD resolutions in HD projects, be sure the graphic is anamorphic. See Creating Graphics to Use in Menus and Choosing an Aspect Ratio for details. • Conforms to the broadcast video color space: Graphics that look stunning in your graphics program can look very different when viewed on DVD. Most graphics applications let you scale colors to NTSC or PAL color space. DVD Studio Pro automatically scales the size of the background graphic to fit the frame size if necessary, which can result in the menu’s background color appearing along some edges. There are several ways to assign a background to a menu. Use the method that you feel most comfortable with. In all cases, these methods also replace an existing background. Assigning a Menu Background Using the Inspector You can assign a menu background using the Inspector. With this method, you can only choose from assets already imported into DVD Studio Pro. To assign a menu background using the Inspector 1 Select the menu and make sure the Menu Inspector displays the menu properties. 2 Click the General tab in the Inspector (if it’s not already visible). 3 Choose a background from the Background pop-up menu. The selected file appears as the menu background, with all layers hidden. You can choose which layers to show in the Menu Inspector. Assigning a Menu Background by Dragging You can assign a background to a menu by dragging the asset from the Assets tab, the Palette, or a Finder window. To assign a menu background by dragging it to the Menu Editor 1 Select the menu in the Outline tab, the Graphical tab, or choose it from the Menu Editor’s View pop-up menu to display it in the Menu Editor. 2 Locate the background file you want to use in the Assets tab, Palette, or Finder window. 3 Drag the asset to an empty part of the Menu Editor and pause until the Drop Palette appears. 336 Chapter 15 Creating Menus Using the Layered Method 4 Choose one of the following: • Set Background—All Layers Visible: To show all layers in the file. • Set Background—No Layers Visible: To hide all layers in the file. The background appears in the Menu Editor. You can choose which layers to show in the Menu Inspector. To assign a menu background by dragging it to the Outline or Graphical tab 1 Click the Outline or Graphical tab and select the menu you want to assign the background to. 2 Locate the background file you want to use in the Assets tab, Palette, or Finder window. 3 Assign the background file to the menu by dragging the file to the menu’s name or tile. A box appears around the name or tile to let you know the menu will receive the background file. The background appears in the Menu Editor, with all layers hidden, when you select the menu. You can then choose which layers to show in the Menu Inspector. Choosing a Menu’s Background from a Layered Photoshop File You can choose a layer (or several) from an Adobe Photoshop format (PSD) file to use as the menu background. One PSD file can supply backgrounds and overlays for several menus. To choose a menu background from a PSD file 1 Either create a new menu or select an existing one. 2 Click the General tab in the Menu Inspector. 3 Assign the PSD as the menu’s background by doing one of the following: • Choose it from the Background Asset pop-up menu in the Menu Inspector. • Drag it to the Menu Editor and choose Set Background from the Drop Palette. The PSD file’s layer names appear in the Background area of the General tab. 4 Select the checkboxes next to the layers that make up the background. Choose the background from this pop-up menu. Select these checkboxes to make the layers part of the background. Chapter 15 Creating Menus Using the Layered Method 337 Choosing the Menu’s Overlay You can use overlays with layered menus as well as with standard menus. Every aspect of using them, from selecting the file and configuring its color mapping, is identical to how you use overlays in a standard menu. See Choosing the Menu’s Overlay for information on adding an overlay to your layered menu. See Understanding Color Mapping for information on configuring color mapping for simple and advanced overlays. About the Menu Inspector for Layered Menus The tabs within the Layered Menu Inspector provide a variety of menu configuration settings. These settings control everything from background and overlay configuration, to transition and timeout settings. The Layered Menu Inspector has five tabs: General, Menu, Transition, Colors, and Advanced. Settings at the Top of the Layered Menu Inspector The top of the Layered Menu Inspector contains two settings. • Name: Enter the name for this menu. • Est. Size: Displays the estimated amount of disc space the menu requires based on the assigned assets. 338 Chapter 15 Creating Menus Using the Layered Method General Tab in the Layered Menu Inspector The General tab in the Layered Menu Inspector is divided into three sections: The upper section contains the menu timeout settings, the middle section contains the background configuration settings, and the lower section contains the overlay configuration settings. Menu timeout settings Background settings Overlay settings Menu Timeout Settings • At End: Choose whether the menu displays indefinitely (Still) or performs a jump action if there is no activity for a period of time (Timeout). • Sec: Active only when At End is set to Timeout. Enter the number of seconds the menu appears before jumping to the Action setting. • Action: Choose the element to jump to once the timeout ends. Background Settings • Background: Choose the layered PSD file to use as the menu’s background. • Show: Select the checkboxes next to each layer that you want to appear as part of the background. Overlay Settings • Overlay: Choose the file to use as the menu’s overlay file. Set this only if you want to use both overlay-based buttons and layered buttons on this menu. • Show: Select the checkbox next to the layer you want to use as the overlay for the menu. Unlike backgrounds where you can select multiple layers, you can only select a single layer for use as an overlay. Chapter 15 Creating Menus Using the Layered Method 339 Menu Tab in the Layered Menu Inspector Most settings in the Menu tab in the Layered Menu Inspector are optional. An exception is the Aspect Ratio setting, which must be set correctly for each menu. • Default Button: Choose the button to be selected when the menu appears during playback of the title. This setting can be overridden by any element that jumps to this menu, based on its jump setting, and the Highlight Condition setting. • Return Button: Choose the project element to jump to if you press the Return button on the DVD player’s remote control. • Highlight Condition: Provides an alternative method to the Default Button setting for determining which button to highlight. When Highlight Condition is set to Default, the Default Button setting supplies the button highlight setting. When Highlight Condition is set to one of its stream settings (audio, subtitle, camera angle), the number of the stream last played determines the button to highlight. This setting can be overridden by any element that jumps to this menu, based on its jump setting. • Language: Choose the language in which this menu should be displayed. See Using Languages with Menus for more information. • Resolution: Choose the menu’s resolution. • For SD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL). • For HD projects: You can choose from any of the supported resolutions. DVD Studio Pro Preferences includes a setting for the default resolution. The resolution automatically changes to match the menu’s background video resolution if it matches one of the supported resolutions. Choosing a resolution different than that used by the menu’s background video results in the menu being scaled and rendered to this setting when you build the project. 340 Chapter 15 Creating Menus Using the Layered Method • Display Mode: Set the aspect ratio for this menu (4:3 or 16:9). With 16:9, you also choose how it will display on a 4:3 monitor. The aspect ratio of the background and overlay must match this setting. See Working with 16:9 Menus for more information. • Number Pad: Defines which buttons are directly accessible by a DVD player’s numeric keypad. Choose All, None, or a button number from the pop-up menu. When you choose a button number, that button and all buttons less than that number are accessible via the numeric keypad—buttons greater than this value are blocked from direct access. • Btn Offset: You can use this setting to offset button numbers so they make sense to a viewer who wants to select a button by entering its number. For example, you may have a set of scene selection menus with numbered scenes. One of the menus may have scenes 23 to 34, with the button for scene 23 being the first button on the menu. If you enter an offset value of 22 for this menu, when the viewer enters 23 on the remote control, 22 is subtracted from it, with the result being 1—the button’s actual number. Transition Tab in the Layered Menu Inspector The Transition tab is used to configure a button transition for this menu. See Transition Tab in the Menu and Button Inspectors for details on this tab. Chapter 15 Creating Menus Using the Layered Method 341 Colors Tab in the Layered Menu Inspector The Colors tab is identical to the Menu Inspector for standard menus. See Colors Tab in the Menu Inspector with Simple Selected and Colors Tab in the Menu Inspector with Advanced Selected for information on the Colors tab. Advanced Tab in the Layered Menu Inspector The Advanced tab in the Layered Menu Inspector contains settings that are used only in specialized projects. Disabled User Operations Settings • Disabled User Operations: Select the functions that you want to be disabled while this menu plays. See User Operations for more information. 342 Chapter 15 Creating Menus Using the Layered Method Playback Options Settings • Pre-Script: Choose a script to run before the menu appears. This script can decide whether to show the menu or configure the DVD player before showing it. See Pre-Scripts for information on pre-scripts. • DVD@CCESS: Selecting this checkbox allows you to add DVD@CCESS links, which provide additional functionality to your title when played on a computer. See DVD@CCESS for more information. • Display Condition: Selecting this enables the Display Condition settings which control whether this menu should be displayed or not, and to define what should be displayed if not this menu. See Display Condition for more information. Adding Buttons to Your Layered Menu There are two button types you can add to a layered menu: layered buttons and overlay buttons. In both cases, the first step is to create a button active area. See Creating Menus Using the Standard Method. Once you create the active areas, you can configure the buttons. For overlay buttons, see Using Simple Overlay Color Mapping and Using Advanced Overlay Color Mapping for details. For layered buttons, see Configuring a Layered Button. Mixing Overlay Buttons with Layered Buttons So that you can combine overlay and layered buttons on the same menu, the color mapping settings are active at all times—even when you aren’t adding an overlay to the menu. If you see an unexpected color appear in the active areas in any of the button states (normal, selected, or activated), you need to configure the color mapping settings. If no overlay file is assigned to a layered menu, a plain white image is used in place of the overlay file. If the color mapping settings apply a color to white, that color will appear in the active areas. When working with a layered menu without an assigned overlay file, you must either: • Select Simple as the Overlay Colors setting. This automatically sets white to be fully transparent. • Select Advanced as the Overlay Colors setting, then set the opacity for white to 0 for each selection state. Configuring a Layered Button Configuring a layered button is a matter of selecting layers in the menu’s PSD file to display in the three button states (normal, selected, and activated). To configure a layered button 1 Click in the button’s active area. Chapter 15 Creating Menus Using the Layered Method 343 The Button Inspector appears. 2 Set the button’s connection by choosing an element from the target pop-up menu in the top section of the Button Inspector. 3 Click the Layers tab. A list of all layers in the PSD file appears. The normal button state column The selected button state column The activated button state column 4 Select the checkbox in the Normal column next to the layer to display when this button is not selected or activated. You can select more than one layer. If the normal state for the button is already part of the background, you do not need to select layers in the Normal column. 5 Select the checkbox in the Selected column next to the layer to display when this button is selected. You can select more than one layer. 6 Select the checkbox in the Activated column next to the layer to display when this button is activated. You can select more than one layer. 7 To verify the layer settings, use the Menu Editor’s button state icons to select the state (normal, selected, or activated) to display. Shows the selected state. Shows the activated state. Shows the normal state. You need to repeat this process for each layered button in your menu. About Layered Menu Button Properties The Layered Button Inspector has four tabs: Button, Layers, Colors, and Transition. 344 Chapter 15 Creating Menus Using the Layered Method Settings at the Top of the Layered Button Inspector The top of the Layered Button Inspector has three settings. • Name: By default, buttons manually added to a menu are named “Button _,” where “_” is the button number on that menu. To reduce confusion when viewing a list of the menu’s buttons, it is helpful to rename the buttons based on their functions. Next to the button’s name is its number. This number is based on the order in which the buttons are added to the menu. See About Button Numbers for information on changing this number and why it can be important. • Target: You can use this pop-up menu to define a button’s action when activated. (You can also use the Connections tab or Control-click the button.) Often you must set the connection later because what you want to jump to has not yet been added to the project. The pop-up menu contains all possible project elements you can jump to. Button Tab in the Layered Button Inspector The Button tab in the Layered Button Inspector contains settings that allow you to customize the selected button. • Navigation: This area lets you set the actions that take place when the viewer uses the arrow buttons on the DVD player’s remote control to navigate around the title. Because this is the typical way the title will be viewed, it is important to spend some time configuring the navigation in a logical, predictable way. See Configuring Button Navigation for information. Chapter 15 Creating Menus Using the Layered Method 345 • Angle/Audio/Subtitle Streams: Use these three pop-up menus to connect a button to specific audio, subtitle, and angle streams to play back. For the subtitle stream, you can also choose whether subtitles should appear. • Auto Action: If you enable Auto Action for a button, it activates automatically as soon as it is navigated to, without the viewer needing to press Enter. This is useful in menus, such as scene selection menus, in which you use Next and Previous buttons; you can assume that if viewers navigate to the Next or Previous button, they want to activate it. Note: With overlay-based buttons, if you select this option, only the activated color mapping appears when the button is navigated to, skipping the selected color mapping. • Invisible: Applies to overlay-based buttons. Allows you to have a button that does not display highlights in the normal, selected, or activated state. This is useful when you want to have a menu with text and no visible buttons. The text could tell the viewer to press the Enter button to go to the next menu or start playback (or whatever the button is set to jump to). • Highlight: Applies to overlay-based buttons. Allows you to choose the color mapping set to assign to this button. • Coordinates & Size: This area lets you set the location of each edge of the button’s active area, plus the area’s height and width. The upper-left corner of the menu is at pixel 0, line 0. You can enter values for each edge, allowing you to precisely position and size the button’s active area. (You can also drag the active area and each of its edges with the pointer.) 346 Chapter 15 Creating Menus Using the Layered Method Layers Tab in the Layered Button Inspector The Layers tab in the Layered Button Inspector lists the layers in the PSD file assigned as the menu’s background. There are three columns of checkboxes—normal (on the left), selected (in the center), and activated (on the right)—next to each layer. For the current button, you select at least one layer to appear when the button is selected, and a second layer to appear when the button is activated. You do not need to select a layer for the button’s normal state if it is part of the menu’s background. Colors Tab in the Layered Button Inspector The Colors tab is identical to the one used in the Button and Menu Inspectors for standard menus. See Colors Tab in the Menu Inspector with Simple Selected and Colors Tab in the Menu Inspector with Advanced Selected for details on using this tab. Chapter 15 Creating Menus Using the Layered Method 347 Transition Tab in the Layered Button Inspector The Transition tab is used to configure a button transition for this button. See Transition Tab in the Menu and Button Inspectors for details on this tab. Options in the Drop Palette for Layered Menus Following are descriptions of the various Drop Palette options that can appear when you drag an asset or element to the Menu Editor. See Viewing the Drop Palette for information on using the Drop Palette options. The following descriptions are grouped by the type of item you are dragging (asset, project element such as a track or slideshow, and a template, style, or shape from the Palette). Details for standard menus are listed first, followed by the details for the layered menus. For those Drop Palette options that appear when you drag a motion video asset, a matching audio asset is also added (if applicable), as long as: • The “Find matching audio when dragging” setting in the Track pane of DVD Studio Pro Preferences is selected. • An audio file with the same base name as the video file is located in the same folder as the video asset. The following details assume the “Find matching audio when dragging” preference is selected and a suitable audio file is found. 348 Chapter 15 Creating Menus Using the Layered Method Drop Palette for Layered Menus—Dragging Assets The following sections list the choices in the Drop Palette that appear when you drag assets to an empty area or button in a layered menu. Dragging a Motion Video Asset to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Creates a new track with this video. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Adds a link from the new button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Button and Track (default option) Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers to it. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Button and Chapter Index Dragging a Motion Video Asset to a Button The following options appear in the Drop Palette: Chapter 15 Creating Menus Using the Layered Method 349 Drop Palette options Actions • Creates a new track with this video. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Adds a link from the button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Track (default option) Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers to it. • Assigns matching audio as the track’s audio. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Chapter Index Dragging a Video/Audio Pair to an Empty Area The following options appear in the Drop Palette: 350 Chapter 15 Creating Menus Using the Layered Method Drop Palette options Actions • Creates a button at this menu location. • Creates a new track with this video and audio. • Names the track the same as the video asset. • Adds a link from the new button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Button and Track (default option) Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers to it. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Button and Chapter Index Dragging a Video/Audio Pair to a Button The following options appear in the Drop Palette: Drop Palette options Actions • Creates a new track with this video and audio. • Names the track the same as the video asset. • Adds a link from the button to the first marker of the new track. • Sets the new track’s End Jump setting to this menu. Create Track (default option) Use this option with video that has had chapter markers added with Compressor, Final Cut Express, or Final Cut Pro. • Creates a track and adds the chapter markers to it. • Names the track the same as the video asset. • Sets the new track’s End Jump setting to this menu. • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the new track to buttons on the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. Create Chapter Index Chapter 15 Creating Menus Using the Layered Method 351 Dragging a Single-Layer Still Picture to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions Set Overlay (default option) • Uses the picture as this menu’s overlay. • Creates a button at this menu location. • Creates a new standard menu with this picture as the background. • Adds a link from the new button to the new menu. Create Standard Submenu Dragging a Single-Layer Still Picture to a Button The following option appears in the Drop Palette: Drop Palette options Actions • Creates a new standard menu with this picture as the background. • Adds a link from the button to the new menu. Create Standard Submenu (default option) Dragging a Multiple-Layer Still Picture to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions Once set, you can disable layers in the Menu Inspector. • Uses the picture as this menu’s background, with all layers visible. Set Background—All Layers Visible (default option) Once set, you can enable layers in the Menu Inspector. • Uses the picture as this menu’s background, with no layers visible. Set Background—No Layers Visible Once set, you can select the layer to use as the overlay in the Menu Inspector. • Uses the picture as this menu’s overlay, with no layers assigned to the overlay. Set Overlay Once set, you can enable layers for the new menu in the Menu Inspector. • Creates a button at this menu location. • Creates a new standard menu with this picture as the background, with no layers visible. • Adds a link from the new button to the new menu. Create Standard Submenu Once set, you can enable layers for the new menu in the Menu Inspector. • Creates a button at this menu location. • Creates a new layered menu with this picture as the background, with no layers visible. • Adds a link from the new button to the new menu. Create Layered Submenu Dragging a Multiple-Layer Still Picture to a Button The following options appear in the Drop Palette: 352 Chapter 15 Creating Menus Using the Layered Method Drop Palette options Actions Once set, you can enable layers for the new menu in the Menu Inspector. • Creates a new standard menu with this picture as the background, with no layers visible. • Adds a link from the button to the new menu. Create Standard Submenu (default option) Once set, you can enable layers for the new menu in the Menu Inspector. • Creates a new layered menu with this picture as the background, with no layers visible. • Adds a link from the button to the new menu. Create Layered Submenu Dragging Multiple Still Pictures (or a Folder) to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Creates a new slideshow. • Adds a link from the new button to the new slideshow. • Sets the slideshow’s End Jump setting to this menu. Create Button and Slideshow (default option) Dragging Multiple Still Pictures (or a Folder) to a Button The following option appears in the Drop Palette: Drop Palette options Actions • Creates a new slideshow. • Adds a link from the button to the new slideshow. • Sets the slideshow’s End Jump setting to this menu. Create Slideshow (default option) Drop Palette for Layered Menus—Dragging Project Elements The following section lists the choices in the Drop Palette that appear when you drag project elements from the Outline or Graphical tab to an empty area or a button in a layered menu. Dragging an Existing Track to an Empty Area The following options appear in the Drop Palette: Chapter 15 Creating Menus Using the Layered Method 353 Drop Palette options Actions • Creates a button at this menu location. • Adds a link from the new button to the first marker of the track. • Sets the track’s End Jump setting to this menu (if it has not already been set). Create Button (default option) • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. • Sets the track’s End Jump setting to this menu (if it has not already been set). Create Button and Chapter Index Dragging an Existing Track to a Button The following options appear in the Drop Palette: Drop Palette options Actions • Adds a link from the button to the first marker of the track. • Sets the track’s End Jump setting to this menu (if it has not already been set). Connect to Track (default option) • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of markers and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each chapter marker from the track to buttons in the chapter index menus. • Assigns the video from each marker to its button’s thumbnail. • Sets the track’s End Jump setting to this menu (if it has not already been set). Create Chapter Index Dragging a Story to an Empty Area The following option appears in the Drop Palette: 354 Chapter 15 Creating Menus Using the Layered Method Drop Palette options Actions • Creates a button at this menu location. • Adds a link from the new button to the story. Create Button (default option) Dragging a Story to a Button The following option appears in the Drop Palette: Drop Palette options Actions Connect to Story (default option) • Adds a link from the button to the story. Dragging a Slideshow to an Empty Area The following options appear in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Adds a link from the new button to the slideshow. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Create Button (default option) • Creates a button on this menu to link to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of slides and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each slide from the slideshow to buttons in the chapter index menus. • Assigns the picture from each slide to its button’s thumbnail. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Create Button and Chapter Index Dragging a Slideshow to a Button The following options appear in the Drop Palette: Chapter 15 Creating Menus Using the Layered Method 355 Drop Palette options Actions • Adds a link from the button to the slideshow. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Connect to Slideshow (default option) • Links the button to the first of the new chapter index menus. • Creates one or more new chapter index menus (using the standard method), depending on the number of slides and the button layout used. • Opens the Choose Template or Layout Style dialog so you can choose the template or layout style to use for the chapter index menus. • Links each slide from the slideshow to buttons in the chapter index menus. • Assigns the picture from each slide to its button’s thumbnail. • Sets the slideshow’s End Jump setting to this menu (if it has not already been set). Create Chapter Index Dragging a Menu to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Adds a link from the new button to the menu. Create Button (default option) Dragging a Menu to a Button The following option appears in the Drop Palette: Drop Palette options Actions Connect to Menu (default • Adds a link from the button to the menu. option) Dragging a Script to an Empty Area The following option appears in the Drop Palette: Drop Palette options Actions • Creates a button at this menu location. • Adds a link from the new button to the script. Create Button (default option) Dragging a Script to a Button The following option appears in the Drop Palette: Drop Palette options Actions Connect to Script (default • Adds a link from the button to the script. option) 356 Chapter 15 Creating Menus Using the Layered Method Adding menu transitions and creating menus for multiple languages are advanced features that can add value to your DVD project. Menu transitions are short video clips that play at the beginning of a menu (intro clips) and when buttons are pressed (transition clips). There are several approaches you can take to add these clips to your project. You can also configure a menu to support up to 16 different languages. By assigning different backgrounds, overlays, audio, and text to each menu’s language, you can create a DVD that supports a wider audience. This chapter covers the following: • Adding Intro and Transition Clips to Menus (p. 357) • Using Languages with Menus (p. 364) Adding Intro and Transition Clips to Menus You can make the DVD viewing experience more polished by adding short video clips that play at the beginning of a menu (intro clips) and when buttons are pressed (transition clips). Using Menu Intro Clips Menu intro clips are most effective when they build up to the menu’s background video. For example, if the menu’s background is a shot of a building with buttons in its windows, you could have an intro clip that fades up from black to the shot of the building, and then has the button elements fly in from off the screen and take their place in the windows. 357 Using Advanced Menu Features 16 There are three approaches you can take to create a menu intro effect: • Combine the intro clip with the menu’s background video: This method guarantees a seamless transition between the intro clip and the original menu’s background. The Menu Editor includes a Loop Point setting that you can use to control where the menu jumps to when its playback is looped. This allows you to configure the intro clip to play only the first time a menu’s background plays. The loop point also controls when the button highlights appear. Because button highlights cannot move, you would not want them visible during the intro while the button elements are moving. See About the Motion Settings for more information. A disadvantage of this mode is that, unless you use a simple script, the menu’s intro must play each time the menu is accessed because you cannot jump directly to the menu’s loop point. (See Jumping to a Menu’s Loop Point for an example of the script.) • Configure the intro clip as its own menu: To do this, you need to create a menu and assign the intro clip as its background. You also need to set the menu’s At End setting to Timeout, enter 0 as the Sec, and set the Action to be the menu this intro clip is for. Whenever you want to jump to the original menu, you can jump to this intro menu instead—the intro menu will automatically jump to the original menu once its intro clip plays. The advantage of this method is that, because you are jumping from one menu to another menu, the disruption during that jump time should be minimal. (By default, all menus are stored in the same general area on a DVD disc, making it easier for the DVD player to jump between them. Additionally, you can use the VTS Editor to ensure the two menus are next to each other.) Another advantage is that you can choose whether to jump to the intro menu or to jump directly to the original menu, avoiding forcing the viewer to watch the intro menu multiple times. • Configure the intro clip as its own track: To do this, you need to create a track and add the intro clip to its V1 video stream. The only configuration you need to do is to set the track’s End Jump setting to the original menu. Whenever you want to jump to the original menu, you can jump to this intro track instead—the intro track will automatically jump to the original menu once its intro clip plays. About Button Transition Clips Button transition clips provide the opposite effect of the menu intro clip—they provide a transition from the menu background’s buttons to the element (a track or another menu) that the menu’s button is connected to. Using the same example used for the intro clips (a shot of a building with buttons placed in its windows), the transition clip could have the button elements fly off the screen and then fade the shot of the building to black. 358 Chapter 16 Using Advanced Menu Features You can use the menu transition feature to automatically create the transition clips or you can manually create button transition clips. Using the Menu Transition Feature The menu transition feature makes it easy to automatically create transition clips for all buttons on a menu. You define a transition in the Menu Inspector that is then applied to all buttons and the timeout action (if set). By default, each button is set to use the menu’s transition settings; however, you can modify or disable the settings for each button. Transition settings include: • Transition (crossfade, wipe, and so on) • Specific parameters based on the transition type (duration, direction, and so on) • Alternative start and end video The menu transition feature can be used with standard and layered menus. Important: Be aware of the aspect ratio and resolution of the button’s target when configuring transitions. All transitions from a menu are based on the menu’s aspect ratio and resolution. Depending on the type of monitor a viewer is using, if the button’s target uses a different aspect ratio or transition, there may be a noticeable glitch when the monitor switches from the menu’s settings to the button target’s settings. Chapter 16 Using Advanced Menu Features 359 About the Transition Types DVD Studio Pro includes a variety of Standard and Alpha Transitions you can use with your menus. These same transitions are available in slideshows and tracks with still images. Menus also allow you to specify a video clip to use in place of the Standard Transitions. Disables default transitions for this menu. Standard Transitions Video Transition Alpha Transitions Alpha Transitions DVD Studio Pro includes several Alpha Transitions. These transitions use short video clips to produce a transition from the current picture to the new picture. These transitions, indicated with the Greek letter alpha in front of their name, have no settings other than a duration. Additionally, you can even create and import your own Alpha Transitions. See Preparing Alpha Transitions for details on the process. Standard Transitions When you choose a Standard Transition from the Transition pop-up menu in the Transition tab in the Menu or Button Inspector, DVD Studio Pro creates a short video clip to be used as the transition. 360 Chapter 16 Using Advanced Menu Features The transition clips use a start and end video frame, with the transition controlling how the video changes from one to the other. • The start frame: This is the menu with all buttons in the normal state. If the menu has a video asset as its background, the loop point frame (or first frame, if the loop point is not set) of the video is used as the start frame. The start frame also includes the menu’s drop zones and text objects. • The end frame: This is the first frame of the target the button is jumping to. If the button jumps to a script, the end frame is black. If you change the button’s target, the end frame automatically updates. You are able to assign specific assets or colors as the start and end video frames in the Menu and Button Inspectors. See Transition Tab in the Menu and Button Inspectors for more information. The transition clips that are created with the menu transition feature are rendered as part of the build process. They are placed in the same video title set (VTS) file as the menus. When authoring a project that will fill the DVD disc, you must take into account that a transition video clip is rendered for each menu button that has transitions enabled—a menu with 18 buttons can require 18 transition video clips. This can have a significant impact on the amount of disc space the menus require. See Transitions for more information. Video Transitions When you choose Video Transition from the Transition pop-up menu in the Transition tab in the Menu or Button Inspector, you can assign a short video clip to be used as the transition clip. Adding Button Transitions to a Menu You can set a default transition for the menu. This transition is applied to all buttons. To set a transition for a menu 1 Select the menu in the Outline tab, the Graphical tab, or from the Menu Editor’s View pop-up menu. 2 Click the Transition tab in the Menu Inspector. 3 Choose either a Standard Transition or the Video Transition from the Transition pop-up menu. You can choose “not set” to disable default transitions for this menu. (You can still configure individual buttons to use transitions.) 4 Configure the transition using its specific parameters. Once you have configured the menu’s transition, you can modify or disable it at each button. Chapter 16 Using Advanced Menu Features 361 To modify a button’s transition 1 Select the button to be modified. 2 Click the Transition tab in the Button Inspector. The Transition setting shows “Same as Menu” by default. 3 Choose the transition to use from the Transition pop-up menu. You can choose “not set” to disable transitions for that button. 4 Configure the transition using its specific parameters. Transition Tab in the Menu and Button Inspectors The Transition tabs in the Menu and Button Inspectors are identical—the only difference is that the Transition pop-up menu in the Button Inspector has a “Same as Menu” choice that the Menu Inspector does not have. • Start thumbnail: Shows the video frame that a still transition will start from. • Transition thumbnail: Provides a preview of a still transition when you click the Preview button, or a preview of a video transition when you click the Play button. • End thumbnail: Shows the video frame that a still transition will end with. This thumbnail is empty in the Menu Inspector unless you have used the End pop-up menu to specify an ending frame. • Transition: Choose the transition to use. In the Menu Inspector, this sets the default transition for this menu, which you can override at each button. • not set: Disables transitions for this menu or button. • Standard Transition: Creates a transition clip based on the Standard Transitions supplied with DVD Studio Pro. 362 Chapter 16 Using Advanced Menu Features • Video Transition: Uses a video clip you assign to create a transition. See About the Transition Types for more information. • Same as Menu: Only available in the Button Inspector. Sets the current button to use the transition settings in the Menu Inspector. • Preview: Click this to preview the current transition in the Transition thumbnail area. • Parameters area: Contains the parameters, including the duration, for the current transition. Each transition has its own set of parameters. • Start: Choose the start frame for the transition to use. • With Default: The start frame is the menu’s background. • With Solid Color: You are able to choose a color to use as the start frame. • With Stills and Videos: You are able to choose a specific asset to use as the start frame. In the case of videos, an Offset setting appears that allows you to choose the video frame to use. • End: Choose the end frame for the transition to use. • With Default: The end frame is the menu’s background. • With Solid Color: You are able to choose a color to use as the end frame. • With Stills and Videos: You are able to choose a specific asset to use as the end frame. In the case of videos, an Offset setting appears that allows you to choose the video frame to use. Transition Parameters Each transition has its own parameters. In many cases, the settings are self-explanatory; however, in some cases, the settings are not obvious. See Transition Parameters for details on the parameters for each transition. Manually Creating Button Transition Clips Transition clips are inserted between the button and the button’s connection. While a menu’s intro clip plays when you jump to the menu, button transitions play when you activate a specific button. If you have eight buttons on a menu and want the transition clip to play when each button is activated, you have to create a separate transition clip for each button because the end of the transition clip needs to jump to the button’s actual connection. Chapter 16 Using Advanced Menu Features 363 There are two approaches you can take to create the button transition effect: • Configure the transition clip as its own menu: To do this, you need to create a menu and assign the transition clip as its background. You also need to set the menu’s At End setting to Timeout, enter 0 as the Sec, and set the Action to be the element that the button originally connected to. Then you need to change the original menu’s button connection to this transition menu. The advantage of this method is that, because you are jumping from one menu to another menu, the disruption during that jump time should be minimal. (All menus are stored in the same general area on a DVD disc, making it easier for the DVD player to jump between them.) • Configure the transition clip as its own track: To do this, you need to create a track and add the transition clip to its V1 video stream. The only configuration you need to do is to set the track’s End Jump setting to the element that the button originally connected to, and to change the original menu’s button connection to this transition track. Using Languages with Menus You can configure a menu to support up to 16 different languages. When the DVD first starts playing, it checks the menu language setting of the DVD player and automatically displays the corresponding menu (if a menu for that language is available) or the menu for the first language available (if there is no language match). The Outline tab lists the languages you have added to the project in the Languages section. The languages you see there are used to determine only which menus to display and have no effect on the stream settings within the tracks. By default, one language, based on the Default Language setting in the Project pane of DVD Studio Pro Preferences, appears in the Outline tab. You do not actually create different menus for each language—you simply assign separate background, overlay, and audio (if applicable) files to each language. You can also change the text in any text objects and buttons. These three files and the text changes are the only differences between the languages. Button active areas, links, and all other menu settings are exactly the same for each language. Note: Because the start frames of transitions are based on the menu’s background video, separate transition clips are rendered for each language that uses a different background video. 364 Chapter 16 Using Advanced Menu Features Creating and Configuring Menu Languages There are two approaches you can take to configure menus for multiple languages: • Create the primary language’s menu first, and then create the alternate languages in the Outline tab: When you create the menu languages after you have created the primary menu, all of the primary menu attributes are applied to all language versions of the menu, including those that can be different between the languages. This makes it easier to configure the menus for the other languages, especially if you are not changing much between the different languages. • Create the languages first, and then create the menus: When you create the languages first, the menus all start out empty. Anything you apply to one of the menus that is not language-specific gets applied to all versions of the menu. If you apply an item that is language-specific—for example, you create a text object—a text object is created on all versions of the menu, but only the menu you created it on will have the text and text attributes (font or color). This can require more effort because you have to set not only the text, but its attributes for each version of the menu. (If you had created the primary menu first, all of the other versions would have the text object with its font and color—all you would need to do would be type the new text.) Most often you will find yourself using a mixture of these methods. For example, you might create the languages and menus, and then find you need to add an additional language. The menu configurations for the new language will match the primary menu settings. Adding Menu Languages You can use the Outline tab’s shortcut menu to create menu languages. To create menu languages Do one of the following: μ Choose Project > Add to Project > Language, or press Command-Slash (/). μ Control-click in the Outline tab, choose Add from the shortcut menu, then choose Language from the submenu. The new language appears in the Outline tab under the Languages heading. By default it is named “English _,” with “_” being the number of the language. The General pane in DVD Studio Pro Preferences contains a project default language setting that you can use to define the default language. See General Preferences for more information. Important: For every language you add, DVD Studio Pro creates a new menu for each menu in your project. This is true whether or not you assign different backgrounds to each language. For projects with a lot of motion menus, these additional menus can take up a significant amount of space on the DVD. Chapter 16 Using Advanced Menu Features 365 Configuring Menu Languages in the Outline Tab You can use the Outline tab to configure the menu languages. To configure menu languages using the Outline tab 1 Click the triangle next to Languages to display the available languages. There should be at least one entry. 2 Select the language entry to open the Language Inspector. 3 Choose a language from the Language Code pop-up menu. This is the language that this language element should map to on the DVD player when the title plays. 4 If desired, enter a new name in the Language Name area. This is the name that you will see when configuring your menus. By default, it changes to match the name of the language selected in the Language Code pop-up menu. This name is not seen by the viewer; it is strictly for your use while configuring menus. 5 To remove a language, select it in the Outline tab and press the Delete key. Setting Up Menus for the Languages Once you have created and configured your languages, you can configure their menus. To do this, you need to have created and imported all assets (backgrounds, overlays, and audio streams) that will be used for the different languages. To configure a menu for a language 1 Select a menu. It does not have to be fully configured yet. Keep in mind that all settings (with the exception of the background, overlay, audio file, and text) are shared among all languages. 2 Do one of the following to choose a language to configure: • Choose the language from the Language pop-up menu in the Menu tab in the Menu Inspector. • Choose the language from the Menu Editor’s language pop-up menu, next to the View pop-up menu. 3 Select the background file, overlay file, and audio file to use for this language. You can use the same file for multiple languages. Note: These files must be compatible (the same format, resolution, and, in the case of audio, the same bit rate, sample size, and sample rate) between all language versions of the menu. 366 Chapter 16 Using Advanced Menu Features 4 If desired, change the text in any text objects and buttons to what you want to appear for that language. You can also change the font and color for each language. 5 Select any additional languages and set their asset files and text as you like. When you choose a language that you have already configured with alternate assets, the menu’s assets and text change to match those settings. Chapter 16 Using Advanced Menu Features 367 The main content of a DVD project is contained in tracks, which hold pieces of video, audio, and subtitles that play as a unit. This chapter covers the following: • About Track Limits in a DVD (p. 370) • Working with a Track’s Assets (p. 370) • How Many Tracks Should You Have? (p. 371) • About Subtitle Streams (p. 371) • DVD Studio Pro Tools for Working with Tracks (p. 371) • Creating Tracks (p. 372) • Opening Tracks (p. 373) • Setting Track Properties (p. 373) • About the Track Editor (p. 377) • Configuring the Track Editor (p. 377) • Understanding Time Information in the Track Editor (p. 380) • Supported Asset Types (p. 384) • Adding Video and Audio Assets (p. 386) • Editing Video and Audio Clips (p. 390) • Setting Stream Properties (p. 392) • Exporting an MPEG Clip (p. 393) • Working with Markers (p. 393) • About Marker Placement (p. 394) • Creating and Editing Markers (p. 395) • Adding Markers to a Track Without a Video Clip Assigned (p. 397) • Importing Markers from an Editor (p. 397) • Importing Markers from a Text List (p. 399) 369 Creating and Editing Tracks 17 • About the Marker Types (p. 399) • Setting Marker Properties (p. 401) • Introduction to Stories (p. 403) • Creating a Story for a Track (p. 404) • Using the Story Editor (p. 404) • Setting Story Properties (p. 405) • Setting Story Entry Properties (p. 407) • Simulating a Story (p. 407) • Adding Alternate Video Streams (p. 408) • Using Still Clip Transitions (p. 410) • Viewing a Track (p. 413) About Track Limits in a DVD A DVD can have a combination of up to 99 tracks, stories, and slideshows. Each track can contain up to: • 9 video streams, used as angles or alternate video • 8 audio streams for different soundtracks • 32 subtitle streams for alternate text, alternate languages, or buttons over video • 99 chapter markers used primarily to define points in the track that can be jumped to • 255 cell markers used for a variety of purposes, such as button highlights and DVD@CCESS (this includes chapter markers, which are also cell markers) • 98 stories (assuming there are no other tracks or slideshows), each defining an alternate track playback by treating each chapter marker as a clip that can be moved or skipped as needed Working with a Track’s Assets You can add multiple video or audio assets to each stream in a track. You can even trim each asset’s start and end points to choose the parts of it you want to use. While this allows for a lot of flexibility when creating your tracks, it is not a substitute for using a video editing application, such as Final Cut Pro, to edit the clips into an asset to add to your project. 370 Chapter 17 Creating and Editing Tracks You need to use a video editing application to add effects such as dissolves, wipes, and keys to the video. With this kind of editor, you can precisely choose each clip’s start and end points—the trimming capability of DVD Studio Pro is restricted to Group of Pictures (GOP) boundaries only, making it much harder to trim a clip exactly where you would like. Also, DVD Studio Pro can’t mix multiple audio assets together as you can with an editor. How Many Tracks Should You Have? Depending on your intended result, your project may have one long track, or you may choose to divide your material into multiple tracks that can be played separately or linked together. For example, if you are working on a long project that you expect the viewer to watch from beginning to end, using one long track is the best option. This eliminates any pauses that the viewer may encounter while the DVD player jumps from one track to another. Even if your project contains several independent segments that the viewer would not watch one after the other, you can still use a single track and set actions on the markers to break the track into the smaller segments. Or, you can create separate tracks for each segment—whichever method is easiest for you to manage. In some cases, such as a track with a mixture of still images and motion clips, you may need to use multiple tracks to work around the 99 chapter marker-per-track limit. If you think you may need to replace some segments in your project later on—for example, to customize for various countries or to update outdated sections—you may find it easier to replace these segments if they are separate tracks. About Subtitle Streams Subtitles can be created in the Track Editor, or they can be imported from other applications. They can be used to overlay dialogue text over the video stream, or to overlay simple graphics. Subtitles can also be used to place buttons over the video; the viewer can select these buttons just as they would on a menu. See Creating Subtitles for information on working with subtitles. DVD Studio Pro Tools for Working with Tracks DVD Studio Pro provides two primary tools for configuring your tracks: the Track Inspector and the Track Editor. • The Track Inspector contains general track settings, such as its aspect ratio, what happens when the track finishes, the remote control settings, and DVD@CCESS settings. Chapter 17 Creating and Editing Tracks 371 • The Track Editor is where you add and manage your video and audio assets, as well as your subtitles. You can also add markers for use as chapter points and other functions. There is also a Marker Inspector you use when working with markers and a Clip Inspector you use when working with individual clips within a track. Note: An asset used within a track is considered a clip. This distinguishes what is used in the track (which may be just a part of the asset) from the original asset. Together, these powerful tools allow you to make the tracks into exactly what you need. Creating Tracks There are several methods you can use to create a track. Once it has been created, you can open it in the Track Editor, using the controls there and in the Track Inspector to configure it. By default, a new project contains one menu and one track. Depending on your project, you will probably want to add additional tracks. There are several ways to add a track to your project. To create a track Do one of the following: μ Drag a video asset or a video/audio asset pair to the Menu Editor and choose an option that creates a new track from the Drop Palette. You can drag the assets from the Assets tab, the Palette, or a Finder window. See Options in the Drop Palette for Standard Menus and Options in the Drop Palette for Layered Menus for details on the options in the Menu Editor’s Drop Palette. In all cases, a track is created with the video placed in the V1 stream and the audio (if used) placed in the A1 stream. The track has the same name as the video asset. μ Drag a video asset or a video/audio asset pair to an empty area of the Outline or Graphical tab. You can also drag the assets to the disc name or the Tracks heading. In all cases, a track is created with the video placed in the V1 stream and the audio (if used) placed in the A1 stream. The track has the same name as the video asset. Dragging a video or video/audio asset pair to an existing track in the Outline or Graphical tab appends the assets to the track’s existing assets. μ Convert a slideshow to a track. The still images and audio are added to the track’s V1 and A1 streams. See Converting a Slideshow to a Track for slideshow details. μ Click Add Track in the toolbar. Each track created this way is empty. μ Press Command-Control-T. This also creates an empty track. 372 Chapter 17 Creating and Editing Tracks Opening Tracks To configure a track, you need to open it in the Track Editor. You can select the track you want to work with in the Outline tab, the Graphical tab, or the Track Editor. To open a track in the Track Editor Do one of the following: μ Double-click the track you want to configure in the Outline or Graphical tab. μ Choose the track from the Track Editor’s Track pop-up menu. The track appears in the Track Editor and the Track Inspector changes to display its properties. Setting Track Properties The Track Inspector contains a top section and four tabs: General, Other, User Operations, and Transition. Settings at the Top of the Track Inspector There are three settings at the top of the Track Inspector. • Name: Enter the name for the track. If a track is created because a video asset was dragged to the Menu Editor, the Outline tab, or the Graphical tab, it is automatically named the same as the video asset. In other cases, the track is named “Track _” where “_” is the next available number. • Est. Size: Shows the approximate amount of disc space the track will require. This takes into account all of the assets assigned to the video, audio, and subtitle streams. • End Jump: Choose the element to jump to once the track finishes playing. If you don’t make this selection, the DVD player will be unable to continue playing the title when it reaches this point. If the track was created by dragging an asset to the Menu Editor, the End Jump is automatically set to jump back to that menu. Chapter 17 Creating and Editing Tracks 373 General Tab in the Track Inspector The General tab in the Track Inspector contains the following settings. • Resolution: Choose the track’s resolution. • For SD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL). • For HD projects: You can choose from any of the supported resolutions, as long as no video assets have been assigned to the track. You cannot change the resolution once a video asset has been assigned to the track. (You can change the resolution if the track only contains still assets.) The resolution automatically changes to match the track’s V1 stream video resolution if it matches one of the supported resolutions. DVD Studio Pro Preferences includes a setting for the default resolution (which also applies to menus and slideshows). • Display Mode: Set the aspect ratio for this track (4:3 or 16:9), and with 16:9, choose how it displays on a 4:3 monitor. The aspect ratio of the video assets must match this setting. • Pre-Script: The script you choose in this pop-up menu will run as soon as the track is selected. The script determines whether to play the track or configure the DVD player before playing it. See Creating Scripts for information on scripts. • Wait: You can set how long the DVD player shows the last frame of the track’s video before exercising the End Jump setting. • None: Immediately jumps to the End Jump setting. • Seconds: Shows the track’s last frame for the number of seconds you enter. • Infinite: Shows the track’s last frame indefinitely. • Remote Control: Use these pop-up menus to set what happens when the viewer uses the remote control buttons on the remote control. See Remote Control Settings for more information. 374 Chapter 17 Creating and Editing Tracks • Display Condition: Select this checkbox to set display conditions to control whether this track should appear or not, and to define what should appear if not this track. See Display Condition for more information. Select the Apply to Stories checkbox to also have these display conditions apply to stories based on this track. Other Tab in the Track Inspector The Timestamps settings in the Other tab in the Track Inspector applies to both SD and HD projects. The other settings in the tab apply only to SD projects. • Timestamps: Shows the start timecode of the first video asset in the V1 stream. You can also enter a track offset that is used in place of the first video asset’s timecode when you choose Asset-Based Timecode in the Track Editor. See Timecode in the Timeline for more information. • Reset: Click to change the track offset back to 00:00:00:00, allowing the first asset start time to be used for the timeline (if you are using asset-based timecode in the Track Editor). • Closed Caption: SD projects only. Use these settings to assign a closed caption file to this track. See Line 21 Settings for Closed Captions for more information. • Macrovision: SD projects only. This setting allows you to override the disc’s Macrovision copy-protection settings for this track. If you have not enabled the Macrovision settings for the disc in the Disc Inspector, setting this to one of the three types automatically enables Macrovision for the disc. See About the Macrovision Settings for more information. Chapter 17 Creating and Editing Tracks 375 User Operations Tab in the Track Inspector The User Operations tab is the same as those in other DVD Studio Pro Inspectors, and is discussed in User Operations. Transition Tab in the Track Inspector The Transition tab is the same used in the Clip Inspector when a still clip is selected. See Transition Tab in the Track and Clip Inspectors for details on the Transition tab. 376 Chapter 17 Creating and Editing Tracks About the Track Editor The streams are the heart of the Track Editor. In these parallel areas, you define the video, audio, and subtitle assets to be used in your tracks, and their relationship to one another. Drag the separator bars to set how many video, audio, and subtitle streams appear. Displays the track’s time and marker information. Scroll through the timeline to view different parts. The left side of the Track Editor contains the controls to configure the streams. Choose the track to view in the Track Editor. Use these controls to configure the streams. Select the height of the streams. Set the timeline zoom amount. Within the Track Editor, timescales provide different ways to obtain timing information about the tracks. See Understanding Time Information in the Track Editor for more details. Configuring the Track Editor You can configure the Track Editor to suit your needs. You can set the size of the streams, how many of each stream type appear, and the timeline zoom amount. Chapter 17 Creating and Editing Tracks 377 Viewing the Streams A track can contain up to 49 streams total, but viewing this many streams at once requires some effort. It’s unlikely that you’ll need to view more than ten streams at once; depending on the types of projects you create, you may use only two or three streams. There are three ways to control how many streams appear. • You can change the size of the Track Editor’s quadrant. You can even drag the Track tab into its own window. See Working with the Quadrants for more information. • You can use the Track Editor’s separator bars to control how many of each stream type appear. For example, if you do not plan to add subtitles, you can hide the subtitle stream area by dragging the separator bar above the subtitle area to the bottom of the window. • You can select a different stream height. This changes the height of the streams as they appear in the Track Editor. This can be useful if you want to see larger or smaller thumbnails of the video at the markers. Using the Stream Configuration Buttons The Track tab includes a set of controls that you can use to quickly change which streams appear. The size of the Track tab determines how many streams appear. To choose which streams appear Do one of the following: μ Click the video icon to show only video streams. μ Click the audio icon to show only the V1 stream and the audio streams. μ Click the subtitle icon to show only the V1 stream and the subtitle streams. Click to show the video streams in the Track Editor. Click to show the V1 and audio streams in the Track Editor. Click to show the V1 and subtitle streams in the Track Editor. If you select more than one of these views at the same time, the separator bars move to show as many of the selected streams as possible. Once you select one of these views, you can drag the separator bars to customize the stream types that are displayed. 378 Chapter 17 Creating and Editing Tracks Setting the Timeline Zoom The Track tab contains a zoom control you can use to expand or contract the timeline. When working with large projects, you often need to be able to expand the timeline in order to set a marker or insert a subtitle. Using the zoom control in conjunction with the scroller at the bottom of the timeline allows you to configure the timeline so that it provides enough detail to work with. Drag the ends of the scroller to zoom in or out. Drag the timeline scroller to select the part to view. Drag to the right to zoom out or to the left to zoom in. To use the zoom control Do one of the following: μ Drag it to the right to zoom out, showing more of the timeline. If the playhead is not visible, the timeline scroller automatically jumps to a position that does show it. μ Drag it to the left to zoom in, showing less of the timeline but more detail in the part that shows. If the playhead is not visible, the timeline scroller automatically jumps to a position that does show it. Hold down the Shift key while dragging the zoom control to prevent the scroller from automatically changing its position to show the playhead. You can also set the timeline zoom using keyboard shortcuts. To zoom using keyboard shortcuts Do one of the following: μ Press Command-Hyphen (-) to zoom out on the timeline. If the playhead is not visible, the timeline scroller automatically jumps to a position that does show it. μ Press Command-Shift-Hyphen (-) to zoom out without moving the scroller to show the playhead. μ Press Command–Equal Sign (=) to zoom in on the timeline. If the playhead is not visible, the timeline scroller automatically jumps to a position that does show it. μ Press Command–Shift–Equal Sign (=) to zoom in without moving the scroller to show the playhead. μ Press Shift-Z to zoom the timeline out to its maximum. μ Press Shift-Option-Z to fit the currently selected clip into the Track tab. Chapter 17 Creating and Editing Tracks 379 Understanding Time Information in the Track Editor There are a variety of time-related elements that appear in the Track Editor. Some only display time information while others allow you to change the information. The time values help you identify the position of markers, clips, the playhead, and the pointer within the video, audio, and subtitle streams. Displays the pointer position within the stream or marker area. Shows the playhead’s position, and can be used to move it. Drag the playhead along the timeline to view a different part of a stream in the Viewer tab. The timeline’s timecode Sets the start and end time of the selected clip with respect to the timeline. Timecode in the Timeline The timeline’s timecode is continuous throughout the track. You can choose from two sources for the timecode: zero-based and asset-based. • Zero-based timecode: This timecode starts the timeline at 00:00:00:00. You cannot change the zero-based timecode, and the assets assigned to the V1 stream do not affect it. • Asset-based timecode: This timecode can be based either on the timecode of the first clip on the V1 stream or on a value you enter in the Track Inspector. To choose the timeline’s timecode source Do one of the following: μ Choose View > Timescale > Zero-Based Timecode or View > Timescale > Asset-Based Timecode. μ Control-click in the timeline, then choose either Zero-Based Timecode or Asset-Based Timecode from the shortcut menu. Control-click in the timeline to choose the timecode source. The pointer position, playhead, and start and end timecode values change to match the timecode source you choose. 380 Chapter 17 Creating and Editing Tracks If you choose the asset-based timecode source, you can also choose whether to use the clip’s timecode or a value you enter. To configure the asset-based timecode source 1 Choose Asset-Based Timecode as the timecode source for the Track Editor’s timeline. 2 Click the Other tab in the Track Inspector. If the Inspector is not showing the track properties, select the track’s name in the Outline tab, its tile in the Graphical tab, or click an empty area in any of the Track Editor streams. 3 Do one of the following: • To use the timecode from the first clip in the V1 stream: Click the Reset button. This sets the Track Offset value to 00:00:00:00, which forces the timeline to use the clip’s timecode. • To set the timecode to start at a specific value: Enter a new timecode value in the Track Offset field. The timeline’s first frame is set to this number. Being able to force the timeline’s timecode to start at a specific value can be useful whenever you are importing a marker list or subtitle file that is based on timecode different from the zero-based or asset-based values. Note: For NTSC projects, the type of timecode in the first asset—drop frame or non-drop frame—determines the type of timecode for the timeline. Chapter 17 Creating and Editing Tracks 381 Clip Start and End Timecode Timecode start and end values appear when you select a clip (video, audio, or subtitle) in one of the streams. These values indicate the position of the clip with respect to the timeline’s selected timecode source. Depending on the stream, you can enter new start values to reposition the clip or new end values to trim the clip’s size. The currently selected clip is darker than the others. Shows the clip’s timeline timecode for its last frame. You can trim the clip by entering a new End timecode. Shows the clip’s timeline timecode for its first frame. You can move the clip (on streams other than video) by entering a new Start timecode. See Editing Video and Audio Clips for more information. Playhead The playhead provides a visual indication of what part of the track is currently playing in the Viewer tab. When you play the track, the playhead moves along the track’s timeline. It also provides a way to scroll across the timeline and see the video in the Viewer tab. The playhead is in the timeline’s timecode area. With new tracks, the playhead is located at the track’s start. The playhead at the track start 382 Chapter 17 Creating and Editing Tracks A playhead icon appears in the timeline scroller area to let you know where it is relative to the part of the timeline being shown, which is useful if you cannot see the playhead in the Track Editor. For example, if the playhead icon appears to the left of the scroller, that means the playhead is at a point in time before the clips currently visible in the timeline. The playhead appears in the timeline’s scroller. Positioning the Playhead by Dragging You can drag the playhead along the timeline to see the video (and subtitle, if applicable). This is useful when placing markers because it allows you to see the actual video frame. As you drag the playhead along the timeline, the timecode of its current position appears in the playhead timecode entry. A line extends across all of the streams, indicating the playhead position. The playhead’s current timecode appears here when you drag the playhead. You can also click anywhere in the timeline to move the playhead to that position and have the video at that position appear in the Viewer tab. Playback starts at this point if you click the Play button in the Viewer tab. Positioning the Playhead by Using Keyboard Shortcuts There are a number of keyboard shortcuts that you can use to position the playhead. • Left Arrow and Right Arrow keys: Move the playhead one frame at a time. • Shift–Left Arrow and Shift–Right Arrow keys: Move the playhead one second at a time. • Option–Left Arrow and Option–Right Arrow keys: Move the playhead one GOP at a time. • Control–Left Arrow and Control–Right Arrow keys: Move the playhead to the next marker. • Command–Left Arrow and Command–Right Arrow keys: Move the playhead to the start or end of the selected clip. Chapter 17 Creating and Editing Tracks 383 • Up Arrow and Down Arrow keys: Move the playhead to the next clip edge (includes all clips in all streams) or marker. • Home and End keys: Move the playhead to the start or end of the timeline. See Keyboard Shortcuts for a complete list of keyboard shortcuts. Positioning the Playhead by Entering a Timecode Value You can also set the playhead’s position by entering a timecode value in the playhead position entry. The playhead jumps to its new position. Enter a timecode to move the playhead to. See About the Viewer Tab for more information on using the Viewer tab. Supported Asset Types The Track Editor’s streams contain the video, audio, and subtitle assets. You can add one or more assets to each stream. Each stream has several properties you can set, such as its language and whether or not it is enabled. See Creating Subtitles for information on working with the subtitle streams. In addition to assets that are already DVD-compliant, you can add assets supported by the DVD Studio Pro integrated MPEG encoder. These assets are encoded once they are added to your project. See Encoding Video Materials for DVD for information on supported video assets, Preparing Audio Assets for information on supported audio assets, and Using the Integrated MPEG Encoder for information on the assets the integrated MPEG encoder supports. Video Assets for SD-Based DVD Video Streams All video assets on an SD-based DVD stream must use the same aspect ratio (4:3 or 16:9), the same video standard (PAL or NTSC), and the same MPEG type (SIF MPEG-1 or full D1 MPEG-2, for example). Note: All QuickTime video assets you import into an SD project are encoded as full D1 MPEG-2 assets and can be mixed with still images in a video stream. 384 Chapter 17 Creating and Editing Tracks About Segmented MPEG Files The segmented MPEG files created by some third-party encoders do not import correctly into DVD Studio Pro. Some encoders segment their large encoded files into 1 GB files. When imported into DVD Studio Pro, only the first 1 GB segment is imported. You need to combine the files into a single file before importing the asset into DVD Studio Pro. There are several third-party applications that can be used to combine a segmented MPEG file into a single file. Video Assets for HD-Based DVD Video Streams All assets on an HD-based DVD stream must use the same aspect ratio (4:3 or 16:9), the same resolution, the same video standard (PAL or NTSC), and the same MPEG type (MPEG-2/HDV or H.264). All non-HDV and non-H.264 QuickTime video assets you import into an HD projects are encoded as MPEG-2. Note: Because HDV is actually HD MPEG-2, you can combine HDV assets with other HD MPEG-2 assets, including those encoded from the integrated MPEG encoder, as long as they are the same resolution. Still Assets for Video Streams You can add still images to a video stream to either manually create a slideshow or create a stream with mixed motion and still video. Stills can be added to all SD and HD tracks except those using SIF, 1/2 D1, cropped D1 MPEG-2, or H.264 format assets. Still asset clips in a stream must each be at least 15 frames long for NTSC projects, or 12 frames long for PAL projects. Note: To have still assets with shorter durations, you can edit them into a video asset using an external video editor. Still clips can have a transition added to their end. The transition controls what happens at the end of the still clip—for example, you can configure it to dissolve or wipe to the next clip, whether the next clip is a video or still clip. See Using Still Clip Transitions for more information. Assets for Audio Streams All audio assets within a stream must be the same type (AC-3, AIFF, MPEG-1 layer 2, and so on) with the same number of bits (16, 20, or 24), the same sample rate (48 kHz or 96 kHz), the same bit rate (when using compressed audio), and the same channel configuration; for example, stereo or 5.1 surround. (The streams within a track do not have to match each other—only the assets within a stream must match. For example, the A1 stream can use AC-3 audio and the A2 stream can use AIFF audio.) Chapter 17 Creating and Editing Tracks 385 Using AAC Audio Files from the iTunes Store DVD Studio Pro is able to import and use AAC format audio files purchased from the iTunes Store as long as the computer you are using them on is authorized to use them. If you import iTunes Store files that the computer is not authorized to use, DVD Studio Pro plays silence when it encounters those files. Additionally, if you select and try to play an iTunes Store file that the computer is not authorized to play in the Audio tab in the Palette, DVD Studio Pro plays silence. Adding Video and Audio Assets If you created your track by dragging either a video asset or a video/audio asset pair to the Menu Editor, the Outline tab, or the Graphical tab, it already contains video and audio clips. If you created your track using the Add Track icon in the toolbar, it will be empty. In either case, you can add additional assets to the streams and even trim each clip’s start and end points. To add an asset to a stream μ Drag the video or audio asset from the Assets tab, the Palette, or a Finder window to the stream where you want to place it. With the V1 stream, DVD Studio Pro automatically ensures there is always a clip at its beginning (if one has been assigned), and there are no gaps between the clips. With the other video streams, the clips can only be positioned at markers. Audio and subtitle clips can be positioned anywhere on the stream and there can be gaps between them. Adding Audio Assets Automatically When you enable the “Find matching audio when dragging” setting in the Track pane in DVD Studio Pro Preferences, audio assets are automatically added to a track when video is added. When you add a video asset to the V1 stream, DVD Studio Pro checks to see if there is an audio asset with the same base name in the same folder. If there is, it is automatically added to the A1 audio stream. The start of the audio clip will be the same as the video clip. If any audio already exists in the A1 stream where the new audio clip needs to go, it is trimmed or moved as necessary. Note: Hold down the Command key after you start dragging to temporarily override the “Find matching audio when dragging” preferences setting. 386 Chapter 17 Creating and Editing Tracks Adding AC-3 Audio Assets AC-3 audio assets are the only DVD Studio Pro–supported audio asset type that actually have embedded timecode. This can help when you want to maintain sync between the video and audio. To add an AC-3 asset using its timecode μ Hold down the Option key, then drag the AC-3 audio file from the Assets tab to an audio stream in the Track Editor. Note: Because the file must be parsed to determine its embedded timecode, an AC-3 file’s timecode is only available when you drag it from the Assets tab, and not from the Palette or a Finder window. Drag the AC-3 file to the Assets tab first and then from there to the Track Editor. When you add an AC-3 asset to an audio stream while holding down the Option key, DVD Studio Pro checks to see if its timecode is coincident with the V1 stream’s timecode. In other words, it checks to see if the AC-3 asset has timecode that falls within the timecode range of the video asset. • If it is coincident: The AC-3 asset is placed in the stream so that it is in sync with the video. • If it is not coincident: The AC-3 stream is placed at the beginning of the stream. Note: If the V1 stream has more than one video clip, the AC-3 timecode is ignored. It is also ignored if the audio stream you drag it to already has an audio clip. Using Multiple Copies of a Clip You can use a clip multiple times in the same stream or you can drag the clip to other streams. To copy a clip within a stream μ Option-click the clip and drag it to an empty location in the stream. You can treat the clip’s copy the same as any other clip in the stream. To copy a clip to a different stream Do one of the following: μ Option-drag the clip to the stream that you want to copy it to. You can position it as needed. μ Shift-Option-drag the clip to the stream that you want to copy it to. The clip is constrained to use the same start time as the original. The original clip is not affected, and remains in its location. Chapter 17 Creating and Editing Tracks 387 Copies of the original clip take up as much disc space as the original clip. If the size of your project is an issue, you may want to simply reuse the original clip by setting markers and creating scripts to access the clip from another project element. Viewing a Clip’s Properties When you select a clip in one of the Track Editor’s video or audio streams, the Clip Inspector appears. To accommodate the additional settings used to configure transitions, the Clip Inspector used for still clips contains two tabs: General and Transition. The General tab contains the same information and settings as with video clips. See Using Still Clip Transitions for information on the Transition tab. Note: Selecting a clip in a subtitle stream opens the Subtitle Inspector. See Creating Subtitles for information on subtitles. The Clip Inspector shows information about both the clip and the stream. Settings at the top of the Inspector • Name: Enter a name for the clip. This name applies to the clip in this track’s timeline only—it does not affect the asset’s name in the Assets tab. • Asset: Shows the clip’s actual filename. • Est. Size: Shows how much disc space this clip requires. Clip Information and Settings • Start: Shows the clip’s start time in the stream. 388 Chapter 17 Creating and Editing Tracks • Clip Start Trim: Choose the part of the asset that the clip should use. Enter an amount of time by which to trim the clip’s beginning. This affects the clip’s overall length. When you enter a new Clip Start Time, the clip repositions itself on the timeline so that it begins at the same time, with the clip’s end moving to its new position. • Duration: Shows the clip’s length. You can enter a new length to trim the end of the clip. Note: When you import a QuickTime asset that contains both video and audio, you may find that their durations, as shown in the Clip Inspector, do not match exactly. This is often due to the DVD-Video specification’s frame rate for the supported audio formats not dividing evenly into the video frame rate. This does not affect the lip sync between the audio and video streams or their playback and is purely cosmetic. • Asset Start Timestamp: Displays the timecode of the asset’s first frame. • Bits/Second (Avg.): Shows the clip’s bit rate information. Stream Information • Stream Number: Shows the stream’s number. • Stream Duration: Shows the stream’s length. • Language: For audio clips only; shows the stream’s language setting. You can choose a different language from the pop-up menu. The new language is applied to the entire stream. See Setting Stream Properties for more information. Browse Clip For video clips only. You can drag the slider under the thumbnail image to scrub through the clip’s video. Removing a Clip from a Stream There are several ways you can remove clips from a stream. To remove a clip from a stream Do one of the following: μ Click the clip to select it, then press the Delete key. μ Control-click the clip, then choose Delete Media Clip from the shortcut menu. These methods remove the clip from the stream, but the asset remains in the Assets tab. The actual asset’s file is not affected. Chapter 17 Creating and Editing Tracks 389 Editing Video and Audio Clips You can trim the start and end of a clip, which is useful when you need to remove a portion of an asset for artistic reasons (such as a bumped camera). It is important to understand that video clips in DVD Studio Pro are trimmed based on GOP boundaries—you cannot choose a specific frame to trim to. The typical GOP (Group of Pictures) size for NTSC video is 15 frames—for PAL video it is 12 frames. This means you may have to choose between trimming a little too much or not quite enough. If you need to trim a clip precisely, you should use a video editor to make the trim, and then bring the asset back into DVD Studio Pro. You can trim audio clips by frames, making it possible to trim off a popping noise. Trimming can also be a way to use a small part of a longer asset. Only the part of the asset that is in the stream is included in the final disc size. About the V1 Stream The first video stream, V1, has requirements different from the other streams. DVD Studio Pro automatically ensures these conditions are met. • The first clip must be at the beginning of the timeline. There cannot be a gap between the timeline’s first frame and the first frame of the V1 clip. All other streams, including the other video streams, can have their first clip start anywhere in the timeline. • You cannot have gaps between clips in the V1 stream. All other streams can have gaps between their clips. • When building the project, the track ends at the last frame of video in the V1 stream. Any streams that have clips extending beyond the V1 clips are automatically truncated by the build process. Trimming and Positioning Clips There are several methods you can use to trim and position a stream’s clips within the Track Editor. To trim a stream’s clip by dragging 1 Position the pointer over the end of the clip you want to trim. The pointer changes to a bracket with an arrow pointing in the direction you can trim. 2 Drag the clip’s edge to its new position. Note: You cannot trim a clip beyond the edges of the asset. 390 Chapter 17 Creating and Editing Tracks To help guide you when trimming your clip, drag the playhead to the point you want to edit to. A vertical line appears across all streams, which you can use as a guide to trim an edge to. Be sure to use the timeline zoom feature to provide a close-up view of the area you’re editing. Use care not to lose your video and audio synchronization when trimming. Instead of dragging, you can enter values in the Start and End boxes at the top of the Track Editor and the Duration and Clip Start Offset entries in the Clip Inspector to trim a clip more precisely so that you can repeat exactly the trim on other clips. To use the start and end values to position and trim a clip 1 Select the clip you want to trim. Its start and end values appear in the Track Editor’s Start and End boxes. 2 Enter a new Start time. The beginning of the clip moves to that time. This moves the entire clip, but does not actually trim it. 3 Enter a new End time. The end of the clip is trimmed to that time. To use the Clip Inspector to trim a clip 1 Select the clip you want to trim. The clip appears in the Clip Inspector. 2 Enter a new Clip Start Offset to trim the clip’s start. The clip’s start position on the timeline is not changed—only its end position is moved to match its new duration. 3 Enter a new Duration value to trim the clip’s end. Clip Conflicts There are a number of rules to keep in mind when you trim and position a clip. Video Clips Dragging clips to the V1 stream is different from dragging audio clips. In part this is due to the requirement that there can be no gaps in the V1 stream, and there must be a clip at its beginning. The following situations cause video clips already in the V1 stream to move. This can cause problems if the video clips have associated audio or markers because they do not move with the video. • If you drag a video clip to the start of a V1 stream that already has a clip assigned: The new clip becomes the first clip and the original one (and any that follow it) shuffle down the timeline. • If you drag a video clip to the point where two existing video clips meet in a V1 stream: The new clip is inserted between them. Chapter 17 Creating and Editing Tracks 391 • If you drag a video clip to the stream, and the “Find matching audio when dragging” preference setting is enabled: The audio in the A1 stream is trimmed or moved to accommodate the new video clip, even if that clip does not have matching audio. This maintains sync between the track’s existing video and audio clips. Audio Clips Because audio clips can be placed anywhere in their audio streams, the results are different from those you get when working with video clips. • If you drag an audio clip to any open area within an audio stream: The clip is placed there. If the open area is not long enough to hold the whole clip, the clip’s end is trimmed so that it will fit. Unlike video clips, audio clips do not move unless you move them intentionally. Setting Stream Properties Each stream has a few settings you can use while configuring it. Click to lock the stream, preventing inadvertent changes to it. Choose a language to assign to each audio and subtitle stream. Click to choose one video, audio, and subtitle stream to play in the Viewer tab. Each stream has a button at the far-left side of the Track tab that you can click to enable that stream when you play the track in the Viewer tab. You can choose one video, and optionally, one audio and one subtitle stream. Each audio and subtitle stream in a track can have a language assigned to it. When the track plays, it can select a stream based on the DVD player’s language setting. If no suitable stream is found, the player plays the first stream. Note: The Languages area of the Outline tab and the Add Language icon in the toolbar are used when creating multiple-language menus and are not used by the Track Editor. See Setting Up Menus for the Languages for more information. 392 Chapter 17 Creating and Editing Tracks You can protect a stream from accidental changes by clicking its lock icon. When it is open (unlocked), you can make changes to the stream; when the lock is closed, you can’t. You can still select it for previewing and assign a language to it, but you cannot make any changes to its clips. To lock all streams μ Choose Project > Timeline > Lock All Streams (or press Shift-F4). Exporting an MPEG Clip You can export the contents of the V1 stream as an MPEG file. This can be useful in some situations: • If you have a long video asset and want to make a separate asset of a small part of it, you can add the asset to the stream, trim it to the size you want, and export it as a new asset. You can use this asset as you would any other asset. For example, you could use it as a menu background. • You can edit multiple assets into the stream, and then export them as a single MPEG file. Note: You cannot export the stream as an MPEG file if the stream contains still images or uses H.264 format clips. To export an MPEG file from the V1 stream 1 Configure the stream as needed. 2 Do one of the following: • Choose File > Export > MPEG File. • Control-click the stream, then choose Export MPEG File from the shortcut menu. 3 Enter a name and select a destination for the file in the Save Stream dialog that appears, then click Save. When exporting a large asset, be sure you have sufficient disk space to hold the file. Working with Markers You can add up to 255 markers to a track, although a maximum of 99 can be set as chapter markers. Each marker has its own properties that define its purpose. Markers can be used to: • Identify chapter points that the viewer can skip to when viewing the title • Define when buttons appear over the video stream • Identify the dual-layer break point when creating dual-layer projects • Identify points in the stream that can be accessed by buttons and scripts Chapter 17 Creating and Editing Tracks 393 • Identify points where mixed-angle tracks can start • Configure a DVD@CCESS operation to launch once the viewer reaches the marker point while playing the title • Set a jump to another element in the project once the marker reaches its end. This is most often used by scripts that are set to play a portion of the stream and then return to another place in the project. There are three ways to place markers on your track: • You can manually place the markers along the track’s timeline. • If you are editing your video using Final Cut Pro 3.0.2 or later or Final Cut Express, you can place the markers as part of the editing process. These markers are automatically imported into DVD Studio Pro when you import the video asset. See Adding and Configuring Markers in Final Cut Pro and Final Cut Express for more information. • You can import a text file that contains a list of markers. With all three methods, you can always edit the markers’ position and attributes as needed. About Marker Placement Markers can only be placed on Group of Pictures (GOP) boundaries. Because of this restriction, you cannot precisely position a marker on the exact frame you want to—you often need to set the marker either a little early or a little late. The length of the GOP depends on the MPEG encoder’s settings (NTSC systems commonly use a GOP size of 15 frames and PAL systems commonly use a GOP size of 12 frames). This means that, unless you embed markers with a video editor, you may need to set a marker as much as 6 or 7 frames from where you’d like. If you import markers from a timecode list, the markers are moved to a GOP boundary when they are imported. The Track pane in DVD Studio Pro Preferences lets you choose how the markers are placed. See Track Preferences for more information. If you import a video asset edited with a version of Final Cut Pro or Final Cut Express that supports chapter markers, the integrated MPEG encoder automatically adds GOP boundaries at the marker frames, so the markers end up positioned exactly where intended. 394 Chapter 17 Creating and Editing Tracks If you convert a slideshow to a track, each still clip has a marker placed at its beginning. The markers are named the same as the still asset used for its clip. These markers retain any pause and DVD@CCESS settings that may have been set in the Slideshow editor. If any slides use transitions, the transitions appear as a shaded area in the timeline with a cell marker at their beginning. Transition indicator You can configure the transition by selecting the clip and making changes in the Clip Inspector’s Transition tab. If a still with a transition also has a pause, the marker for the next clip is placed at the beginning of the transition instead of at the next clip’s start. See Using Still Clip Transitions and Converting a Slideshow to a Track for more information. See Working with GOP Settings for more information about GOP structures, and Adding Markers to Your Video for information on using Final Cut Pro or Final Cut Express to add markers to a clip. Creating and Editing Markers Each track always contains a chapter marker at its beginning. You can add up to 98 additional chapter markers to a track. Markers appear along the top of the timeline display. A vertical line extends across all streams at the position of each marker. To add a marker to a track Do one of the following: μ Click in the area above the timeline display. A marker is added at the point where you clicked. μ Position the playhead at the point where you want to add the marker, then press M. By default, the marker is set to be a chapter marker and is purple. See About the Marker Types for more information about the marker types. Chapter 17 Creating and Editing Tracks 395 Depending on the currently selected stream size, a thumbnail image of the frame located at the marker point appears in the video stream. You can modify the thumbnail image in the Marker Inspector. See Setting Marker Properties for more information. The default marker’s name is “Chapter _,” with “_” being the next number available. The number is based on the order in which you create the markers, not on their location on the track. This means Chapter 4 may occur before Chapter 2. To avoid confusion, you should rename your markers in the Marker Inspector. See Setting Marker Properties for more information. The Track pane in DVD Studio Pro Preferences contains a setting you can use to control the names assigned to markers as they are created. See Track Preferences for more information. When you have multiple clips in the V1 stream, you can also have markers placed at a stream’s clip end (except for the last clip). To add a marker to a clip’s end μ Control-click the clip in the V1 stream to base the marker on, then choose Add Marker to Clip End from the shortcut menu to add a cell marker, or Add Chapter to Clip End to add a chapter marker. You cannot add a marker to the end of the last clip in the V1 stream. See About the Marker Types for information on the difference between a cell marker and a chapter marker. To set the playhead to a marker’s position μ Control-click the marker, then choose Set Playhead Here from the shortcut menu. This makes it easier to see the video at the marker’s position. You can also hold down the Control key and use the Left Arrow and Right Arrow keys to jump from marker to marker. To move a marker Do one of the following: μ Drag the marker to its new position. The timecode of the marker’s position appears next to the pointer timecode display as you move it. μ Enter a new time in one of the timecode boxes (zero-based or asset-based) in the Marker Inspector. See Setting Marker Properties for more information. μ Drag the slider underneath the video thumbnail in the Marker Inspector. When you move a marker, the thumbnail image in the video stream changes to match the marker’s new location. To delete a marker Do one of the following: μ Control-click the marker, then choose Delete Marker from the shortcut menu. 396 Chapter 17 Creating and Editing Tracks μ Select the marker, then press the Delete key. To delete all markers Do one of the following: μ Choose Edit > Delete All Markers. μ Control-click in an empty part of the Track Editor’s marker area, then choose Delete All Markers from the shortcut menu. Adding Markers to a Track Without a Video Clip Assigned You can add markers to a track even if you have not assigned a video clip to the track. You can also add markers beyond the end of the video clip, in anticipation of adding a video clip later. In these cases, because the GOP structure is unknown, you can place the markers at any frame. Once the video is added, however, the markers will need to be adjusted because most will not be at legal GOP boundaries. DVD Studio Pro automatically readjusts the marker positions based on the Snap To setting in the Track pane in DVD Studio Pro Preferences. What Happens to the Markers If You Move the Video? When you place markers in the Track Editor with a video clip already present, the markers are automatically placed at GOP boundaries. If you move a marker, it jumps from one GOP boundary to the next, and therefore is always in a legal position. If you move the video clip—for example, by trimming its start or dragging it to another position when multiple clips are in the V1 stream—the markers do not reposition to follow the video. There is also a good chance that at least some of the markers will no longer be at GOP boundaries. For this reason, you should be sure the video is in its final location before adding markers to it. When you build your project, DVD Studio Pro verifies that all markers are on GOP boundaries, and that none are placed after the end of the V1 stream’s video. A setting in the Track pane in DVD Studio Pro Preferences determines whether the build will quit if invalid markers are found, or if it will reposition markers to a GOP boundary and remove excess markers from the end of the track and continue with the build. See Track Preferences for more information. Importing Markers from an Editor When you edit your video asset in Final Cut Pro or Final Cut Express, you can add chapter markers that DVD Studio Pro uses to create markers on the track. If you have named the markers, DVD Studio Pro uses those names when it creates the markers. Chapter 17 Creating and Editing Tracks 397 How you add the video asset to your project determines what happens with the markers: • If you add the asset by dragging it to the Menu Editor: You can choose any of the Drop Palette options that create a track. In addition to creating a track with the markers in place, some options create chapter index menus. The chapter index menu buttons are automatically linked to the track’s markers. • If you add the asset by dragging it to a track: You can import the markers from the Track Editor. Note: The first marker in a track is always at the beginning of the timeline and is named “Start” when a track is created by dragging the video asset to the Menu Editor. It is not affected by imported markers. You can rename the marker as needed. To use the Menu Editor to import an asset with chapter markers 1 Drag the video asset with markers to the Menu Editor. You can drag it to an existing button or to an empty area. 2 When the Drop Palette appears, choose an option that creates a track. 3 If you choose an option that creates a chapter index menu, select the template or layout style to use for the chapter index menu in the dialog that appears. DVD Studio Pro creates the chapter index menu and a new track. The chapter index menu contains a button for each marker. Depending on the number of markers and the template or layout style you select, there may be multiple chapter index menus, and each marker button may have the name and a thumbnail image of the video frame located at its marker. Each of these marker buttons is linked to the new track, which displays the markers along with their names. To import chapter markers directly into a track 1 Drag the video asset with markers to the V1 stream of the Track Editor. If there are currently no markers in the track (other than the one at the start of the timeline), the clip’s markers are automatically imported. If there are markers in the track other than the one at the timeline’s start, you must manually import them. 2 Control-click the clip, then choose Import Embedded Markers from the shortcut menu. While this does not create chapter index menus, you can create them later by dragging this track from the Outline or Graphical tab to the Menu Editor. The advantage of this method is that you can add or edit the track’s markers before creating the chapter index menus. 398 Chapter 17 Creating and Editing Tracks Importing Markers from a Text List You can create a list of timecode points that DVD Studio Pro can import to create markers. The timecode values need to match the timecode of the track’s video clip. The list of timecode values must be a plain text file; you can create it with TextEdit (as long as you save the file as plain text). If you create the list with a more complex word-processing application, be sure to save the file as a plain ASCII text file with no formatting. The file must follow these rules: • Each marker must be on a new line that starts with a timecode value in the “00:00:00:00” format. These values identify the marker positions. • After the timecode value, you can include a name for the marker. You can use a comma, space, or tab character to separate the timecode value from the marker name. • Any lines that do not begin with a timecode value are ignored. This makes it easy for you to add comments to the list. • The timecode values do not have to be listed in chronological order. To import a marker list from a text file Do one of the following: μ Choose File > Import > Marker List. μ Control-click in the Track Editor’s marker area in the track you want to apply the marker list to, then choose Import Marker List from the shortcut menu. Once the import is complete, a message appears stating how many markers were imported. The markers are placed on the timeline at GOP boundaries. The Track pane in DVD Studio Pro Preferences contains a setting that controls how the GOP is chosen. See Track Preferences for more information. About the Marker Types There are four types of markers you can have in the track. One marker can be one or more of these types. The color of a marker in the Track Editor indicates its type—if you configure a marker to be more than one type, the marker symbol splits to display the relevant colors. The types of markers and their colors are: • Chapter: Purple Chapter 17 Creating and Editing Tracks 399 • Button highlight: Orange • Dual-layer break: Black dot in the marker’s middle • Cell: Green You define the type of marker in the Marker Inspector. Additionally, you can set a marker to be a button highlight type by Control-clicking it and choosing Button Highlight Marker from the shortcut menu. Note: Only chapter markers can be connected to from menu buttons and scripts. Each marker has a duration that is determined by the distance between it and the next marker. This duration is especially important when using button highlight markers, because it determines how long the highlights display over the video, and when creating stories, because it determines the length of each story’s segment. See Creating Buttons over Video and Introduction to Stories for more information. Chapter Markers By default, all markers you create start out as chapter markers. Viewers can jump to these markers by pressing the Previous and Next buttons on their DVD player’s remote control. Because of this, even simple projects without a chapter index menu can benefit by having chapter markers added to the track because they provide a viewer with the ability to quickly skip through sections of a track. Only chapter markers can be connected to from other project elements such as menu buttons and scripts, and a track’s story can only use track sections defined by chapter markers. While a track can have up to 255 markers, it is limited to a maximum of 99 chapter markers. Note: The Previous and Next buttons can act differently on different DVD players. See Getting Consistent Previous and Next Button Behavior for more information. Chapter markers have an end jump setting. By default, this is set to Not Set, which actually means that playback will automatically jump to the next video frame. In almost all cases you will leave the End Jump set to Not Set; however, you may have non-standard situations where you need to set the End Jump to a specific element. In these cases, you are limited to a maximum of 106 chapter markers and individual end jump chapter settings. See Setting Chapter Marker End Jumps for more information. Note: The DVD specification does not allow subtitles to extend across chapter markers. For that reason, subtitles that cross chapter markers are automatically split into multiple subtitle clips at each marker when you build your project. 400 Chapter 17 Creating and Editing Tracks Button Highlight Markers You use button highlight markers when you want to have buttons display over the video on the track. These buttons are actually configured as part of a subtitle clip. The buttons appear once you reach the marker and disappear when you reach the next marker (unless it has also been configured as a button highlight marker). Often referred to as “buttons over video,” this feature allows you to provide choices to viewers while they watch the track part of the title. See Creating Buttons over Video for more information on using buttons over video. Important: There must be at least 1.5 seconds between a button highlight marker and the next marker. Dual-Layer Break Markers When you create a dual-layer title, you can set a marker to be used as the dual-layer break point, the point where the title splits between the first and second layer. Because the break point is often noticeable when playing the disc on a DVD player (the video temporarily freezes), you want to try to choose a place in the track where the freezing is not as noticeable. See About Choosing a Dual-Layer Break Point for details on choosing a dual-layer break point. Cell Markers All markers define a cell in the track. A cell marker is a marker that has no specific assignment. They are often added to a track to start a DVD@CCESS action or to provide a break point for a button highlight marker. Setting Marker Properties When you select a marker, the Marker Inspector appears. It has two tabs: General and User Operations. See User Operations for details on the settings in this tab. Also see Getting Consistent Previous and Next Button Behavior for information specific to user operations and markers. Settings at the Top of the Marker Inspector The following settings are at the top of the Marker Inspector. • Name: Enter the name for the marker. See Track Preferences for information on how DVD Studio Pro can automatically assign names to markers. A number is automatically appended to the name you enter if a marker with that name already exists on that track. Chapter 17 Creating and Editing Tracks 401 • End Jump: Choose the project element to jump to when the marker finishes playing (occurs just before the next marker is reached). This is typically left at “not set.” In most cases, if you leave it at “not set,” each marker is automatically connected to the next marker. This setting can be used by specialized projects and scripts that dynamically control which parts of the track plays. See Setting Chapter Marker End Jumps for more information. General Tab in the Marker Inspector The following settings are in the General tab of the Marker Inspector. Marker thumbnail • Thumbnail: The thumbnail is the video frame where the marker is located. You can drag the slider beneath the thumbnail image to move the marker to a new position. • Save Still: Click to save the thumbnail image as a video resolution TIFF file. You can import this file for use as a menu background or shape asset. This is useful as a way to create a still image from a frame of a video asset. • Zero-Based: Shows the marker’s timecode based on the timeline’s zero-based mode (based on the timeline’s first frame being 00:00:00:00). You can reposition the marker by entering a new value or using the arrows. The new position must correspond to a GOP boundary—the arrows jump one GOP at a time. • Asset-Based: Shows the marker’s timecode based on the timeline’s asset-based mode (based on the timecode of the timeline’s first clip or a value entered in the Track Inspector’s Other tab). • Type: Select the function to assign to the marker. You can select one or all functions. See About the Marker Types for information. • Wait: Use this control to set how long the DVD player displays the last frame of the marker’s video before exercising the End Jump setting. • None: Immediately jumps to the End Jump setting. 402 Chapter 17 Creating and Editing Tracks • Seconds: Shows the marker’s last frame for the number of seconds you enter. • Infinite: Shows the marker’s last frame indefinitely. • Pause after each VOBU: Select if you want playback to pause until the viewer presses the Play button, when it plays to the next VOBU (Video Object Unit) and pauses again. This is a way to pause the track’s playback and wait for the viewer to start it again. The length of a VOBU varies depending on whether it is a still image or full-motion video. When you place a still image in the video stream, it lasts for one VOBU regardless of its duration. With video, a VOBU can be from 0.4 to 1 second long. For this reason, “Pause after each VOBU” is generally only used on markers at still boundaries. You should avoid using it on markers with video because it will cause the playback to stop about once a second. • DVD@CCESS: Select to make the name and URL settings available for this marker, which allows you to add functionality to your title when played on a computer. See DVD@CCESS for more information. • Remote Control: Choose the place in the project to jump to if the viewer presses the remote control’s Menu button. See Remote Control Settings for more information on remote control settings. • Macrovision: SD projects only. Choose the Macrovision setting to apply to this marker’s video. See About the Macrovision Settings for more information on Macrovision copy-protection. Introduction to Stories A story is simply a way to rearrange the playback of the track cells defined by the chapter markers. You may want to create a version of a track that skips some objectionable content, or you may want to use a short piece of the track as a preview. A story does not increase the amount of disc space the track requires because it is simply playing the track’s markers in a different order. A story has access to the entire track, but it does not have to include it all. You can choose which chapter markers to include and in what order—you can even play a marker’s video more than once. Additionally, you can exclude and subtitle audio streams from a story. By default, a story has access to the same audio and subtitle streams that the track has access to, which can be a problem if your intention is to present a less objectionable version of the track by providing alternative audio and subtitle streams. By excluding selected audio streams, you can force the DVD player to play the alternate audio and subtitle streams. Chapter 17 Creating and Editing Tracks 403 Creating a Story for a Track Because stories are associated with the current track, you need to make sure you select the correct track before creating the story. To create a story for a track 1 In the Outline or Graphical tab, select the track for which you want to create a story. 2 To create the story, do one of the following: • Choose Project > Add to Project > Story (or press Command-Shift-T). • Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then choose Story from the submenu. • Control-click the track, choose Add from the shortcut menu, then choose Story from the submenu. • Click Create Story in the toolbar. 3 Double-click the new story. The Story Editor appears. Using the Story Editor The Story Editor is where you create your story. Choose a story from the current track to edit. The entry list. Drag markers to this list to create your story. The source list. Drag markers from this side to the other side to create your story. The Story Editor contains two areas: • The left area is the source list, which contains a list of all markers in the track. You cannot directly make changes to the source list. 404 Chapter 17 Creating and Editing Tracks • The right area is the entry list, where you create your story by dragging markers from the area on the left (the source list). As you drag markers from the source list to the entry list, you add story entries. Each entry shows the source marker’s name and the running time of the story, based on the duration of that marker and all markers ahead of it. A number is added to the end of the source marker’s name if the marker appears more than once in the entry list. To delete a marker from the entry list μ Select the entry, then press the Delete key. The entry is removed from the entry list. To change an entry in the entry list μ Control-click the entry, choose Change Chapter from the shortcut menu, then choose the marker you want to replace the entry with from the submenu. You can also change a story entry’s source marker in the entry’s Story Inspector. To change the order of the entry list μ Drag an entry to a new position. The order of the entries in the entry list controls how the story plays. This makes it easy to rearrange the order if you inadvertently mix up a couple of markers. Setting Story Properties The Story Inspector has two tabs: General and User Operations. See User Operations for details on the settings in this tab. Settings at the Top of the Story Inspector Following are the settings at the top of the Story Inspector. • Name: Enter the name for the story. • End Jump: Choose the project element to jump to when the story finishes playing. This is typically left at Same as Track, but can be set to any other element in the project. Chapter 17 Creating and Editing Tracks 405 General Tab in the Story Inspector The Story Inspector appears when you select a story in the Outline or Graphical tab. If you select an entry or marker in the Story Editor, the Inspector changes to display details about that item. Select the story in the Outline or Graphical tab to switch back to the Story Inspector. • Stream Options: Deselect the checkboxes to disable any audio and subtitle streams you do not want to be available when this story plays. This is useful when you don’t want the story to have access to streams that might contain objectionable content. • Pre-Script: The script you choose in this pop-up menu will run as soon as the story is selected. The script determines whether to play the story or configure the DVD player before playing it. See Creating Scripts for information on scripts. • Wait: Use this control to set how long the DVD player displays the last frame of the story’s video before exercising the End Jump setting. • None: Immediately jumps to the End Jump setting. • Seconds: Shows the story’s last frame for the number of seconds you enter. • Infinite: Shows the story’s last frame indefinitely. • Remote Control: Choose what happens when the viewer uses the Menu button of the remote control. See Remote Control Settings for more information. • Display Condition: Select this checkbox to set display condition settings to control whether this story should play or not, and to define what should play if not this story. See Display Condition for more information. 406 Chapter 17 Creating and Editing Tracks Setting Story Entry Properties If you select a marker in the Story Editor’s source list, the Marker Inspector appears, displaying the settings for that marker. See Setting Marker Properties for an explanation of this window. If you select an entry in the entry list, the Story Marker Inspector appears. • Name: Enter the name for the story entry. This does not affect the marker’s name. • End Jump: Choose the project element to jump to when the entry finishes playing (occurs just before the next entry is reached). This is typically left at “not set.” In most cases, if you leave it at “not set,” each story entry is automatically connected to the next entry. This setting can be used by specialized scripts that dynamically control which parts of the track play. • Zero-Based: Shows the story entry’s timecode based on the timeline’s zero-based mode (based on the timeline’s first frame being 00:00:00:00). • Asset-Based: Shows the marker’s timecode based on the timeline’s asset-based mode (based on the timecode of the timeline’s first asset). • Track Marker: Choose a marker from the source list to assign to this entry. • Remote Control: Choose the place in the project to jump to if the viewer uses the Menu button of the remote control. See Remote Control Settings for more information. Simulating a Story Simulating a story allows you to verify that it plays as expected. To simulate a story Do one of the following: μ Select the story, then choose File > Simulate Story, or press Command-Option-0 (zero). μ Control-click the story’s name in the Outline tab or its tile in the Graphical tab, then choose Simulate Story from the shortcut menu. These methods force the Simulator to start at this specific story instead of the First Play connection, as it does when you open it using the icon in the toolbar. Chapter 17 Creating and Editing Tracks 407 You can also start the Simulator from a specific story entry. To simulate a story entry Do one of the following: μ Select the story entry in the Story Editor, then choose File > Simulate Story Entry, or press Command-Option-0 (zero). μ Control-click the story entry, then choose Simulate Story entry from the shortcut menu. Once the story starts playing, you can use the Simulator’s controls to choose the streams to view (angle, audio, and subtitle). See Simulating Your Project for information on using the Simulator. Adding Alternate Video Streams One feature unique to the DVD medium is the viewer’s ability to switch between parallel video streams with continuous audio. Only one video stream at a time can serve as the active stream, but there can be as many as eight alternate streams, for a total of nine “camera angles.” These can be different camera views, or angles, of the same subject, or they can be any other video sources. For example, a concert video could use different camera angles for the alternate video streams, with cameras focusing on each musician. Stream V1, the main video stream, could be an edited version of all angles while streams V2 to V9 could be unedited versions of each musician. This would allow the viewer to choose whether to see the whole concert or focus on a specific aspect of it. In another example, the V1 stream could contain the normal view of a business presentation, including the presenter, and the presentation’s slides could be displayed up close on the V2 stream. Multi-Angle and Mixed-Angle Tracks DVD Studio Pro allows you to create either multi-angle or mixed-angle tracks. With a multi-angle track, the alternate video streams are the same length as the main stream. A mixed-angle track uses partial alternate video streams. Authoring with multi-angle video is an exciting capability of the DVD medium, though there are some disadvantages, the main one being that multi-angle video streams consume a great deal of disc space. A DVD capable of holding 120 minutes of video has its play time reduced to 60 minutes if there are two video angles (120 divided by 2), and to 13.3 minutes if there are 9 video angles. 408 Chapter 17 Creating and Editing Tracks A space-efficient method of taking advantage of the alternate video streams is to build DVD projects that have a single video stream for most of their playing time, but that provide alternate streams in certain sections. This is known as using mixed angles. Angle 1 2 3 4 Mixed-angle track with stream 3 playing About Alternate Stream Video Assets If you want to switch between video streams while the DVD is playing, the DVD specification sets some restrictions on the alternate streams. They must be in the same MPEG format and have the exact same GOP structure as the main stream. It is strongly recommended that you use the same encoder for all streams to ensure they match exactly. For multi-angle tracks, all streams, including the main one, must be the exact same length. For mixed-angle tracks, you use markers to define one or more sections of the main stream that contain the alternate streams. There are three basic rules for the alternative sections: • Within a track, you can use markers to define multiple sections to use additional angles, but each section must have the same number of streams. For example, you cannot have one section early in the track with two alternate streams and a section later in the track with three alternate streams—both sections must have either two or three streams. • Each alternate angle section can be different lengths, but all streams within a section must be the same length. For example, you can have one mixed-angle section early in the track that is 10 seconds long and a second mixed-angle section that is 20 seconds long. All alternate streams in the first mixed-angle section must be 10 seconds long; all alternate streams in the second mixed-angle section must be 20 seconds long. • You cannot use still images in the V2 through V9 streams. You can use still images in the V1 stream as long as they are outside of the mixed-angle areas (places where video is present in the V2 through V9 streams). See Encoding Video for Multi-Angle Tracks for more information on stream requirements. Creating a Multi-Angle Track To create a multi-angle track, you need to use two or more suitable video assets that are the exact same length and have the same GOP structure. To create a multi-angle track 1 Configure the Track Editor so that you can see as many video streams as you intend to use. See Viewing the Streams for details. Chapter 17 Creating and Editing Tracks 409 2 Add the main video asset to the track’s video stream 1 (V1). 3 Add the second video asset to the track’s second video stream (V2). 4 Continue adding video assets to the next available streams until they are all in place. You can name each clip in each stream using the Clip Inspector. Creating a Mixed-Angle Track With a mixed-angle track, the main video stream runs the full length of the track with the alternate streams using only a small part of that time. Each of the track’s alternate video streams is aligned to a marker, and all corresponding alternate video assets start at the same point. Each alternate stream must use assets with the same length, and their GOP structures must match the main video stream. To create a mixed-angle track 1 Configure the Track Editor so that you can see as many video streams as you intend to use. See Viewing the Streams for details. 2 Configure the V1 stream as needed. If you are adding multiple clips or still images, place them all and make any necessary adjustments before adding anything to streams V2 through V9. 3 Create a marker where you want the first mixed-angle portion to begin. 4 Add the second video asset to the track’s second video stream (V2) at the marker. The asset snaps to the marker. Use the timeline zoom control to verify the asset is positioned properly. 5 Continue placing video assets to the next available streams until they are all in place and lined up with the marker. 6 Add a marker at the end of the angle clips by Control-clicking the clip in the V2 stream and choosing Add Marker to Clip End from the shortcut menu. 7 If you are adding an additional mixed-angle section to the track, add another marker and repeat steps 3 through 6. You can name each clip in each stream using the Clip Inspector. Important: To avoid errors when building your project, do not edit the V1 stream (add, trim, or remove assets) once you have added assets to the V2 through V9 streams. Using Still Clip Transitions When you add a still asset as a clip to a track, you are able to configure a transition for it. The transition can be an effect, such as a dissolve or wipe, that provides a smooth transition from the still clip to the next clip. 410 Chapter 17 Creating and Editing Tracks Each still clip in a track has its own transition settings, accessible in the Transition tab in the Clip Inspector. You can also set a default transition for the track in the Transition tab in the Track Inspector. The transition is considered part of the still clip, and, in most cases, does not affect its duration. Using long transitions may lead to the still being visible for only a short time, or may require the clip’s duration to be increased. If any clips use transitions, the transitions appear as a shaded area in the timeline. Transition indicator Each transition has a start and end frame. The start frame is the still you are transitioning from and the end frame is the still you are transitioning to. If you are transitioning to a video clip, the end frame is the first frame of the video clip. Note: You cannot configure a transition from a video clip to a still clip. Adding Transitions to Still Clips You can add a transition to any still clip in a track. Setting a Track’s Default Transition You can set a default transition for a track. All still clips with their type set to Same as Track use the transition. To set a track’s default transition 1 Click in an empty stream in the Track Editor to show the Track Inspector. 2 Click the Transition tab. 3 Choose the transition to use from the Transition pop-up menu. Choose “not set” if you do not want still clips to use a default transition. (You can still configure individual clips to use transitions.) 4 Configure the transition using its specific parameters. Setting an Individual Still Clip’s Transition You can set each still clip’s transition settings. To set a still clip’s transition 1 Click the still clip in the timeline to which you want to add the transition. 2 Click the Transition tab in the Clip Inspector. 3 Choose the transition to use from the Transition pop-up menu, or choose Same as Track to use the track’s default transition settings. Chapter 17 Creating and Editing Tracks 411 Choose “not set” if you do not want this still clip to use a transition. 4 Configure the transition using its specific parameters. Transition Tab in the Track and Clip Inspectors The Transition tabs in the Track and Clip Inspectors are identical—the only difference is that the Type pop-up menu in the Clip Inspector has a Same as Track choice that the Track Inspector does not have. • Start thumbnail: Shows the video frame that a still transition will start from. • Transition thumbnail: Provides a preview of a still transition when you click the Preview button. • End thumbnail: Shows the video frame that a still transition will end with. This thumbnail is empty in the Track Inspector. • Transition: Choose the type of transition to use. In the Track Inspector, this sets the default transition for this track, which you can override at each still clip. • not set: Disables default transitions for this track or still clip. (Even with “not set” chosen for the track, you can set transitions at each still clip.) • Still Transition: Creates a transition clip based on the chosen transition and its related settings. • Same as Track: Only available in the Clip Inspector. Sets the current still clip to use the transition settings in the Track Inspector. • Preview: Click this to preview the current transition in the Transition thumbnail area. • Parameters: Contains the parameters for the current transition. Each transition has its own set of parameters. Transition Parameters Each transition has its own parameters. In many cases, the settings are self-explanatory; however, in some cases, the settings are not obvious. See Transition Parameters for details on the parameters for each transition. 412 Chapter 17 Creating and Editing Tracks Viewing a Track The track preview feature allows you to select a video, audio, and subtitle stream to view. You control which streams play using the buttons at the far-left side of the stream. To preview a track Do one of the following: μ Control-click in the video stream, then choose Play from the shortcut menu. μ Press the Space bar. μ Move the playhead. The Viewer tab moves to the front (if not already there) and shows the selected video stream and subtitle. You can also hear the audio of the selected audio stream through your system’s speakers or through an external audio decoder and monitor. You can also see the video if you drag the playhead along the timeline in the Track Editor. If you click in the timeline, the playhead jumps to that position and its video appears in the Viewer tab. About the Viewer Tab You use the Viewer tab to preview tracks. It is also used as the Subtitle Editor when you create subtitles in DVD Studio Pro. Click this control to show or hide the viewer controls. The Play, Stop, and Step buttons Chapter 17 Creating and Editing Tracks 413 When previewing a track, you can use four buttons to control the preview: • Play/Pause • Stop • Step Forward • Step Reverse Note: The Subtitle Editor tools in the Viewer tab are unavailable unless you select a subtitle to edit. See Creating Subtitles with DVD Studio Pro for more information. Pausing or Stopping Playback? The difference between pausing and stopping playback is what happens to the playhead: • When you pause playback by clicking the Play/Pause button: The playhead remains at its current position. • When you stop playback by clicking the Stop button: The playhead jumps to the position it was at when playback started. You can also use your keyboard’s Space bar to pause or stop the track. The “Space bar toggles between play/pause” setting in the Track pane of DVD Studio Pro Preferences controls whether the Space bar pauses or stops the track: • With the checkbox selected: The Space bar pauses playback, leaving the playhead at its current position. • With the checkbox not selected: The Space bar stops playback, returning the playhead to its original position. Holding down the Space bar while playing the clip allows you to stop playing the clip automatically by releasing the Space bar. The playhead then follows the above preferences setting. Modifying the Step Buttons The Step Forward and Step Reverse buttons move the playhead one frame at a time. You can use modifier keys to enhance their capabilities. • Holding down the Shift key while clicking the step buttons: This moves the playhead one second at a time. • Holding down the Option key while clicking the step buttons: This moves the playhead one Group of Pictures (GOP) at a time. • Holding down the Control key while clicking the step buttons: This moves the playhead one marker at a time. You can also click a step button and continue to hold down the mouse button to repeatedly step the playhead. 414 Chapter 17 Creating and Editing Tracks Previewing Angles If you are previewing a mixed-angle track and select a video stream other than V1, the preview still plays the V1 stream whenever the selected video stream is not present. To see the multi-angle or mixed-angle stream actually function, you need to use the DVD Studio Pro Simulator. Simulating a Track Simulating a track allows you to verify all streams and any special interactivity you may have built into it. To simulate a track Do one of the following: μ Select the track, then choose File > Simulate Track, or press Command-Option-0 (zero). μ Control-click the track’s name in the Outline tab or its tile in the Graphical tab, then choose Simulate Track from the shortcut menu. μ Control-click one of the streams in the Track Editor, then choose Simulate from Track from the shortcut menu. These methods force the Simulator to start at this specific track instead of the First Play connection, as it does when you open it using the icon in the toolbar. Once the track starts playing, you can use the Simulator’s controls to choose the streams to view (angle, audio, and subtitle). See Simulating Your Project for information on using the Simulator. Chapter 17 Creating and Editing Tracks 415 Slideshows can be combined with video tracks on a DVD to provide extra information about the subject, such as historical information, newspaper and magazine articles, and cast biographies. This chapter covers the following: • Introduction to Slideshows (p. 417) • Want Your Slideshows to Do More? (p. 418) • File Formats for Slideshows (p. 418) • Adding a Slideshow to Your Project (p. 419) • Creating a Slideshow Using the Menu Editor (p. 420) • Working with Slides in a Slideshow (p. 421) • Adding Audio to Your Slideshow (p. 424) • Working with Slideshows (p. 427) • Setting Slideshow Properties (p. 437) • Setting Slide Properties (p. 440) • Previewing a Slideshow (p. 441) • Simulating a Slideshow (p. 442) Introduction to Slideshows In much the same way you assemble video assets in the Track Editor, you can assemble still images in slideshows, with fixed or user-controlled duration, and with or without audio. With the DVD Studio Pro slideshow feature, you can also create presentations with high-quality audio, and even put photo albums and scrapbooks on DVDs. Slideshows can be used for training, human resources information, education, corporate communications, health care, weddings, and special events. Features, documentaries, and promotional materials on DVD can include slideshows for supplementary materials. 417 Creating Slideshows 18 You can also convert a slideshow to a track, allowing you to add additional audio streams and subtitles to it. A slideshow can contain up to 99 still images. Each still can have its own display duration, or the viewer can control when to go to the next still. You can add audio to each slide and let each audio file’s duration determine the slide’s display duration. Alternatively, you can assign one or more audio files to the overall slideshow, with each slide’s duration scaled so the whole slideshow fits the duration of the audio files. You can also assign transitions to each slide, adding effects such as dissolves and wipes as you play the slideshow. Want Your Slideshows to Do More? Even with all that DVD Studio Pro allows you to do with a slideshow, you may find yourself wanting it to do more. For example, if you want a panning or zooming action on each slide, or more than the 99–still image limit, you will need to use an editing application, such as Final Cut Pro or Final Cut Express to edit the stills together into a QuickTime movie. You can import the movie into a DVD Studio Pro track. You can even add markers and force manual pauses so that the viewer can still control the pace of the slideshow playback. Another way to get around the 99–still image limit is to manually create a slideshow in the Track Editor. File Formats for Slideshows Slideshows can use a wide variety of still and audio formats. The following sections, Still Images in SD Projects, Still Images in HD Projects, and Audio Files, provide details on these formats. Still Images in SD Projects DVD Studio Pro lets you use most common image formats in slideshows. You can also use a mix of formats within a slideshow. See Slideshow File Formats for a list of supported formats. Once a still is imported into DVD Studio Pro, it is scaled, if necessary, to fit the slideshow’s resolution. If any of the still images do not fit the 4:3 or 16:9 aspect ratio you’ve chosen for the slideshow, a background color fills the gaps. You can set the background color in the General pane in DVD Studio Pro Preferences. See General Preferences for more information. Important: Use care not to mix 4:3 and 16:9 stills in a slideshow. For more information about still image sources, see Preparing Slideshow Assets. 418 Chapter 18 Creating Slideshows Still Images in HD Projects Creating slideshows for HD projects is not much different from creating slideshows for SD projects. The most common issue is understanding how the HD slideshows handle stills with respect to their resolutions. A Resolution setting in the General pane of DVD Studio Pro Preferences defines the default resolution of all new slideshows (and tracks and menus) you create. However, the actual resolution of a slideshow is usually defined by the first still you assign to it. For example, if your default resolution as defined by the preferences setting is 1280 x 720p and you create a new slideshow, its resolution is 1280 x 720p. If the first still you add has a 1920 x 1080 resolution, the slideshow’s resolution automatically changes to match it. If the first still’s resolution is something that is non-standard, for example, a still that is 800 x 600, the slideshow’s resolution changes to the highest resolution that is smaller than the non-standard size (in this example, full D1, which is 720 x 480 for NTSC or 720 x 576 for PAL), and the image is scaled to fit. If you set a menu’s background to something that is smaller than full D1, it is scaled up to the full D1 size. After you have added one or more stills, you can choose a resolution in the General tab of the Slideshow Inspector to force the stills to be scaled to a specific resolution. Note: As with SD slideshows, when a still does not match the 4:3 or 16:9 display mode, the empty areas are filled with the slideshow background color, as defined in the General pane of DVD Studio Pro Preferences. Audio Files Slideshows can have one or more audio files for the overall slideshow, or a separate file for each still. While you can import files in a wide variety of audio formats for use with slideshows, all audio files within a slideshow must have the same format, resolution, and bit rate. See Preparing Audio Assets for more information about audio files. Adding a Slideshow to Your Project You add and manipulate still images in the same manner as you do video assets. You can drag images directly to the Slideshow Editor from the Finder, or you can drag them to the Assets tab, and then to the Slideshow Editor. You can also create slideshows by dragging groups of stills to the Menu Editor. When you open DVD Studio Pro, no default slideshow is created. You have to add a slideshow to include one in your project. Chapter 18 Creating Slideshows 419 To add a slideshow to your project 1 Do one of the following: • Choose Project > Add to Project > Slideshow (or press Command-K). • Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then choose Slideshow from the submenu. • Click Add Slideshow in the toolbar. • Click the Slideshow tab and drag one or more stills to the Slideshow Editor. A slideshow element appears in the Outline and Graphical tabs. 2 To open the slideshow in the Slideshow Editor, double-click it. 3 Enter a name for the slideshow in the Slideshow Inspector. Use the Slideshow Inspector to set the jumps and remote control settings for the slideshow. Creating a Slideshow Using the Menu Editor An easy way to create a slideshow and a button that links to it is to drag a group of stills to the Menu Editor and choose Create Button and Slideshow from the Drop Palette. To create a slideshow in the Menu Editor 1 Do one of the following to select the menu to which you want to add the button that links to the new slideshow: • Choose the menu from the Menu Editor’s View pop-up menu. • Select the menu in the Outline or Graphical tab. 2 In either the Assets tab, the Palette, or a Finder window, select two or more still images to be used in the slideshow. You can also select a folder that contains the still images. 420 Chapter 18 Creating Slideshows 3 Drag the still images to the Menu Editor, positioning them at the location where you want the new button to be created. You can also drag them to an existing button if you want to link that button to the slideshow. 4 When you hold the pointer still, the Drop Palette appears. Choose an option that creates a slideshow. A slideshow is created and linked to a button on the menu. You can modify the slideshow just like any other slideshow, adding additional stills and audio as desired. Use the Slideshow Inspector to set the slideshow’s name, jumps, and remote control settings. Working with Slides in a Slideshow Once you’ve created a slideshow, you can start adding still images to it. You can add still images one at a time or as a group, and rearrange their order. Before you begin adding slides, you should set their default duration. Setting the Default Slide Duration The General pane in DVD Studio Pro Preferences contains a default duration setting that determines each slide’s length when first imported. It’s a good idea to set the default slide duration before adding slides to the slideshow. While this setting applies to all slides when first imported, you can change the duration of individual slides later. See General Preferences for more information on this setting. You shouldn’t spend too much time fine-tuning each slide’s duration until you have added and arranged all slides, and have added any audio. Chapter 18 Creating Slideshows 421 Adding Slides to a Slideshow Slides can be added to a slideshow one at a time or as a group. Note: Do not mix slides with 4:3 and 16:9 aspect ratios in a slideshow. Slideshows only directly support the 4:3 aspect ratio. To add slides to a slideshow 1 Select one or a group of slides in the Assets tab, the Palette, or a Finder window. 2 Drag the file or files to the Slideshow Editor. If there are existing slides in the editor, a line appears where you position the pointer. The Slideshow Editor inserts the new slides underneath the line. By moving the pointer before releasing the mouse button, you can control where the slides are inserted. If you add a group of slides, the slides are added in alphabetical order. You can easily rearrange the slide order later. Selecting Slides in a Slideshow As you add slides to a slideshow, you will need to be able to scroll through the list and select the slide you want to work on. To scroll through the slideshow list Do one of the following: μ Drag the scroller along the right edge of the Slideshow Editor. μ Press the Up Arrow and Down Arrow keys to move through the list one slide at a time. μ Press the Option key, then the Up Arrow or Down Arrow key to jump to the first or last slide in the list. μ Press the Page Up and Page Down keys to move through the list one page at a time. In the last three cases, a slide is selected and it appears in the Viewer tab. There are times when you will want to select a group of slides. For example, you might need to delete them, change their duration, or move them to a different point in the list. There are several ways to select groups of slides. 422 Chapter 18 Creating Slideshows To select a group of slides Do one of the following: μ To select a group of nonadjacent slides, hold down the Command key while you select the slides. μ To select a group of adjacent slides, hold down the Shift key while selecting the first and last slide in the group. μ Hold down the Shift key while pressing the Up Arrow or Down Arrow key to select each slide you scroll through. μ Press Command-A to select all slides. You can also press Command-Shift-A to deselect all slides. Rearranging Slides in a Slideshow Use the Slideshow Editor to rearrange slides in a slideshow. To rearrange slides in a slideshow 1 Select the slide or slides to be moved. You can move a group of nonadjacent slides together, but they will end up adjacent once they are moved. 2 Drag the slide (or slides) to a new position. When you hold a slide over another slide in the list, a line appears where you position the pointer. The repositioned slide is inserted underneath this line when you release the mouse button. Removing Slides from a Slideshow You can remove slides from your slideshow, either one at a time or as a group. To remove slides from a slideshow 1 Select the slide or slides you want to remove in the Slideshow Editor. 2 Do one of the following: • Choose Edit > Delete. • Press the Delete key. Note: Dragging a slide out of the list does not remove it from the slideshow. Chapter 18 Creating Slideshows 423 Adding Audio to Your Slideshow You can assign one audio file to each slide or add one or more audio files to the overall slideshow. The method you choose depends on the type of slideshow you are creating. • If each slide requires descriptive audio: Having a separate file for each makes it easy to ensure that the audio always matches the appropriate slide. See Assigning an Audio File to Each Slide for more information. • If your slideshow consists of stills with an audio file providing background music: It is much easier to assign one or more audio files, or an “overall audio file,” to the entire slideshow. See Assigning Overall Audio Files to the Slideshow for more information. Assigning an Audio File to Each Slide You can assign an audio file to each individual slide in a slideshow. You can use the same audio file multiple times, or only add audio to a few slides and leave the others silent. Important: You cannot add audio files directly to slides as long as there is an overall audio file assigned to the slideshow. See Assigning Overall Audio Files to the Slideshow for information on removing overall audio files from a slideshow. To assign audio to a slide using the Slideshow Editor 1 Select the audio file in the Assets tab, the Palette, or a Finder window. Note: You can only add one audio file at a time when assigning them to slides. 2 Drag the file to a slide in the Slideshow Editor. When you pause the pointer, a black box surrounds the slide the audio will be assigned to. 3 Release the mouse button when the correct slide is selected. The slide’s duration changes to match the length of the audio file. You cannot change the slide’s duration to a different value. 4 Press the Space bar to play the slide with its audio. Press the Space bar a second time to stop playback. To assign audio to a slide using the Slide Inspector 1 Select the slide to which you want to add audio. 424 Chapter 18 Creating Slideshows 2 In the Slide Inspector, choose the audio asset to assign to the slide using the Audio File pop-up menu. The Audio File pop-up menu in the Slide Inspector only allows you to choose from files already imported into your project. To change the audio file assigned to a slide Do one of the following: μ Drag a new file to the slide in the Slideshow Editor. μ Choose a new file with the Audio File pop-up menu in the Slide Inspector. To delete an audio file assigned to a slide Do one of the following: μ Select the audio file in the Audio column in the Slideshow Editor, then press the Delete key. Make sure you only select the audio portion of the slide. μ Choose “not set” from the Audio File pop-up menu in the Slide Inspector. Note: All audio files used within a slideshow must be the same type and use the same resolution and bit rate. Assigning Overall Audio Files to the Slideshow You can assign one or more audio files to a slideshow as overall audio files. This allows you to have audio files that are not specific to a single slide. When you assign overall audio to the slideshow, you can choose whether the slide or audio durations determine the slideshow’s duration. To assign overall audio files to a slideshow 1 Select the audio file or files in the Assets tab, the Palette, or a Finder window. 2 Do one of the following: • Drag the file or files to the audio well in the Slideshow Editor. Drag one or more audio files to this location. The audio well shows how many overall audio files are assigned to the slideshow. Chapter 18 Creating Slideshows 425 • Drag the file or files to the Audio section in the Slideshow Inspector’s General tab. 3 Do one of the following to choose one of the two Slideshow Duration options: • Choose Fit To Audio, Fit To Slides, or Fit To Slides and Loop Audio from the Slideshow Editor’s Settings pop-up menu. Choose a Slideshow Duration setting. • Select either Fit To Slides or Fit To Audio in the Slideshow Inspector’s General tab. If you select Fit To Slides, you can also select the Loop Audio checkbox. Use Fit To Audio to calculate a slide duration value that is applied to all slides, based on the length of the audio file. The duration ensures the slides and the audio finish at the same time and that all slides appear for the same amount of time. There are several things to be aware of when using Fit To Audio: • Each slide’s duration automatically updates if you add or remove slides or overall audio files in the slideshow. • Using a short audio file with Fit To Audio can cause the audio to finish before the slides, because the slides cannot be set to durations shorter than their minimum duration (15 frames for NTSC or 12 frames for PAL projects). The minimum duration for the slides increases when one or more of them uses transitions. • All slide duration controls are disabled when Fit To Audio is selected. 426 Chapter 18 Creating Slideshows Use Fit To Slides to leave each slide’s duration as is. When the slideshow is played, most likely the audio will not finish at the same time that the slides finish appearing. • If the slides finish first: The audio is clipped off. (The Loop Audio setting has no effect.) • If the audio finishes first: The slides continue playing in silence. With Loop Audio selected, the audio loops back to its beginning and continues playing if it reaches its end before the slides. 4 Select the first slide and press the Space bar to play the slideshow with its audio. Important: Adding an overall audio file automatically removes any audio files assigned to individual slides. As long as there is an overall audio file assigned to the slideshow, you cannot add audio files directly to slides. To change the assigned audio files using the Slideshow Inspector Do one of the following: μ Select one or more existing files and press Delete to remove them from the slideshow. μ Drag an existing audio file to a new location in the list to change its order. μ Drag one or more new audio files to the list to add them to the slideshow. You can also drag additional audio files to the audio well in the Slideshow Editor to add them to the end of the list. Working with Slideshows You use the Slideshow Editor and Slideshow Inspector to change the settings for your slideshow. Setting the Slideshow Editor’s Thumbnail Size The General pane in DVD Studio Pro Preferences contains a thumbnail image size setting that allows you to control the number of slides displayed in the Slideshow Editor. See General Preferences for more information on this setting. Slideshow Editor Settings The Slideshow Editor has two areas: • The controls along its top: These buttons and pop-up menus provide easy access to a variety of slideshow features. See Slideshow Editor Controls for details on these. Chapter 18 Creating Slideshows 427 • The slide list: This lists the slideshow’s slides in the order they appear. See Slide List for more information. Slideshow Editor controls Lists the slides in the order they appear. The triangle indicates this slide has a transition, and can be clicked to show the Transition Inspector. Slideshow Editor Controls The top of the Slideshow Editor contains several controls that you can use while making changes to your slideshow. Choose the slideshow to edit. Converts the slideshow to a track, allowing you to add additional features to it. Choose the default transition for the slideshow. Sets the duration for the selected slides. Shows that an overall audio file has been assigned. You can drag audio files here to add them. Contains overall audio duration and manual advance settings. • View pop-up menu: Use this to select the slideshow to open in the Slideshow Editor. • Transition pop-up menu: Use this to choose the default transition for the slideshow. See Using Slideshow Transitions for more information. • Overall Audio well: Drag audio files here to add them to the overall audio file list. The graphic in the well changes to show that one or more audio files are currently assigned as the overall slideshow audio. When you position the pointer over the well, a tooltip appears that lists some overall audio file information. You can Control-click the well to remove all assigned overall audio files. 428 Chapter 18 Creating Slideshows • Convert to Track button: Click this button to convert the slideshow to a track. See Converting a Slideshow to a Track for details. • Duration: Enter a new value or choose a value from its pop-up menu. This duration affects all currently selected slides. This setting is disabled if overall audio is being used, and the Fit To Audio mode is selected. See Manually Changing a Slide’s Duration for more information. • Settings pop-up menu: Contains a variety of settings you can use with your slideshow: • Fit To Audio, Fit To Slides, and Fit To Slides and Loop Audio: Control how the slideshow uses the audio when it is configured to use overall audio. These settings are disabled when audio is assigned to individual slides. See Assigning Overall Audio Files to the Slideshow for more information. • Manual Advance: Use to set all selected slides to pause or, if they are already set to pause, to turn pause off. See Setting Up a Slideshow to Let the Viewer Advance the Slides for more information. Slide List The Slideshow Editor displays eight columns of information for each slide. You can edit two of these columns: Duration and Pause. Note: You can drag the list headings to rearrange their order. You can also drag the edges of the Audio columns to control its width. • No.: Displays each slide’s number, indicating its order in the slideshow. You cannot edit this number directly, but if you drag one or a group of slides to a new position, the number is changed to reflect the slide’s new position in the slideshow. • Image: Displays a thumbnail image of each slide. All slides with a transition assigned have a triangle in their lower-right corner. Press Command–Equal Sign (=) for large thumbnails and Command-Hyphen (-) for small thumbnails. • File: Displays the name of each slide’s asset file. • Audio: Displays the name of the audio file assigned to the slide (if applicable). Chapter 18 Creating Slideshows 429 • Time: Displays the slideshow’s elapsed time at the beginning of each slide. This time value does not include the duration of the slide it is listed with. All slideshows start at 00:00:00:00. While you cannot directly edit this value, changing the duration of any slides positioned earlier in the list will change this time value. • Duration: Displays the slide duration. This value is either the default duration selected in the Preferences window, the length of the audio file assigned to the slide, or, when using an overall audio file with the “Fit to audio” option selected in the Slideshow Duration pop-up menu, a value calculated so that all slides play for an equal amount of time and match the overall audio file length. You can edit this duration except on slides that have an audio asset assigned to them or in slideshows with an overall audio file that have “Fit to audio” selected. See Manually Changing a Slide’s Duration for details. • Pause: Select the checkbox if you want a pause to occur at the end of the slide. The viewer then manually advances to the next slide using the Next button or Play button on the DVD player’s remote control. Note: If the slide contains a transition, the pause occurs before the transition. When the viewer advances to the next slide, the transition plays and then the next slide appears. Manually Changing a Slide’s Duration You can manually change each slide’s duration except on slides that have an audio asset assigned to them or in slideshows with an overall audio file that have “Fit to audio” selected. To change a selected slide’s duration to a fixed value using the Slideshow Editor 1 Select one or more slides to change their durations. 2 Do one of the following: • Choose a set value (1, 3, 5, 10, or 15 seconds) from the Duration pop-up menu. • Enter a value (in seconds) in the Duration field and press Return. Either enter a duration or choose one from the pop-up menu to apply to the selected slides. The duration of all selected slides is changed to the new value. 430 Chapter 18 Creating Slideshows To manually enter a slide’s duration in the slide list in the Slideshow Editor 1 Select the slide whose duration you want to change. 2 Double-click the current duration setting. The duration highlights. 3 Type the new value and press Return. Once you press Return, the new duration is set and the Time values for all affected slides adjust to reflect this change. The Duration value of the next slide is automatically selected. If you do not want to change its duration, select a different slide. When entering a value, you don’t need to enter a colon to define the number pairs—the values automatically divide into pairs starting from the frames. If you enter a value that is greater than the maximum value for that field, the appropriate time is added to the next field. For example, if you enter 79 seconds, the seconds field displays “19” and one minute is added to the minutes field. Note: The minimum slide duration for NTSC projects is 15 frames; for PAL, it is 12 frames. The minimum is longer on slides using transitions. To manually enter a slide’s duration in the Slide Inspector 1 Select the slide whose duration you want to change. 2 Do one of the following: • Enter a new duration directly. Use the same methods as when entering a new duration in the slide list area of the Slideshow Editor. • Choose a duration from the Duration pop-up menu. Setting Up a Slideshow to Let the Viewer Advance the Slides You can set up your slideshow so that each slide appears for a specified length of time or until the viewer decides to advance to the next slide. For example, you might want to coordinate your slideshow for a speaker to step through each slide. This allows the viewer (in this case the speaker) to choose when to advance to the next slide by pressing the Next or Play button on the DVD player’s remote control. To set up a viewer-advanced slideshow Do one of the following: μ Select the checkbox in the Pause column next to each slide that you want the viewer to be able to advance manually. μ Select a group of slides and choose Manual Advance from the Slideshow Editor’s Settings pop-up menu. This turns on the Pause option on all selected slides. Chapter 18 Creating Slideshows 431 μ Select a slide and select the Manual Advance checkbox in the Slide Inspector. Select the Pause checkbox on slides you want to be advanced manually. The pause occurs at the end of the slide’s duration. If you have added an audio asset to the slide, the audio plays and then the pause occurs. The viewer can press the Next button or the Play button on the DVD player’s remote control to continue to the next slide. Note: If the slide contains a transition, the pause occurs before the transition. When the viewer advances to the next slide using the Play button, the transition plays and then the next slide appears. If the viewer advances using the Next button, the transition does not play, and the next slide immediately appears. Setting a Pause on the Last Slide The viewer may have problems when playing your slideshow on some DVD players if you set the last slide to have a pause. Some DVD players do not react to presses of the Next button once the viewer reaches the last slide, which leaves the viewer with no way to activate the slideshow’s End Jump setting. There are two methods you can use to avoid this problem and provide consistent playback on all DVD players: • Set the slideshow’s Next Jump connection in the Connections tab. • Duplicate the last slide in the slideshow and set the new last slide not to pause. Setting the Slideshow’s Next Jump Connection Each element in your project has a Next Jump connection that is normally left not set. The only place you can set a connection for Next Jump is in the Connections tab. To set the slideshow’s Next Jump connection 1 Select the slideshow in the Outline tab. 2 Click the Connections tab. 3 Choose Advanced from the Connection tab’s View pop-up menu. Make sure the pop-up menu next to the View pop-up menu is set to All. 4 Locate the End Jump and Next Jump items in the list of sources. 432 Chapter 18 Creating Slideshows 5 Set the Next Jump target to be the same as the slideshow’s End Jump setting by dragging the End Jump target setting to the Next Jump target. See Next Jump and Prev Jump for more information. Duplicating the Last Slide Duplicating the last slide in a slideshow allows you to create a “false ending” for the slideshow, and avoid the pause issue. To duplicate and configure the last slide in a slideshow 1 In the Slideshow Editor, determine the asset name of the last slide and drag that slide’s asset from the Assets tab to the next slide location. 2 Select the new last slide in the Slideshow Editor and set its duration to 15 frames by double-clicking its duration value, entering 15, then pressing Return. Note: For PAL projects, you can use a 12 frame duration. 3 Make sure the last slide’s Pause checkbox is not selected. When you play this version of the slideshow and press the Next button on the last slide with a pause, it jumps to the new last slide and then to the End Jump setting. Using Slideshow Transitions Slideshow transitions allow you to control whether the slideshow directly jumps from slide to slide or uses a transition effect, such as a wipe or crossfade, to move from slide to slide. You are able to set a transition effect that applies to all slides in the slideshow or you can individually configure each slide’s transition effect. About Transitions Each slide has its own transition settings, accessible in the Transition tab in the Slide Inspector. The default transition settings for the slideshow are in the Transition tab in the Slideshow Inspector. The transition is considered part of the slide, and, in most cases, does not affect its duration. Using long transitions may lead to the slide being visible for only a short time, or may require the slide’s duration to be increased. When you select a transition for a slide, group of slides, or the slideshow, a warning appears if any slides must be lengthened. Start and End Frames Each transition has a start and end frame. The start frame is the slide you are transitioning from, and the end is the slide you are transitioning to. If the last slide in a slideshow has a transition assigned, its transition’s end frame is based on the slideshow’s End Jump setting. If the End Jump is set to a script, the transition is to black. Chapter 18 Creating Slideshows 433 Setting a Slideshow’s Default Transition Setting the transition for a slideshow affects all slides with their type set to “Same as Slideshow.” To set a slideshow’s default transition using the Slideshow Editor μ Choose the transition from the Slideshow Editor’s Transition pop-up menu. Choose the default transition for the slideshow. The triangle indicates this slide has a transition. The transition uses its default settings. You can change the settings in the Transition tab in the Slideshow Inspector. To set a slideshow’s default transition using the Slideshow Inspector 1 Double-click an empty place in the Slideshow Editor’s control area to show the Slideshow Inspector. 2 Click the Transition tab. 3 Choose the transition to use from the Transition pop-up menu. Choose “not set” if you do not want slides to use a default transition. (You can still configure individual slides to use transitions.) 4 Configure the transition using its specific parameters. 434 Chapter 18 Creating Slideshows Setting an Individual Slide’s Transition You can use either the Slide Inspector or the Slideshow Editor to set the transition for a slide. To set a slide’s transition in the Slide Inspector 1 Select the slide for which you want to set a transition. 2 Click the Transition tab in the Slide Inspector and set the transition parameters. In addition to selecting one of the transitions to use, you can choose “not set” to disable transitions for that slide, or “Same as Slideshow” to have the slide use the slideshow’s default transition. To select a transition for a group of slides 1 Select the group of slides for which you want to select a transition. 2 Control-click one of the slides, choose Transition from the shortcut menu, then choose the transition from the submenu. Setting the Transition Parameters The Transition tabs in the Slideshow and Slide Inspectors are identical—the only difference is that the Type pop-up menu in the Slide Inspector has a “Same as Slideshow“ choice that the Slideshow Inspector does not have. • Start thumbnail: Shows the video frame that a still transition will start from. • Transition thumbnail: Provides a preview of a still transition when you click the Preview button. • End thumbnail: Shows the video frame that a still transition will end with. This thumbnail is empty in the Slideshow Inspector. • Transition: Choose the type of transition to use. In the Slideshow Inspector, this sets the default transition for this slideshow, which you can override at each slide. • not set: Disables transitions for this slideshow or slide. (Even with “not set” chosen for the slideshow, you can set transitions at each slide.) Chapter 18 Creating Slideshows 435 • Still Transition: Creates a transition clip based on the chosen transition and its related settings. • Same as Slideshow: Only available in the Slide Inspector. Sets the current slide to use the transition settings in the Slideshow Inspector. • Preview: Click this to preview the current transition in the Transition thumbnail area. • Parameters: Contains the parameters for the current transition. Each transition has its own set of parameters. Transition Parameters Each transition has its own parameters. In many cases, the settings are self-explanatory; however, in some cases the settings are not obvious. See Transition Parameters for details on the parameters for each transition. Converting a Slideshow to a Track You may want to add several features to your slideshow that the Slideshow Editor does not support. These include: • Subtitles • Alternate language streams • The ability to combine moving video with the slides To get access to these features, you can convert your slideshow to a track. Once converted to a track, what was previously a slideshow is now a track, and must be edited in the Track Editor. Note: Once you convert a slideshow to a track, you cannot convert it back. You can use the Undo feature or create a duplicate of the slideshow before you convert it to a track. If you do create a duplicate of the slideshow, be sure to delete the duplicate before you build your project. To convert a slideshow to a track 1 In the Outline tab, Control-click the slideshow’s name, then choose Duplicate from the shortcut menu. An identical copy of the slideshow is created in case you need it later. You should delete this copy when you are sure that it is no longer needed. 2 Choose the original slideshow in the Slideshow Editor. 3 Do one of the following: • Choose Project > Slideshow > Convert to Track. • Click Convert To Track in the Slideshow Editor. 436 Chapter 18 Creating Slideshows The slideshow is deleted and a new track is created using the slideshow’s name. Click Convert To Track to create a track from the selected slideshow. The new track has a marker at each slide, each named with the slide’s filename. Each slide retains its duration and pause setting. If audio files were assigned, they are also present in the track. Note: If a slide has a transition, a cell marker is placed at the beginning of the transition. If the slide has pause selected, this marker is set to pause. Setting Slideshow Properties Selecting a slideshow in the Outline tab displays the Slideshow Inspector. The Slideshow Inspector contains a top section and three tabs: General, Advanced, and Transition. Settings at the Top of the Slideshow Inspector Following are the settings at the top of the Slideshow Inspector. • Name: Enter the name of the slideshow. This is the name that appears in the Outline tab (where you can also change it). • Est. Size: Displays the amount of disc space the slideshow requires. • End Jump: Choose a setting from this pop-up menu to determine what happens once the slideshow finishes playing. Chapter 18 Creating Slideshows 437 General Tab in the Slideshow Inspector The settings in the General tab in the Slideshow Inspector are used to set the slideshow’s resolution and display mode. These settings are also used to configure a slideshow for overall audio and are disabled when you are using no audio or are assigning audio to individual slides. Resolution and Display Settings These settings define the basic video attributes of the slideshow. • Resolution: Choose the slideshow’s resolution. • For SD DVD projects: The resolution is either 720 x 480i (NTSC) or 720 x 576i (PAL). • For HD DVD projects: You can choose from any of the supported resolutions. The resolution automatically changes to match the first slide’s resolution if it matches one of the supported resolutions, or to the closest smaller resolution if there is not a direct match. DVD Studio Pro Preferences includes a setting for the default resolution (which also applies to menus and tracks). See Still Images in HD Projects for more information. • Display Mode: Set the aspect ratio for this slideshow (4:3 or 16:9) and, with 16:9, choose how it displays on a 4:3 monitor. The aspect ratio of the slide assets should match this setting. Parameters These settings define the length of the slideshow. • Slideshow Duration: Controls how the slideshow uses the audio when it is configured to use overall audio. These settings are disabled when you assign audio to individual slides. See Assigning Overall Audio Files to the Slideshow for more information. • Fit To Audio: Slide durations are changed to a value that ensures the slides and audio end at the same time. 438 Chapter 18 Creating Slideshows • Fit To Slides: Slide durations are not changed, which means the audio can end before or after the last slide. Selecting Fit To Slides enables the Loop Audio checkbox. • Loop Audio: Select this to have the slide durations control when the slideshow ends. If the audio is too long, it is clipped so that it ends with the last slide. If the audio is too short, it loops back to the first audio asset and continues playing until the last slide finishes. • Total Running Time: Shows the duration of the slideshow. Audio The audio section lists the overall audio files assigned to the slideshow. You can drag a file within the list to change its order. • Add (+): Opens a file selection dialog so you can add an audio file to the list. • Delete (–): Removes the selected audio files from the list. • Total Audio Duration: Shows the combined duration of the audio files. Advanced Tab in the Slideshow Inspector Following are the settings in the Advanced tab of the Slideshow Inspector. • Pre-Script: If applicable, you can choose a script from this pop-up menu. See Pre-Scripts for information on using pre-scripts. • Remote Control: Use these pop-up menus to customize the viewer’s interaction with the title from this slideshow. See Remote Control Settings for details. Chapter 18 Creating Slideshows 439 Transition Tab in the Slideshow Inspector See Setting the Transition Parameters for details on the Transition tab. Setting Slide Properties If you select a slide in the Slideshow Editor, the Slide Inspector appears. It allows you to set attributes for each slide. It contains a top section and two tabs: General and Transition. See Setting the Transition Parameters for details on the Transition tab. Note: Any settings you make in the Slide Inspector become marker properties if you convert the slideshow to a track. Settings at the Top of the Slide Inspector Following are the settings at the top of the Slide Inspector. • Name: Displays the name of the slide as it appears in the Assets tab, where its name can be changed. • Asset: Displays the name of the slide’s actual asset. 440 Chapter 18 Creating Slideshows General Tab in the Slide Inspector Following are the settings in the General tab of the Slide Inspector. • Slide Duration: Displays the duration of the selected slide. You can enter a new duration or choose a duration from the pop-up menu. • Manual Advance: Determines whether the slideshow pauses (checkbox selected) or continues playing to the next slide (checkbox not selected). • Audio File: Displays the name of the audio asset assigned to this slide. You can use this pop-up menu to choose from the audio assets already imported into this project. Important: All audio files within a slideshow must have the same format, resolution, and bit rate. • DVD@CCESS: Select this checkbox for titles played on a computer if you need to open an application such as a web browser to view special content when the slide starts playing. See DVD@CCESS for information on DVD@CCESS. Previewing a Slideshow Before you build the slideshow, it’s a good idea to preview it. To preview a slideshow 1 Select the slideshow in the Outline tab. 2 In the Slideshow Editor, select the slide to start playing from. 3 Do one of the following: • Press the Space bar. • In the Slideshow tab, Control-click a slide, then choose Play from the shortcut menu. The Viewer tab appears and the slideshow starts playing from the selected slide. If the slideshow has audio assigned, it also plays. A drawback is that pauses are ignored. You can use the Simulator to play the slideshow and test any pauses you have set. Chapter 18 Creating Slideshows 441 Simulating a Slideshow Simulating a slideshow allows you to fully test a slideshow, including its pauses and DVD@CCESS settings. To simulate a slideshow Do one of the following: μ Select the slideshow, then choose File > Simulate Slideshow, or press Command-Option-0 (zero). μ Control-click the slideshow in the Outline tab, then choose Simulate from the shortcut menu. μ In the Slideshow tab, Control-click a slide, then choose Simulate from the shortcut menu. These options force the Simulator to start at this slideshow instead of the First Play connection, as it does when started by clicking Simulator in the toolbar. Once the slideshow starts playing, you can use the Simulator’s controls to test the pauses. See Simulating Your Project for information on using the Simulator. 442 Chapter 18 Creating Slideshows Although the most common use for subtitles is to display a text version of the dialogue, subtitles created in DVD Studio Pro can be used for many other purposes. This chapter covers the following: • Introduction to Subtitles (p. 443) • Importing Older DVD Studio Pro Subtitles (p. 445) • Subtitles and Overlays (p. 445) • About Subtitles and Closed Captions (p. 445) • Subtitle Stream Basics (p. 446) • Subtitle Inspector (p. 448) • What Happens with Different Aspect Ratios? (p. 454) • Viewing Subtitles (p. 455) • Creating Subtitles with DVD Studio Pro (p. 457) • Importing Graphics Files for Subtitles (p. 463) • Creating and Importing Subtitle Files (p. 464) • Importing a Subtitle File (p. 465) • Creating an STL Format Subtitle File (p. 467) • Creating Buttons over Video (p. 471) • Configuring a Button over Video Subtitle Clip (p. 473) Introduction to Subtitles Each track can include up to 32 subtitle streams. Having multiple streams makes it possible to offer text in several languages, allowing the viewer to select the appropriate one. Increasingly, subtitles are being used for other purposes, such as to create buttons over video (also known as interactive markers or interactive subtitles), which allow the viewer to make choices while watching the movie. You can also use subtitles to supply simple graphics to augment the video, such as arrows and lines. 443 Creating Subtitles 19 You can create text subtitles directly in DVD Studio Pro, one at a time. You set their position, font, size, style, and color, and can have them fade in and out. You control their start and stop time either by entering timecode values or dragging in the timeline. You can also import subtitle files containing all of the subtitles for a track. DVD Studio Pro supports files that conform to any of these formats: • STL: The Spruce Technologies subtitle format • SON: The Sonic Solutions bitmap-based format • TXT: A plain text file • SCR: The Daiken-Comtec Laboratories Scenarist bitmap-based format Note: See Importing Older DVD Studio Pro Subtitles for information on importing SPU format subtitles (subtitles created with earlier versions of DVD Studio Pro). Files in these formats should all contain multiple subtitle text or graphics images tied to timecode values, ensuring they are placed properly within the timeline. You can also import graphics files and use them as subtitles or overlay them on the video. For example, you could have a graphic that traces a route on a map that appears in the video stream. By importing several graphics, you could effectively animate the graphic (by making the line move in the map, for example). Subtitles can also be used to superimpose buttons over the track’s video. The viewer selects these buttons just as they would buttons on a menu. Creating buttons over video is similar to creating buttons using the standard menu creation method; that is, both involve overlays, drawing rectangles to identify each button’s active area, and color mapping. There are no limits to how many subtitles you can add to a subtitle stream. However, there are limits to how many subtitles you can have that provide buttons over video. See How Do Buttons over Video Work? for more information. There is also no limit to the length of subtitles—you can make subtitles as short as one frame or as long as the track. Short subtitles can be useful if you want to create an animation effect, with simple graphics that move. See Using Graphics Files to Create an Animation for more information. Subtitles can be configured so that the viewer controls whether they appear, or they can be forced to appear. 444 Chapter 19 Creating Subtitles Importing Older DVD Studio Pro Subtitles Because of the way they are created, you cannot directly import subtitle files created with the Subtitle Editor in earlier versions of DVD Studio Pro. These subtitle files have an “.SPU” extension. However, you can import older DVD Studio Pro projects that contain subtitles into DVD Studio Pro 4. Each subtitle entry is converted to a TIFF file and placed on the timeline at the correct location. Because the subtitles are TIFF files, you cannot edit their text within DVD Studio Pro 4. Subtitles and Overlays All subtitle types use the same advanced overlay method used in the standard menu creation method. This means that any graphics and subtitle files must be made of up to four predefined colors, on which you map the actual colors that appear when the title plays. See Creating Overlays for information on overlay graphics. About Subtitles and Closed Captions While this chapter describes working with subtitles, it is important to understand how they compare to closed captions, which are also supported by DVD Studio Pro when creating NTSC SD projects. This is especially important if you are creating DVD titles that must comply with accessibility requirements. There are two methods available to you to provide visual text to the viewers of your NTSC SD-based DVD title: adding subtitles and importing closed caption files. In both cases, text can be made to appear on the screen along with the video. However, the capabilities of each method are different. Note: DVD Studio Pro does not support closed captions in HD projects or PAL SD projects. Subtitle Capabilities Subtitles generally provide dialogue text only—there is no text description of sounds that may also be part of a scene (although those could be added if you wish). Subtitles are generally intended to provide the dialogue in a second language and assume you can hear the disc’s audio. When creating subtitles, you can define their position, size, font, and color. Subtitles do not actually have to be text—they can be a graphic used to display a logo or point out an item in the video. All DVD players, including those used by computers, include the ability to show subtitles. Subtitles work the same in both NTSC and PAL projects. Chapter 19 Creating Subtitles 445 Closed Caption Capabilities Closed captions provide not only dialogue text but also descriptions of other sounds that are part of a scene (such as a phone ringing or a dog barking). They are intended to enhance the viewing experience for deaf and hearing-impaired viewers. To view closed captions, you must have a suitable decoder—either built in to the television or as a standalone device. When creating closed captions, you choose the text’s position and, in some cases, its color—the font is controlled by the decoder. Because a lot of computers do not have closed caption decoders, playing DVD titles on them means you generally cannot count on being able to show any included closed captions. Due to their reliance on information contained in line 21 of the video signal, closed captions, as supported by the DVD specification, apply to NTSC programs only. See Adding Closed Captions to a DVD for details on importing a closed caption file. Subtitle Stream Basics There are several aspects of working with subtitle streams that apply whether you create them in DVD Studio Pro or import them. Working with Subtitles in DVD Studio Pro Working with subtitles in DVD Studio Pro involves using the Track Editor, the Subtitle Inspector, and the Viewer tab. All subtitles, whether created with text entered in DVD Studio Pro, as individual imported graphics files, or as a subtitle file containing multiple subtitles, are based on subtitle clips in one of the 32 subtitle streams. In general, you work with the subtitle clips the same way you work with audio clips in the Track Editor. You can drag the clips to change their position and drag their edges to change their length. The Subtitle Inspector provides the settings you use to configure each of the subtitle clips. Even the subtitle clips you import as part of a subtitle file can have their settings modified in the Subtitle Inspector. The Viewer tab serves the Subtitle Editor function. When you double-click a subtitle clip in the Track Editor, its playhead jumps to the subtitle clip’s start, with the subtitle appearing over the track’s video. You can enter and position subtitle text directly in the Viewer tab. It also contains the tools you use when you create subtitles configured for buttons over video. 446 Chapter 19 Creating Subtitles How Subtitles Switch Streams When the viewer switches from one subtitle stream to the other, two things must happen before the second stream’s subtitles appear: • The subtitle clip currently showing must reach its end. No subtitle actions, including switching streams and turning subtitles off, can occur until the DVD player finishes showing the current subtitle clip. • A clip on the second stream must start. If a subtitle clip on the second stream starts before the subtitle clip on the first stream ends, it does not appear, and instead, the next clip on the second stream is the first from that stream to appear. For most standard subtitles, this happens relatively quickly and the viewer quickly starts seeing subtitles from the selected stream. At most they might miss one subtitle clip. These rules become important if you create a long subtitle clip that is the same length as the track because you will never be able to select it or switch from it. Having a single long subtitle clip is useful if you want to place a logo in a corner of the image. For this to work, its subtitle stream must be selected before the long clip starts, and once selected, you cannot switch it off or switch to a different subtitle stream. Note: Subtitles that cross chapter markers are automatically split into multiple subtitle clips at each marker when you build your project. Subtitle Preferences DVD Studio Pro contains a set of preferences that control many aspects of how subtitles appear on a stream, whether manually created or imported (unless specifically overridden). It is recommended that you take some time and configure these preferences before you start working in the subtitle streams. The preferences cover the following areas: • Fade and length: The General pane in DVD Studio Pro Preferences contains the default settings for the fade in and out settings as well as the subtitle length. The fade settings apply to all subtitles except those configured to provide buttons over video. The length setting applies only to new subtitles you create in DVD Studio Pro. • Font and position: The Text pane in DVD Studio Pro Preferences contains the default settings for the font used with text subtitles and the position settings for both text and graphic-based subtitles. Depending on the type of subtitle file you are importing, these settings may be overridden during the file import. • Color mapping: The Colors pane in DVD Studio Pro Preferences contains default settings for the color mapping used when importing subtitle files and creating subtitles in DVD Studio Pro. Depending on the type of subtitle file you are importing, these settings may be overridden during the file import. See Setting DVD Studio Pro Preferences for more information. Chapter 19 Creating Subtitles 447 Applying Subtitle Settings to the Stream No matter how carefully you configure your preferences and how much time you spend deciding how the subtitles should look, there will often be times when you need to make a change to all subtitle clips in a stream (and there could be hundreds of clips in a stream). For example, you may need to use a different color for the text or to change the font. The Subtitle Inspector includes an Apply to Stream function that you can use to selectively apply changes you make in one subtitle clip to all subtitle clips in that stream. There are three areas in which you can independently apply changes you make to the entire stream: • Fade In and Out: You can make changes to a clip’s fade settings in the General tab in the Subtitle Inspector and apply the changes to all subtitle clips in the stream. • Text formatting: You can make changes to a clip’s font and position settings in the General tab in the Subtitle Inspector and apply the changes to all subtitle clips in the stream. • Color mapping: You can make changes to a clip’s color and opacity settings in the Colors tab in the Subtitle Inspector and apply the changes to all subtitle clips in the stream. Subtitle Inspector The Subtitle Inspector contains settings applicable to all subtitle clips. It shows the settings of the currently selected subtitle clip. The Subtitle Inspector contains three tabs: General, Button, and Colors. There is also the Text entry area at the top of the Inspector. Text Entry Area in the Subtitle Inspector You can use the Text area to enter subtitle text for the current subtitle clip. The Text area also displays any text you enter directly in the Subtitle Editor. If you have imported the subtitle as a graphic, the Text area does not show any text contained in the graphic. Click within the Text area to enter text. You can even combine text with an imported graphic. Press Return to insert a line break. 448 Chapter 19 Creating Subtitles General Tab in the Subtitle Inspector Following are the settings in the General tab of the Subtitle Inspector. Clip Info • Start: The timecode where this clip appears. You can change a clip’s start time by entering a new value here or by dragging the clip’s leading edge in the Track Editor. Changing the start time also affects the clip’s end time, but not its duration. • Duration: The length of the clip. If you enter a new duration here, the clip’s end time changes to fit it. You can also change a clip’s duration by dragging its edges in the Track Editor. • Stop Time: The timecode where the clip stops appearing. You can change a clip’s stop time by entering a new value here or by dragging the clip’s trailing edge in the Track Editor. Changing the stop time also affects the clip’s duration. • Fade In: You can enter a value (in frames) that controls how long the clip takes to dissolve on. The fade in starts at the clip’s start time. Note: The Fade settings are unavailable when you are working with a subtitle clip configured to provide buttons over video. • Out: You can enter a value (in frames) that controls how long the clip takes to dissolve off. The fade out finishes at the clip’s stop time. Note: Because there are only 16 opacity levels, setting fades longer than 20 frames produces noticeable “stepping” as the subtitle dissolves in and out. • Force display: Select this checkbox to force specific subtitle clips to appear, even if the viewer has disabled subtitles. Subtitle clips set to force their display only appear if their subtitle stream is currently selected. • Apply to Stream: Click to apply the fade in and out settings to all subtitle clips in this stream. Chapter 19 Creating Subtitles 449 Formatting • Horizontal: Sets the horizontal justification of the text. Click the appropriate icon for left, center, or right alignment. • Horizontal Offset: Trims the horizontal position of the text, in pixel steps, from the selected justification setting. Positive values move the text to the right and negative values move it to the left. A value of 0 positions the text at its justification setting. • Vertical: Sets the vertical justification of the text. Click the appropriate icon for top, center, or bottom alignment. • Vertical Offset: Trims the vertical position of the text, in pixel steps, from the selected justification setting. Positive values move the text down and negative values move it up. A value of 0 positions the text at its justification setting. • Apply to Stream: Click to apply the formatting settings to all subtitle clips in this stream. Graphic • File: Shows the name of the graphics file assigned to this subtitle clip. You can enter the path and name for a graphics file or click the Choose button to open a file selection dialog. • Offset X and Y: Use to trim the graphic’s position. • Offset X: Trims the horizontal position. Positive values move the graphic to the right and negative values move it to the left. A value of 0 positions the graphic at its default position. • Offset Y: Trims the vertical position. Positive values move the graphic down and negative values move it up. A value of 0 positions the graphic at its default position. Stream • Language: Choose the stream’s language. This setting applies to all subtitles in the stream. You can also choose the stream’s language in the stream configuration area of the Track Editor. • Import Subtitles: Click this button to import a subtitle file. This file affects the entire subtitle stream. See Importing a Subtitle File for more information. Note: Importing a subtitle file deletes any existing subtitle clips from the stream. Button Tab in the Subtitle Inspector The Button tab in the Subtitle Inspector is empty unless the subtitle is configured to provide buttons over video. See Creating Buttons over Video for more information. 450 Chapter 19 Creating Subtitles You use the Button tab to configure the buttons to add to the subtitle. • Name: By default, buttons are named “Button _,” where “_” is the button number in that menu. To reduce confusion when viewing a list of the menu’s buttons, it is helpful to rename the buttons based on their functions. • Default: Choose the button to be selected when the subtitle appears during playback of the title. This setting can be overridden by any element that jumps to this subtitle’s marker, based on its jump setting. • Target: You can use this pop-up menu to define a button’s action when activated. (You can also use the Connections tab or Control-click the button.) Often you must set the connection later because what you want to jump to has not been added to the project yet. The pop-up menu contains all possible elements you can jump to. • Highlight: Select the color mapping set (1, 2, or 3) to use for this button. • Angle/Audio/Subtitle Streams: Use these three pop-up menus to have a button select specific angle, audio, and subtitle streams to play back. For the subtitle stream, you can also choose whether subtitles should appear. These settings are only active if the target is set to “not set.” You can set the target to run a script if you want a button to jump to a specific stream in a different track. • Remote: This area lets you set the actions that take place when the viewer uses the arrow buttons on the DVD player’s remote control to navigate through the title. Because this is the typical way the title will be viewed, it is important to spend some time configuring the navigation in a logical, predictable way. See Configuring Button Navigation for information. Chapter 19 Creating Subtitles 451 • Number Pad: Defines which buttons are directly accessible by a DVD player’s numeric keypad. Choose All, None, or a button number from the pop-up menu. When you choose a button number, that button and all buttons less than that number are accessible via the numeric keypad—buttons greater than this value are blocked from direct access. Important: This feature is based on the order in which the buttons are created. In most cases, this order is the same as the default button names shown in the Viewer. This button order can be changed if you delete a button and later add a new button—the new button’s default name is not a reliable indicator of the order in which the buttons were created. • Button Offset: You can use this to offset button numbers so they make sense to a viewer who wants to select a button by entering its number. For example, you may have a set of scene selection menus with numbered scenes. One of the menus may have scenes 23 to 34, with the button for scene 23 being the first button on the menu. If you enter an offset value of 22 for this menu, when the viewer enters 23 on the remote control, 22 is subtracted from it, with the result being 1—the button’s actual number. • Coordinates & Size: This area lets you set the location of each edge of the button’s active area, plus the area’s height and width. The upper-left corner of the menu is at pixel 0, line 0. You can enter values for each edge, allowing you to precisely position and size the button’s active area. (You can also drag the area and each of its edges with the pointer.) • Auto Action: If you select Auto Action for a button, the button activates automatically as soon as it is navigated to, without the viewer needing to press Enter. This is useful in menus, such as scene selection menus, in which you use Next and Previous buttons; you can assume that if viewers navigate to the Next or Previous button, they want to activate it. With overlay-based buttons, if you select this option, only the activated color mapping appears when the button is navigated to, skipping the selected color mapping. Important: When viewed with most software-based DVD players, such as the Apple DVD Player, auto action buttons must be clicked if a mouse is used to select buttons. If you use the computer’s arrow keys, however, auto action buttons activate automatically as with set-top DVD players. • Invisible: Applies to overlay-based buttons. Allows you to have a button that does not display highlights in the normal, selected, or activated state. This is useful when you want to have a menu with text and no visible buttons. The text could tell the viewer to press the Enter button to go to the next menu or start playback (or whatever the button is set to jump to). 452 Chapter 19 Creating Subtitles Colors Tab in the Subtitle Inspector The Colors tab in the Subtitle Inspector is very similar to the Colors tab in the Menu Inspector. • Mapping Type: Select the colors used to create the overlay graphic. This setting only applies to imported graphics files. • Chroma: Uses black, red, blue, and white • Grayscale: Uses black, dark gray, light gray, and white. • Selection State: Unless you have configured this subtitle clip to provide buttons over video, only the Normal setting is available. When configured for buttons over video, you can select the button state you want to configure, and that state’s colors and transparencies are displayed. • Set: Active only when you have configured this subtitle clip to provide buttons over video. Select the color mapping set (1, 2, or 3) to configure. All new buttons use set 1. See Color Mapping Sets for more information. Note: These sets apply only to the selected and activated button states. The normal state color mapping setting applies to the entire overlay graphic unless a button’s active area is selected or activated. • Key: Displays the overlay file’s colors as selected with the Mapping Type. The names to the left of the key colors (Text, Outline 1, Outline 2, and Background) show which settings apply to subtitle text entered in DVD Studio Pro. • Color: Select the color for each of the four overlay colors from the current Color Palette. If this subtitle is configured to provide buttons over video, you must do this for all three button states. • Opacity: Set the transparency for each of the highlight colors. You can use the slider or enter a value from 0 (completely transparent) to 15 (completely opaque). Chapter 19 Creating Subtitles 453 • Apply to Stream: Click to apply the color and opacity settings to all subtitle clips in this stream. • Save As Default: Click to save this color mapping configuration as the default to be used on all new subtitles you create. Note: This is not the same palette used by the Menu Editor. • Restore Default: Click to replace the existing settings with those of the default subtitle color mapping configuration. • Edit Palette: Click to display the Color Palette dialog, which you can use to change colors within the palette. See Color Mapping Palette for more information. What Happens with Different Aspect Ratios? There are special considerations when you add subtitles to a track with its display set to one of the 16:9 options, especially if you have subtitles configured to provide buttons over video. Normal Text Subtitles and 16:9 The text on the subtitles you create in DVD Studio Pro on 16:9 tracks will appear horizontally stretched when viewed on a 16:9 monitor. You can counteract this effect by choosing a narrow font. When a 16:9 track’s subtitle plays on a 4:3 monitor using either the letterbox or pan-scan method, the text will appear at its natural, nonstretched width. Additionally, the text is complete, even when you use the pan-scan mode. Normal Overlay Graphic Subtitles and 16:9 Overlay graphics that you use for subtitles on 16:9 tracks must be anamorphic (horizontally compressed) to display properly when viewed on a 16:9 monitor. If you use nonanamorphic graphics for the subtitles, they will appear horizontally stretched when viewed on a 16:9 monitor. When a 16:9 track with a graphic subtitle plays on a 4:3 monitor, the entire graphic appears, whether you use the letterbox or pan-scan mode. If you used an anamorphic graphic for the subtitle, it will appear horizontally squeezed when viewed on a 4:3 monitor. Buttons over Video Using Text Buttons and 16:9 If you create subtitle buttons by typing text and using the text as the buttons on a 16:9 track, the highlights will work as expected when played on a 16:9 monitor. How the track plays on a 4:3 monitor depends on whether you are using the letterbox or pan-scan mode. • If you play the 16:9 track on a 4:3 letterbox monitor: The highlights will not match the text, because the highlight areas have been scaled along with the video. • If you play the 16:9 track on a 4:3 pan-scan monitor: The highlights will match the text. 454 Chapter 19 Creating Subtitles Based on this behavior, it is recommended that text buttons not be used when creating buttons over video on a 16:9 track that is set to play in the letterbox mode on a 4:3 monitor. Buttons over Video Using Overlay Graphic Buttons and 16:9 If you create subtitle buttons by importing an overlay graphic and configuring it for a 16:9 track, the highlights will work as expected when played on a 16:9 monitor. The highlights will not match the overlay graphic when played on a 4:3 monitor, either letterbox or pan-scan. • If you play the 16:9 track on a 4:3 letterbox monitor: The highlights will be expecting the overlay graphic to be compressed vertically about its center by 25 percent (matching what happens to the track’s video). • If you play the 16:9 track on a 4:3 pan-scan monitor: The highlights will be expecting the overlay graphic to have had 12.5 percent of its width removed from both the left and right edges (resulting in a total of 25 percent of the width being removed, matching what happens to the track’s video). In both cases, you can create overlay graphics that compensate for these issues, but not one that will work for both 16:9 and 4:3 playback. One solution is to create two sets of graphics—one for 16:9 monitors and the other for 4:3 monitors, either letterbox or pan-scan. If you place the graphics on separate subtitle streams at the same timecode, you can use a script to determine how the DVD player is configured and enable the appropriate stream. See Creating Buttons over Video for more information about using buttons over video. Viewing Subtitles To see how your subtitles look over moving video, including the fade in and fade out settings, you must preview or simulate the track. • Previewing: Previewing subtitles plays the selected subtitle stream over the video track in the Viewer tab. You are able to switch subtitle streams during playback. However, they switch immediately—not as they would switch with a DVD player. You cannot try out any buttons over video you may have added. • Simulating: Simulating subtitles plays the track in the Simulator. You are able to properly switch subtitle streams during playback and can verify any buttons over video you have configured. Previewing Subtitles Before you can preview a subtitle, you need to enable its stream; you can then start playing the track. Chapter 19 Creating Subtitles 455 To preview a subtitle 1 Select the video, audio, and subtitle streams you want to preview, using the button at the far left of each stream. Click to select one video, audio, and subtitle stream to preview. See Setting Stream Properties for more information on stream settings. 2 Play the track by clicking the Play button in the Viewer tab. The track plays from the playhead’s current position. Because the playhead automatically jumps to each subtitle clip as you edit them, you need to move it back to the track’s beginning if you want to begin playing from there. Alternatively, you can move the playhead to any position on the timeline to start playback at that point. See Playhead for information on using the playhead. See Viewing a Track for more information on playing tracks. Simulating Subtitles DVD Studio Pro provides two ways to start the Simulator: at the First Play connection using Simulator in the toolbar, and at the current track using a shortcut menu in the Outline and Graphical tabs. Because you may have not yet configured your project so that you can easily navigate to this track from the First Play setting, it is often more convenient to start the Simulator playing at the current track. To start the Simulator at a specific track Do one of the following: μ Select the track, then choose File > Simulate Track, or press Command-Option-0 (zero). μ Control-click the track in the Outline or Graphical tab, then choose Simulate Track from the shortcut menu. μ Control-click a stream in the Track Editor, then choose Simulate from Track from the shortcut menu. 456 Chapter 19 Creating Subtitles Creating Subtitles with DVD Studio Pro Before you create a subtitle, you must have first created and selected the track where the subtitle will go. Because the contents of the track’s video and audio streams typically determine the subtitle placement, you should not start adding subtitles until these streams are set. Creating a Subtitle Clip There are several methods you can use to create a new subtitle clip. Note: Remember that you have to create the subtitle in a subtitle stream (one of the streams labeled S1 to S32), and not in the V1 stream. To create a new subtitle clip Do one of the following: μ Double-click in the subtitle stream at the approximate time position where the subtitle clip should appear. μ Position the track’s playhead where the subtitle clip should appear, then choose Project > Timeline > Add Subtitle at Playhead. μ Position the track’s playhead where the subtitle clip should appear, Control-click in the subtitle stream, then choose Add Subtitle at Playhead from the shortcut menu. μ Position the track’s playhead where the subtitle clip should appear, then press Shift-Tilde (~). μ Control-click in the subtitle stream at the approximate time position where the subtitle clip should appear, then choose Add Subtitle from the shortcut menu. Double-click in a subtitle stream to create a new subtitle. Control-click in a subtitle stream to open this shortcut menu. All methods create an empty subtitle, with the duration and colors set in the General and Colors panes in DVD Studio Pro Preferences. Click the Viewer tab to see the video frame that corresponds to the start of the subtitle. Chapter 19 Creating Subtitles 457 Positioning and Trimming a Subtitle Within a Stream You can use your mouse or the settings in the General tab in the Subtitle Inspector to adjust the position and duration of the subtitle. To position and trim a subtitle 1 Change the subtitle’s position on the timeline by doing one of the following: • Drag it to a new position. • Enter a new start time in the General tab in the Subtitle Inspector. 2 Change the subtitle’s duration by doing one of the following: • Drag one of its edges to a new position. You may need to change the timeline’s zoom level to make it easier to see any changes you make, especially if the subtitle clip appears very small. The pointer changes to indicate when you are over an edge and can start dragging it. • Enter a new duration in the General tab in the Subtitle Inspector. • Enter a new stop time in the General tab in the Subtitle Inspector. Note: Subtitles cannot cross chapter markers. When you build your project, any subtitle clips that reach a chapter marker are clipped at that point. Selecting Subtitle Clips Once you have multiple subtitle clips in a stream, you can use a variety of methods to select one. To select a subtitle clip in a subtitle stream Do one of the following: μ Choose Project > Subtitle > Next or Project > Subtitle > Previous. μ Click a subtitle clip in the subtitle stream. μ Click the left and right arrows in the Viewer tab. μ Press the Up Arrow and Down Arrow keys to move the playhead through the timeline, stopping at each clip edge and marker. Entering Subtitle Text If you have experience using graphics applications, most aspects of entering subtitle text will be familiar to you. You can type directly in the Viewer tab or in the Text area in the Subtitle Inspector. To enter subtitle text 1 Do one of the following: • If the blinking insertion point is showing in the Subtitle Editor, you can start typing the text. The insertion point automatically appears at the default position in the Subtitle Editor. 458 Chapter 19 Creating Subtitles • Click in the Text area in the Subtitle Inspector. 2 Type the text. Press Return to start a new line. Note: When typing text in the Subtitle Editor, press Enter to exit the text entry mode. You cannot create more than one text entry per subtitle. For example, you cannot enter a sentence, position it in the upper-left corner, and enter a second sentence and position it in the lower-right corner. If you need this functionality, create a graphics file that contains the text as required, and import it into a subtitle. See Importing Graphics Files for Subtitles for more information. See Setting the Subtitle Font if the font is not the right size or style. See Setting the Subtitle Color if you see the insertion point move, but no text appears in the Viewer tab, or you want the text to be a different color. You can edit the text by clicking to place the insertion point or selecting existing text and typing new text. You can also drag the text in the Subtitle Editor to a new position. Copying Text Between Subtitles You can copy text from one subtitle or other text source to a subtitle. Depending on where you paste the text, you can even maintain the font and size of the copied text: • To use the font and size information in addition to the text: Paste at the insertion point in the Viewer tab. The text’s color and justification are not copied. • To use only the text: Paste in the Subtitle Inspector’s text entry area. The text uses the subtitle’s font and size settings. To copy text to a subtitle 1 Select the text to be copied. This text can be from almost any text source, including other subtitles or TextEdit files. 2 Choose Edit > Copy (or press Command-C). This copies the text to the Clipboard. The selected text is not affected. 3 Select the subtitle to copy the text to, then do one of the following: • To add it as new text: Click the insertion point. • To replace existing text: Highlight the text to be replaced. • To add it to existing text: Place the insertion point where the copied text should go. Use the Viewer tab to retain the font and size settings of the copied text, or use the Subtitle Inspector’s text entry area to use the subtitle’s font and size settings. 4 To paste the text, choose Edit > Paste (or press Command-V). Chapter 19 Creating Subtitles 459 Entering Subtitles in Multiple Languages One of the great things about subtitles is that you can have a completely different stream for each language. In the Viewer tab, you can type the subtitles on that stream in any language that your system is configured to handle. When you build the project, the text subtitles are converted to bitmap images. The system on which you build the project (if it is different from the one used to enter the subtitles) must have the proper fonts installed to create the bitmaps. However, once the project is built, the fonts are not required to view the title using DVD players. You can copy each subtitle clip to a new stream, preserving any attributes, such as fading, fonts, and duration, you have already set. To copy a subtitle clip from one stream to another stream Do one of the following: μ Option-drag the existing subtitle clip to the new stream. You can place the clip freely within the stream. μ Shift-Option-drag the existing subtitle clip to the new stream. The subtitle clip is forced to the same timeline position as the original. Formatting Subtitle Text You can format your subtitle text in a variety of ways. You get to choose: • The font family and specific typeface attributes (bold, oblique, and so on) • The font size • The colors, including transparency and outlines You can also mix multiple fonts and sizes within the subtitle, although they must all use the same colors. Note: You cannot set the color of subtitle text as you do a text object in the Menu Editor. You must choose colors from the Color Palette. See Setting the Subtitle Color for more information. Setting the Subtitle Font You can set the font attributes either before or after you type subtitle text. To set the font attributes 1 To open the Fonts window, do one of the following: • Choose Format > Font > Show Fonts (or press Command-T). • Click Show Fonts in the toolbar. 460 Chapter 19 Creating Subtitles The Mac OS X Fonts window opens. 2 If you’re making changes to existing text, select the text in the Subtitle Editor by dragging across it. 3 In the Fonts window, select the font family and the typeface style to use. The list of available fonts and styles is based on fonts currently installed on your system. 4 Either select a size in the Size column (use the slider to scroll through the list) or select the existing size and enter the new value, then press the Return key. Note: If you open a DVD Studio Pro project that uses a font that is not on the computer you are opening it on (either because the font was deleted or the project was created on a different computer), any items using the missing font have a different font substituted with no warning. To help make the font list manageable, you can assign fonts to collections, creating groupings of similar fonts. This makes it easy to get to a specific font type, such as script or serif. For more information, see Mac OS X Help. Setting the Subtitle Color You can set the colors that subtitles are displayed in. As you type text into a subtitle, you are actually creating an overlay graphic, exactly the same as an overlay graphic you might create with a graphics application. As with an advanced overlay, a subtitle contains four colors that you map to the actual colors that are displayed in the finished title. Each color also has a transparency setting. For subtitles, however, the function of each of the four colors is fixed: Color 1 is the text, color 2 is the first text outline, color 3 is the second text outline, and color 4 is the text background. You usually set the opacity of color 4 (the text background) to 0—other opacity settings apply color 4 over the entire picture (except where the text is). Color 2 (text outline 1) and color 3 (text outline 2) let you apply a text border to help improve the contrast with the video underneath the subtitle. For example, you could set the text to be white and the outlines to be black, making it easy to read the text over light or dark video content. Chapter 19 Creating Subtitles 461 You choose the colors that appear for each of the four overlays/text functions from a 16-color palette, exactly as you do with the standard menu creation method. You can define the colors in the palette either in the Colors pane in DVD Studio Pro Preferences or by clicking Edit Palette in the Colors tab in the Subtitle Inspector. Note: The subtitle Color Palette is independent of the menu Color Palette. Changes you make in one do not affect the other. To set the text colors 1 For each of the four overlays/text functions, choose a new color from the Color pop-up menu. See Color Mapping Palette for details on setting the color palette. 2 Adjust the opacity (0 is completely transparent; 15 is completely opaque) for each color you set. Note: The Mapping Type setting only applies to imported graphics, and does not affect subtitle text. Positioning Subtitle Text over the Video Once you have typed your text and set its font attributes, you can set its final position. There are several tools you can use to set the text’s position: • You can set the default position for subtitles in the Text pane in DVD Studio Pro Preferences. Any new subtitles you type will be placed according to your settings. • You can drag the text to a new position. • You can use the buttons in the General tab in the Subtitle Inspector to automatically position the text horizontally and vertically. You can also fine-tune the placement by entering an offset for each direction, which moves the text the distance you specify from the position selected with the Horizontal and Vertical buttons. The Text pane in DVD Studio Pro Preferences and the General tab in the Subtitle Inspector use similar settings for positioning the text. In both cases, you use horizontal and vertical alignment settings to get it close, and then use the offset settings to position it exactly. To position subtitle text without dragging 1 Select the horizontal alignment (left, center, or right). 2 Enter an offset value, in pixels, to adjust the position selected with the alignment setting. Positive numbers move the text to the right. Negative numbers move the text to the left. A value of 0 positions the text at its default position for the selected alignment. 3 Select the vertical alignment (top, center, or bottom). 4 Enter an offset value, in pixels, to adjust the position selected with the alignment setting. Positive numbers move the text down. Negative numbers move the text up. A value of 0 positions the text at its default position for the selected alignment. 462 Chapter 19 Creating Subtitles Note: It’s easy to enter an offset value that makes the text disappear completely. If you cannot see the text, enter 0 for the horizontal and vertical offsets. Importing Graphics Files for Subtitles You can use graphics files, configured as overlays, to create individual subtitles. These graphics can be drawings or text created using a graphics application. See Creating Overlays for information on creating overlay graphics. You must also use the correct frame size when creating your graphics. See Understanding Pixel Differences in Graphics and Video for information on square pixels and a list of frame sizes to use when creating the graphics. You can also use graphics in conjunction with typed text. Because the same color mapping settings are used for both the text and graphics, you need to create the graphics with the mapping setting for the four overlay colors in mind. Importing a Graphics File There are two approaches you can take to import a graphics file into a subtitle stream: • Add a subtitle to a stream and import the graphic through the Subtitle Inspector. • Drag a suitable graphics file directly to a subtitle stream. In both cases, the graphic uses the normal color settings in the Colors tab in the Subtitle Inspector. To import a subtitle graphic using the Subtitle Inspector 1 Create a subtitle or select a previously created text subtitle. See Creating a Subtitle Clip. 2 Click Choose in the General tab in the Subtitle Inspector. 3 In the dialog that appears, select the graphics file to use, then click Open. The graphic appears in the Viewer tab, using the current settings in the Colors tab. To import a subtitle graphic by dragging 1 Locate the graphics file in the Assets tab, the Palette, or a Finder window. 2 Drag the graphics file to the subtitle stream at the approximate position where it should start. A new subtitle is created with the duration and color mapping set in the Colors pane in DVD Studio Pro Preferences. Using Graphics Files to Create an Animation While subtitles are most often used to present text, the ability to import graphics files into subtitle streams makes it possible to use them for other purposes. For example, the video stream might show a mountain while the subtitle shows the route taken to climb it with a line that gradually grows from the start of the trail to the mountain top. Chapter 19 Creating Subtitles 463 While you cannot import any kind of a motion asset into a subtitle stream, you can manually create an animation by adding a number of very short (one- or two-frame) subtitles, each with a different graphic that shows the line at a different stage. Typical text subtitles have little impact on the playback bit rate—on average they run at around 10 kbps. When you use subtitles to create an animation, the impact on the playback bit rate becomes substantial, and may force you to lower the bit rate of the video stream. The DVD specification limits a subtitle stream’s bit rate to 3.36 Mbps (about the same as some MPEG-2 video). The easiest way to create a subtitle animation is to create an STL subtitle file and import it. You can specify the exact duration and position of each graphic, as well as configure the color mapping settings. See Creating an STL Format Subtitle File for more information. Creating and Importing Subtitle Files Often you may want to create your subtitles outside of DVD Studio Pro. There can be several reasons for this: • To use a facility that specializes in creating subtitles and closed captions: This can be especially important if you are including subtitles in multiple languages. • To free up your DVD Studio Pro system: Typing a lot of subtitles takes a significant amount of time, especially if you are using multiple languages. This is often a task that can be started well before you start authoring the project. • To be able to spell-check the text: Creating the subtitle text with a text-editing program gives you the ability to take advantage of its spell-checking capabilities. There are two approaches used to create subtitle files for import into DVD Studio Pro: Use a single file with the text embedded in it or use a group of graphics files, one for each subtitle, with a master file that controls which files appear at which time. In both cases, the subtitle files can be opened with a text-editing program such as TextEdit. This makes it easy to verify the file’s settings and make any necessary modifications. Be sure to save the file in a plain text format if you do make any changes. Using a Single Subtitle File When you use the single file subtitle method, you specify a timecode for each subtitle’s start and end, as well as the actual subtitle text. You can also embed commands that affect how the text appears on the screen, such as the font, position, color mapping settings, and fade in and fade out settings. There are two disadvantages of the single file subtitle method: • It requires your authoring system to have the correct fonts installed. This can be an important issue when working with foreign languages that require special characters. 464 Chapter 19 Creating Subtitles • The subtitle can only include text characters. However, you can manually import graphics files to use in addition to the imported subtitle file. Using a Group of Graphics Files When you use a group of graphics files for the subtitles, each file provides the graphic for one subtitle. A master file provides a list of timecode values for the start and end of each subtitle, along with the name of the graphics file to use for each subtitle. An advantage of this subtitle method is that the graphics files do not need to actually contain text. This method is useful if you want to include graphics elements along with the text, such as a logo. This also means that the DVD Studio Pro system is not required to have the same fonts you used to create the subtitle graphics. A disadvantage of this method is that you have to manage a folder with a lot of large graphics files, as compared to the single file method with its single small file. The graphics files follow the same guidelines as overlay files. See Creating Overlays for more information. Importing a Subtitle File Before you import a subtitle file, you will usually have the video asset it relates to in place in the V1 stream. It is also a good idea to have the subtitle preferences configured before importing a subtitle file. Unless the subtitle file specifically overrides them, these preference settings will apply to all subtitles that are imported. To import a subtitle file Do one of the following: μ Control-click in the subtitle stream to import the subtitles into, then choose Import Subtitle File from the shortcut menu. μ Select an existing subtitle clip in the stream, then click Import Subtitles in the Subtitle Inspector. Important: Importing a subtitle file deletes any subtitle clips in that stream that might already be present. In both cases, a file selection dialog appears for you to choose the file to import. After you choose the file, a dialog appears stating how many subtitles were imported, and the subtitle stream shows clips for each subtitle. If a Subtitle Import Does Not Work There are several common reasons why you might have problems when importing a subtitle file. Chapter 19 Creating Subtitles 465 Wrong Timecode The most common problem is that the timecode in the subtitle file does not correspond to the asset timecode of the video stream. In some cases, this is due to the original tape’s timecode not being entered prior to the video being MPEG-encoded. To see the timeline’s asset timecode, Control-click in the timeline, then choose Asset-Based Timecode from the shortcut menu. You can force an STL format subtitle file to import based on zero-based timecode (which sets the first frame as 00:00:00:00 regardless of the asset’s timecode) by setting the $TapeOffset command to False (it is True by default). See Timeline Command for more information. You can also try importing the subtitle file into a track that has no video assets. This also forces the subtitle clips to import based on zero-based timecode. Font Not Available If you are using the single subtitle file method and specify a font to use, a dialog appears if the font is not found on the system, and DVD Studio Pro uses the default subtitle font (as configured in the Text pane of DVD Studio Pro Preferences) as a substitute. Note: The font must be installed as a Mac OS X font—Mac OS 9 fonts are not used. Unable to Find the Graphics Files In most cases, the master subtitle file and the graphics files it uses must be in the same folder. In some cases, however, the master file may be configured to use a separate folder for the graphics files. In this case, the path supplied by the master file must match the actual location where the graphics files are. How Subtitles Are Positioned When you import subtitles, they are positioned in the subtitle stream based on the start and end timecode values in the subtitle file and the video stream’s asset timecode. This means that the timecode values in the subtitle file must be relative to the asset timecode of the video stream’s clip, not to the timeline’s zero-based timecode. An exception is when you use an STL format subtitle file, which can choose to use the timeline’s zero-based timecode. See Timeline Command for information on positioning subtitles when using an STL format file. See Understanding Time Information in the Track Editor for more information on asset-based versus zero-based timecode. Editing Imported Subtitles Once you have imported a subtitle file, you can work with the individual subtitle clips as if you had manually created them. You can reposition them and change their color mapping and any other subtitle attribute. If you imported the subtitles as text from a single subtitle file, you can edit the text. If you imported a group of graphics files as your subtitles, you cannot edit the actual text. 466 Chapter 19 Creating Subtitles You can also modify all of the subtitles in a stream by using the Apply to Stream controls. See Applying Subtitle Settings to the Stream for more information. Creating an STL Format Subtitle File An easy and flexible way to create subtitle files is to use the STL format developed by Spruce Technologies. The STL format allows you to configure most subtitle settings, and change the settings on a subtitle by subtitle basis. It supports both the single file method and the graphics file method, and even allows you to use both methods in the same file. STL format files can be saved as either plain text files or as RTF files (as created with TextEdit). You must use RTF files if your text contains Unicode characters. Basic STL Format There are three parts to an STL format subtitle file: commands, comments, and entries. • Commands: These are preceded by the dollar sign ($). It is these commands that allow you to configure the various aspects of the subtitles, such as their font and position. See STL Commands for more information. • Comments: These are preceded by a double slash (//). These allow you to add text comments throughout the subtitle file without affecting its import. • Entries: These include the start and end timecode values and the text or graphics file for that subtitle clip. Following is an example of a simple STL subtitle file. $FontName = Arial $FontSize = 65 //The following subtitles are for scene one. 00:00:12:04 , 00:00:14:12 , Lemurs are the bullies of the wild. 00:00:16:14 , 00:00:19:08 , Here we see them bring down a moose. Commands, which are always preceded by a dollar sign, use the equal sign (=) to separate the command name from its value. The entries use commas to separate their fields. In both cases, you can add tab characters to align the fields and make the file easier to read. Note: If you add spaces between the comma and the text entry, they are considered part of the text and appear in the subtitle. You can use the tab character to provide space between the comma and the text entry without affecting the text. You can add a command multiple times within a file to change a setting for specific subtitles. $FontName = Arial Chapter 19 Creating Subtitles 467 $FontSize = 65 00:00:12:04 , 00:00:14:12 , Lemurs are the bullies of the wild. $FontSize = 50 00:00:16:14 , 00:00:19:08 , Here we see them bring down a moose. In this case, both subtitles will use the same font, with the first one at a size of 65 and the second one at 50. STL Commands Following is a list of the commands supported by the STL format. Note: These commands override the settings in DVD Studio Pro Preferences, which provide the default settings for all settings that have not been overridden. Font Commands The font commands set all commonly used font properties. • $FontName: Sets the name of the font the subtitles use. Use the family name as it appears in the Fonts window, which can be opened by clicking Show Fonts in the toolbar or choosing Format > Fonts > Show Fonts. • $FontSize: Sets the size of the font. • $Bold: Selects the bold version of the font (if available). Enter True to select the bold version and False to disable it. • $Italic: Selects the italic version of the font (if available). Enter True to select the italic version and False to disable it. • $Underlined: Adds an underline to the subtitle text. Enter True to turn on the underline and False to turn it off. Color Commands The color commands choose the colors from the default subtitle Color Palette to apply to the subtitle. The values range from 0 to 15. You can assign the colors to the default Color Palette in DVD Studio Pro Preferences. • $ColorIndex1: Chooses the text color. • $ColorIndex2: Chooses the text’s outline 1 color. • $ColorIndex3: Chooses the text’s outline 2 color. • $ColorIndex4: Chooses the background color. Contrast Commands The contrast commands set the opacity of the colors assigned to the subtitle. The values range from 0 (transparent) to 15 (opaque). • $TextContrast: Sets the opacity of the text color. 468 Chapter 19 Creating Subtitles • $Outline1Contrast: Sets the opacity of the text’s outline 1 color. • $Outline2Contrast: Sets the opacity of the text’s outline 2 color. • $BackgroundContrast: Sets the opacity of the background color. This is usually set to 0, unless you are using a graphic that does not use white as the background color. Position Commands These commands control the subtitle’s position. • $HorzAlign: Sets the subtitle’s horizontal alignment. You can enter left, center, or right. • $VertAlign: Sets the subtitle’s vertical alignment. You can enter top, center, or bottom. • $XOffset: Allows you to modify the subtitle’s horizontal position from where the horizontal alignment placed it. The values you enter are in pixels, with positive values moving the subtitle to the right and negative values moving it to the left. • $YOffset: Allows you to modify the subtitle’s vertical position from where the vertical alignment placed it. The values you enter are in pixels, with positive values moving the subtitle up and negative values moving it down. Display Commands These commands control how a subtitle displays. • $ForceDisplay: Forces the subtitle to display regardless of whether subtitles are turned on by the DVD player. You can enter True (subtitles are forced to display) or False (subtitle display is controlled by the DVD player). • $FadeIn: Sets the fade time used to gradually dissolve the subtitles on. Enter a value in frames. • $FadeOut: Sets the fade time used to gradually dissolve the subtitles off. Enter a value in frames. Graphics File Command Use this command if this subtitle file uses graphics files in addition to, or in place of, text entries. • $SetFilePathToken: Sets a token that you use on any subtitle entries that contain a graphics filename instead of subtitle text. The entry must be such that it never appears in normal text or filenames. The normal convention is to surround the text with dual angle brackets, making it easier to locate within an STL file. For example, you could use _Graphic_. See Referencing Graphics Files in STL Subtitle Files for details. Chapter 19 Creating Subtitles 469 Timeline Command By default, the timecode values in an STL file are in reference to the video stream’s zero-based time, which starts at 00:00:00:00. You can use this command to reference the file’s timecode values to the video stream’s asset-based timecode. • $TapeOffset: Controls how the timecode values in the STL file are referenced to the video stream. You can enter False to reference them to the stream’s zero-based timecode (which begins at 00:00:00:00), or True (the default setting) to reference them to the asset-based timecode. Note: When referenced to the asset-based timecode, the Track Inspector’s Track Offset setting is ignored—only the actual asset’s timecode is used. Controls Embedded in the Subtitle Text You can embed several controls in the text part of the entries. These controls can force a line break and turn on and off the bold and italic font versions. Line Breaks Subtitle text does not automatically wrap at the edges of the screen. To make it fit you must either reduce the font size or break it into multiple lines by inserting line breaks. To insert a line break, add the vertical pipe character (|) to the text. 00:00:12:04 , 00:00:14:12 , Lemurs are the bullies | of the wild. In the above example, the text will appear as two lines. Bold, Italic, and Underlined Characters You can embed controls that change the state of the bold and italic attributes within the text part of an entry. To change the state of the bold setting, insert an up arrow followed by the letter “B” (^B). 00:00:12:04 , 00:00:14:12 , Lemurs are ^Bbullies^B. In the above example, the bold status changes for the word “bullies” only. If the bold attribute had not already been activated, “bullies” would change to bold. If the bold attribute had already been activated, “bullies” would not be bold. To change the state of the italic setting, insert an up arrow followed by the letter “I” (^I). You can also use bold and italic together. 00:00:12:04 , 00:00:14:12 , Lemurs are ^B^Ibullies^B^I. In the above example, the word “bullies” has both the bold and italic attributes change. To add an underline to portions of the text, insert an up arrow followed by the letter “U” (^U). You can use the underline along with the bold and italic settings. 470 Chapter 19 Creating Subtitles Referencing Graphics Files in STL Subtitle Files An STL subtitle file can contain a mix of text subtitle entries and references to graphics files. You must use the $SetFilePathToken command in the file before any lines that reference a graphics file. $SetFilePathToken = _Graphic_ 00:00:12:04 , 00:00:14:12 , _Graphic_RabidLemur.tif 00:00:16:14 , 00:00:19:08 , _Graphic_MooseLemur.tif Important: Do not add spaces between the token (_Graphic_ in this example) and the filename. The STL subtitle file and the graphics it references must be in the same folder. And, just like the other assets that you import into your project, the graphics files must not be moved, renamed, or deleted until after you build your project. Creating Buttons over Video Having buttons appear while a track plays can be a very useful navigational tool, providing the viewer with options that can significantly add to the DVD title’s value. For example, you can use buttons over video to allow the viewer to jump from the current track to a track containing related information, such as an interview of an actor, a news clip, or an explanation of how an effect was done. How Do Buttons over Video Work? DVD Studio Pro uses subtitles at specially configured markers to provide the buttons over video feature. You configure the buttons exactly as if you were configuring a standard menu using advanced overlays: You create each button’s active area, assign its connection, set the button navigation (if you use more than one button), and set up the color mapping for the highlights. Each subtitle containing buttons over video is tied to a marker. You must create a marker at the point where the subtitle should appear, and another where it should disappear. You can mix standard subtitles in the same stream as button over video subtitles. You can only view one subtitle stream at a time. Because the buttons over video feature uses a subtitle stream, you effectively disable the normal usage of subtitles on the title while the buttons over video stream is selected. (Although a subtitle clip can have both buttons and subtitle text, often the buttons need to appear longer than normal dialogue text.) In most cases, you would configure the title so that the viewer decides whether to enable buttons over video by selecting a button on a menu. When selected, the subtitle stream that contains the buttons is usually configured to be forced to display so that the viewer does not inadvertently turn it off. Chapter 19 Creating Subtitles 471 Adding Button Highlight Markers To create a button over video subtitle, you add a marker at the point where the subtitle should appear, select its button highlight setting, and add a second marker where the subtitle should end. Once you do this, if you create a subtitle between these markers, its start snaps to the marker with the button highlight setting selected and its end snaps to the second marker, regardless of its type. Any marker can be configured as a button highlight marker. See Working with Markers for information on adding markers to a track. To configure a marker as a button highlight marker Do one of the following: μ Control-click the marker, then choose Button Highlight Marker from the shortcut menu. μ Select the marker in the Track Editor. In the Marker Inspector, select the Button Highlight type in the General tab. You can also select any of the other types available. Depending on the other types you select, at least a part of the marker will change to red. See Working with Markers for more information. The second marker, which ends the button over video subtitle, can be of any type. How a Button Highlight Marker Affects the Subtitle Stream If a subtitle already exists between the two markers that specify the start and end of a button over video subtitle, its duration changes to match the time between the two markers. This is true of all subtitle streams. If you have traditional subtitles on one or more of the other subtitle streams, adding button highlight markers will also affect them. For this reason, you must use care when deciding when and how long to have the buttons over video subtitle appear, so as not to affect existing subtitles. You can have several subtitle streams in the same track configured for buttons over video. For example, you may be using text for the buttons and want to have different streams for each language. It’s important to keep in mind that all button active areas, connections, navigation settings, and color mapping settings are applied to all subtitle streams. The only element that can be different between the streams is the text or overlay you use. Adding a Button over Video Subtitle Clip Once you have configured the button highlight marker and the ending marker, you can add the button over video subtitle. To add a button over video subtitle clip μ Double-click in the subtitle stream between the button highlight marker and the ending marker. 472 Chapter 19 Creating Subtitles A new subtitle clip appears, with its duration matching the time between the two markers. See the next section, Configuring a Button over Video Subtitle Clip, for information on configuring the subtitle clip to provide buttons over video. Configuring a Button over Video Subtitle Clip To configure a button over video subtitle clip, you first add the text or import the graphic to use for the button or buttons, and then configure the buttons much as you would when creating a menu. Using an Overlay Graphic The first step to creating a button over video subtitle using an overlay graphic is to import the overlay graphic into the subtitle. To import an overlay graphic for a button over video 1 Select the subtitle clip that you previously created to configure for buttons over video. 2 Click Choose in the General tab in the Subtitle Inspector. 3 In the dialog that appears, select the graphics file to use, then click Choose. The graphic appears in the Viewer tab, using the current settings in the Colors tab. Using Text Buttons The first step to creating a button over video subtitle using subtitle text is to enter the text in the subtitle. You need to set its font and position before proceeding with creating buttons from it. See Formatting Subtitle Text and Positioning Subtitle Text over the Video for more information. Creating the Buttons for Button over Video Subtitles Once you have imported the overlay graphic or entered the button text, you can create the buttons. To create the buttons, you create active area rectangles by dragging over each button’s area. See Adding Overlay-Based Buttons for details on this process. The number of buttons you can have depends on the track’s aspect ratio setting, set with the Display Mode pop-up menu in the General tab in the Track Inspector. See Choosing an Aspect Ratio for more information on these modes. Also see What Happens with Different Aspect Ratios? for issues that occur when creating buttons over video on a 16:9 track. SD Projects • 4:3: You can have up to 36 buttons. • 16:9 Pan Scan: You can have up to 18 buttons. • 16:9 Letterbox: You can have up to 18 buttons. Chapter 19 Creating Subtitles 473 • 16:9 Pan Scan & Letterbox: You can have up to 12 buttons. HD Projects • 4:3: You can have up to 48 buttons. • 16:9 Pan Scan: You can have up to 24 buttons. • 16:9 Letterbox: You can have up to 24 buttons. • 16:9 Pan Scan & Letterbox: You can have up to 16 buttons. Configuring the Buttons for Button over Video Subtitles Once you have created the buttons, you need to configure them. There are three areas to configure: • Button navigation: Sets how a viewer jumps from one button to the next using the remote control’s arrow buttons. • Button targets: Sets the connection for each button (what is jumped to when the button is activated). • Color mapping: Sets the colors that appear for the normal, selected, and activated button states. Button Navigation Configuring button navigation with buttons over video is exactly the same as configuring the navigation in menus. By default, the navigation is assigned continuously, with DVD Studio Pro automatically setting the arrow button actions for each button. You can disable this function and set the navigation manually if you prefer. See Configuring Button Navigation for details on the methods you can use. Button Targets Configuring the targets for each button with buttons over video is almost exactly the same as configuring the button targets in menus. You have the option of setting them in the Connections tab (the buttons appear as marker items), in the Subtitle Inspector, or by using a shortcut menu in the Subtitle Editor. The difference is that a button within a track cannot select a specific stream in a different track. For this reason, the stream settings for buttons in subtitles are inactive if the target is set to anything other than “not set.” If you need a button within a track to select a specific stream in another track, you can set the target to run a script that’s configured to jump to the desired stream. See Setting a Button’s Connection for details on each method. Color Mapping Configuring the color mapping for the buttons with buttons over video is similar to configuring the color mapping for an advanced overlay with a menu. 474 Chapter 19 Creating Subtitles The biggest difference is that you don’t have the option of using a simple overlay. You can accomplish a similar effect by setting the color and opacity settings for the three nonwhite overlay colors to the same values, and setting the white overlay opacity to 0, making it completely transparent. Another difference is that the overlay colors have pre-assigned functions if you are typing subtitle text. See Setting the Subtitle Color for more information. See Using Advanced Overlay Color Mapping and Colors Tab in the Menu Inspector with Advanced Selected for more information. Copying Buttons in a Subtitle Clip You are able to copy buttons within a subtitle clip or to a different subtitle clip. The buttons retain all of their settings, including their target setting. You are not allowed to copy buttons to a subtitle clip if it causes that clip to exceed the maximum number of buttons allowed. See Creating the Buttons for Button over Video Subtitles for details on the maximum number of buttons allowed. Copying Buttons by Dragging You can copy one or more buttons within a subtitle clip by selecting them, then dragging them to a new location. To copy one or more buttons within a subtitle clip by dragging 1 Select the buttons to be copied. 2 Press the Option key, then drag the buttons to their new position. If multiple buttons are selected, they all move as a group, maintaining their relationships to each other. Using Copy, Cut, and Paste You can use the Copy and Paste commands to copy buttons within a subtitle clip and between subtitle clips. You can even copy buttons from a menu to a subtitle clip. However, any shapes, button styles, button text, and button assets that the menu’s button might have are not copied to the subtitle. Important: If you copy a button to a subtitle clip that is not configured for buttons over video, DVD Studio Pro automatically converts the subtitle clip to support buttons by adding a button highlight marker (named “Button Marker _,” where “_” is the button marker number on that track) to the timeline at the clip’s beginning, and a cell marker (named “Marker _,” where “_” is the cell marker number on that track) at its end. To copy one or more buttons using copy and paste 1 Select the buttons to be copied. 2 Choose Edit > Copy (or press Command-C). Chapter 19 Creating Subtitles 475 This copies the selected buttons to the Clipboard. The selected buttons are not affected. 3 Select the subtitle clip to which you want the copied buttons to be pasted. 4 If the insertion point is active in the Viewer tab, click an empty area to deactivate it. 5 Choose Edit > Paste (or press Command-V). If there are no buttons selected in the subtitle clip before you paste the copied buttons, the copied buttons are placed in the same locations as the originals. If a button is selected in the subtitle clip before you paste the copied items, the copied buttons are positioned relative to the selected button with a small offset. You can use the Paste command multiple times after using the Copy command. This makes it easy to add a button to multiple subtitle clips. To move one or more buttons using cut and paste 1 Select the buttons to be moved. 2 Choose Edit > Cut (or press Command-X). This copies the buttons to the Clipboard and removes the buttons from the current subtitle clip. 3 Select the subtitle clip to which you want the cut buttons to be pasted. 4 If the insertion point is active in the Viewer tab, click an empty area to deactivate it. 5 Choose Edit > Paste (or press Command-V). This is most useful when you are moving buttons from one subtitle clip to another. 476 Chapter 19 Creating Subtitles You can add sophisticated interactivity and control to a project with only a few simple scripts. This chapter covers the following: • Introduction to Scripts (p. 477) • Pre-Scripts (p. 478) • Scripting Overview (p. 479) • The Scripting User Interface (p. 480) • About the Script Tab (p. 481) • About the Script Inspector (p. 484) • About the Script Command Inspector (p. 485) • Creating and Testing Scripts (p. 486) • Script Command Details (p. 489) • System Parameter Register Memories List (p. 499) • System Parameter Register Memories Details (p. 500) • Using Bit-Wise Operations (p. 511) • General Purpose Register Memories (p. 512) • Scripting Examples (p. 517) • Language Code Table (p. 525) Introduction to Scripts The DVD-Video specification includes a simple yet powerful scripting language. This scripting language provides for extensive interactivity between the viewer and the DVD player. DVD Studio Pro gives you full access to these scripting capabilities. Scripts in DVD Studio Pro are created as separate elements within a project, so they can be assigned easily to any element that supports a script. Scripts can be assigned to buttons or attached to the start or end of any track, story, menu, or marker. 477 Creating Scripts 20 With scripts you can: • Have the title automatically customize itself to best match the DVD player’s configuration in areas such as language selection, audio formats, and parental management • Add specialized features, such as a random play after a menu times out • Add subtle features, such as having a menu highlight the next button when returning to the menu after activating a previous button Those are just a few examples of the ways you can customize your DVD project and create a better viewer experience. Pre-Scripts Tracks, stories, slideshows, and menus have pre-script settings. A pre-script is a normal script that is run before the element plays or displays. It can be used to do things such as decide whether to play the element or to configure the DVD player before it is played. For example, you may have a pre-script assigned to a track that checks the DVD player’s parental management setting to decide whether this track or a different one should play. Pre-scripts only run if you jump to the root of the element (its name shown in square brackets, or, in the Connections tab, the element’s name) they are assigned to. Choose [Track] to have a pre-script assigned to this track run when it is jumped to. Connect to the element’s name to have the pre-script run. 478 Chapter 20 Creating Scripts For example, when you assign a connection to a menu, you can choose to jump to a specific button or to the menu root with no button specified (using the [Menu] selection). A pre-script assigned to a menu only runs if the element that jumped to it had [Menu] selected. If the jump selected a specific button on the menu, the pre-script is skipped. Similarly, a pre-script on a track or story does not run if you jump directly to a marker. With slideshows, the pre-script does not run if you jump directly to a slide. In all cases, if you want the pre-script to run, you must jump to the root of the element, indicated by the square brackets. If an element is also configured with a display condition, the pre-script runs first, and then the display condition. Note: Unlike pre-scripts, display conditions run when any part of an element is connected to. Scripting Overview Scripts you add to your project contain commands that allow you to access the functionality available in all DVD players. Each script can contain up to 124 commands. Every DVD player contains a micro-controller that can execute a set of commands defined by the DVD-Video specification. The commands defined in the DVD-Video specification are at the level of microprocessor machine code, with very simple commands used to initiate desired functions. You may find that some of the concepts and terms are a challenge. Therefore, when learning scripting, proceed with initial deliberateness and caution—it is very easy to author titles with scripts that just don’t work. You should also use the Simulator and test builds of your project using the Apple DVD Player to verify that your title plays back exactly as intended. About DVD Player Registers Each DVD player has two types of memory registers: General Purpose Register Memories (GPRMs, also known as variables) and System Parameter Register Memories (SPRMs). Scripts interact with these registers to determine DVD player settings (such as language and parental control) and to control various aspects of disc playback. Chapter 20 Creating Scripts 479 Scripts use GPRMs as temporary storage, or “scratch pads,” while executing their commands. DVD Studio Pro provides access to eight 16-bit GPRM registers, designated GPRM 0 through GPRM 7 (though they can be renamed). DVD Studio Pro includes the ability to partition seven of these registers into multiple smaller registers. For example, you can partition GPRM3 into four 4-bit registers. Each register is independent of the others, and all are cleared whenever a disc is inserted into the DVD player. The registers can be used as storage locations or as countdown timers. In contrast, SPRMs have rigidly defined functions. There are 24 of them, designated SPRM 0 through SPRM 23. See System Parameter Register Memories Details for a detailed listing of their functions. Scripts spend a lot of time copying values from an SPRM to a GPRM, extracting information from the values (for example, determining the language setting), and then acting on that information (selecting the proper audio stream to play). Extracting the information can be challenging, requiring a bit of skill and programming knowledge. About Scripting Commands You can choose from ten scripting commands when building your script. Each scripting command has its own set of controls that fit the command’s function. Each script can contain up to 124 commands, or operations. Depending on how you configure the scripting command, it might use up to 16 of the 124 commands. The top of the Script Inspector shows the number of commands used and available. A dialog appears to warn you if you create a script with too many commands, and the Script Inspector shows the commands used and available values in red, with a negative number for the Commands Remaining value. Each scripting command creates a command line that appears in the Script Editor. You are provided with a variety of tools to rearrange the order of the command lines in the script, which is important because the command lines are executed in order (though it is possible for a command line to jump to any other command line in the script). The Scripting User Interface Scripts appear in the Outline and Graphical tabs. Double-clicking an existing script or clicking the Script tab displays the Script Editor and the Script Inspectors. You use the Script tab to add and remove commands, as well as modify their order. You use the Script Inspectors to configure the commands, choosing the actual command to use and setting its parameters. See the following for details on the items that make up the scripting user interface: • About the Script Tab • About the Script Inspector • About the Script Command Inspector 480 Chapter 20 Creating Scripts About the Script Tab You click the Script tab to access the Script Editor. The Script Editor lists the command lines within the script. You use its Add button to add command lines to the script. The other buttons provide methods for managing the order of the command lines. Because scripts generally execute the command lines in order, starting at command line 1, it is important to have them in the correct order. Select to view the values as hexadecimal. Choose the script to work with in the editor. Command line reorder tools Command line add and delete controls Drag this bar to adjust column sizes. Once you have multiple commands in the list, you can move between them by either selecting the one you want to go to or using the keyboard’s Up Arrow and Down Arrow keys to step from one to the other. You can also press the Command key along with the Up Arrow and Down Arrow keys to jump to the first or last command line, or the Page Up and Page Down keys to move through the list one page at a time. Chapter 20 Creating Scripts 481 Command Line Add and Delete Buttons There are three buttons you can use to add or remove command lines from the Script Editor. Inserts a command line below the selected line. Adds a command line to the end of the list. Deletes the selected command line. • Add (+): Clicking the Add button, or pressing Command–Equal Sign (=), adds a command line to the script. This command line is always placed at the end of the list, regardless of which command is currently selected. By default, each added command line is set to Nop (no operation) which works as a placeholder for the actual command you will select in the Inspector. • Delete (–): Clicking the Delete button removes the currently selected command line from the list. You can also use the keyboard’s Delete key. • Insert: Clicking the Insert button, or pressing Command–Shift–Equal Sign (=), adds a new command line to the list, positioned after the currently selected command line. All command lines below the current one ripple down one location. As with the Add button, the new command is a Nop. Command Line Reorder Tools You can use the reorder tools to change the order of the command lines in the Script Editor. You can also drag a line to a new position. 482 Chapter 20 Creating Scripts Note: You are just rearranging the order of the command lines—you are not deleting or replacing any command lines. Moves the command line up one line. Moves the command line down one line. Moves the command line to the top of the list. Moves the command line to the bottom of the list. • Move Up: Clicking the Move Up button moves the currently selected command line up one location. The command line already at that location moves down one location to make room (the two command lines basically switch positions). • Move Down: Clicking the Move Down button moves the currently selected command line down one location. The command line already at that location moves up one location (the two command lines basically switch positions). • Move To Top: Clicking the Move To Top button moves the currently selected command line to the top of the list, making it the first command line executed. All command lines that were above it in the list ripple down (the command line that was at the top is moved to the number 2 position, the number 2 command line moves to number 3, and so on). • Move To Bottom: Clicking the Move To Bottom button moves the currently selected command line to the bottom of the list, making it the last command line executed. All command lines that were below it in the list ripple up. Copying Command Lines When creating a script with multiple similar command lines, you may find it easier to create the first version of the command line, copy that command line multiple times, then modify the copies as needed. You can also copy a command line from one script to another. To copy command lines in the Script Editor 1 Select the command line to be copied. You can select more than one command line. 2 Choose Edit > Copy (or press Command-C). This copies the command lines to the Clipboard. The selected command lines are not affected. Chapter 20 Creating Scripts 483 3 Select the command line in this script or a different script after which you want to paste the copied command lines. If you have no command lines selected, the copied command lines are placed after the last existing command line. 4 Choose Edit > Paste (or press Command-V). To move one or more command lines using cut and paste 1 Select a command line or a group of command lines to be moved. 2 Choose Edit > Cut (or press Command-X). This copies the command lines to the Clipboard and removes the command lines from the current list. 3 Select the command line in the script after which you want the cut command lines to be pasted. 4 Choose Edit > Paste (or press Command-V). This is most useful when you are moving command lines from one script to another. About the Script Inspector A general Script Inspector appears when no command lines in the script are selected. To display the script’s Script Inspector, you need to either click in an empty area below the command lines in the Script Editor or click the script’s name in the Outline or Graphical tab. Configure the GPRM partitions. Enter a name for the script. Use these to import and export GPRM configurations. 484 Chapter 20 Creating Scripts The Script Inspector displays values showing the number of commands used and how many are still available out of the possible total of 124. (Configuring a scripting command may use up to 16 of the 124 commands.) These values will turn red if your script uses more than 124 commands, with a negative number in the Commands Remaining value indicating how many excess commands there are. It is also where you name your script and then configure the partitions and names of the GPRM registers. Note: You can also configure the partitions and names of the GPRM registers in the Advanced tab in the Disc Inspector. See Configuring GPRM Partitions for more information. About the Script Command Inspector A Script Command Inspector appears when you select a command line. To display the Script Command Inspector, you need to select a command line in the Script Editor. Enter a comment (optional). Choose a command. Configure the command. Configure a compare function (optional). The Script Command Inspector has four sections: • The command selection section, where you select which of the ten commands to use • The command setup section, where you configure the command’s parameters. The actual contents of this section vary, based on the command selected. • The compare section, where you can add a compare function to the command • The comment section, where you can add a comment to the command. Comments are useful for both yourself and others later on when trying to remember why certain commands were added. See Script Command Details for details on setting up the commands. Chapter 20 Creating Scripts 485 Creating and Testing Scripts While it is easy to create scripts, it’s a good idea to first spend some time planning exactly what you intend the script to do. Sometimes a single script can be designed to fit multiple situations, or it may be easier to create multiple similar scripts, with each configured for a specific case. Creating a Script Scripts can vary greatly. Simple scripts may contain only one or two commands, while complex scripts can contain many commands and dependencies on other scripts. No matter how complex the script, you create all scripts using the same basic methods. To create a script 1 Do one of the following: • Choose Project > Add to Project > Script, or press Command–Shift–Single Quote (’). • Control-click in the Outline or Graphical tab, choose Add from the shortcut menu, then choose Script from the submenu. • Click Add Script in the toolbar. A new script is added to the Outline and Graphical tabs. 2 To name the script, do one of the following: • Enter the name in the Name field in the Script Inspector. • Select the script in the Outline or Graphical tab, click its name, type the new name, then press Return. 3 Double-click the new script in the Outline or Graphical tab or click the Script tab to open the Script Editor. 4 In the Script Editor, select the default Nop command line. The Script Command Inspector appears, displaying the command configuration display. 5 Configure the command line as desired, and add new command lines as needed. See Script Command Details for details on the commands you can add to a script. See About Connections for information on connecting scripts to your project’s elements. Duplicating and Saving Scripts Most scripts contain command lines that are specific to a particular function in a particular project. However, because it is often easier to modify an existing script rather than start from scratch, DVD Studio Pro includes several tools that allow you to create copies of a script for use in this and other projects. Duplicating Scripts When creating several similar scripts, use the Outline or Graphical tab’s duplication function to make a copy of a script. 486 Chapter 20 Creating Scripts To duplicate a script within a project Do one of the following: μ Select the script in the Outline or Graphical tab, then choose Edit > Duplicate. μ In the Outline or Graphical tab, Control-click the script, then choose Duplicate from the shortcut menu. A copy of the script is created with the same name as the original, with a number added to the end of the name. Saving Scripts You can save a script as an item description file, making it easy to import a script into other projects. To save a script as an item description file Do one of the following: μ Select the script in the Outline or Graphical tab, then choose File > Export > Item Description. μ Control-click the script in the Outline or Graphical tab, then choose Save Script from the shortcut menu. Loading Scripts You can load saved scripts into a DVD Studio Pro project. To load a script file Do one of the following: μ Choose File > Import > Item Description to import a script item description (with an “.dspScript” extension). μ Control-click in the Outline or Graphical tab, then choose Load Script from the shortcut menu. The script appears in the Outline tab under the Scripts heading and as a new tile in the Graphical tab, and can now be edited as needed. Testing Scripts Once you have created a script, you will want to test it. Depending on the script’s function, you can test it with the Simulator, with the Apple DVD Player as part of an emulator test, or in set-top DVD players after you burn a disc. Chapter 20 Creating Scripts 487 Testing a Script in the Simulator The DVD Studio Pro Simulator has a Registers display that shows useful information when testing a script. The display appears when you click the Simulator’s Info button. Select to show the GPRM values. Select to show the values as hexadecimals. Select to show the SPRM values You can display either the SPRM or GPRM values, or both at the same time. You can also choose whether the values appear as decimal numbers or hexadecimal numbers. Seeing the SPRM and GPRM values can be useful when you want to ensure the right values are being set in the registers. Additionally, you are able to enter values into the registers to preset a specific condition you want to test. To enter a value, double-click its existing value and enter the new one. Also, you can name the GPRMs within the Simulator. To name a GPRM, double-click the existing name in the Description column and enter a new one. The Simulator has several preferences settings that allow you to verify script commands that rely on general DVD player settings, such as language preferences, aspect ratio, and region code. See Simulator Preferences for more information on Simulator preferences. See Simulating Your Project for more information on using the Simulator. Testing a Script with DVD Player The Apple DVD Player provides an additional way to test your scripts. Testing a project with DVD Player is referred to as emulating the project. It requires you to build the project, which creates the VIDEO_TS folder that DVD Player uses. See Emulating Your Project Using DVD Player for more information. Testing a Script on Set-Top DVD Players The best test to give your scripts is to play the title in a set-top DVD player. This method provides the most real-world experience, giving the scripts the most true tests. 488 Chapter 20 Creating Scripts To test scripts in a set-top player, you need to build and format your project, burning it onto a DVD. See Formatting Your Project for more information on burning a DVD. General Scripting Information There are a number of good practices to keep in mind when creating your scripts: • Plan your GPRM partitioning: Partitioning one or more of the eight 16-bit GPRM registers can add a lot of flexibility to your script writing by making many GPRM registers available to be used. However, keep in mind that some scripting configurations and display conditions require full 16-bit GPRM registers. Also, when you import a script item description, any GPRMs used by the script must be partitioned exactly the same as they were when the script was originally created. To ensure compatibility, it is a good idea to consistently partition your GPRMs the same way for each project. See General Purpose Register Memories for information on saving and loading GPRM configurations. • Don’t forget about display conditions: Menus, tracks, and stories can all have display conditions applied to them. Display conditions work a lot like a simple pre-script—they determine whether the element should play, and if not, provide a jump to an alternative element. One advantage of a display condition is that it is part of the track and is placed in the same video title set (VTS) file as the track—by default, all scripts are placed in VTS 1 (though you can move them to the track’s VTS with the VTS Editor). In some cases, there could be a slight delay as the DVD player jumps from one VTS to the other to run a script. An additional advantage is that a display condition executes whether you jump to an element’s root or to a part of it (such as a button or marker). See Pre-Scripts and Display Condition for more information. • There are many ways to do the same thing: When creating your script, you will often find that there are alternate ways to accomplish the same task. The simplest approach is often the best, but other considerations, such as a lack of available GPRMs, may force you to be creative in your script writing. Sometimes it is better to create several small scripts rather than one large one that covers all situations. • Make sure the script has a way to end: It is important for the script to have an exit point that terminates its running and returns to playing the disc. For example, if you run a script that only uses the set command to configure some registers, the DVD player will just sit and wait for the script to finish, which it never will. You create the exit point by using one of three commands: jump, resume, and exit pre-script. You can use a jump command in any script; however, you can use the resume and exit pre-script commands only in specific script types. See Script Command Details for more information on these commands. Script Command Details Scripts can affect a disc’s playback in one of two ways: • Playback can jump to a new location (track or menu). Chapter 20 Creating Scripts 489 • A different stream (audio, video, subtitle) can be selected. Most scripts use several commands to perform these functions. Often, one script may use values placed in a GPRM by a different script that ran earlier. Each of the ten commands has unique settings and uses. Some provide memory read and write functions, some control jumping to elements within the title, and others control how the script executes. These commands can be accessed at the top of the Script Command Inspector. In addition to the command configurations, each can also use a compare operation that provides a conditional execution function. Compare Function You can use the compare function to determine whether or not a command executes (also known as a conditional instruction execution). For example, you might set a jump command to go to a track, but use the compare function to make sure the DVD player supports its aspect ratio. If the compare function is not satisfied, the command is skipped and the script moves down to the next command. A compare function compares a specified element, which you select, with a value in a specified GPRM. You choose how to compare the two elements from a list of operations (equal to, greater than, and so on). Choose the element type. Choose the compare operation. Enables the compare function. Choose the actual element. Choose the GPRM register. To configure a compare 1 In the Script Command Inspector, select the Compare Command checkbox to activate the compare settings. 2 Choose the GPRM location to compare to the selected element from the “Execute if” pop-up menu. 3 Choose the compare operation type from the “is” pop-up menu. 4 Choose the type of elements to compare from the “to” pop-up menu. 5 Choose the actual element to compare to the GPRM from the “with value” pop-up menu. 490 Chapter 20 Creating Scripts Element Types to Compare You can choose from five different elements to be compared to the selected GPRM. • GPRM: Allows you to select any of the available GPRMs to compare. • SPRM: Allows you to select any of the 24 SPRMs to compare. See System Parameter Register Memories Details for a list of SPRMs. • Immediate: Allows you to enter a decimal value, whose range depends on the size of the selected GPRM register, to compare. • Jump Target: Allows you to select from all available project elements (menus, tracks, stories, slideshows, and scripts) to compare. • Special: Allows you to choose from Current Item, Last Item, and Last Track to compare. • Current Item: This is this script, unless this is a pre-script. If this is a pre-script, the Current Item is the project element (menu, track, slideshow, or story) the script is assigned to. • Last Item: This is the project element that started this script running. • Last Track: This is the last track that was played, even if this script was started by a button on a menu. Note: Jump Target and Special require the selected GPRM to be a 16-bit GPRM register. If you choose a partitioned GPRM with the “Execute if” pop-up menu before choosing the element type, Jump Target and Special will not be available. If you choose Jump Target or Special as the element type before choosing the “Execute if” GPRM, partitioned GPRMs will not be available. GPRMs To Be Compared To You can select one of the GPRMs to be compared to the selected element. For the values in a GPRM to be meaningful, you must first load something into it with a previous command in this script or from a different script run earlier. This is often done using the set command, but there are several other ways to load a value into a GPRM. Chapter 20 Creating Scripts 491 Compare Operations There are seven compare operations that you can use to compare the selected element to the selected GPRM. • = (equal): Executes the command if the two values are the same. • != (not equal): Executes the command if the two values are not the same. • > = (greater or equal): Executes the command if the selected GPRM is larger or the same as the selected element. • > (greater): Executes the command if the selected GPRM is larger than the selected element. • <= (smaller or equal): Executes the command if the selected GPRM is smaller or the same as the selected element. • < (smaller): Executes the command if the selected GPRM is smaller than the selected element. • & (and): Performs a bit-wise “and” operation between the two values and executes the command if the bits set to 1 in the selected GPRM are also set to 1 in the selected element. See Using Bit-Wise Operations for information on bit-wise operations. Note: You need to have a basic understanding of working with binary numbers to be able to use these operations. Nop Command The Nop (no operation) command provides a placeholder function. Anytime you add or insert a new step into a script, it is set to Nop. If a script encounters a Nop command while running, it immediately skips to the next command. If the Nop command is the last command, the script stops running and the title stops playing. Note: When a script is run as a pre-script, it reacts differently to having a Nop as the last command line. With a pre-script, if the last command is a Nop, it is treated as if it were an exit pre-script command, and the element the pre-script is assigned to displays as normal. Jump Command Jump commands are usually the last step executed in a script, because they result in another element (menu, track, or script) starting to play. 492 Chapter 20 Creating Scripts Note: Being the last step executed is not the same as being the last step in the script. A script might have multiple jump commands in it, with other commands determining which jump to execute. To configure a jump command 1 In the Script Command Inspector, choose Jump from the Command pop-up menu. 2 Choose the project element to jump to from the Jump To pop-up menu. GPRM-Based Checkbox A jump normally goes to a specific part of an element; for example, to button 3 on menu 2. Jumps also have the ability to use a value from a GPRM to determine which button or marker they should go to. This is useful if, instead of jumping to a set location, you want to jump to a place that is flexible, based on a value that a previous script writes to a GPRM. To jump to a GPRM-based location 1 In the Script Command Inspector, select the GPRM Based checkbox to enable the GPRM selection pop-up menu. 2 Choose the element to jump to from the Jump To pop-up menu. Specific buttons and markers will be unavailable—you can only choose the basic elements (a menu, track, story, and so on). 3 Choose the GPRM to use from the GPRM pop-up menu. When jumping to menu buttons, you can load the GPRM with the actual button number (1 through 36). When jumping to markers, you must enter the marker number (1 through 99). Any values you enter above 99 result in the first marker being selected. Chapter 20 Creating Scripts 493 Start At Loop Point Checkbox You can add a loop point to your motion menu that defines when the highlights appear and where the menu jumps back to when it reaches the end. A jump to a motion menu normally goes to its start point and begins playing from there. There are times, however, when you might want the jump to go to the loop point instead, ensuring the highlights appear immediately and avoiding forcing the viewer to sit through the first part of the menu. Selecting the Start At Loop Point checkbox configures the jump to play the menu from the loop point. See About the Motion Settings for more information. See Jumping to a Menu’s Loop Point for an example script using this feature. Set GPRM Command The set GPRM command is used to determine a value that is then placed in a GPRM location. There are four elements to set: • The operation type: There are 11 operations you can choose from, ranging from a simple move to a “bit-wise exclusive or.” See Operation Types for details on using these operations. • The source type: You choose from five possible source element types that can be used as the source. See Source Element Types for details on the element types. • The source value: Once you choose the source element type, you can then choose the actual element. For example, if you choose an SPRM element type, you use this setting to choose the specific SPRM to use as the source. • The GPRM target: You choose a GPRM location where the value gets written. Depending on the operation you choose, this GPRM location may also be the second value in a math operation. For example, if you choose a subtraction operation, the source value is subtracted from the current target value and the result is written to the target location. Choose the operation. Choose the source element type. Choose the GPRM target. Choose the actual source element. To configure a set command 1 In the Script Command Inspector, choose the operation from the Operation pop-up menu. 2 Choose the source element type from the Source Type pop-up menu. 3 Choose the actual source element from the Source Value pop-up menu. The list of elements is determined by the source element type selection set in step 2. 494 Chapter 20 Creating Scripts 4 Choose the GPRM target from the Target pop-up menu. Operation Types There are 11 operations you can choose from to control how the source and target values are handled. There are limitations you need to keep in mind when using these operations: • Registers have no overflow or underflow flags. • If the script tries to store a value smaller than 0 or larger than 65535, no error message is given; instead, the value “wraps around.” For example, if you subtract 7 from 3, you would normally get –4. But if you do this in a script, 65532 is stored. If you add 6 to 65534 in a script, 4 is stored instead of 65540. The operation types are: • mov: Moves the source value to the target location, overwriting the existing value in the target. • swp: Swaps the source value with the target value. The source value is written to the target location, and the target value is written to the source location. This is the only operation that writes to the source location. • add: Adds the source and target values together and writes the result in the target location. • sub: Subtracts the source value from the target value and writes the result in the target location. • mul: Multiplies the source value by the target value and writes the result in the target location. • div: Divides the target value by the source value and writes the result in the target location. • mod: Divides the target value by the source value and writes the remainder (modulo) in the target location. • ran: Generates a random value between 1 and the source value and writes the result in the target location. Chapter 20 Creating Scripts 495 • and: Performs a “bit-wise and” operation between the 16 individual bits of the source and the target values, and writes the result in the target location. The bits that are set (value of 1) in both values are left set. Bits that are not set in one or the other value are reset (value 0). • or: Performs a “bit-wise or” operation between the 16 individual bits of the source and the target values, and writes the result in the target location. The bits that are set (value of 1) in either value are left set. Bits that are not set in both of the values are reset (value 0). • xor: Performs a “bit-wise exclusive or” operation between the 16 individual bits of the source and the target values, and writes the result in the target location. The bits that are set (value of 1) in one or the other value (but not both) are left set. Bits that are or are not set in both of the values are reset (value 0). Source Element Types You choose from five different elements to be used as the source type. • GPRM: Allows you to select any of the available GPRMs as the source. • SPRM: Allows you to select any of the 24 SPRMs as the source. See System Parameter Register Memories Details for a list of SPRMs. • Immediate: Allows you to enter a decimal value, whose range depends on the size of the selected GPRM register, as the source. • Jump Target: Allows you to select from all available project elements (menus, tracks, stories, slideshows, and scripts) as the source. • Special: Allows you to choose from Current Item, Last Item, and Last Track as the source. • Current Item: This is this script, unless this is a pre-script. If this is a pre-script, the Current Item is the project element (menu, track, slideshow, or story) the script is assigned to. • Last Item: This is the project element that started this script running. • Last Track: This is the last track that was played, even if this script was started by a button on a menu. Note: Jump Target and Special require the target to be a 16-bit GPRM register. 496 Chapter 20 Creating Scripts Goto Command The goto command provides a way to jump to a specific line in a script. This is usually used in conjunction with a compare function, with the result determining whether the goto command executes, or whether the script moves on to the next line. Goto is useful when you build multiple jump commands into your script, because it allows you to choose which jump command to execute by forcing the script to its line. The only entry (other than the compare settings) is the Line Number value, which is a number from 1 to 124. Set System Stream Command The set system stream command provides an easy way to set the audio, subtitle, and video angle streams. You can choose to enable one, two, or all of the three streams. In the case of the subtitle stream, you also choose whether or not it appears. You choose between two modes to set the stream values: • Immediate Value: Choose the streams directly using their pop-up menus. (Pop-up menu values that say “not set” indicate that no assets are currently assigned to that stream.) • GPRM Based: Choose a GPRM register from each stream’s pop-up menu. Note: You can only choose 16-bit GPRM registers. To configure the set system stream command 1 In the Script Command Inspector, select either the Immediate Value or GPRM Based modes for stream selection by clicking the appropriate button. 2 Select the streams you want to control by clicking their checkboxes. Chapter 20 Creating Scripts 497 3 For each stream you select, use the pop-up menu to choose the stream (Immediate mode) or GPRM register (GPRM mode). 4 If you select the subtitle stream, select the View checkbox to force the subtitle to appear. Resume Command The resume command works like the Resume button on a DVD player’s remote control—when executed as a step in a script, the disc starts playing from where it last left off. Note: When the resume command is executed from a pre-script, the result may not match your expectations. Instead of playing the last menu or track that the viewer saw, the track or menu that had the pre-script assigned to it plays instead (which, even though the viewer had not seen it, was the last element “viewed”). GPRM Mode Command Each 16-bit GPRM register can be set to function as a memory location or as an incrementing counter. By default, all GPRM registers, including those partitioned to smaller registers than 16-bits, are set to be memory registers. • Counter mode: The value loaded into the register increments once per second. This mode can be a useful way to determine how far into the track the viewer has played. • Register mode: A value written to a register remains there until a new value is written or the disc is ejected. To configure the GPRM mode command 1 In the Script Command Inspector, click either the Counter or Register Mode button to set the selected GPRM’s mode. 2 Choose the GPRM register to configure with the Set To pop-up menu. Only 16-bit GPRM registers appear in the pop-up menu. See Setting a GPRM’s Mode for more information. Exit Command The exit command provides a way to stop the title from playing back. If, while a script is running, an exit command is encountered, the script stops running and you are prevented from playing the title. For example, you may want to do this in response to the player’s region setting. 498 Chapter 20 Creating Scripts Exit Pre-Script Command A pre-script executes as soon as an element is selected. Depending on the purpose of the pre-script, you will often want to have that element display as normal once the pre-script is finished running. The exit pre-script command provides a way to end a pre-script and display the element as normal. Note: When a script is run as a pre-script, it reacts differently to having a Nop as the last command line. With a regular script, if the last command line is a Nop and the script encounters it while running, the script stops and the title will no longer play. With a pre-script, if the last command is a Nop, it is treated as if it were an exit pre-script command, and the element the pre-script is assigned to displays as normal. Jump Indirect Command With the normal jump command, you must specify an element (menu, track, story, slideshow, or script) to jump to, even when using the GPRM Based Button setting. The jump indirect command provides a way to jump to an element that is entirely determined by a value stored in a GPRM. For example, you could have a script that uses the set command write the current menu’s value to a GPRM, and then later on have a second script use the jump indirect command to jump to that same menu by reading that GPRM. Note: You can only select from the 16-bit GPRM registers. System Parameter Register Memories List Each DVD player operates internally via a group of system parameter registers (System Parameter Register Memories, or SPRMs). The status of player operation (which DVD track is playing, what language is being used, and so on) can be read by script commands that access the SPRM status registers. The following list describes the system parameters that can be read by a script: • SPRM 0: Menu language description code; DVD player setup by user • SPRM 1: Current audio stream number; set by user or program • SPRM 2: Current subtitle stream number; set by user or program • SPRM 3: Current angle number; set by user or program • SPRM 4: Current playing title number (Title); set by DVD player Chapter 20 Creating Scripts 499 • SPRM 5: Current Video Title Set (VTS) number; set by DVD player • SPRM 6: Current title PGC number; set by DVD player • SPRM 7: Current part of title number (chapter); set by DVD player • SPRM 8: Current highlighted button number; set by viewer in DVD player • SPRM 9: Navigation timer; set by program, then times out • SPRM 10: Timer target; DVD track to play when SPRM 9 times out • SPRM 11: Player audio mixing mode for Karaoke; set by program or DVD player setup • SPRM 12: Country code for parental management • SPRM 13: Parental management level in effect • SPRM 14: Player video configuration (Aspect Ratio, Letterbox Mode) • SPRM 15: Player audio configuration (DTS, AC-3, MPEG, PCM, SDDS) • SPRM 16: Initial language code for audio, DVD player setup by user • SPRM 17: Initial language code extension for audio • SPRM 18: Initial language code for subtitle, DVD player setup by user • SPRM 19: Initial language code extension for subtitle • SPRM 20: Player region code • SPRM 21: Reserved • SPRM 22: Reserved • SPRM 23: Reserved These SPRMs provide all of the status information and control capability for the scripts. System Parameter Register Memories Details In order to use the SPRMs, you need to know what the range of values is for these registers and what that information means. The following sections list the most common bits used when authoring DVDs. All SPRMs are 16-bit values, although only certain bits are described. See Using Bit-Wise Operations for information on using the “bit-wise and” operation to isolate specific bits of the 16-bit value, allowing you to use only those bits that are necessary. SPRM 0: Menu Language Description Code Each DVD player has three types of language settings: Menu (SPRM 0), Audio (SPRM 16), and Subtitle (SPRM 18). These values are based on a two-letter code for each language spoken. The code is derived from the lowercase ASCII value of each letter. 500 Chapter 20 Creating Scripts For example, the letters “en” represent English. The lowercase “e” is converted to an ASCII value of 101 decimal or 65 in hexadecimal. The lowercase “n” is converted to an ASCII value of 110 decimal or 6E in hexadecimal. When concatenated together in hexadecimal, the value is 656E. The decimal value of 656E is 25966. See Language Code Table for a complete listing of all of these language values. It is useful to know the setting of this SPRM when dealing with multiple-language projects. By reading the value of SPRM 0, you can determine the language the viewer wants to see the menus displayed in. For instance, if you have a project that has menus in more than one language, you can display menus in the language the viewer has selected. SPRM 1: Current Audio Stream Number The DVD specification allows for up to eight different audio streams. This SPRM lists the current stream being played or the last one selected by the viewer. The value range for this SPRM is 0 through 7, where 0 is the first stream and 7 is the last stream. Stream number SPRM 1 value 1 0 2 1 3 2 4 3 5 4 6 5 7 6 8 7 This information is useful when tracking which audio stream was last selected or played. It is very useful when determining which button to highlight when jumping to a menu where audio streams are selected. This is especially important if the viewer is allowed to change the audio stream while viewing the movie. SPRM 2: Current Subtitle Stream Number The DVD specification allows for up to 32 different subtitle streams. This SPRM contains two sets of values. The first value shows which of the 32 streams is selected. These values range from 0 through 31 with 0 being the first stream and 31 being the last stream. The second value of this SPRM is a display flag that tells you if the subtitle is turned on or off. The flag has a value of 64 for on and 0 for off. Chapter 20 Creating Scripts 501 To obtain the value of the stream that is selected and displayed, add 64 to the value of the stream. For example: Stream 1 has a value of 0. If you add that value to the value of the display flag “on” (64), you get a total of 64. Stream 2 has a value of 1; if you add the value of the display flag on (64) to it, you get a total of 65. The following table lists the possible settings for SPRM 2: SPRM 2 value with the stream selected and display on SPRM 2 value with the stream Stream number selected and display off 1 0 64 2 1 65 3 2 66 4 3 67 5 4 68 6 5 69 7 6 70 8 7 71 9 8 72 10 9 73 11 10 74 12 11 75 13 12 76 14 13 77 15 14 78 16 15 79 17 16 80 18 17 81 19 18 82 20 19 83 21 20 84 22 21 85 23 22 86 24 23 87 25 24 88 26 25 89 27 26 90 28 27 91 502 Chapter 20 Creating Scripts SPRM 2 value with the stream selected and display on SPRM 2 value with the stream Stream number selected and display off 29 28 92 30 29 93 31 30 94 32 31 95 Similar to SPRM 1, this information is useful to determine the last subtitle stream selected by the viewer. If you have a menu for subtitle selection, you can use this information to highlight the corresponding button for the correct subtitle. SPRM 3: Current Angle Number Similar to SPRM 1, the DVD specification allows for up to nine multi-angle MPEG video streams. This SPRM lists the current stream being played or the last one selected by the viewer. The value range for this SPRM is 1 through 9, where 1 is the first stream and 9 is the last stream (the value does not start at 0 as with SPRMs 1 and 2). If there is only one angle, the default value is 1. Knowing which multi-angle stream was last selected or played is very useful when determining which button to highlight when jumping to a menu where multi-angle streams are selected. This is especially important if the viewer is allowed to change the multi-angle stream while viewing the movie. SPRM 4: Current Playing Title Number Each track, story, and slideshow element in your project is a title. You can have up to 99 titles in your project. All of these are assigned numbers based on their order in the Outline tab’s By VTS display. SPRM 4 shows the number for the currently playing element. If your project does not have stories, the VTS number shown in the Outline tab’s By VTS display matches the SPRM 4 value. Because stories are not placed in their own VTS, including them in your project affects the SPRM 4 values. For example, you could have a project with two tracks, with Track 1 in VTS 1 including 2 stories (Story 1 and Story 2) and Track 2 in VTS 2. The SPRM 4 values for this project are: • Track 1 = 1 • Story 1 = 2 • Story 2 = 3 • Track 2 = 4 Chapter 20 Creating Scripts 503 SPRM 5: Current Title Number in Video Title Set (VTS) In projects created with DVD Studio Pro, the title number within the current Video Title Set (VTS) number is 1 for all elements, except stories. Each story within a track is assigned to a higher title number, starting with 2 (the track itself is number 1). SPRM 6: Current Title PGC Number In projects created with DVD Studio Pro, the Program Group Chains (PGC) number is 1 for all elements, except stories. Each story within a track is assigned a number, starting with 2 (the track itself is number 1). This value matches the SPRM 5 value except in the case where a track, story, or slideshow has not yet been played. In that case, it is set to 0. SPRM 7: Current Part of Title Number The Part of Title is the current chapter number of the track being played. This SPRM is useful if you need to know the last or current chapter played for that track. There may be reasons to jump to the beginning of the last chapter played from any menu, not just resume to the last place in the video. An example of this would be a training film that requires the viewer to resume watching the chapter from the beginning if they do not watch the chapter in its entirety. SPRM 8: Current Highlighted Button Number This SPRM is the last button number of the current or last menu displayed. You can use this SPRM to track the last button position that the viewer selected. The value is calculated by multiplying the button number by 1024 (this SPRM uses bits 10 through 15 to count the buttons). The table below lists the button number and its value: Button number SPRM 8 value 1 1024 2 2048 3 3072 4 4096 5 5120 6 6144 7 7168 8 8192 9 9216 10 10240 11 11264 504 Chapter 20 Creating Scripts Button number SPRM 8 value 12 12288 13 13312 14 14336 15 15360 16 16384 17 17408 18 18432 19 19456 20 20480 21 21504 22 22528 23 23552 24 24576 25 25600 26 26624 27 27648 28 28672 29 29696 30 30720 31 31744 32 32768 33 33792 34 34816 35 35840 36 36864 SPRM 9: Navigation Timer This is the timer used to count down pauses and still frames. DVD Studio Pro automatically loads this timer for timeouts and pauses. There is no real use for it in scripts. SPRM 10: Timer Target This SPRM is used in conjunction with SPRM 9. It is loaded with the PGC that is activated when the Navigation Timer (SPRM 9) expires. It is loaded and set by DVD Studio Pro, and there is no real use for it in scripts. Chapter 20 Creating Scripts 505 SPRM 11: Player Audio Mixing Mode for Karaoke Karaoke-capable DVD players can blend several audio streams together. Note: Refer to SPRM 15 to identify whether or not a DVD player is karaoke-capable. The primary stream is usually a music-only track in stereo (L and R). It is usually stream number 1 or 2. To those streams you can mix a melody stream (M) or vocal streams (V1 and V2). The melody stream and the vocal streams are usually stream numbers 3, 4, and 5. The values of SPRM 11 are listed in the table below: Bit description Bit Bit value Reserved 0 1 Reserved 1 2 Stream 3 added to stream 1 2 4 Stream 4 added to stream 1 3 8 Stream 5 added to stream 1 4 16 Reserved 5 32 Reserved 6 64 Reserved 7 128 Reserved 8 256 Reserved 9 512 Stream 3 added to stream 2 10 1024 Stream 4 added to stream 2 11 2048 Stream 5 added to stream 2 12 4096 Reserved 13 8192 Reserved 14 16384 Reserved 15 32768 The value can be any combination of the above values (excluding reserved) with 0 indicating that no streams are added. A value of 3072 indicates that streams 3 and 4 are added to stream 2 (1024 + 2048). SPRM 12: Country Code for Parental Management This SPRM lists the intended country code for the disc’s parental management feature. For the United States this is 840. SPRM 13: Parental Management Level SPRM 13 lists the parental management level that the DVD player is currently set for. This is set by the viewer and is used to prevent children from watching movies with mature content. 506 Chapter 20 Creating Scripts SPRM 13 can be useful in several ways. In some cases there may be more than one version of a single movie on a single DVD disc. Larger discs such as DVD-9s can contain both the R- and PG-rated versions of the same movie. By reading the value of SPRM 13, you could determine which version of the movie to play. Another use for SPRM 13 is to check the DVD player’s current parental setting. If the disc is rated higher than the DVD player is currently set for, you could have a script that jumps to a menu explaining that the disc cannot be played unless the player’s parental setting is changed. Important: DVD Studio Pro does not include a parental rating in its projects, so all DVD players that support parental management will set SPRM 13 to 15 when playing a DVD Studio Pro authored disc. Below is a list of the numeric values of SPRM 13. MPAA rating SPRM 13 value G 1 — 2 PG 3 PG-13 4 — 5 R 6 NC-17 7 — 8 Disc not rated 15 SPRM 14: Player Video Configuration Every DVD player has several modes of video display. These are divided into the display mode and the aspect ratio. By reading SPRM 14 you can tell what modes the player is currently in. Bits 8 and 9 of SPRM 14 are used to determine the current display mode (whether the video needs processing for display on a 4:3 monitor) and bits 10 and 11 are used to determine the aspect ratio of the monitor (4:3 or 16:9). The first eight bits in SPRM 14 are not used. The following table shows the combinations for the display mode bits. Display mode Bit 8 Bit 9 Total Normal (no processing) 0 0 0 Pan-scan 256 0 256 Letterbox 0 512 512 Reserved 256 512 768 Chapter 20 Creating Scripts 507 The following table shows the combinations for the aspect ratio bits. Aspect ratio Bit 10 Bit 11 Total 4:3 0 0 0 Not specified 1024 0 1024 Reserved 0 2048 2048 16:9 1024 2048 3072 SPRM 15: Player Audio Configuration Each DVD player can have several types of audio capabilities. Most players can handle Dolby Digital (AC-3), Linear PCM, and MPEG Audio. There are other audio options such as DTS and SDDS, as well as karaoke capabilities. By reading the values of SPRM 15, you can see which audio options the player has. This could be useful if you have two types of audio streams and want to play the proper one for that player. For example, if the player is capable of Dolby Digital (AC-3) audio, you might want to play that stream instead of a stereo PCM stream. Here is a table of the values for SPRM 15: Player audio configuration Bit Bit value Reserved 0 1 Reserved 1 2 SDDS karaoke capability (option) 2 4 DTS karaoke capability (option) 3 8 MPEG karaoke capability first bit 4 16 MPEG karaoke capability second 5 32 bit AC-3 karaoke capability 6 64 PCM karaoke capability 7 128 Reserved 8 256 Reserved 9 512 SDDS capability (option) 10 1024 DTS capability (option) 11 2048 MPEG capability first bit 12 4096 MPEG capability second bit 13 8192 AC-3 capability 14 16384 Reserved 15 32768 508 Chapter 20 Creating Scripts Bit 4 (MPEG karaoke capability first bit) is off when the player is not MPEG karaoke-capable, and on when it is. Bit 5 (MPEG karaoke capability second bit) is always off. Bit 12 (MPEG capability first bit) is off when the player is not MPEG capable, and on when it is. Bit 13 (MPEG capability second bit) is always off. There is no bit for regular PCM capability because all players must support it. SPRM 16: Initial Language Code for Audio This SPRM is the initial audio language that the viewer has set the DVD player to. It can be assumed to be the primary spoken language that the viewer wants to hear. As with SPRM 0, these values are derived from a two-letter code for each language spoken. The code is derived from the lowercase ASCII value of each letter. See Language Code Table for a complete table of all of these language values. It is useful to know the setting of this SPRM when dealing with multiple-language projects. By reading the value of SPRM 16, you can determine the spoken language that the viewer wants to hear. If you have a project that has audio streams in more than one language, you can play the appropriate spoken language that the viewer has selected. If the viewer must choose a language from an audio menu, this SPRM value can be used to select the appropriate button highlight. SPRM 17: Initial Language Code Extension for Audio SPRM 17 is rarely used but has several values. It can be used to flag an audio stream as audio for the visually impaired or for director’s commentary. Contents SPRM 17 value Not specified 0 Normal captions 1 Audio for visually impaired 2 Director’s comments 1 3 Director’s comments 2 4 SPRM 18: Initial Language Code for Subtitle SPRM 18 is the value of the initial subtitle language setting of the DVD player. It is a preference set by the viewer. Many feature films that are put onto DVD are subtitled in several languages. By reading this SPRM, you can preselect the appropriate subtitle stream to the viewer’s preferred language. In the case of a subtitle menu, you can preselect the appropriate button highlight. Chapter 20 Creating Scripts 509 As with SPRM 0, these values are derived from a two-letter code for each language spoken. The code is derived from the lowercase ASCII value of each letter. See Language Code Table for a complete table of all of these language values. SPRM 19: Initial Language Code Extension for Subpicture Similar to SPRM 17, SPRM 19 is an extension code for more in-depth information about the subtitle stream. It covers such areas as subpicture size or whether the subtitle stream is for children. Contents SPRM 19 value Not specified 0 Captions with normal size 1 characters Captions with larger size 2 characters Captions for children 3 Reserved 4 Closed captionswith normal size 5 characters Closed captions with larger size 6 characters Closed captions for children 7 Reserved 8 Forced captions 9 Reserved 10 Reserved 11 Reserved 12 Director’s commentary with 13 normal size characters Director’s commentary with 14 larger size characters Director’s commentary for 15 children SPRM 20: Player Region Code In order to have some control over which parts of the world can play a disc, a regional coding system was developed. With this system, all standalone DVD players are manufactured to support a single region, and DVD players used by computers have a setting that configures the player’s region (with a limited number of changes allowed). This SPRM returns the value of the DVD player’s region code. 510 Chapter 20 Creating Scripts The globe is divided into eight sections: • Region 1: Canada, United States, Puerto Rico, Bermuda, the Virgin Islands, and some islands • Region 2: Japan, Western Europe (including Poland, Romania, Bulgaria, and the Balkans), South Africa, Turkey, and the Middle East (including Iran and Egypt) • Region 3: Southeast Asia (including Indonesia, South Korea, Hong Kong, and Macao) • Region 4: Australia, New Zealand, South America, most of Central America, Papua New Guinea, and most of the South Pacific • Region 5: Most of Africa, Russia (and former Russian states), Mongolia, Afghanistan, Pakistan, India, Bangladesh, Nepal, Bhutan, and North Korea • Region 6: China and Tibet • Region 7: (Reserved) • Region 8: Airlines, cruise ships, and other types of transportation Here is a table of regions and values for SPRM 20: Region SPRM 20 value 1 1 2 2 3 4 4 8 5 16 6 32 7 64 8 128 Using Bit-Wise Operations More often than not, when working with the SPRM values, you will only be interested in certain bits of each 16-bit value. The “bit-wise” operations (and, or, and exclusive or), make it possible to mask the bits that are not needed, allowing you to determine the states of the specific bits you need. Note: You need to have a basic understanding of working with binary numbers to be able to use these operations. Chapter 20 Creating Scripts 511 Suppose you need to find out whether the DVD player is configured for a 4:3 or 16:9 aspect ratio monitor. To determine this, you only need to look at bits 10 and 11 of SPRM 14. You can use the “bit-wise and” operation to mask all bits except 10 and 11, making it possible to easily determine the aspect ratio status without having to be concerned with the other bits. x 0 0 x 0 0 x 0 0 x 0 0 0/1 1 0/1 0/1 1 0/1 x 0 0 x 0 0 x 0 0 x 0 0 x 0 0 x 0 0 x 0 0 x 0 0 x 0 0 x 0 0 Bits 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0 SPRM 14 And value Result Referring to the above table, the x’s in the SPRM 14 value represent bits that are not needed. Bits 10 and 11 use “0/1” to indicate bits that you want to retain—these may be set to either 0 or 1. When performing an AND operation, placing 0 in the bits you want to mask results in their being cancelled out, regardless of their state. Placing 1 in the bits you want to retain passes them to the result as is—a 0 is still a 0 and a 1 is still a 1. In this case, an AND value of 3072 produces the proper masking. The value of the result produces four possible answers: 0, 1024, 2048, and 3072. In the case of SPRM 14, 0 indicates the DVD player is set to 4:3, and 3072 indicates it is set to 16:9 (the values of 1024 and 2048 are either not specified or reserved). General Purpose Register Memories The General Purpose Register Memories (GPRMs) provide memory storage that can be used when building scripts. Unlike System Parameter Register Memories (SPRMs), GPRMs are not used directly by the DVD player—they are only used by scripts. Values, such as an SPRM or a value you specify, can be written to a GPRM, have a math operation applied to it, and can then be used by a script command to control the DVD player. DVD Studio Pro provides access to eight 16-bit GPRMs. Each register is completely independent of the others. All of the registers are set to 0 when a disc is inserted into the DVD player. When creating scripts, you may find that you could use an additional GPRM or two. Because you will often not need the full 16-bits of a GPRM register, you are able to increase the number of GPRM registers by partitioning one or more of them into smaller sizes. For example, you could choose to partition GPRM 1 into four 4-bit registers. This makes it possible to greatly increase the usable number of GPRMs available when creating your scripts. Important: Several script command configurations and display conditions require the use of full 16-bit GPRM registers. For that reason, you are only allowed to partition seven of the eight 16-bit GPRM registers. 512 Chapter 20 Creating Scripts About SPRMs and Partitioned GPRMs SPRMs fall into one of three categories: • Those that use the first bits of their register, such as SPRM 1 • Those that use part of the register, but not the first bits, such as SPRM 14 which uses bits 8 through 11 • Those that use the entire register, with each bit representing the status of a function, such as SPRM 15 If you partition a GPRM into four 4-bit registers, then move the same SPRM value into each register, each of the 4-bit registers would get the same first four bits of the SPRM. As an example, while SPRM 14 only uses four bits of its register, because they are not the first four bits, they cannot be moved into a partitioned GPRM register. For this reason, it is recommended that you always keep several 16-bit GPRMs available. Configuring GPRM Partitions You are able to individually configure the partitions of each 16-bit GPRM register using either the Script Inspector or the Advanced tab of the Disc Inspector. Once configured, you are then able to name them and save the configuration, which can then be loaded into a different project. Important: Once you partition a GPRM register and use it in a script, you cannot change the GPRM’s partition settings. You also cannot import a script’s item description unless the GPRMs it uses are partitioned the same as when the item description was saved. To configure a GPRM’s partition 1 Do one of the following: • Select a script in the Outline or Graphical tab. The Script Inspector appears. • Select the disc in the Outline tab, then click the Advanced tab in the Disc Inspector. • Click an empty area in the Graphical tab, then click the Advanced tab in the Disc Inspector. Chapter 20 Creating Scripts 513 2 Click the pop-up menu for the GPRM you want to partition, then choose the partition configuration to use from the pop-up menu. You can choose from the following: Partition configuration Result Range of each register 1 Partition One 16-bit register 0-65535 2 Partitions Two 8-bit registers 0-255 4 Partitions Four 4-bit registers 0-15 8 Partitions Eight 2-bit registers 0-3 16 Partitions Sixteen 1-bit registers 0-1 Note: Any GPRMs that are currently used by a script have their pop-up menus deactivated and cannot have their partition configuration changed. 514 Chapter 20 Creating Scripts Once you choose the partition configuration to use for that GPRM, it displays the new registers. Click the disclosure triangle to show or hide the GPRM’s registers. The registers of a partitioned GPRM Naming the GPRM Partitions To help manage the process of creating a script, you are able to name each of the GPRM partitions. (Even a 16-bit GPRM is considered to have one partition.) This makes it easier to keep track of which GPRMs are being used for what purpose. Because the GPRMs are shared by all scripts, once you name one, that name appears in all places it is used in all scripts. You can name GPRMs in either the Script or Disc Inspector. Note: All partition names must be unique. To name a GPRM 1 Do one of the following: • Select a script in the Outline or Graphical tab. The Script Inspector appears. • Select the disc in the Outline tab, then click the Advanced tab in the Disc Inspector. Chapter 20 Creating Scripts 515 • Click an empty area in the Graphical tab, then click the Advanced tab in the Disc Inspector. 2 Click a GPRM’s disclosure triangle to show its partitions. 3 Double-click the partition name and type the new name in the text entry box for the GPRM you want to rename. Note: You can also change a GPRM partition’s name in the Simulator’s Registers display. Importing and Exporting GPRM Configurations If you find yourself needing to copy scripts from one project to another (using item descriptions), you will find that it is much easier if you can be sure that each project uses the same GPRM configuration. One way to do this is to export the GPRM configuration from the project with scripts you want to copy from, and then import that GPRM configuration into the project you want to copy the script into. Important: You can only copy a script from one project to another project if the GPRMs used by the script are partitioned the same way in both projects. When you export a GPRM configuration, a file is created that contains the partition information for each of the GPRMs plus their names. When you import a GPRM configuration, the GPRMs are changed to match those in the file, including the names. Some things to keep in mind: • Any GPRMs that are already in use by a script will not be reconfigured, and a warning will appear. All other GPRMs will be reconfigured. • The names of all GPRM registers are changed to match those in the file you are importing. Any GPRMs that are already in use are not affected. To export a GPRM configuration 1 Configure the GPRM register partitions, including changing their names if needed. 2 Do one of the following: • Click the Script Inspector’s Export button. • Click the Export button in the Advanced tab of the Disc Inspector. The Export dialog opens. 516 Chapter 20 Creating Scripts 3 Enter a name for the file, select its destination, and click Export. A file is created using the name you entered plus a “.dspPartition” extension. To import a GPRM configuration 1 Do one of the following: • Click the Script Inspector’s Import button. • Click the Import button in the Advanced tab of the Disc Inspector. The Import dialog opens. 2 Select the file to import, then click Import. Note: To avoid configuration conflicts, you should import the GPRM configuration before creating any scripts. Setting a GPRM’s Mode Each 16-bit GPRM register can be set to function as a memory register or as a decrementing counter. Note: By default, all GPRM registers, including those less than 16-bits, are set to be memory registers. • Register: A value written to it remains there until a new value is written or the disc is ejected. • Counter: As a counter, the value counts up once per second, starting at the GPRM’s current value. You can pause the count by changing the mode back to register. You set a GPRM’s mode using the GPRM Mode command as part of a script. Once you have set a GPRM’s mode, it stays that way until it is changed or the disc is ejected. Scripting Examples By their nature, scripts tend to be very project-specific. While the function of a particular script might apply to a wide variety of projects, the specific tracks, streams, and menus it works with vary. The following examples provide you with step-by-step instructions that can help you understand the process of creating a script, from the initial concept to the final product. These scripts show just one way to accomplish their tasks—alternate ways to accomplish the same results often exist. Chapter 20 Creating Scripts 517 Note: These examples use menu and track names that are fictitious. You can create these elements and add suitable assets to them, or adapt these examples to your existing assets. You can even create these as empty elements, with no assets assigned. It is the names of the elements that get used in these script examples, not the actual assets. Additionally, these examples assume you have not partitioned the GPRMs. Jumping to a Menu’s Loop Point For this script, the project has a motion menu that has a loop point set, and you want to be able to have other elements jump directly to the loop point, bypassing the first part of the menu’s video. For this script, you’ll call the menu Main Menu. To create a Jump to Loop Point script 1 Do one of the following: • Choose Project > Add to Project > Script, or press Command–Single Quote (’). • Click Add Script in the toolbar. 2 Double-click the new script in the Outline or Graphical tab. The Script Editor opens and the Script Inspector appears. 3 In the Inspector, name the script Jump to Loop Point. 4 In the Script Editor, select the first command line (Nop). The Script Command Inspector appears. 5 In the Script Command Inspector, choose Jump as the command. 6 Choose Menus > Main Menu > [Menu] from the Jump To pop-up menu. 7 Select the Start At Loop Point checkbox. You can use this script anyplace where you might normally jump to the Main Menu. For example, you could set a track’s End Jump to run this script—when the track finishes playing, it jumps to the Main Menu’s loop point. Randomly Playing Tracks For this script, the project has four tracks, and you want a script to randomly choose one to play once a menu times out (has been inactive for a set amount of time). For this script, you’ll call the tracks “Ocean,” “Beach,” “Trail,” and “Shopping.” To create a Random Play script 1 Do one of the following: • Choose Project > Add to Project > Script, or press Command–Single Quote (’). • Click Add Script in the toolbar. 2 Double-click the new script in the Outline or Graphical tab. 518 Chapter 20 Creating Scripts The Script Editor opens and the Script Inspector appears. 3 In the Inspector, name the script Random Play. 4 In the Script Editor, select the first command line (Nop). The Script Command Inspector appears. 5 In the Script Command Inspector, choose Set GPRM as the command. 6 To configure the set GPRM command: a Choose “ran” as the Operation. b Choose Immediate as the Source Type. c Enter 4 as the Source Value. d Choose GPRM 0 as the Target. The above settings generate a random number between 1 and 4 and place the value in GPRM 0. It is this value that is looked at by the next commands in this script to determine which track to play. 7 In the Script Editor, click the Add button. The next command line is added to the script. 8 In the Script Command Inspector, choose Jump as the command. 9 To configure the jump command, choose Tracks and Stories > Ocean > Marker 1 from the Jump To pop-up menu. This plays the first of the four tracks, depending on the result of the compare function added next. Note: Remember that the Ocean track is fictitious. Unless you created a track called Ocean, you won’t see it in this pop-up menu. 10 Add a compare function to the jump command to test to see if this track has been selected with the random generator. a Select the Compare Command checkbox. b Choose GPRM 0 as the “Execute if” element to be compared to. c Choose equal (=) as the “is” compare operation type. d Choose Immediate as the “to” element type to compare. e Enter 1 as the “with value.” If GPRM 0 has a 1 in it (generated by the random number generator command), this jump command occurs. If not, the script moves to the next command. Chapter 20 Creating Scripts 519 11 Add three additional jump command lines—one for each of the other three fictitious tracks. The only differences are the Jump To settings which need to match each track (Tracks and Stories > Beach > Marker 1; Tracks and Stories > Trail > Marker 1; and Tracks and Stories > Shopping > Marker 1) and the immediate values in the compare function’s “with value” field (use 2 for the Beach track, 3 for the Trail track, and 4 for the Shopping track). 12 You need to configure the menu’s timeout setting by selecting the menu in the Outline or Graphical tab, then clicking the General tab in the Menu Inspector. Choose Timeout from the At End pop-up menu and enter a value (in seconds) for the timeout. Choose this script (Random Play) from the Action pop-up menu. Each time the menu sits idle for the specified amount of time, the script starts, generates a random number, and then plays one of the four tracks. Once the track ends, it jumps to the element specified by its End Jump setting. Playing All Tracks For this script, the project has four tracks, each with a button on the main menu to start it playing. You want to add a Play All button that will play all four tracks in order, returning to the main menu once they have finished. In this case, you will create five scripts—one that starts the Play All progress and one for each track that determines whether a Play All function is active. The Play All script places a value in a GPRM that indicates to the other scripts that a Play All function is in process. It then jumps to the first track and starts it playing. The other scripts are linked to each track’s End Jump settings. These scripts test to see if the Play All function is active. If it is, the script jumps to the next track. If not, the script jumps back to the main menu. For this script, you’ll call the tracks “Ocean,” “Beach,” “Trail,” and “Shopping.” The Play All Script This is the script you will link to the main menu’s Play All button. 520 Chapter 20 Creating Scripts To create the Play All script 1 Do one of the following: • Choose Project > Add to Project > Script, or press Command–Single Quote (’). • Click Add Script in the toolbar. 2 Double-click the new script in the Outline or Graphical tab. The Script Editor opens and the Script Inspector appears. 3 In the Script Inspector, name the script Play All. 4 In the Script Editor, select the first command line (Nop). The Script Command Inspector appears. 5 In the Script Command Inspector, choose Set GPRM as the command. 6 To configure the set GPRM command: a Choose “mov” as the Operation. b Choose Immediate as the Source Type. c Enter 1 as the Source Value. d Choose GPRM 0 as the Target. The above settings place the value 1 in GPRM 0. It is this value that is looked at by the other scripts to determine whether a Play All function is in progress. 7 In the Script Editor, click the Add button. A second command line is added to the script. 8 In the Script Command Inspector, choose Jump as the command. 9 To configure the jump command, choose Tracks and Stories > Ocean > Marker 1 from the Jump To pop-up menu. This plays the first of the four tracks. Note: Remember that the Ocean track is fictitious. Unless you created a track called “Ocean,” you won’t see it in this pop-up menu. Chapter 20 Creating Scripts 521 Link this script to the main menu’s Play All button. See Setting a Button’s Connection for more information. The Track End Scripts for the First Three Tracks The scripts you will link to the End Jump settings of the first three tracks are nearly identical—the only difference is the track name they jump to if a Play All function is in progress. The script used by the last track is a bit different, because it resets the GPRM that indicates a Play All function is in progress and always jumps to the main menu. Follow these steps to create the script for the first track (Ocean). The notes indicate any changes you would enter for the other tracks (Beach and Trail). Remember these track names are fictitious, and you won’t actually see them in the pop-up menu unless you create them. To create the script for the first three tracks 1 Create a script and select it. 2 Enter Ocean End as the script’s name. Note: Enter Beach End and Trail End as the names when creating the scripts for the other two tracks. 3 In the Script Editor, select the first command line (Nop). 4 In the Script Command Inspector, choose Jump as the command. 5 To configure the jump command, choose Tracks and Stories > Beach > Marker 1 from the Jump To pop-up menu. Note: Choose Tracks and Stories > Trail > Marker 1 and Tracks and Stories > Shopping > Marker 1 when creating the scripts for the other two tracks. 6 Add a compare function to the jump command to test to see if a Play All function is in process. a Select the Compare Command checkbox. b Choose GPRM 0 as the “Execute if” element to be compared to. c Choose equal (=) as the “is” compare operation type. d Choose Immediate as the “to” element type to compare. e Enter 1 as the “with value.” If GPRM 0 has a 1 in it (indicating the Play All function is in progress), this jump command occurs. If not, the script moves to the next command line. 7 In the Script Editor, click the Add button. The next command line (Nop) is added to the script. 8 In the Script Command Inspector, choose Jump as the command. 522 Chapter 20 Creating Scripts 9 To configure the jump command, choose Menus > Main Menu > Button 1 from the Jump To pop-up menu. Like the track names, Button 1 is fictitious, used to illustrate the example. This jump only occurs if the compare function was not satisfied in the previous command. This script jumps to the Beach track once the Ocean track finishes playing. This script jumps to the Trail track once the Beach track finishes playing. This script jumps to the Shopping track once the Trail track finishes playing. Chapter 20 Creating Scripts 523 Once you have created all three scripts, link each to the appropriate track’s End Jump setting (at the top of the Track Inspector for each track). Track End Script for the Last Track Follow these steps to create the script for the last track (Shopping). The main menu always appears when this track finishes playing—the difference is that the GPRM value needs to be set back to 0 so that a Play All process does not inadvertently get started later. To create the Track End script for the last track 1 Create a script and select it. 2 Enter Shopping End as the script’s name. 3 In the Script Editor, select the first command line (Nop). 4 In the Script Command Inspector, choose Set GPRM as the command. 5 To configure the set GPRM command: a Choose “mov” as the Operation. b Choose Immediate as the Source Type. c Enter 0 as the Source Value. d Choose GPRM 0 as the Target. The above settings place the value 0 in GPRM 0, ending the Play All process and ensuring that if you play any of the tracks individually, they will jump back to the main menu when finished playing. 6 In the Script Editor, click the Add button. The next command line (Nop) is added to the script. 7 In the Script Command Inspector, choose Jump as the command. 8 To configure the jump command, choose Menus > Main Menu > Button 1 from the Jump To pop-up menu. This script always sets GPRM 0 to 0 and jumps back to the main menu. Link this script to the Shopping track’s End Jump setting, located at the top of its Track Inspector. 524 Chapter 20 Creating Scripts But What If... When you create scripts that store a status in a GPRM, such as the Play All script, you need to plan for Viewer actions that are outside of the script’s intentions. In this case, these scripts will work exactly as intended most of the time. An exception is if the viewer decides not to let the Play All process finish. The viewer might press the Menu button on the remote control while the Play All process is active and then choose a specific track to watch by selecting its button in the menu. Because the value in GPRM 0 is still “1,” once that track finishes playing and runs its Track End script, it will see that GPRM 0 is “1” and jump to the next track instead of back to the menu. In other words, the only way to really stop the Play All process and reset GPRM 0 to “0” with the previous scripts is to let the process play to the end. There are a couple of ways to handle this: • Force the viewer to watch to the end: You can disable the Menu and Title buttons on the remote control. This may be appropriate for training videos with mandatory viewing. See Remote Control Settings for more information. • Add scripts to the other menu buttons that reset GPRM 0 to “0”: This way, if the viewer chooses to play one of the tracks on its own, the Play All process will be canceled and, once the track finishes playing, the DVD will jump back to the menu. See Canceling the Play All Script for more information. Canceling the Play All Script The script required to cancel the Play All script is almost identical to the Play All script—the differences are that you set GPRM 0 to “0” instead of “1,” and the jump target is set to match what the button would have jumped to. For example, if the menu with the Play All button also has buttons for each individual track (“Ocean,” “Beach,” “Trail,” and “Shopping”), you will need to create a unique script for each of these buttons that sets GPRM 0 to “0” and then jumps to the button’s track. Use the steps in The Play All Script to create these scripts, with the following modifications: • Name the scripts “Ocean Play,” “Beach Play,” and so on in step 3. • Enter 0 as the Source Value in step 6. • Configure the jump command in step 9 exactly as listed for the Ocean track. The scripts for the other three tracks only need this step changed, with each configured to jump their track. Once the four scripts have been created, you link them to the menu buttons. Language Code Table This table lists all possible languages and their numeric equivalents. It is sorted alphabetically by the language name. Chapter 20 Creating Scripts 525 Language Code HEX Decimal (Afan) Oromo om 6F6D 28525 Abkhazian ab 6162 24930 Afar aa 6161 24929 Afrikaans af 6166 24934 Albanian sq 7371 29553 Amharic am 616D 24941 Arabic ar 6172 24946 Armenian hy 6879 26745 Assamese as 6173 24947 Aymara ay 6179 24953 Azerbaijani az 617A 24954 Bashkir ba 6261 25185 Basque eu 6575 25973 Bengali; Bangla bn 626E 25198 Bhutani dz 647A 25722 Bihari bh 6268 25192 Bislama bi 6269 25193 Breton br 6272 25202 Bulgarian bg 6267 25191 Burmese my 6D79 28025 Byelorussian be 6265 25189 Cambodian km 6B6D 27501 Catalan ca 6361 25441 Chinese zh 7A68 31336 Corsican co 636F 25455 Croatian hr 6872 26738 Czech cs 6373 25459 Danish da 6461 25697 Dutch nl 6E6C 28268 English en 656E 25966 Esperanto eo 656F 25967 Estonian et 6574 25972 Faeroese fo 666F 26223 Fiji fj 666A 26218 526 Chapter 20 Creating Scripts Language Code HEX Decimal Finnish fi 6669 26217 French fr 6672 26226 Frisian fy 6679 26233 Galician gl 676C 26476 Georgian ka 6B61 27489 German de 6465 25701 Greek el 656C 25964 Greenlandic kl 6B6C 27500 Guarani gn 676E 26478 Gujarati gu 6775 26485 Hausa ha 6861 26721 Hebrew iw 6977 26999 Hindi hi 6869 26729 Hungarian hu 6875 26741 Icelandic is 6973 26995 Indonesian in 696E 26990 Interlingua ia 6961 26977 Interlingue ie 6965 26981 Inupiak ik 696B 26987 Irish ga 6761 26465 Italian it 6974 26996 Japanese ja 6A61 27233 Javanese jw 6A77 27255 Kannada kn 6B6E 27502 Kashmiri ks 6B73 27507 Kazakh kk 6B6B 27499 Kinyarwanda rw 7277 29303 Kirghiz ky 6B79 27513 Kirundi rn 726E 29294 Korean ko 6B6F 27503 Kurdish ku 6B75 27509 Laothian lo 6C6F 27759 Latin la 6C61 27745 Latvian, Lettish lv 6C76 27766 Chapter 20 Creating Scripts 527 Language Code HEX Decimal Lingala ln 6C6E 27758 Lithuanian lt 6C74 27764 Macedonian mk 6D6B 28011 Malagasy mg 6D67 28007 Malay ms 6D73 28019 Malayalam ml 6D6C 28012 Maltese mt 6D74 28020 Maori mi 6D69 28009 Marathi mr 6D72 28018 Moldavian mo 6D6F 28015 Mongolian mn 6D6E 28014 Nauru na 6E61 28257 Nepali ne 6E65 28261 Norwegian no 6E6F 28271 Occitan oc 6F63 28515 Oriya or 6F72 28530 Pashto, Pushto ps 7073 28787 Persian fa 6661 26209 Polish pl 706C 28780 Portuguese pt 7074 28788 Punjabi pa 7061 28769 Quechua qu 7175 29045 Rhaeto-Romance rm 726D 29293 Romanian ro 726F 29295 Russian ru 7275 29301 Samoan sm 736D 29549 Sangro sg 7367 29543 Sanskrit sa 7361 29537 Scots Gaelic gd 6764 26468 Serbian sr 7372 29554 Serbo-Croatian sh 7368 29544 Sesotho st 7374 29556 Setswana tn 746E 29806 Shona sn 736E 29550 528 Chapter 20 Creating Scripts Language Code HEX Decimal Sindhi sd 7364 29540 Singhalese si 7369 29545 Siswati ss 7373 29555 Slovak sk 736B 29547 Slovenian sl 736C 29548 Somali so 736F 29551 Spanish es 6573 25971 Sundanese su 7375 29557 Swahili sw 7377 29559 Swedish sv 7376 29558 Tagalog tl 746C 29804 Tajik tg 7467 29799 Tamil ta 7461 29793 Tatar tt 7474 29812 Tegulu te 7465 29797 Thai th 7468 29800 Tibetan bo 626F 25199 Tigrinya ti 7469 29801 Tonga to 746F 29807 Tsonga ts 7473 29811 Turkish tr 7472 29810 Turkmen tk 746B 29803 Twi tw 7477 29815 Ukrainian uk 756B 30059 Urdu ur 7572 30066 Uzbek uz 757A 30074 Vietnamese vi 7669 30313 Volapuk vo 766F 30319 Welsh cy 6379 25465 Wolof wo 776F 30575 Xhosa xh 7868 30824 Yiddish ji 6A69 27241 Yoruba yo 796F 31087 Zulu zu 7A75 31349 Chapter 20 Creating Scripts 529 Your DVD title is a collection of elements you want your audience to view. The way you set the connections between these elements determines the way the viewer experiences your DVD title. You can use the Connections tab to determine how the viewer moves from one element to another. You make links so the viewer jumps from a starting point, or source, to a destination, or target. This chapter covers the following: • About Connections (p. 531) • Connections Tab (p. 532) • Connection Items (p. 533) • Making Connections (p. 537) • Connection Details (p. 540) • Source Details (p. 540) • Target Details (p. 547) About Connections There are a number of places within DVD Studio Pro where you can establish connections between a project’s elements. Some are in Inspectors and some are in shortcut menus. Some connections are automatically set when you import an asset directly to a menu or track. The Connections tab provides a way to view and set all connections for a selected element, such as a menu or track, at the same time. You can also use the Connections tab to verify that you have not inadvertently left an item without a connection. 531 Establishing Connections 21 Connections Tab Connections are listed in two sections in the Connections tab. The sources (the elements’ starting points) and their current connections are on the left and the targets (the destinations) are on the right. This project’s targets that can be connected to the selected source Choose the Connections tab layout to use. The sources and current connections for the selected element in the Outline or Graphical tab (in this case, the disc) Drag this separator bar to set the size of the two halves of the Connections tab. You can also display the two halves of the Connections tab with the sources on the top and the targets on the bottom by either clicking the buttons in the upper-right corner or pressing the Control key and clicking the separator bar. 532 Chapter 21 Establishing Connections The pop-up menus along the top of the Connections tab allow you to choose the detail level of the sources and whether to view only sources that do or do not have a connection assigned. Choose a connection status to show. Choose the source detail level to show. The element the sources belong to Connection Items There are three items involved in making a connection: • The project element that is the subject of the connection. This can be a menu, track, slideshow, or the disc in general. The contents of the Connections tab change to match those that apply to the currently selected element. See Project Elements for more information. • The source to be connected from. Every menu, track, slideshow, and disc has sources that you can link from. The more complicated the element, the more sources it will have (a menu with 12 buttons will have more source connections than a menu with 4 buttons). See Sources for more information. • The target to be connected to. Targets include all possible connections for all elements within your project. Most targets are available to each source. While a source can only connect to one target, a target can be used by multiple sources. See Targets for more information. Project Elements The project element you select in the Outline or Graphical tab determines the list of sources displayed in the Connections tab. Selecting the disc displays all sources from all elements, plus a few sources that do not appear in any of the other elements. Chapter 21 Establishing Connections 533 Sources Sources fall into five categories: the disc, menus, tracks, stories, and slideshows. The number of choices you see in the list of sources depends on the selected element and whether you have chosen Basic, Standard, or Advanced from the View pop-up menu above the source list. Disc Menus Tracks Slideshows Stories The right half of the source list shows the current connections. Drag this divider to adjust the Source and Target column widths. The current connections between the sources and targets • Basic: The most fundamental jumps you can make are in the basic list of sources. These include the startup action for the disc and the jumps made when the viewer presses the Title and Menu buttons on the remote control when the disc is inserted in the player. The basic link for menus is where to jump when buttons are activated. The basic links for tracks and slideshows are where to jump when playback is finished and where to jump when the Menu button is selected while the track or slideshow is playing. 534 Chapter 21 Establishing Connections • Standard: The most commonly used jumps are found in the standard list of sources. In addition to those in the basic list, pre-scripts (scripts designed to run when the element is chosen) are listed for menus, tracks, and slideshows. If a DVD menu has been on the screen for a period of time specified in the General tab in the Menu Inspector, the subsequent action is determined by the Menu Timeout Target link. Each marker in a track and each slide in a slideshow displays its own end jump and menu button links. • Advanced: The advanced list of sources contains all of the possible sources available for the selected element. In addition to the basic and standard sources, the Return button on the DVD player’s remote control is also listed. Additionally, for tracks and slideshows you can set connections for the following buttons found on some remote control devices: Audio, Subtitle, Angle, and Chapter menu buttons. These links can make it convenient for viewers to access DVD menus that allow them to select audio and subtitle options, an angle, or a chapter. However, be sure to design your title with other ways to reach these DVD menus because very few remote controls offer these buttons. Important: It is important not to confuse these buttons with the Audio, Subtitle, and Angle selection buttons commonly found on remote controls—these buttons do not access a menu and instead directly change the selected stream. See Source Details for a complete list of sources as well as methods (other than the Connections tab) that you can use to link them. Chapter 21 Establishing Connections 535 Next Jump and Prev Jump Tracks and slideshows have two settings, Next and Previous Jump, that can only be set in the Connections tab with the advanced sources displayed. These settings define what happens when the viewer presses the Next and Previous buttons on the DVD player’s remote control. While a track or slideshow is playing, the Next and Previous buttons allow the viewer to skip forward or backward between markers or stills. A setting in the Connections tab defines what happens if the viewer presses the Next or Previous button when there is no next or previous marker or slide. By default, with nothing assigned to these settings, nothing happens. This is the normal action used for most projects. If you establish a connection to either of these buttons, there are two issues that you must be aware of: • You will no longer be able to set the Menu button action for each marker—you will only be able to set it for the first marker. • The DVD player will no longer display a play time for the track or slideshow. See Setting a Pause on the Last Slide for information on using the Next Jump setting in a slideshow. Targets The list of targets includes all menus and their buttons, all tracks and their stories and markers, all slideshow stills, and all scripts. There are four additional commands that can appear at the top of the list, depending on the selected source: Resume, Stop, Same as Disc, and Same as Track. See Target Details for a complete list of targets. Default Connections There are two types of connections that DVD Studio Pro makes automatically: linking each marker in a track to the next marker, and assigning the same menu button action to all of a track’s markers. These connections are not shown in the Connections tab and can be overridden by assigning different targets while in the Standard or Advanced source view. Chapter-to-Chapter Connections DVD Studio Pro automatically links the end jump from one marker to the beginning of the next marker. This allows a track to play seamlessly through the markers. The end jump for the last marker is not linked to any targets—you must set this yourself using the End Jump setting. 536 Chapter 21 Establishing Connections Setting Chapter Marker End Jumps In addition to the limit of 99 chapter markers per track, DVD Studio Pro has a combined limit of 106 chapter markers and individual chapter end jump settings per track. This is normally not an issue except in special cases where you decide to set an end jump for each chapter marker. If your track has 54 chapter markers, each configured with an end jump, the result is a combined 108 markers and jump settings. This will cause an error message to appear when you build the project. Because setting end jumps on chapter markers prevents the track from playing seamlessly from start to end, you can instead divide the track into two tracks, each containing a portion of the markers and thus avoid the 106 limit. For example, you might use chapter markers with end jumps set to “edit” a track into multiple small clips. If you configure a menu button to jump to a specific chapter marker, the track starts playing from that point. Once the next marker is reached, the end jump directs the DVD player back to the menu, resulting in only a small portion of the track playing. The advantage of this is that you can easily configure a track to play as short clips and not worry about running into the 99 tracks, stories, and slideshows per project limit. The disadvantage of this is that you cannot play the track from start to end—as soon as the first marker that has its end jump set is reached, the player jumps to that setting. You can accomplish a similar result by creating a story that plays only from one chapter marker to the next. The disadvantage of doing this is that if you have a lot of these that you want to configure, you will quickly run into the 99 tracks, stories, and slideshows per project limit. Menu Button Connections Once you establish a connection to the Menu button of the DVD player’s remote control, it is automatically applied to all markers in the track. Making Connections Making connections involves displaying the correct sources and then linking them to the targets. While the Connections tab provides a complete list of all possible connections between your project’s elements, many of these connections can also be configured using other methods. Connections can be made in a number of Inspectors, including those for menus, buttons, tracks, slideshows, and the disc. For example, in the Button Inspector, you can set the target for a button. Additionally, you can set connections to buttons in the Menu and Subtitle Editors. Chapter 21 Establishing Connections 537 See Source Details for a complete list of all sources and their alternative linking methods. See Target Details for a complete list of all targets. Changing the Displayed Sources There are three groups of sources you can see in the source list: basic, standard, and advanced. The most fundamental jumps for the selected element are shown in Basic source view. The most commonly used jumps are shown in the Standard source list. The Advanced list shows all possible jumps for the selected element. To change the sources displayed 1 Select the element you want to work with in the Outline or Graphical tab. For a global view of all the sources, select the disc in the Outline tab, or click an empty area in the Graphical tab. 2 Choose Basic, Standard, or Advanced from the View pop-up menu located just above the source list. Choose which sources are shown. You can also display all sources, only sources with connections, or only sources without connections, using the second View pop-up menu. Use each source’s connection status to choose which sources to display. Establishing Connections in the Connections Tab There are several methods you can use to establish connections in the Connections tab: dragging targets to the sources, using shortcut menus, and using keyboard shortcuts. To establish a connection in the Connections tab 1 Determine the source to which you want to assign a target. 538 Chapter 21 Establishing Connections 2 Do one of the following: • Locate the item you want to link to in the Targets column on the right, and drag it to the source on the left. A black box surrounds the selected source, making it clear that you are linking to the correct one. If you drag a target that is not supported by the source, the black box does not appear. • Hold down the Control key and click in the Target column next to the source for which you want to create a link. Choose a target from the shortcut menu. • Click to select a source and a target, then click the Connect button at the top of the Connections tab. You can change an existing connection using these same methods. To establish connections using keyboard shortcuts 1 Press the Up Arrow and Down Arrow keys to scroll through the currently active list (sources or targets) until you select the element you want to connect. 2 Press the Control key while using the Up Arrow and Down Arrow keys to scroll through the other list until you highlight the entry you want to connect. 3 Press Return to make the connection. If you select a source that already has a connection, pressing Return disconnects it. You can also press the Option key while using the Up Arrow and Down Arrow keys to jump to the top or bottom of the list. Chapter 21 Establishing Connections 539 If you want to connect to an element in the Targets list, you need to already have its disclosure triangle set to show the element’s contents. To delete a connection 1 Press the Up Arrow and Down Arrow keys to scroll through the currently active list (sources or targets) until you select the element you want to connect. 2 Press the Delete key. Connection Details Many of the sources and targets are intuitive in their usage. However, some are not often used or can cause unexpected issues with your title. Note: The actual sources and targets you see depend on the elements in your project. The names used in the following descriptions, Basic, Standard, and Advanced, are assigned by default when the elements are created. Source Details The sources displayed depend on which group of sources you choose—basic, standard, or advanced. The last two groups contain the sources from the previous level or levels, plus additional ones. The primary method of setting connections for all sources is to use the Connections tab. Alternative methods are given in the far-right column below. Basic The following sources are available when viewing the basic source group. All these sources should be linked before you build the title. Disc Sources Following are the disc-level basic sources. Source Usage Alternative methods First Play in the Disc Inspector. Control-click disc in Outline tab. Control-click empty area in Graphical tab. Use to specify what is displayed when the disc first starts playing after being inserted into the DVD player (automatically set to Menu 1). First Play Use to specify the action when Disc Inspector General tab the viewer presses the Title button on the DVD player’s remote control. Title 540 Chapter 21 Establishing Connections Source Usage Alternative methods Use to specify the action when Disc Inspector General tab the viewer presses the Menu button on the DVD player’s remote control. This setting can be overridden by similar settings in tracks, markers, stories, and slideshows. Menu Menu Sources Following is the menu-level basic source. Source Usage Alternative methods Button Inspector. Control-click button in the Menu Editor. Drag element directly to button. Use to specify the action when the button is activated. Button1:Jump when activated Track Sources Following are the track-level basic sources. Source Usage Alternative methods End Jump in the Track Inspector (automatically set in some cases) Use to specify the action when the track reaches its end during playback. End Jump Use to specify the action when Track Inspector General tab the viewer presses the Menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Menu Subtitle Inspector Button tab Control-click button in the Subtitle Editor. Use to specify the action when the button (part of a subtitle stream) is activated. Marker 1:Button 1:Jump when activated Story Sources Following are the story-level basic sources. Source Usage Alternative methods End Jump in the Story Inspector (automatically set to Same as Track) Use to specify the action when the story reaches its end during playback. By default, this is set to Same as Track. End Jump Chapter 21 Establishing Connections 541 Source Usage Alternative methods Story Inspector General tab (automatically set to Same as Track) Use to specify the action when the viewer presses the Menu button on the DVD player’s remote control. This setting overrides the disc and track settings. By default, this is set to Same as Track. Menu Slideshow Sources Following are the slideshow-level basic sources. Source Usage Alternative methods End Jump in the Slideshow Inspector (automatically set in some cases) Use to specify the action when the slideshow reaches its end during playback. End Jump Use to specify the action when Slideshow Inspector General tab the viewer presses the Menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Menu Standard The following sources are available when viewing the standard source group. These sources are in addition to those available at the basic level. Menu Sources Following are the menu-level standard sources in addition to the basic sources. Source Usage Alternative methods Use to assign a script to be run Menu Inspector Menu tab prior to displaying this menu. Pre-Script Use to specify the action when Menu Inspector General tab the menu’s inactivity timeout setting expires. Menu Timeout Target Track Sources Following are the track-level standard sources in addition to the basic sources. Source Usage Alternative methods Use to assign a script to be run Track Inspector General tab prior to playing this track. Pre-Script 542 Chapter 21 Establishing Connections Source Usage Alternative methods Use to specify the action when Marker Inspector General tab the viewer presses the Menu button on the DVD player’s remote control. This setting overrides the disc and track settings. Marker 1:Menu End Jump in the Marker Inspector Use to specify the action when the marker’s part of the track finishes playing (the frame before reaching the next marker). Marker 1:End Jump Story Sources Following are the story-level standard sources in addition to the basic sources. Source Usage Alternative methods Use to assign a script to be run Story Inspector General tab prior to playing this story. Pre-Script Target Use to specify the action when Story Marker Inspector this entry marker’s part of the track finishes playing (the frame before reaching the next marker). Marker 1 Entry:End Jump Use to specify the action when Story Marker Inspector the viewer presses the Menu button on the DVD player’s remote control. This setting overrides the disc and track settings. Marker 1 Entry:Menu Advanced The following sources are available when viewing the advanced source group. These sources are in addition to those available with the basic and standard levels. Disc Sources Following are the disc-level standard sources in addition to the basic and standard sources. Source Usage Alternative methods Use to specify the action when Disc Inspector Advanced tab the viewer presses the Angle menu button on the DVD player’s remote control. This setting can be overridden by similar settings in tracks and slideshows. Angle Chapter 21 Establishing Connections 543 Source Usage Alternative methods Use to specify the action when Disc Inspector Advanced tab the viewer presses the button on the DVD player’s remote control. This setting can be overridden by similar settings in tracks and slideshows. Chapter Use to specify the action when Disc Inspector Advanced tab the viewer presses the Audio menu button on the DVD player’s remote control. This setting can be overridden by similar settings in tracks and slideshows. Audio Use to specify the action when Disc Inspector Advanced tab the viewer presses the Subtitle menu button on the DVD player’s remote control. This setting can be overridden by similar settings in tracks and slideshows. Subtitle Use to specify the action when Disc Inspector General tab the viewer presses the Return button on the DVD player’s remote control. This setting can be overridden by a similar setting in menus. Return Menu Sources Following is the menu-level standard source added to the basic and standard sources. Source Usage Alternative methods Use to specify the action when Menu Inspector Menu tab the viewer presses the Return button on the DVD player’s remote control. This setting overrides the disc setting. Return Track Sources Following are the track-level standard sources in addition to the basic and standard sources. 544 Chapter 21 Establishing Connections Source Usage Alternative methods Track Inspector General tab (automatically set to Same as Disc) Use to specify the action when the viewer presses the Angle menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Angle Track Inspector General tab (automatically set to Same as Disc) Use to specify the action when the viewer presses the Chapter menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Chapter Track Inspector General tab (automatically set to Same as Disc) Use to specify the action when the viewer presses the Audio menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Audio Track Inspector General tab (automatically set to Same as Disc) Use to specify the action when the viewer presses the Subtitle menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Subtitle Track Inspector General tab (automatically set to Same as Disc) Use to specify the action when the viewer presses the Chapter menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Chapter Use to specify the action when None the viewer presses the Next button on the DVD player’s remote control after the last marker. See Next Jump and Prev Jump for more information. Next Jump Use to specify the action when None the viewer presses the Previous button on the DVD player’s remote control before the first marker. See Next Jump and Prev Jump for more information. Prev Jump Chapter 21 Establishing Connections 545 Slideshow Sources Following are the slideshow-level standard sources in addition to the basic and standard sources. Source Usage Alternative methods Slideshow Inspector (automatically set to Same as Disc) Use to specify the action when the viewer presses the Angle menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Angle Slideshow Inspector (automatically set to Same as Disc) Use to specify the action when the viewer presses the Audio menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Audio Slideshow Inspector (automatically set to Same as Disc) Use to specify the action when the viewer presses the Subtitle menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Subtitle Slideshow Inspector (automatically set to Same as Disc) Use to specify the action when the viewer presses the Chapter menu button on the DVD player’s remote control. This setting overrides the disc setting. By default, this is set to Same as Disc. Chapter Use to specify the action when None the viewer presses the Next button on the DVD player’s remote control during the last slide. See Next Jump and Prev Jump for more information. Next Jump Use to specify the action when None the viewer presses the Previous button on the DVD player’s remote control during the first slide. See Next Jump and Prev Jump for more information. Prev Jump 546 Chapter 21 Establishing Connections Target Details The list of targets is the same for all sources. Some targets only work with specific source types; DVD Studio Pro only allows you to assign appropriate targets to the sources. • Menus: Use to select the menu to link to a source. Select the menu to have the menu appear with the default buttons highlighted and to have the pre-script (if assigned) execute, or select a specific button to have the menu appear with that button highlighted. • Tracks and Stories: Use to select the track or story to link to a source. Select the track or story to have it play from the beginning and to have the pre-script (if assigned) execute, or select a specific marker or story entry to link to a specific place in the track or story. • Slideshows: Use to select a slideshow to link to a source. Select the slideshow to have it play from the beginning and to have the pre-script (if assigned) execute, or select a slide to link to. • Scripts: Use to select a script to link to a source. Note: The following only appear when a suitable source is selected. • Resume: Can only be assigned to menu buttons. Use it to take viewers from a menu back to a specific point in a track. For example, you can set up a track’s marker to jump to a menu that provides information or a graphic that pertains to the track just jumped from. The menu can have a single button set to Resume that, when activated, takes viewers back to the track at the point they left off. • Stop: Can only be assigned to the End Jump settings of markers and slides. Use it to force the DVD player to stop playing once the marker or slide is reached. • Same as Disc: Can only be assigned to sources that define actions for remote control buttons (such as Menu or Audio). Use it to set a remote control button to act the same as the disc’s setting. • Same as Track: Can only be assigned to story sources that define actions for remote control buttons. Use it to set a remote control button to act the same as the track’s setting. Chapter 21 Establishing Connections 547 Once you have created your project’s tracks, stories, slideshows, and menus, and set the connections between them, you are ready to take the final steps to create the DVD. This chapter covers the following: • About the Final Steps of DVD Creation (p. 549) • Should You Burn, Build, Format, or Build and Format? (p. 550) • Options for Testing Your Project (p. 552) • Simulating Your Project (p. 552) • Setting Disc Properties (p. 559) • Building Your Project (p. 566) • Emulating Your Project Using DVD Player (p. 575) • Setting Disc Format Properties (p. 577) • About DVD-ROM Discs (p. 577) • About Dual-Layer Discs (p. 580) • About Two-Sided Discs (p. 584) • Formatting Your Project (p. 584) • Reading a DLT Drive (p. 590) About the Final Steps of DVD Creation Following is a list of the final steps in the DVD creation process: • Testing your project with the Simulator: Using the Simulator allows you to verify most of your connections and button navigation before building the title. • Setting prebuild disc properties: This is the time to set any last-minute disc properties, especially those that must be set before you build the title. • Building your project: This process creates a VIDEO_TS (video zone for SD projects) or HVDVD_TS (for HD projects) folder and compiles your project’s elements into a DVD-compliant file structure. 549 Finishing a Project 22 • Emulating your project: You can use the Apple DVD Player to play the VIDEO_TS or HVDVD_TS folder’s contents. • Setting preformat properties: You can set various details, such as copy protection, region coding, and various disc media attributes. • Formatting your project: In this step, the VIDEO_TS and/or HVDVD_TS folder and any other added DVD-ROM content are formatted and written to the selected output type. Simulate Emulate DVD disc DLT Hard disk VIDEO_TS or HVDVD_TS folder Author • Add assets • Create elements • Create connections Format • Set replication properties • Create output Build • Set disc properties • Compile project to a VIDEO_TS folder or HVDVD_TS folder Should You Burn, Build, Format, or Build and Format? When your project is finished, you have the option of directly burning a DVD or stepping through the process of building and formatting the project. The option you use depends on your situation. Burning a Project Burning is a simple one-click step that creates a DVD from your project. You simply click Burn in the toolbar or press Command-Option-B to start the process. Your system’s DVD burning drive is checked to see if suitable recordable media is present—if not, a dialog appears, prompting you to insert a blank disc. And that’s it. The process starts and there are no more decisions to make. This is a good choice if you do not require special settings, such as selecting the drive to write to. Burning a project creates a VIDEO_TS or HVDVD_TS folder just as with the build process. It is written to the location specified in the Destinations pane in DVD Studio Pro Preferences. This makes it possible to burn additional discs (using Format) without needing to recreate the VIDEO_TS or HVDVD_TS folder. If your system has multiple drives that can burn DVDs, the burn process uses the first general type drive it finds. If none are found, it then looks for an authoring drive. You cannot use the burn process to write to a DLT or disk image. If you want to make several DVDs of your project, you can use Burn to create the first disc, and then save time by using Format to create the additional DVDs. This avoids having DVD Studio Pro recreate the VIDEO_TS or HVDVD_TS folder for each disc. 550 Chapter 22 Finishing a Project Building a Project The build process only creates the VIDEO_TS or HVDVD_TS folder; it does not burn a disc. You click Build in the toolbar or press Command-Option-C to start the process. With the build process, you are able to choose the location where the VIDEO_TS or HVDVD_TS folder is created. Using Build by itself is useful when you want to create the VIDEO_TS or HVDVD_TS folder so that you can emulate the project using DVD Player, or if you want to manually copy the VIDEO_TS or HVDVD_TS folder to a disc. See Building Your Project for more information. Formatting a Project The format process requires you to have a VIDEO_TS and/or HVDVD_TS folder already created. You click Format in the toolbar or press Command-F to start the process. Using Format is especially useful when you want to make multiple discs from the same VIDEO_TS or HVDVD_TS folder. You would usually use the format process after you had emulated the VIDEO_TS or HVDVD_TS folder and were ready to burn a disc or DLT. You can also combine the format process and the build process (described next); however, an advantage to using the format process separate from the build process is that you can choose the VIDEO_TS or HVDVD_TS folder to format. This can be useful if you are working on a new project and get a request for a DVD of an earlier project whose VIDEO_TS or HVDVD_TS folder is still available. See Setting Disc Format Properties for more information. Building and Formatting a Project When combined, the build and format processes act similarly to the burn process. The difference is that you are presented with the same configuration options you get when you use the build and format processes separately, which allows you to customize the process. You click Build/Format in the toolbar or press Command-Option-F to start the process. After you configure the build and format options, you are then not required to do anything more until the DVD or DLT has been created. An exception is dual-layer discs, because the break point cannot be verified until the VIDEO_TS or HVDVD_TS folder has been created. See About the Build/Format Command for more information. Chapter 22 Finishing a Project 551 Options for Testing Your Project There are three methods you can use to test your project: using the DVD Studio Pro preview and simulation features, and playing the title on a DVD player (emulating your project). • Previewing your project’s elements: The DVD Studio Pro preview feature provides a way to view single elements, such as a track. Preview does not allow you to check how one element works with others in the project. For example, you cannot use it to verify a connection from a menu to a track. See Viewing a Track and Previewing a Slideshow for more information. • Simulating your project: The DVD Studio Pro simulation feature is a relatively comprehensive way to test most aspects of a project, with the primary focus on verifying connections. The Simulator works a lot like a DVD player that plays the project before it’s built into a video title set. It allows you to test most connections, including First Play, and provides the functions of a DVD player remote control. It also provides a complete display of the contents of the System Parameter Register Memories (SPRMs) and General Purpose Register Memories (GPRMs), making it possible to verify many scripts. You can also configure your system to simulate the project using an external video and audio monitor. This makes it possible to see the project as most viewers will, with actual pixel aspect ratios, colors, and if applicable, interlacing. See Simulating Your Project for more information. • Emulating your project: Emulating your project by playing it on a real DVD player is the most sure test of it. To emulate your project with the Apple DVD Player, you must build the VIDEO_TS or HVDVD_TS folder. To emulate your project using a standalone DVD player, you must also format it and burn a disc that you can then play on any DVD player. It’s important to test your project under varying conditions, especially if your project relies heavily on scripts. See Emulating Your Project Using DVD Player for more information. Simulating Your Project The DVD Studio Pro Simulator is a useful tool for verifying your project while you are still creating it. There are a few things to be aware of before simulating your project: • The Simulator behaves much as a standalone DVD player. This means you should have the links set to allow you to navigate around the project. In particular, be sure to set your First Play action to a suitable menu or track. If you do not yet have the assets that will be the actual First Play element, you can temporarily link to an interim menu instead. This ensures that an element is displayed if you start the Simulator by clicking Simulate in the toolbar. 552 Chapter 22 Finishing a Project There are also a variety of ways you can force the Simulator to start at a specific element. For example, you can Control-click the element in the Outline or Graphical tab, then choose Simulate from the shortcut menu. This allows you to test parts of the project without having all of the elements in place. • DVD Studio Pro Preferences contains a number of settings in the Simulator pane that allow you to configure the Simulator much like you would a DVD player. For example, you can set the Simulator’s region code, aspect ratios, language preferences, and playback output options to test for different situations. See Simulator Preferences for more information. • Because the project has not been built yet, the Simulator must use assets as and where they are. This may lead to issues with playback, such as stuttering or pauses. The severity of these issues depends on the assets and the computer you are authoring on. • The Log tab contains a simulation log that provides information on a simulation while it is in progress. This information can be useful when you are trying to work out issues with your project. • The Simulator processes Pause After VOBU settings on markers set at slides in a track. The Simulator does not process Pause After VOBU settings on markers set on full-motion video clips (which it is not recommended to do in any case). The track plays as if the settings were not active. See General Tab in the Marker Inspector for more information on VOBUs. Simulating with an External Video and Audio Monitor When you author a DVD, it can be important to see the video and hear the audio with devices that closely match those that the viewer is expected to use. Being able to do this while simulating your project allows you to verify the video and audio prior to burning a test DVD. In particular: • You see the true color based on the DVD specification’s YUV values instead of a computer monitor’s RGB values. • You see the actual pixel aspect ratios. To display 4:3 or 16:9 video on a computer monitor requires the pixels to be scaled, which can create or hide issues in the video. See External Video and Audio Monitoring for information on connecting external monitors. See Simulator Preferences for information on Simulator settings. When using an external video monitor, keep the following in mind: • The external video monitor is only used during simulation. • When using an external video monitor, the Simulator window on your computer is inactive. • You cannot use the pointer to click buttons on the external monitor. You must control the simulation by using the Simulator window’s controls. Chapter 22 Finishing a Project 553 • Depending on your system and the video being simulated, frames may be skipped during playback to maintain synchronized playback with the audio. Starting and Stopping the Simulator You can start the Simulator at any time while creating your project. You should have sufficient connections set so that navigation is possible between the elements you want to test. The most important item to have set is the First Play action. If you select the disc in the Outline tab or click an empty area in the Graphical tab, you can set the First Play action in the Connections tab or in the Disc Inspector. You can also set the First Play action directly in the Outline and Graphical tabs. See Assigning the First Play Element for more information. To start and stop the Simulator from the First Play element Do one of the following: μ Click the disc item in the Outline tab, then choose File > Simulate Disc, or press Command-Option-0 (zero). μ Control-click the Graphical tab’s background, then choose Simulate Disc from the shortcut menu. μ Click Simulate in the toolbar. The Simulator opens and displays the First Play element. An alert appears if none has been assigned, and the Simulator starts at the first video stream of the first track. Stop the simulation by clicking the close button in the upper-left corner of the window or pressing Command-W. You can also start the Simulator from a specific element or part of an element, including tracks, stories and story entries, slideshows and specific slides, or menus and specific buttons. This is useful when you only want to verify a specific element without going through the normal project navigation to get to it. To start the Simulator from a specific element Do one of the following: μ Choose File > Simulate, or press Command-Option-0 (zero). (If no element is selected, the Simulator starts from the First Play element.) μ Control-click the element in the Outline or Graphical tab, then choose Simulate from the shortcut menu. μ Control-click in the element’s editor, then choose Simulate from the shortcut menu. The Simulator opens and displays the element. Note: If the element you start the Simulator at has a pre-script assigned to it, the pre-script is not executed. 554 Chapter 22 Finishing a Project Simulator Window The Simulator window appears in front of all other DVD Studio Pro windows. Click the Info button to open the information drawer. Choose the type of display to simulate. The timecode of the current elegment The area to the left of the video display contains the playback controls you can use to navigate within your project. Most are similar to controls you would find on a DVD player’s remote control. You can click the Info button to open a drawer that shows information about the currently displayed element and the settings within the SPRMs and GPRMs. You are also able to choose the resolution (SD, HD 720, or HD1080) and the display mode (4:3 Pan-Scan, 4:3 Letterbox, or 16:9) to simulate when not using an external video monitor. Note: You can set the default state of these in the Simulator pane of DVD Studio Pro Preferences. Chapter 22 Finishing a Project 555 Playback Controls The playback controls are similar to those found on DVD player remote controls. Play/Pause Chapter Skip Forward Menu Navigation controls Track Skip Forward Track Skip Reverse Chapter Skip Reverse Stop Title • Menu: Jumps to the element assigned to the Menu button. The assignment can be different for each track, story, marker, and slideshow. • Title: Jumps to the element assigned to the Title button. • Play/Pause: Alternately pauses, then plays the track or motion menu. • Stop: Stops playback of the project. The jacket picture appears if you have assigned one to your project. See About Jacket Pictures for more information. Click First Play to restart playback. • Track Skip Reverse and Track Skip Forward: To the left and right of the Play/Pause button and Stop button, these buttons skip to the beginning or end of a track, allowing you to test pre-scripts, display conditions, and End Jump settings. • Navigation controls: Allow you to navigate through the menus as you would with the arrow buttons on a remote control. (You can also use the pointer and click the menu buttons directly.) Press the center button to activate the currently selected button. • Chapter Skip Reverse and Chapter Skip Forward: Skip to the previous or next chapter marker or still while playing a track or slideshow. 556 Chapter 22 Finishing a Project Menu Controls The menu controls let you test the project’s remote assignments. Angle Menu Subtitle Menu Chapter Menu Return Audio Menu First Play Click the Info button to open the information drawer. • Chapter Menu, Angle Menu, Audio Menu, and Subtitle Menu: Jump to the element assigned to the Chapter, Angle, Audio, and Subtitle menu buttons (not to be confused with the Angle, Audio, and Subtitle stream select buttons). The assignment can be different for each track and slideshow. • First Play: Restarts playback of the project by executing the First Play action. • Return: Jumps to the element assigned to the Return button. The assignment can be different for each menu. Stream Selections The stream selection pop-up menus operate like the Angle, Audio, and Subtitle buttons found on most remote controls. Subtitle Select Subtitle Enable Angle Select Audio Select • Angle Select, Audio Select, and Subtitle Select: When playing a track with multiple streams, you can choose the streams to play. Each pop-up menu shows the stream number currently playing. To change streams, open the pop-up menus and choose a new stream. • View checkbox: Controls whether the selected subtitle stream displays. Select the checkbox to show subtitles and deselect it to hide them. Chapter 22 Finishing a Project 557 Information Drawer You can click the Info button or press Shift-I to open the information drawer. The drawer can open on any side of the Simulator, depending on the Simulator’s position. (You can press Shift-Option-I to have it open on a different edge.) The information drawer changes to match the current element type (menu, track, story, and so on). The Item Properties section shows information specific to that element; you cannot enter information into it. The Registers section shows the status of either the SPRMs or GPRMs. You can choose which to see by selecting the relevant checkbox. You can also choose to see the values in hexadecimal. You can double-click a value to enter a new value into it if you want to verify how your project operates under specific DVD player conditions. You can also enter a new name for any of the GPRMs. Simulation Log The Log tab contains a Simulate view that provides details of a simulation while it is running. These details include any changes in the SPRMs and GPRMs, any navigation actions, and any jumps that are made. To show the simulation log 1 Click the Log tab. 2 Choose Simulate from the View pop-up menu. 3 Simulate the project. Note: The Log tab automatically appears once you start the Simulator. 558 Chapter 22 Finishing a Project Setting Disc Properties The Disc Inspector contains settings that affect your DVD title. Some settings, such as the disc’s name, its First Play action, and the video standard, can be set early in the project creation process. You do not have to make other settings until you are ready to burn a DVD, write to a Digital Linear Tape (DLT) drive, or write to a hard disk. The top of the Disc Inspector and its General and Advanced tabs contain settings that affect the title’s playback. All of these settings (except the disc name and DVD-ROM settings) must be set before you build your project. You must also set the Macrovision setting in the Region/Copyright tab. The remaining settings affect the format process. You can set them at any time, even after you start the format process. To open the Disc Inspector μ Select the disc’s name in the Outline tab or click an empty area in the Graphical tab. Settings at the Top of the Disc Inspector There are three settings at the top of the Disc Inspector. • Name: This is the name that appears when the DVD is played on a computer. It’s also the name that appears in the Outline tab. The default name is Untitled Disc. You can enter a name with a maximum of 32 characters. While you can enter any characters you wish, the only permissible characters for the formatted disk image are the 26 uppercase English characters, numerals 0 through 9, and the underscore (“_”). DVD Studio Pro automatically converts lowercase letters to uppercase and removes unsupported characters when you use the format feature. The disc name does not need to be set before building the project. You can set it during the formatting process. • Est. Size: This displays the amount of disc space that DVD Studio Pro estimates will be required for the build, including any DVD-ROM files you may be adding. This size uses the same convention as used by DVD media—one MB is equal to 1,000,000 bytes. See Making Sure Your Content Will Fit for information on how much data a 4.7 GB disc can actually hold. • First Play: This specifies what appears when the disc is first inserted into a DVD player. First Play can also be set in the Connections, Outline, and Graphical tabs. It is important to set First Play prior to building the project to ensure that all DVD players will play the disc correctly. You can choose from all menus, tracks, stories, slideshows, and scripts within your project. Chapter 22 Finishing a Project 559 See Setting the Project’s First Play for information on setting the First Play for different types of projects. See Assigning the First Play Element for information on setting the First Play using the Outline or Graphical tab. General Tab in the Disc Inspector All of the settings in the General tab except the DVD-ROM settings must be set before building a project. Standard Settings • DVD Standard: Shows the DVD standard for this project. • SD DVD: When set to SD DVD, you can convert the project to HD-based DVD by clicking the HD DVD button. • HD DVD: When set to HD DVD, however, you cannot change the project back to SD DVD. See Setting the DVD Standard for more information. • Video Standard: Select the type of video used in this project, NTSC or PAL. This must be set before you import any video assets. See Setting the Video Standard for more information. Streams • Audio: You can choose an audio stream that will serve as the initial active stream, overriding the DVD player’s setting. The default setting is “not set,” which lets the DVD player control the stream setting. Note: The word Empty in parentheses after a stream number indicates that that stream is currently empty. • Angle: You can choose a video stream that will serve as the initial active stream, overriding the DVD player’s setting. The default setting is “not set,” which lets the DVD player control the stream setting. 560 Chapter 22 Finishing a Project • Subtitle: You can choose a subtitle stream that will serve as the initial active stream, overriding the DVD player’s setting. You can also force the subtitle stream to appear by selecting its View checkbox. The default setting is “not set,” which lets the DVD player control the stream setting. Remote Control • Title, Menu, and Return: You can set the Title, Menu, and Return remote control settings, which correspond to a DVD player’s remote control buttons. See Remote Control Settings for details on setting these buttons. DVD-ROM See About DVD-ROM Discs for details on using these settings and creating DVD-ROM discs. • Content: Specifies whether this is a DVD-Video or DVD-ROM title. Selecting Content enables the DVD-ROM content settings (Location and Joliet Extension Support). • Size: Shows the size of the files the folder chosen as the Location contains. This size uses the same convention as used by DVD media—one MB is equal to 1,000,000 bytes. The size is also shown in actual bytes. • Location: This setting is active only when you select Content. The Location setting lets you choose the folder to include as the DVD-ROM contents for the disc. All files and folders at this location (but not the actual folder specified with the Location setting) are added to the root of the DVD. For example, if you want several PDF files to be in a folder named PDFExtras at the root of the DVD, you would have to create the PDFExtras folder, place the PDF files in it, then place that folder in the folder you specify as the Location (DVDROMContent in the example below). • Joliet Extension Support: This setting is active only when you select Content. Selecting Joliet Extension Support affects the filenames allowed in the DVD-ROM content when using red laser media. See Joliet Volume for more information. Chapter 22 Finishing a Project 561 Disc/Volume Tab in the Disc Inspector These settings do not need to be set until you format your project. However, choosing the disc media, size, and layer options will ensure the toolbar’s disc meter is correct. • Disc Media: Available for HD projects only (SD projects can only use red laser media). Choose the type of media your project will be distributed on. Red Laser refers to the media used with SD projects, although HD projects can also use it. Blue Laser refers to media used with HD projects. Important: This setting affects the scale of the toolbar’s disc meter and the type of disc (red laser or blue laser) the replicator will create if you are using DDP or CMF when formatting your project. It does not affect what happens when burning a general media disc on your system. • Layer Options: Choose either single- or dual-layer for the media. • Track Direction: Use this control to select either PTP (Parallel Track Path, in which the second disc layer plays from the inner track to the outer track as the first layer does) or OTP (Opposite Track Path, in which the second layer plays from the outer track to the inner track, the opposite of the first layer). The advantage of the OTP method is that it minimizes the amount of time the DVD player spends seeking the next track when switching layers. See About Dual-Layer Discs for more information and tips on creating dual-layer discs. • Break Point: Use this pop-up menu to choose the dual-layer break point. The Break Point setting controls where the division is between the first and second layer of the disc. You can select any marker on any track, although depending on how full the disc is, there may only be a limited number of usable options. When left as Auto, DVD Studio Pro automatically chooses the break point. See About Dual-Layer Discs for more information on creating dual-layer discs. • Seamless: Select Seamless to configure the dual-layer break point as seamless. 562 Chapter 22 Finishing a Project Important: An alert appears when you select Seamless. Do not select Seamless unless your project specifically requires it. See Choosing Seamless or Non-Seamless Layer Changes for more information. • Number of sides: Choose whether this is a one- or two-sided disc. Note: A two-sided disc requires two separate projects—one for each side. • Disc Side: Choose Side A or Side B for this project. This is for the replication facility. • Disc Size: Choose either the standard 12 cm or the smaller 8 cm disc size. • Maximum Size: Based on the above settings, shows the maximum amount of disc space available. Region/Copyright Tab in the Disc Inspector The only setting in the Region/Copyright tab that you must set before building a project is the Macrovision setting. • Playable Region Codes: Select the checkbox next to the regions in which you want to be able to play the disc (all are enabled by default). All DVD players (standalone and computer) must be assigned a region code. This code divides the world into six regions, with an additional region for discs played on airplanes. These region codes allow you to have some control over where a disc can be played. So that you can easily emulate on any DVD player the VIDEO_TS or HVDVD_TS folder created by the build process, the folder defaults to having all regions enabled (except “7-Reserved”). Region code settings are applied during the formatting process. Important: If you change the region code settings and burn a DVD using general media, some DVD players that should be prevented from playing it will play the disc. This issue does not occur with replicated discs originating from either general or authoring media. Additionally, you must have at least one playable region selected. Chapter 22 Finishing a Project 563 • Copyright Management: Select the checkbox to enable either digital-based or analog-based (Macrovision) copyright protection of the disc. Selecting this checkbox enables the Copy Generation setting. Note: This setting affects the number of bytes in each sector of the disc. With copyright management disabled, each sector has 2048 bytes. With copyright management enabled, each sector has 2054 bytes. • Copyright Generation: This pop-up menu specifies whether copies are allowed. • Copying Permitted: The disc is not protected against copying. The Format for CSS checkbox and Macrovision pop-up menu are disabled. The only difference between this setting and leaving the Copyright Management checkbox unselected is the number of bytes in the sectors. • One Copy Permitted: Allows users to make a copy of the disc, but no additional copies from that copied disc (the Copy Generation status of the copied disc switches to No Copy Permitted). You can make as many copies as you want from the original disc; you just can’t make more copies from the copies of the original. The Format for CSS checkbox and Macrovision pop-up menu are disabled. • No Copy Permitted: Enables the Format for CSS checkbox and Macrovision pop-up menu so that you can choose the type of copy protection to use. • Format for CSS: Available in SD DVD projects only. Only available when Copy Generation is set to No Copy Permitted. The Content Scrambling System (CSS) provides digital-based copyright protection. Selecting Format for CSS alerts the replication facility to apply CSS encryption to the disc (if it is licensed and authorized to do so). • Macrovision: Available in SD DVD projects only. This must be set before you create the VIDEO_TS folder in the build process. Macrovision provides analog-based copyright protection. See About the Macrovision Settings for more information. 564 Chapter 22 Finishing a Project Advanced Tab in the Disc Inspector All of the settings in the Disc Inspector’s Advanced tab must be set before you build a project. These settings apply to specialized features used on advanced projects. • Embed Text Data: This checkbox is automatically selected if you use the DVD@CCESS feature within your project. You can also select it if you want to add the names you assigned to the tracks, slideshows, and menus to the DVD disc. This text can be displayed on DVD players designed to support the Text Display extensions of the DVD-Video specification (version 1.1). • Language: If the Embed Text Data checkbox is selected, you can identify the language in which the text names will appear. Choose Not Specified to have the text appear regardless of the DVD player’s language setting. • Additional Remote Controls: You can set the Angle, Chapter, Audio, and Subtitle menu remote control settings, which correspond to a DVD player’s remote control buttons. These links can make it convenient for viewers to access DVD menus that allow them to select audio and subtitle options, an angle, or a chapter. However, be sure to design your title with other ways to reach these DVD menus, because very few remote controls offer these buttons. Important: Do not confuse these buttons with the Audio, Subtitle, and Angle selection buttons commonly found on remote controls—these buttons do not access a menu, and instead directly change the settings. See Remote Control Settings for details on setting these buttons. • GPRM Variable Names: You can configure the partitions and enter names for the eight GPRMs used when creating scripts. Once you create a script, you can also enter these names in the Script Inspector or the Simulator. See General Purpose Register Memories for information on using GPRMs in your scripts. Chapter 22 Finishing a Project 565 • Jacket Picture: You can choose a graphic to use as the jacket picture for this DVD. See About Jacket Pictures for more information. Building Your Project Building a project compiles all of the elements into files that conform to the DVD-Video specification (SD projects). Before you build your project, you must make sure you have set your prebuild disc properties. Prebuild Disc Properties The prebuild disc properties include the following items from the Disc Inspector. See Setting Disc Properties for details on these properties. You must set these properties before you can build your project. • First Play: Located at the top of the Disc Inspector. • Video Standard: Located in the General tab. • Streams: Located in the General tab. • Remote Control: Located in the General tab. • Macrovision: (SD projects only) Located in the Region/Copyright tab. • Embed Text Data: Located in the Advanced tab. • Additional Remote Controls: Located in the Advanced tab. • GPRM Variable Names: Located in the Advanced tab. • Jacket Picture Asset: Located in the Advanced tab. About the Macrovision Settings If your SD project is to be coded for Macrovision Analog Protection System (APS) copy protection, you must choose the Macrovision type before you build the project. Important: The Macrovision APS is not available for HD projects. The Macrovision APS is an analog copy protection system that alters the video signal in such a way as to discourage viewers from making copies of your DVD-Video disc onto a videocassette recorder. Macrovision Licensing Use of analog copy protection for DVD applications is subject to the proprietary intellectual property rights of Macrovision Corporation, of Sunnyvale, California, and users must complete a usage agreement with Macrovision Corporation before the analog protection system activation bits are set to “on.” For further information, see the Macrovision website at http://www.macrovision.com. 566 Chapter 22 Finishing a Project To enable Macrovision APS 1 Open the Disc Inspector by selecting the disc in the Outline tab or clicking an empty area in the Graphical tab. 2 Click the Region/Copyright tab. 3 Select the Copyright Management checkbox. 4 Choose No Copy Permitted from the Copy Generation pop-up menu. 5 Choose the type of Macrovision protection to use (Type 1, Type 2, or Type 3) from the Macrovision pop-up menu. Note: The Format for CSS checkbox has no bearing on the Macrovision setting. The Macrovision coding is applied to the entire disc. Once you have chosen No Copy Permitted from the Copy Generation pop-up menu, you can also apply or change Macrovision coding on specific tracks and markers using the Other tab in each track’s Inspector and the General tab in each marker’s Inspector. Note: If you configure Macrovision on a track or marker before you configure it for the disc in the Disc Inspector, the settings in the Disc Inspector automatically update to match the track or marker settings. Three Macrovision types are supported by the DVD-Video specification: • Type 1: Uses the Automatic Gain Control (AGC) process. The AGC process places pulses in the vertical interval of the video stream that televisions do not detect. When a copy is attempted, these pulses confuse a VCR’s AGC circuitry, causing copies to exhibit characteristics such as dim and noisy pictures, loss of color, loss of video, and picture tearing. • Type 2: Uses both the AGC process and a two-line colorstripe. The colorstripe process, which is only effective with NTSC video streams, consists of changes to colorburst information that are transparent on original viewing, but that produce horizontal lines across the picture when playing an unauthorized copy. The 2-line version of colorstripe has bands of altered chrominance 2 horizontal lines long. • Type 3: Uses both the AGC process and a four-line colorstripe. The 4-line version of the colorstripe process has bands of altered chrominance 4 horizontal lines long. This is also only effective with NTSC video streams. About Jacket Pictures Jacket pictures are an optional part of the DVD-Video specification and are intended to allow a DVD player to display a graphic representing a DVD. Jacket pictures are most commonly displayed on multi-disc players. Chapter 22 Finishing a Project 567 Based on the DVD specification, Jacket Picture graphics should be supplied in three different resolutions (small, medium, and large) for display on different platforms and display devices. DVD Studio Pro automatically generates the required graphics and the folder that holds them, JACKET_P, when you build your project. To add a jacket picture to your project 1 Import the graphic to use for the jacket picture into the Assets tab. 2 Choose the jacket picture graphic from the Asset pop-up menu in the Disc Inspector’s Advanced tab. The jacket picture will appear in the Simulator when you stop playback. Building the Project Once you have set the prebuild disc properties, you can build your project. Depending on the size of your project and the speed of your computer and disk drives, this process can take several hours to finish. To build your project 1 Do one of the following: • Click Build in the toolbar. Note: To format the project immediately after building it, click Build/Format. See About the Build/Format Command for more information. • Press Command-Option-C. 2 Select the drive and folder to build to in the dialog that appears, then click Open. The build process begins and a progress bar appears that shows the element names currently being compiled. If the selected folder already has a folder of the same type it is generating (VIDEO_TS or HVDVD_TS), see Incremental Builds for details on the dialog that appears. Note: You cannot build an SD project in a folder that already contains an HVDVD_TS folder, and you cannot build an HD project in a folder that already contains a VIDEO_TS folder. 568 Chapter 22 Finishing a Project The Log tab also appears, automatically switching to display the build results. The tab shows details on the build’s progress, as well as messages about any errors that occur. Incremental Builds While creating your project, you may find it useful to perform builds several times before you are actually finished with it. These incremental builds can be useful to verify that certain aspects of the project are functioning properly, such as a set of scripts or a menu’s button navigation. To help with this process, DVD Studio Pro includes the ability to reuse unchanged elements from a previous build. This can greatly speed up the build process when you perform incremental builds. Once you select a folder to build into, DVD Studio Pro checks to see whether a folder of the same type it needs to create (VIDEO_TS or HVDVD_TS) is already present. If the folder already contains a folder of the same type, with a .layout file that has the same name as the project, a dialog appears for you to specify what should happen. • Cancel: Closes this dialog and the build process without saving anything. • Delete: Deletes the current contents of the VIDEO_TS or HVDVD_TS folder and begins saving the new build information. • Reuse: Attempts to reuse as much of the current VIDEO_TS or HVDVD_TS folder contents as possible. If you decide to reuse the VIDEO_TS or HVDVD_TS folder, DVD Studio Pro looks at its contents and, for each VTS block, checks to see if anything has changed from the last build. If the VTS block has not changed, the message “VOB up to date. Muxing skipped” appears in the Log tab and the build moves on to the next VTS block. See Non-Standard SD DVD Video Zone Files for more information about .layout files. General Build Information Depending on your system and the size of your project, the build process might take several hours. Following is some information on speeding up the process. Chapter 22 Finishing a Project 569 Using Multiple Hard Disks One way to speed up the build process is to have the project’s assets on a disk completely different from the one you are building to (not just a second partition of the same disk). Using different disks for your assets and your build allows each disk to focus on either reading or writing data, rather than jumping from one function to the other. About the Build/Format Command Because the build and format processes take a lot of time, it is common to want to start them and let the processes run unattended. How well this will work depends on the type of project you are creating. When you choose the Build/Format command, a dialog appears in which you can set your build location and the format properties. Once you have set the source and destination settings, including the preformat settings in the Disc/Volume and Region/Copyright tabs, click the Build & Format button to start the process. If you have chosen a DVD or DLT drive as the output device, you are prompted to insert a blank disc or tape. See Output Type Settings for information on setting the destination, and Setting Disc Format Properties for more information on these settings. The following issues make dual-layer projects more difficult to run unattended: • During the format part of the process, you will have to load a second blank disc or tape once the first layer is written. • There may be problems with the break point. If you chose the Automatic mode for setting the break point, it is possible that a suitable marker may not exist. Additionally, if you chose a specific marker to use as the break point, it may not be suitable. DVD Studio Pro is unable to confirm either of these issues until the build part of the process finishes. If there is a problem, an error dialog appears and the format process is not started. Once you correct the problem by adding or selecting a different marker, you will have to start the build/format process over again. 570 Chapter 22 Finishing a Project See About Dual-Layer Discs for more information on setting a break point. The Build Files for SD Projects Once the build for your SD project starts, DVD Studio Pro creates two folders at the location you specified: an AUDIO_TS folder and a VIDEO_TS folder. Additionally, a third folder, JACKET_P, is created if you have assigned a jacket picture graphic. The AUDIO_TS folder is used by systems authoring DVD-Audio titles. To meet the DVD specification requirements, DVD Studio Pro creates the folder and leaves it empty. The empty folder is included in the format process. The JACKET_P folder contains three resolutions of the graphic assigned as the jacket picture. See About Jacket Pictures for more information. The VIDEO_TS folder contains all of the DVD-Video files for your project, and is placed in the video zone. The naming and structure contents of the VIDEO_TS folder are tightly regulated. All SD DVD titles use the same filenames and structure their contents in the same way. Video manager files Track 1 content group Non-standard file used for formatting Non-standard file used for formatting Standard SD DVD Video Zone Files The following groups of files are present in the video zone of all SD DVD-Video titles. Video Manager Group The video manager files contain much of the navigation information for the title. • VIDEO_TS.IFO: Contains the major information for the disc, such as its capacity and video zone structure. • VIDEO_TS.BUP: This is a backup of the .IFO file that can be used by the DVD player if the .IFO file cannot be read. • VIDEO_TS.VOB: This is the video objects file for the video manager. Chapter 22 Finishing a Project 571 Track Content Group A set of at least four files is created for each track and slideshow in the project. “VTS_01” in the following filename examples refers to the first VTS block. Files for the second VTS block would start with “VTS_02.” You can have up to 99 tracks, stories, and slideshows in a project. Note: While stories do not get placed in their own VTS block, they still count against the 99 VTS limit. Video object files (VOB) contain the actual video, audio, and subtitle content for the menus and tracks. The maximum size of each VOB file is 1 GB. Within each track content group there are at least two VOB files—one that is dedicated to menu content and another (up to eight more) with the track’s contents. • VTS_01_0.IFO: Contains the major information for the first track, such as the number and types of streams and menus. • VTS_01_0.BUP: This is the backup for the .IFO file. • VTS_01_0.VOB: Contains the video and audio content for the menus. The properties of the audio and video used in the menus within a VOB must be the same. If your project has menus using different properties, they are placed in other VTS blocks (VTS_02_0.VOB, for example). See VTS Editor for more information on menus and VTS blocks. • VTS_01_1.VOB: Contains the video and audio content for the track. If the content is greater than 1 GB, a second file (VTS_01_2.VOB) is created for that additional content. Up to seven additional files can be created if required to hold the track’s contents. Non-Standard SD DVD Video Zone Files As part of the build process, DVD Studio Pro creates two additional files in the VIDEO_TS folder. The format process does not include these files in its final output. • A .layout file: This file uses the disc name and a “.layout” extension. The file contains project information used by the format process, including the marker information used when creating dual-layer discs. • A VOB_DATA.LAY file: This file is used for incremental builds when you choose to reuse files in the VIDEO_TS folder left from a previous build for a new build. Note: The .layout filename must match the disc name for an incremental build to work. See Incremental Builds for more information. If you intend to manually copy the VIDEO_TS folder to a disc (bypassing the DVD Studio Pro format process), you should be sure not to copy the above files to the disc. Most DVD players ignore them if they are present in the VIDEO_TS folder on the final disc, but some are unable to play the disc. 572 Chapter 22 Finishing a Project Additionally, if you have not saved your project before you build it, a folder is added to the VIDEO_TS folder named Render Data. This folder contains rendered versions of any motion menus in your project, and is normally in your project’s bundle file. See Menu Preferences for more information on rendered menu files. The Build Files for HD Projects Once the build for your HD project starts, DVD Studio Pro creates an HVDVD_TS folder at the location you specified. A second folder, JACKET_P, is created if you have assigned a jacket picture graphic. The JACKET_P folder contains three resolutions of the graphic assigned as the jacket picture. See About Jacket Pictures for more information. The HVDVD_TS folder contains all of the DVD-Video files for your project, and is placed in the video zone. The naming and structure contents of the HVDVD_TS folder are tightly regulated. All HD DVD titles use the same filenames and structure their contents in the same way. Non-standard file used for formatting Non-standard file used for formatting Standard files for an HD project with two tracks Optional jacket picture files Standard HD DVD Video Zone Files The following groups of files are present in all HD DVD-Video titles. Video Manager Group The video manager files contain much of the navigation information for the title. • HV000I01.IFO: Contains the major information for the disc, such as its capacity and video zone structure. Chapter 22 Finishing a Project 573 • HV000I01.BUP: This is a backup of the .IFO file that can be used by the DVD player if the .IFO file cannot be read. • HV000M02.EVO: This is the enhanced video objects file for the video manager. Note: The file HV000M01.EVO is not used by DVD Studio Pro. Track Content Group A set of at least four files is created for each track and slideshow in the project. “HV001I,” “HV001M,” and “HV001T” in the following filename examples refer to the first VTS block. Files for the second VTS block would start with “HV002I,” “HV002M,” and “HV002T.” You can have up to 99 tracks, stories, and slideshows in a project. Note: While stories do not get placed in their own VTS block, they still count against the 99 VTS limit. Enhanced video object (EVO) files contain the actual video, audio, and subtitle content for the menus and tracks. Within each track content group there are at least two EVO files—one that is dedicated to menu content and another (up to 99 more) with the track’s contents. • HV001I01.IFO: Contains the major information for the first track, such as the number and types of streams and menus. • HV001I01.BUP: This is the backup for the .IFO file. • HV001M01.EVO: Contains the video and audio content for the menus. The properties of the audio and video used in the menus within an EVO must be the same. If your project has menus using different properties, they are placed in other VTS blocks (HV002M01.EVO, for example). See VTS Editor for more information on menus and VTS blocks. • HV001T01.EVO: Contains the video and audio content for the track. If the content is greater than 1 GB, a second file is created for that additional content. Up to 99 additional files can be created if required to hold the track’s contents. The last two digits of the filename increment as additional files are created. For example, the first 1 GB would be in HV001T01.EVO, the second 1 GB would be in HV001T02.EVO, and so on. Non-Standard HD DVD Video Zone Files As part of the build process, DVD Studio Pro creates two additional files in the HVDVD_TS folder. The format process does not include these files in its final output. • A .layout file: This file uses the disc name and a “.layout” extension. The file contains project information used by the format process, including the marker information used when creating dual-layer discs. • A VOB_DATA.LAY file: This file is used for incremental builds when you choose to reuse files in the HVDVD_TS folder left from a previous build for a new build. 574 Chapter 22 Finishing a Project Note: The .layout filename must match the disc name for an incremental build to work. See Incremental Builds for more information. If you intend to manually copy the HVDVD_TS folder to a disc (bypassing the DVD Studio Pro format process), you should be sure not to copy the above files to the disc. Most DVD players ignore them if they are present in the HVDVD_TS folder on the final disc, but some are unable to play the disc. Additionally, if you have not saved your project before you build it, a folder is added to the HVDVD_TS folder named Render Data. This folder contains rendered versions of any motion menus in your project and is normally in your project’s bundle file. See Menu Preferences for more information on rendered menu files. Emulating Your Project Using DVD Player Once you have successfully built your project and have a VIDEO_TS or HVDVD_TS folder, you can test it using the Apple DVD Player. This process allows you to verify your project using the actual compiled files. An advantage of using the Apple DVD Player is that it can play directly from a VIDEO_TS or HVDVD_TS folder. It also allows you to select which VIDEO_TS or HVDVD_TS folder to play, if there are multiple folders on your system. Important: You must use DVD Player v4.6.6 or later with Mac OS X v10.4 Tiger to play the HVDVD_TS folder. In addition to testing with DVD Player, it is also recommended that you try your project on other DVD players. Some computer DVD players will play from the VIDEO_TS or HVDVD_TS folder, but may require the folder to be at the root level of your disk. To test on a standalone DVD player, you must go through the format process and create a DVD disc. This is the most comprehensive test you can perform on your project and is highly recommended. The Apple DVD Player works well as an emulation tool. It is provided with Mac OS X on computers with a DVD drive. It can play from a disc or from a specified VIDEO_TS or HVDVD_TS folder. It also processes any DVD@CCESS links you have added to your project. Note: To avoid conflicts, be sure to quit DVD Studio Pro before opening DVD Player. Once you have finished with DVD Player, be sure to quit it before opening DVD Studio Pro. To emulate your project with DVD Player 1 Quit DVD Studio Pro. 2 Open DVD Player by double-clicking its icon in the Applications folder. Chapter 22 Finishing a Project 575 3 To select a VIDEO_TS or HVDVD_TS folder, choose either File > Open DVD Video Folder or File > Open VIDEO_TS Folder (depending on your version of DVD Player), or press Command-O. 4 Use the navigation dialog to locate the VIDEO_TS or HVDVD_TS folder, then click Choose. 5 To play the VIDEO_TS or HVDVD_TS folder, do one of the following: • Click the Play button. • Press the Space bar. The title starts playing, based on its First Play action. Emulating DVD@CCESS Links DVD Player can process your DVD@CCESS links. You must first enable its DVD@CCESS capability. To emulate DVD@CCESS links with DVD Player 1 Choose DVD Player > Preferences. 2 Click the Disc tab. 3 Select the Enable DVD@CCESS Web Links checkbox. 4 Click OK. There are two types of DVD@CCESS links: those that use network access (such as connecting to a URL or sending an email) and those that open a file. When emulating a VIDEO_TS or HVDVD_TS folder, you can’t process links that open a file because the path you entered when setting the link most likely does not match the file’s current path (especially if the file is intended to be included on the DVD disc). To verify DVD@CCESS links that open a file, you must actually burn a DVD disc and emulate directly from the disc. See DVD@CCESS for details on using the DVD@CCESS feature. Emulating Dual-Layer Projects The build process for dual-layer projects is the same as for single-layer projects—it creates a single large VIDEO_TS or HVDVD_TS folder and compiles the files. You can emulate the project using DVD Player, but you will not be able to emulate the action at the dual-layer break point because it has not yet been set. (That happens in the format process.) Note: You can burn your dual-layer project to a double-layer disc to test the break point action. 576 Chapter 22 Finishing a Project Setting Disc Format Properties Before formatting and writing your DVD disc, DLT, or hard disk files, you must configure your disc’s format properties. Most of these settings can be made at any time in the authoring process. Additionally, you are given the opportunity to set these after you start the format process. The preformat disc properties include the following items from the Disc Inspector. See Setting Disc Properties for details on these settings. These same settings are in the format dialog that appears when you start the format process. In all cases, the items appear in the same tab in both the Disc Inspector and the format dialog. Any differences are listed below. • Disc Name: Located at the top of the Disc Inspector and in the General tab in the format dialog. • DVD-ROM: Located in the General tabs. The size of the DVD-ROM content appears in the format dialog. • Disc Information: Located in the Disc/Volume tab. • Volume Information: Located in the Disc/Volume tab of the format dialog. Shows the volume creation date. • Playable Region Codes: Located in the Region/Copyright tab. • Copyright Management: Located in the Region/Copyright tab. The Macrovision settings are disabled in the format dialog because these must have been set prior to building the project. • Destination: Located only in the format dialog’s General tab. See Output Type Settings for more information. About DVD-ROM Discs You can create either DVD-Video or DVD-ROM discs with DVD Studio Pro. • DVD-Video discs: Contain the VIDEO_TS or HVDVD_TS and AUDIO_TS folders only. • DVD-ROM discs: Contain the VIDEO_TS or HVDVD_TS and AUDIO_TS folders, as well as other files you specify. • ROM-only DVD discs: Do not contain the VIDEO_TS, HVDVD_TS, or AUDIO_TS folders—they contain only other files you specify. DVD-ROM discs, also known as hybrid discs, play on standalone DVD players the same way DVD-Video discs do. When played on a computer, however, the additional files on the disc can be accessed, either directly or as part of a DVD@CCESS link. See DVD@CCESS for more information on DVD@CCESS. Chapter 22 Finishing a Project 577 Note: The type of DVD project you are creating, SD or HD, determines the type of volumes that are created. SD projects create a UDF 1.02 volume and HD projects create a UDF 2.50 volume, regardless of the disc type actually being burned. UDF 2.50 volumes will not play in current SD DVD players and are not supported by older computers, including those running Mac OS X v10.3 Panther or earlier. Filenaming Issues with Red Laser Media A DVD-Video disc can contain several folders: VIDEO_TS, HVDVD_TS, AUDIO_TS, and JACKET_P. The filenaming structure within these folders is very strict and tightly defined, and conforms to the “8.3” specification. That is, only eight characters maximum are allowed, followed by a three-character extension. The only allowed characters are uppercase letters, numbers, and the underscore. The names of files on a red laser disc are kept track of in two volumes—a UDF 1.02 (Universal Disc Format version 1.02) volume and an ISO 9660 volume, which together are known as the UDF Bridge Format. The advantage of having the two volumes is that it makes the DVD disc usable on a wider variety of playback devices. A potential disadvantage is that each volume has its own filenaming rules. In the case of a DVD-Video disc, because the only files present are those within the VIDEO_TS and AUDIO_TS folders, the names in both volumes are identical. A DVD-ROM disc also contains the VIDEO_TS and AUDIO_TS folders, and each must follow the same strict filenaming rules that apply to a DVD-Video disc. The difference is that the disc also contains folders and files outside of these normal DVD-Video folders. In addition, a third volume, the Joliet volume, may be created. As soon as you choose the DVD-ROM Content checkbox, the Joliet Extension Support checkbox becomes active. Use this to control the filenaming conventions applied to those nontraditional files. The following sections describe the filenaming conventions that apply to the different types of volumes on a DVD. UDF 1.02 Volume All SD DVDs using red laser media have a UDF 1.02 volume. The UDF volume always supports long (up to 255 characters) Unicode filenames. Unicode is a double-byte system allowing far more characters than the standard ASCII (single-byte) system. This is very useful when you want to use Japanese characters, for example. It also supports folders with extensions. Note that some operating systems prohibit the use of certain characters ( \ / ? : “ < > | ) in filenames. Standalone DVD players use the UDF volume to begin playing a disc, but only to locate the first files. They never go beyond the VIDEO_TS and AUDIO_TS directories. Macintosh computers using Mac OS 9 and Mac OS X use the UDF volume. 578 Chapter 22 Finishing a Project ISO 9660 Volume All DVDs also have an ISO 9660 volume. This volume only supports filenames with single-byte ASCII characters. The ISO 9660 volume must conform to the “26.3” specification, similar to the “8.3” specification mentioned earlier (26 characters maximum followed by a 3-character extension; the only allowed characters are uppercase letters, numbers, and the underscore). In addition, folders cannot have extensions in their names. Filenames are automatically truncated and invalid characters replaced with an underscore. Filenames using double-byte characters exclusively are renamed as FILE_1, FILE_2, and so on. Joliet Volume Once you have selected the DVD-ROM Content checkbox, the Joliet Extension Support checkbox becomes active. Important: The Joliet Extension Support checkbox is only applicable when writing to red laser media. It has no effect when writing to blue laser media. Selecting the Joliet Extension Support checkbox forces the creation of the Joliet volume. This volume supports long Unicode filenames, just like the UDF volume, but has a limit of 110 characters. Folders with extensions are also supported. Filenames longer than 110 characters are automatically truncated. When not selected, the Joliet volume is not created. Note: In rare cases, enabling the Joliet Extension Support checkbox and adding a number of files with extended character set names to the disc may create playback problems on some older DVD players. Select it only if you need to include such files and can test the disc on your intended players. Filenaming Issues with Blue Laser Media Blue laser media contains only one volume—a UDF 2.5 volume. For the purposes of filenaming, a UDF 2.5 volume has the same rules as the UDF 1.02 volume found on red laser DVDs. See UDF 1.02 Volume for more information. Important: Older computer operating systems, including Mac OS X v10.3 Panther and earlier, and DVD players do not support UDF 2.5 volumes whether on red or blue laser discs. Creating ROM-Only DVD Discs You can use DVD Studio Pro to create DVD discs that contain only ROM data. The advantage of using DVD Studio Pro to do this (as opposed to using the Finder) is that, depending on whether you are using red laser or blue laser media, the volumes that are created are compatible with the DVD specification. To create a ROM-only DVD disc 1 Do one of the following: • Select the project’s name (next to the disc icon) in the Outline tab. Chapter 22 Finishing a Project 579 • Click an empty area in the Graphical tab. The Disc Inspector appears. 2 Click the General tab in the Disc Inspector. 3 Select the SD DVD setting for DVD Standard to write to red laser media, or the HD DVD setting to write to blue laser media. 4 Do one of the following: • Choose File > Advanced Burn > Format (or press Command-F). • Click Format in the toolbar. The format dialog appears. By default, DVD Studio Pro assumes you want to format the project that was built last. The settings in the format dialog are set to match the last build. 5 Verify the settings in the Disc/Volume and Region/Copyright tabs are correct. This includes making sure the correct media type (red or blue laser) is selected as well as the layer options (single or dual). 6 In the General tab’s Source section, do one of the following: • Use the Current Source pop-up menu (labeled “Choose”) to navigate to a folder without a VIDEO_TS or HVDVD_TS folder. • Highlight and delete the text displayed in the Location text entry area. An alert appears warning you that no DVD content could be found in that location. 7 Configure the DVD-ROM Data section. 8 Configure the Destination section in the General tab in the format dialog. This is where you select and configure the output type. See Output Type Settings for more information. 9 Click Burn to start formatting the project if you are writing to DVD or DLT, or Format if you are writing to a hard disk. About Dual-Layer Discs Dual-layer discs present several challenges: • You can only fully test the break point if your system can burn to double-layer media: When you burn a dual-layer project to a double-layer disc using DVD Studio Pro, the break point, where the DVD player switches from one layer to the other, is placed as it would be with a replicated disc. See Emulating Dual-Layer Projects for more information. Note: DVD Studio Pro also allows you to burn a dual-layer project to a single-layer disc. In this case, all of the first layer and as much of the second layer as possible is written to the disc, with the marker that is used as the break point set to be non-seamless (unless you have chosen the seamless layer change setting). 580 Chapter 22 Finishing a Project • The second layer’s direction must be selected: You need to decide whether to use the Parallel Track Path (PTP) or Opposite Track Path (OTP) direction. See Setting the Dual-Layer Direction for more information. • A break point must be chosen: The point where the first layer ends and the second begins can be chosen automatically by DVD Studio Pro, or you can select the track marker that serves as the break point. See About Choosing a Dual-Layer Break Point for more information. Dual-layer discs allow you to place nearly twice as much content on a single disc side, but there is a downside to this method: At some point, the DVD player must switch from reading the first layer to reading the second layer. Switching between layers requires the player’s laser to refocus and then locate the sector at which to start playing. During this time, the video image freezes, which may confuse viewers or make them think the disc is defective. There are two things you can do to minimize the effect of this switch time: Use the OTP direction to minimize how long it takes, and choose a break point where a freeze is not as noticeable. Alternatively, you can choose to use a seamless layer change. Choosing Seamless or Non-Seamless Layer Changes DVD Studio Pro includes a setting that allows you to choose between a seamless layer change or a non-seamless layer change. With the seamless layer change, the switch between the first and second layer is less detectable. With the non-seamless layer change, there is a short pause when the DVD player switches between the layers. While the seamless layer change would appear to be the best choice, some DVD players do not support the seamless feature, and may stop playing the disc once the switch point is reached. For that reason, it is strongly suggested that you use the default non-seamless layer change setting. To change the layer change setting 1 Click the Disc/Volume tab in the Disc Inspector. 2 Do one of the following: • To use the normal layer change setting: Leave the Seamless checkbox deselected. • To force a non-standard seamless layer change setting: Select the Seamless checkbox. Setting the Dual-Layer Direction The disc’s first layer always starts on the inside edge, near the disc’s spindle hole. The disc plays from this point toward the outer edge. Chapter 22 Finishing a Project 581 It is the second layer’s direction that you have to choose. With the Parallel Track Path (PTP) setting, the second layer is configured exactly like the first layer—it begins on the inside and plays toward the outside. With the Opposite Track Path (OTP) setting, the second layer begins on the outside edge and plays toward the inside. Note: Double-layer discs require you to use the OTP setting. With the PTP setting, the DVD player will need more time when switching between layers because the laser must be repositioned from one end of the disc to the other. Using the OTP setting minimizes the time needed to reposition the laser because the end of the first layer is near the beginning of the second layer. Important: When using the OTP setting, the first layer must be larger than the second layer. About Choosing a Dual-Layer Break Point Several factors need to be taken into account when you choose where to place the dual-layer break point: • Break points must be on track markers: When you choose the break point, you get a list of track markers to choose from. In some circumstances, you may need to place a marker on a track just for this purpose. See Setting the Dual-Layer Break Point for more information. Note: In some special cases, you can set your dual-layer break point in the DVD-ROM area. See Setting the Break Point with Large DVD-ROM Contents for more information. • Break points need to be placed so that the first layer is mostly filled: A red laser dual-layer disc can hold 7.95 binary gigabytes and a blue laser dual-layer disc can hold 27.94 binary gigabytes. (See Making Sure Your Content Will Fit for information on disc sizes and DVDs.) Each red laser disc layer can hold approximately 3.9 binary gigabytes, and each blue laser disc layer can hold approximately 13.9 binary gigabytes. The closer your project comes to filling the disc, the more critical it is that you get as much content as possible on the first layer, and place the break point accordingly. Additionally, using the OTP direction setting requires the first layer to be larger than the second layer. See Manually Determining the Break Point Position for information on determining at which track the first layer will be filled. • Break points are best when they are not noticed: A layer switch that occurs during a tense action-packed scene can disrupt the viewer’s attention. When possible, it is best to place the break point in a scene with little action, or even better, at a scene transition, such as a fade to black. 582 Chapter 22 Finishing a Project Setting the Break Point with Large DVD-ROM Contents Authoring a project that contains a small amount of DVD-Video data with a large amount of DVD-ROM data requires special handling for placing the break point. For example, you might author a project for a dual-layer red laser disc that contains 2 GB of DVD-Video data and 6 GB of DVD-ROM data. In this case, you will not be able to set a break point at a track’s marker because the DVD-ROM data will not fit on a single layer. In these cases, setting the break point to Automatic places the break point in the DVD-ROM data. Setting the Dual-Layer Break Point There are several methods you can use to set a dual-layer break point: • The automatic method: By default, once you configure the disc as dual-layer, Automatic is selected as the break point in the Disc/Volume tab in the Disc Inspector. With this setting, DVD Studio Pro chooses the last marker that fits in the first layer. In cases where there is a large amount of ROM data, the automatic method can also place the break point in the ROM data. See Setting the Break Point with Large DVD-ROM Contents for more information. If you are using the Build/Format command, the automatic method has the greatest chance of success, because it will be able to choose the break point marker once the build process is finished without having to pause for you to choose the marker to use. It is possible that your project does not have a suitable marker for use as the dual-layer break point. In that case, the format is canceled and you must add a suitable marker to a track in your project. (Another option might be to rearrange the order of the tracks in the VTS Editor. See Moving Elements from One VTS to Another for more information.) See Manually Determining the Break Point Position. • Assign a break point marker in the Track Editor: This method allows you to choose the marker to use as the break point while working with your tracks. The disadvantage of this method is that, until you build your project, it can be difficult to choose a suitable marker as the break point. This is especially true if your project has a lot of transitions or you are using assets that have not yet been MPEG-2 encoded. If you choose an inappropriate marker, the format process will automatically cancel, with a dialog advising you of the problem it encountered. • Choose the break point marker when you start the format process: After you have built your project, the Dual-Layer Break Point pop-up menu in the Disc/Volume tab in the format dialog shows all suitable markers that you can choose from, with those that are inappropriate dimmed. This option has the advantage of letting you choose the marker to use from a list of known suitable markers. The disadvantage is that you have to build your project first. Chapter 22 Finishing a Project 583 As with the automatic method, it is possible that there are no suitable markers, with no markers appearing in the pop-up menu. This means that you will have to add a suitable marker to a track in your project, or try rearranging the tracks in the VTS Editor. See Manually Determining the Break Point Position. Manually Determining the Break Point Position You can usually determine which track will be playing at the point where the break point is set by looking at the contents of the VIDEO_TS or HVDVD_TS folder. DVD Studio Pro writes the tracks to disc in their order in the Outline tab’s By VTS display. For SD projects, the first track listed becomes VTS_01_1.VOB, VTS_01_2.VOB, VTS_01_3.VOB, and so on (depending on the size of the track’s assets, with each VOB file being a maximum of 1 GB). The second track becomes VTS_02_1.VOB, and so on. For HD projects, the first track listed becomes HV001T01.EVO, HV001T02.EVO, and so on, with each EVO file being a maximum of 1 GB. The second track becomes HV002T01.EVO. See Standard SD DVD Video Zone Files and Standard HD DVD Video Zone Files for more information on identifying the files and on determining which files contain the menus, which will allow you to take them into account. For example, when authoring for a red laser disc, by adding the file sizes together, starting with VTS_01, you can determine at which track the first layer’s 3.9 GB limit will be reached, and even get a rough idea of where in that track this will happen. You may decide to reorder the tracks with the VTS Editor to ensure the break happens in a noncrucial track. About Two-Sided Discs A two-sided disc is a disc with separate projects on each side. Within DVD Studio Pro, you must create an independent project for each side. Some replication facilities allow you to have a single-layer project on one side and a dual-layer project on the other. Formatting Your Project Once you have built your project and set the preformat properties, you are ready to format it. The format process creates an output formatted for your output type: • A DVD burning drive • A DLT drive • A hard disk Each output type has its own settings that need to be configured before the actual format process begins. 584 Chapter 22 Finishing a Project In addition to the VIDEO_TS or HVDVD_TS folder, there are other items that can be part of the format process: • A folder specified by the DVD-ROM content setting • DVD@CCESS Installers You can change or set the folder to use for DVD-ROM content either when specifying the preformat settings or while configuring the format process. The DVD@CCESS Installers are included if the project used DVD@CCESS links and the Embed Text Data checkbox in the Disc Inspector is selected. See DVD@CCESS for more information on DVD@CCESS. You can also choose to read content from a DLT drive and format that content. See Reading a DLT Drive for more information. Starting a Format Process You can set the format process to start automatically after a build or you can manually start the format. In either case, a window appears at the beginning of the format process; you can set the format properties here, if you have not already set them in the Disc Inspector. To format your project 1 Do one of the following: • Choose File > Advanced Burn > Format (or press Command-F) to perform a format only. • Click Format in the toolbar to perform a format only. • Choose File > Advanced Burn > Build and Format (or press Command-Option-F) to perform both a build and a format. See About the Build/Format Command for more information. • Click Build/Format in the toolbar to perform both a build and a format. Chapter 22 Finishing a Project 585 The format dialog appears. By default, DVD Studio Pro assumes you want to format the project that was built last. The settings in the format dialog are set to match the last build. It is a good idea to verify that the settings in the General, Disc/Volume, and Region/Copyright tabs are correct. You can use the Choose button next to Current Build to select a folder that contains the VIDEO_TS or HVDVD_TS folder you want to format. Important: DVD Studio Pro attempts to find the .layout and .LAY files in the VIDEO_TS or HVDVD_TS folder you choose. An error message appears if they are not found, and in this case, you must manually configure the settings in the General, Disc/Volume, and Region/Copyright tabs. Additionally, if the VIDEO_TS or HVDVD_TS folder contains a dual-layer project, you are not able to specify the break point and must use the automatic method. See Non-Standard SD DVD Video Zone Files and Non-Standard HD DVD Video Zone Files for more information. 2 Configure the Destination section in the General tab in the format dialog. This is where you select and configure the output type. See Output Type Settings for more information. 3 Click Burn to start formatting the project if you are writing to DVD or DLT, Format if you are writing to a hard disk, or Build & Burn if you used the Build/Format command. The format process begins and a progress bar appears that shows the format steps currently being performed. 586 Chapter 22 Finishing a Project Output Type Settings Once you start the format process, you can configure the output type you want to format to. The Destination section in the General tab in the format dialog contains the output type settings. • Output Device: Use this pop-up menu to choose the actual device to format to. It displays a list of your system’s suitable output devices, including DVD-R drives, DLT drives, and the system’s hard disk drive. The other Destination settings change depending on the device you select. See Output Devices for details on the devices available. • DVD-R Simulation Mode: This is active only when writing to a DVD-R drive. When selected, the format goes through the motions of writing to the DVD-R drive, but does not actually write to the disc. Note: This mode can only be used with DVD-R media. It cannot be used with DVD+R media. This is useful when you want to ensure that your system is able to support writing to a disc without any buffer underrun issues. Buffer issues indicate that data is not flowing smoothly and continuously from the source disk to the DVD-R drive. This can be caused by a slow device (for example, a networked hard disk) or a system that is too busy doing additional tasks. (A buffer underrun error that occurs while data is actually being written to a disc results in an unusable disc.) Once you finish the simulation with no problems, you can deselect the DVD-R Simulation Mode checkbox and feel comfortable that you can safely burn a DVD. • Lossless Linking: This checkbox is active only when writing to a DVD-R drive that supports this feature. When selected, it adds protection against buffer underrun conditions by allowing the drive to pause during the writing process, and then pick up where it left off once additional data becomes available. For normal DVD burning, especially on systems that may be prone to having buffer underrun conditions, it is suggested to select Lossless Linking. While Lossless Linking usually results in a flawless write process, there is a slight potential for an error to be introduced. If you are burning a disc for use by a replication facility, you may want to deselect Lossless Linking so that you can ensure that your disc is written without interruption. Chapter 22 Finishing a Project 587 • Output Format: Depending on the selected output device, there may be multiple formats available. Use this pop-up menu to select the specific format to use. See Output Devices for details on the formats available for each device. Output Devices There are three output device types that you can format your project for: DVD drives, DLT drives, and your system’s hard disk. DVD-R Drives With respect to formatting, DVD drives can be one of two types: • Authoring: These drives use authoring media and are capable of writing Cutting Master Format (CMF) discs, which provide advanced features when working with a replicator. The most common authoring drive used is the Pioneer S201. With an authoring drive, you can set the Output Format to either Standard or CMF. See The Cutting Master Format for more information on CMF discs. • General: These drives use general media and cannot write CMF discs. The Apple SuperDrive is the most common drive used for writing general media discs. Depending on your system, the SuperDrive is listed in the Output Device pop-up menu as a Pioneer DVR-103, a Pioneer DVR-104, a Pioneer DVR-105, or a Matshita UJ-815. Note: The list of drives used as SuperDrives will continue to change as newer drives become available. DLT Drives You have three output format options when formatting an SD project to a DLT drive: • DDP 2.0: Writes to the tape using the Data Description Protocol using DDP version 2.0. • DDP 2.1: Writes to the tape using the Data Description Protocol using DDP version 2.1. • CMF 1.0: Writes to the tape using the CMF format version 1.0. If this is a dual-layer project, you will be required to write two tapes—one for each layer. Important: You cannot use the DLT format to deliver your HD DVD projects to a replicator. Hard Disk In most cases, when you use the format process you will be writing directly to a DVD or DLT drive. Writing to the hard disk can be useful if you do not have a DVD or DLT drive available. For example, if you have a project that needs copyright management and you don’t have an authoring DVD-R drive or a DLT drive to get the project to your replicator, you can use a DDP or CMF output option and write the files to your hard disk. You can then copy the files as data to a general DVD disc or a FireWire drive for transport to your replicator. You may even be able to electronically copy the files to your replicator’s server over the Internet. 588 Chapter 22 Finishing a Project Important: Be sure to verify with your replicator that they are able to work with files given to them this way. Additionally, be sure to find out which output option (DDP 2.0, DDP 2.1, or CMF 1.0 for SD projects and DDP 3.0 or CMF 2.0 for HD projects) they need you to use. You have six output format options when writing to your hard disk: • DDP 3.0: HD projects only. Use this (Data Description Protocol) option to create a file compatible with DLT drives using DDP version 3.0. This DDP option is required for HD projects when you need to use a DDP format. • DDP 2.0: SD projects only. Use this (Data Description Protocol) option to create a file compatible with DLT drives using DDP version 2.0. • DDP 2.1: SD projects only. Use this (Data Description Protocol) option to create a file compatible with DLT drives using DDP version 2.1. • CMF 2.0: HD projects only. Writes to the tape using the CMF format version 2.0. This CMF option is required for HD projects when you need to use a CMF format. • CMF 1.0: SD projects only. Use this option to create a file compatible with authoring DLT and DVD-R drives using CMF format version 1.0. • .img: Use this option to create a disk image. With a dual-layer project, a single “.img” file contains the entire project, without any break point information. If you select your hard disk drive as your output device, you will be asked where you want the format to be written to. Important: The format files will require the same amount of space as the build’s VIDEO_TS or HVDVD_TS folder plus any DVD-ROM content you have included. Be sure you have enough free hard disk space before clicking Format. If you are formatting a dual-layer project and use either DDP or CMF as the output format, two folders are created—one for each layer. Each folder contains all the information required by a replicator. If you use .img as the output format, one file is created, even for dual-layer projects. The Cutting Master Format There are some features of the DVD specification that you cannot include on red laser DVD-R discs that you burn with your system. These features, which must be added by a replication facility, include: • Copyright management (including CSS and Macrovision) • Double-sided disc information Chapter 22 Finishing a Project 589 Traditionally, the only way to include these features on your replicated disc was to use a DLT drive. The Cutting Master Format (CMF) has been adapted to the DVD-R format so that now you can burn a DVD-R disc on your system and a replication facility can use that disc and include these features on the discs they make. CMF for DVD-R is only supported by authoring drives and media. Not all replication facilities support CMF discs; be sure to check with them ahead of time. Also, discs formatted as CMF may not play correctly on all DVD players. Only use CMF when supplying a disc to a replication facility. Important: Only a replicator can create DVDs with copyright management features. Using CMF discs allows you to format the data properly so that the replicator can add the copyright information. Reading a DLT Drive With DVD Studio Pro, you can copy the contents of a DLT drive to your hard disk as a disk image file. If the disk image is a single-layer project, you can then use the format feature to write the file to a second tape or to a DVD-R disc. By opening the disk image, you can access the VIDEO_TS or HVDVD_TS folder. This technique can be useful if you want to verify the DLT tape’s contents, make a backup of a DLT tape, or burn a DVD of a previous project without having to load the project and all its assets onto your system. To read a DLT drive 1 Make sure the DLT drive is connected and the tape is inserted. 2 Click Read DLT in the toolbar. 3 Select the location for the tape’s contents to be written to in the dialog that appears. 4 Click Open to start the process. If the tapes are from a dual-layer project, you are prompted to insert the second tape once the first has been read. The contents of the second tape are appended to the first tape’s contents. Important: When you read from a DLT drive, the “.layout” file that DVD Studio Pro uses to track the copy protection settings, position of the dual-layer break point, and other format related settings is not available. This means that, for single-layer projects, you have to verify the settings in the format dialog before you burn a DVD or write a new DLT from the file. It also means that you cannot burn a DVD or write a new DLT of a dual-layer project. 590 Chapter 22 Finishing a Project DVD Studio Pro contains a number of advanced features that are used mostly in specialized projects: VTS Editor, DVD@CCESS, user operations, display conditions, remote control settings, and Line 21 settings. In most cases, these features are available in several elements, such as menus and tracks. This chapter covers the following: • VTS Editor (p. 591) • DVD@CCESS (p. 598) • User Operations (p. 602) • Display Condition (p. 607) • Remote Control Settings (p. 612) • Line 21 Settings for Closed Captions (p. 614) VTS Editor The VTS Editor allows you to verify and control the VTS (Video Title Set) structure of your project. Using the VTS Editor, you are able to manually assign elements to VTS blocks. This makes it possible for you to optimize the final DVD’s layout so that when it’s played there are minimum pauses due to the player having to move between elements in different parts of the disc. For most projects, the VTS assignments automatically made by DVD Studio Pro while you build your project will work fine. However, complicated or specialized projects using many scripts and menus can have their playback performance improved by manually moving elements between the VTS blocks. 591 Using Advanced Features 23 About VTS Blocks The contents of a video DVD are contained in one or more VTS blocks. In DVD Studio Pro, each track and slideshow must reside in its own VTS. Additionally, each VTS has a structure to support one or more menus and one or more scripts. Also, all DVDs have a video manager that knows the VTS structure of the disc. Video Title Set (VTS) blocks (up to VTS_99) VTS_01 VTS_02 VTS_03 Main content space (8 GB maximum) Menu space (1 GB maximum) Script space VTS block detail Video manager Menus and VTS Blocks All menus in a VTS must use the same video and audio settings, including formats, aspect ratios, resolutions, and in the case of audio, sample size. For example, if you have some menus using AIFF audio and others using AC-3, they must be placed in different VTS blocks. DVD Studio Pro automatically places menus into VTS blocks as needed by their assets. Each VTS in an SD project is limited to a single file to hold the menu content, with a maximum file size of 1 GB. If you have a lot of motion menus, you may exceed this limit and need to split the menus between multiple VTS blocks. Note: A single VTS in an HD project can contain up to 99 1 GB files for menus. DVD Playback and VTS Blocks When you play a DVD and a jump must occur, such as when a menu button is selected that jumps to a track’s chapter marker, there is a slight pause while the DVD player’s laser locates where to jump to on the disc. • If the track is in a different VTS block than the menu: The laser must first jump to the video manager files, and from there on to the track’s VTS. • If the track is in the same VTS block as the menu: The laser is able to go directly to the track. 592 Chapter 23 Using Advanced Features You can improve a disc’s playback performance by keeping related elements together whenever possible. For example, you should place the scripts used with a specific track in the same VTS as the track. Because menus often link to multiple tracks or slideshows, you will not be able to keep them together with everything they can jump to. However, you can minimize the time a DVD player spends jumping from the menu to the video manager files by keeping the menus in the first VTS, which is physically located close to the video manager files. See Standard SD DVD Video Zone Files for more information. Showing the VTS Editor The VTS Editor is located in the Outline tab. By default, the VTS Editor is hidden in the Outline tab. Indicates that the project’s elements are listed by their type, with no VTS information. Alternate View button swaps view between By Type and By VTS. Adds a new empty VTS (active only when the By VTS display is visible). Drag this edge to split the tab and show both By Type and By VTS. To show the VTS Editor Do one of the following: μ Click the Alternate View button. Chapter 23 Using Advanced Features 593 The Outline tab changes from the current display, either By Type or By VTS, to the alternate display. If the display is in a split-view mode (showing both By Type and By VTS), clicking the Alternate View button swaps sides between the two views. μ Drag the partition toward the tab’s center. The partition edge can be on the left or right—it is the side that has the handle indication. Comparing the By VTS and By Type Displays The elements in the By VTS and By Type displays are very similar and can be used to do many of the same things. For example, double-clicking an element in either display opens it in its editor and inspector. (Selecting an element in one display also selects that same element in the other.) 594 Chapter 23 Using Advanced Features The primary difference is in how they are organized. • By VTS: Lists the elements based on the VTS they belong to. A VTS can have only one track (which can also have stories) or one slideshow, but it can have multiple menus and scripts. • By Type: Lists the elements based on their type (menus, tracks, slideshows, and scripts). See Using the Outline Tab for more information on using the By Type display. Note: The Languages section in the By Type display does not represent actual elements—it represents languages that can be used for the menus. It does not appear in the By VTS display because it is not specific to a VTS. Moving Elements from One VTS to Another You can move elements from one VTS to another by dragging. This is most often done to place scripts and menus in the same VTS blocks as the tracks or slideshows they most closely relate to. To move an element to a different VTS μ Select the element and drag it to the destination VTS block’s name. As you drag the element, a black box surrounds the VTS name that it will be moved to as you pass over it. Releasing the element places it in that VTS. The element has a “pin” added to its icon to indicate it has been manually placed in that VTS. Once you start dragging the element, all incompatible VTS blocks (containing pinned incompatible menus) have their names struck through and yellow warning triangles placed in front of them. If you move a menu into an incompatible VTS, a warning appears, and the incompatible menus have a line through their names. See About Pinning Elements in the By VTS Display for more information. Important: It is possible to manually move incompatible menus to the same VTS. The project will not build, however. Chapter 23 Using Advanced Features 595 About Pinning Elements in the By VTS Display As you create elements for your DVD project, DVD Studio Pro automatically places them in appropriate VTS blocks. For example, if you create a menu that uses a different audio format than the others, it is automatically placed in a separate VTS. If you manually move an element from one VTS to another, the VTS Editor indicates it with a pin on the element’s icon. The pin indicates that the element was either manually placed in this VTS or has been “pinned” to it. You can also pin an element to a VTS to prevent DVD Studio Pro from moving it to another VTS. To pin an element to a VTS μ Control-click the element in the By VTS display, then choose Pin Element Type to Video Title Set from the shortcut menu, with Element Type being the type of element being pinned (menu, script, and so on). To unpin an element from a VTS μ Control-click the element in the By VTS display, then choose Pin Element Type to Video Title Set from the shortcut menu, with Element Type being the type of element being pinned (menu, script, and so on). (Because the element was pinned, it has a checkmark next to this entry in the shortcut menu.) Once it is unpinned, the element is moved to the VTS where DVD Studio Pro would normally automatically place it. Adding Additional VTS Blocks You can add additional VTS blocks to your project as needed. To add a VTS to your project 1 Ensure the By VTS display is visible by doing one of the following: • Click the Alternate View button. 596 Chapter 23 Using Advanced Features • Drag the partition toward the center of the Outline tab. 2 Do one of the following: • Control-click in the By VTS display, then choose Add Video Title Set from the shortcut menu. • Click the Add VTS button along the top of the Outline tab. A project can have up to 99 VTS blocks. The actual number of VTS blocks you can have depends on the number of stories in your project. Even though stories do not get placed in their own actual VTS blocks (they share the VTS block that contains the track they are related to), they use virtual VTS blocks. For example, a project with five stories can have a maximum of 94 actual VTS blocks. If any VTS blocks are empty when you build the project, you are asked if you want them to be deleted. While it does not violate compatibility with the DVD specification to have empty VTS blocks in the build, they do use a small amount of disc space. Additionally, each VTS block that does not contain a track or slideshow reduces by one the total number of tracks, slideshows, and stories your project can have. VTS Inspector You can see the properties of a VTS block by clicking its name in the VTS Editor. The VTS Inspector shows the name of the VTS block and its audio and video properties. The properties are defined by the menus assigned to the VTS. If there are no menus in the VTS, these properties are left blank. It is these properties that determine whether or not any new menus that are added are compatible. Chapter 23 Using Advanced Features 597 DVD@CCESS The DVD@CCESS feature allows you to add additional interactivity to your DVD title when it is played on a computer. For example, you can set a marker so that when it is reached, the computer’s web browser opens and is directed to the specified URL, which can be a website on the Internet or an HTML file on the DVD. DVD@CCESS is compatible with both Macintosh computers and most Windows-based computers. See Configuring Computers for DVD@CCESS Playback for details on configuring both types of computers. While the most common use of DVD@CCESS is to link to a website, you can also use it to open a program to view other types of files, such as PDF, PICT, or JPEG files. You can use DVD@CCESS links for: • Internet access: You can enter a URL that links to a specific page on the Internet. • Opening a file: You can enter a filename. As long as the file type can be recognized by the computer’s operating system and a suitable application for that file type is available, the application opens and displays the file. Most often you will want to link to a file that you have included on the DVD. • Email: You can enter an email address. The computer’s default email application opens, creates a new email, and enters the address you specify as the recipient. Creating DVD@CCESS Links in Your Project There are three elements within DVD Studio Pro that can include DVD@CCESS links: • Menus: Each menu can have a DVD@CCESS link. The link is activated as soon as the menu is displayed. While you cannot assign a DVD@CCESS link directly to a button, you can assign the link to a menu that appears only when you click that button. • Markers: Each marker within a track can have a DVD@CCESS link. The link is activated as soon as you reach the marker while playing the track. • Slideshow slides: Each slideshow slide can have a DVD@CCESS link. The link is activated as soon as the slide starts playing. The DVD@CCESS settings appear in the Inspector of each element. To enter a DVD@CCESS link 1 Select the item to add the link to. Its Inspector appears. 2 Select the DVD@CCESS checkbox to enable the link for the item. 598 Chapter 23 Using Advanced Features 3 In the Name field, enter text to help you remember what the DVD@CCESS link is for. This text is not seen by the viewer and is only for your use while authoring the title. It can be helpful because the link text is often difficult to interpret directly. 4 Enter the link text in the URL field. This is the text that gets processed during playback. See Rules for Entering DVD@CCESS Links for guidelines on entering the links. Note: The Embed Text Data checkbox in the Advanced tab in the Disc Inspector is automatically selected when you add DVD@CCESS links to your project. Configuring a DVD@CCESS link to a file included on the DVD requires some additional steps. To enter a DVD@CCESS link to a file on the DVD 1 Select the item to add the link to. Its Inspector appears. 2 Select the DVD@CCESS checkbox to enable the link for the item. 3 In the Name field, enter text to help you remember what the DVD@CCESS link is for. 4 Enter the link text in the URL field. This is the text that gets processed during playback. To link to a file located on the DVD, you would enter: file:///DVDName/FolderName/FileName where DVDName is the name of the disc entered in the Disc Inspector, FolderName is the folder the file will be in on the DVD, and FileName is the file (the name must include an extension such as .pdf or .jpg). 5 Do one of the following to open the Disc Inspector: • Click an empty area in the Graphical tab. • Click the disc icon in the Outline tab. 6 Click the General tab in the Disc Inspector. 7 Select the Content checkbox. 8 Choose the folder that contains the folders and files you want to include on the DVD. Note: The actual folder you choose is not included on the DVD—only the folders and files contained within it are added to the root level of the DVD. Rules for Entering DVD@CCESS Links Enter your links in the following format: Note: The entry cannot contain any spaces. • Internet links: Enter the entire link. For example: http://www.apple.com Chapter 23 Using Advanced Features 599 • File links: To view a file you have placed in a folder on the DVD, enter: file:///DVDName/FolderName/FileName where DVDName is the name of the disc entered in the Disc Inspector, FolderName is the folder the file will be in on the DVD, and FileName is the file (the name may include an extension such as .pdf or .jpg). The file path information is case-sensitive. Be sure you enter it exactly right. Additionally, what you enter for FolderName is not the same folder you enter as the DVD-ROM Location in the General tab of the Disc Inspector—it is actually the name of the folder that is placed at the root of the disc. See DVD-ROM for more information. Important: Filenames and paths using double-byte characters may not work correctly on systems configured for single-byte characters. • Email links: Enter the email link as: mailto:yourname@yourplace.com Testing DVD@CCESS Links It is important to test the DVD@CCESS links you add to your project before committing the title to replication. The Simulator and the Apple DVD Player application can test most DVD@CCESS functionality. Using the Simulator You can use the Simulator to test DVD@CCESS links that rely on Internet access or email; you can also see the text of each link when it is reached during playback in the Simulator’s information drawer. The Simulator pane in DVD Studio Pro Preferences contains a setting that allows the Simulator to process DVD@CCESS links. See Simulator Preferences for more information. Using the Apple DVD Player You can use the Apple DVD Player application to test DVD@CCESS links that rely on Internet access or email. You must first build your project, creating the VIDEO_TS folder that DVD Player can open and play. Note: Be sure to select Enable DVD@CCESS Web Links in the Disc tab of DVD Player Preferences. Testing DVD@CCESS Links to Files with the Apple DVD Player Because the files you intend to include on the DVD for access by DVD@CCESS links are not in their actual locations until you create the DVD, you cannot test these links as easily as the others with the Apple DVD Player. To test DVD@CCESS links that rely on opening files located on the DVD, you can either: • Build and format the title and burn it to a disc: You can then test the disc on a variety of computers to verify that the links work as expected. 600 Chapter 23 Using Advanced Features • Build and format the title and write it as a disk image to your hard disk: The disk image contains the specified DVD-ROM content in addition to the VIDEO_TS and AUDIO_TS folders. Using the Apple DVD Player, you can play the disk image as if it were a burned DVD, and the DVD@CCESS links that rely on the DVD-ROM files can be tested. Configuring Computers for DVD@CCESS Playback Any DVD discs burned by DVD Studio Pro that include DVD@CCESS links also include an Installer for a small program that allows Windows computers to process the links. This program needs to be installed only once on a computer—it is not specific to that DVD title and will work with all DVD titles that use DVD@CCESS. The Installer is located on the DVD in the DVD@CCESS folder, along with installation instructions. Macintosh Computers In the Apple DVD Player version 2.4 and later, DVD@CCESS playback functionality is built in. When using version 2.4 or later of the Apple DVD Player, you need to configure it to process the links. Select Enable DVD@CCESS Web Links in the Disc tab in DVD Player Preferences. Windows Computers The DVD@CCESS Installer for Windows installs a program that works with most DVD player applications and Windows computers to process the DVD@CCESS links in the DVD title. See DVD Studio Pro Late-Breaking News, accessible through DVD Studio Pro Help, for specific information on known issues. Including the DVD@CCESS Installer with a DVD The DVD@CCESS Installer is automatically added to a DVD when you burn it directly from DVD Studio Pro. When you need to burn your DVD using another method, the Installer is not automatically added. You can manually add the Installer to the disc by copying it from the DVD Studio Pro application package. Important: Be very careful when working within the DVD Studio Pro package. You can easily corrupt the data, lose custom settings, and be forced to reinstall DVD Studio Pro. This procedure should only be followed if you understand the concept of opening an application’s package and working within it. To copy the DVD@CCESS Installer manually 1 Locate the DVD Studio Pro application icon in your computer’s Applications folder. (This is the default location; the application may be located elsewhere depending on how it was installed.) Chapter 23 Using Advanced Features 601 2 Control-click the icon, then choose Show Package Contents from the shortcut menu. The package opens in a Finder window. 3 Open the Contents folder, then the Resources folder. The DVDccess folder is in the Resources folder. 4 Copy the DVDccess folder to your desktop by holding down the Option key and dragging. This leaves the original in place and makes a copy you can add to your DVD. 5 Close the package’s Finder window. User Operations You can disable various viewer operations in menus, tracks, stories, and markers. For example, you may want to prevent the viewer from skipping through the FBI warning. By providing this ability for individual menus, tracks, stories, and markers, DVD Studio Pro allows you to be very specific about which elements have disabled operations. Setting User Operations To disable specific viewer controls for a menu, track, story, or marker, use the user operations settings. Note: Selecting an item in the User Operations tab disables that item. Selecting an item does not enable it. To set user operations 1 Select the element you want to work with to display its properties in the Inspector. 2 Click the User Operations tab in the Track, Marker, or Story Inspector or the Advanced tab in the Menu Inspector. 602 Chapter 23 Using Advanced Features 3 Select each item you want to disable. See User Operations Properties for a description of all the items. Click the triangles to show or hide each group’s items. Indicates some items in the group are selected. Select to disable all items in a group. You can also click Disable All to disable all items. You can then deselect any items to enable them. The Enable All button enables all items. When working with markers, you can also select Same as Track. This allows you to customize just those markers that require it. User Operations Properties The user operations are broken into four groups: Playback Control, Stream Selection, Menu Call, and Button. The following sections describe what happens when you select each item. Chapter 23 Using Advanced Features 603 Playback Control The Playback Control group contains the following settings. • Title Play: Available only in tracks, menus, and stories. Prevents jumping to a different title by entering a title number using a DVD player remote control. • PPT Search/PTT Play: Available only in tracks. Prevents jumping to or playing from a new chapter marker by using a remote control’s numeric keypad. PTT stands forpart of titleand corresponds to track sections defined by markers. • Time Search/Time Play: Available only in tracks. Prevents jumping to or playing from a new time by using a remote control’s numeric keypad. • Stop: Available in tracks, menus, stories, and markers. Prevents stopping movie playback before the end of the movie while a selected menu is displayed or until the next track, marker, or story is reached. • Resume: Available only in menus. Prevents resuming movie playback while a selected menu is displayed or until the next track, marker, or story is reached. • Time/PTT Search: Available only in tracks and markers. Prevents locating specific points in a video stream by entering an exact time. • Still Off: Available in tracks, menus, stories, and markers. By default, disabled in menus. Disables the ability to prevent a still image from stopping in a slideshow. In other words, allows a still image to be paused. • Pause On/Off: Available in tracks, menus, stories, and markers. By default, disabled in menus. Disables the pause on/off function during track playback until the next track, marker, or story is reached. • Forward Scan: Available in tracks, menus, stories, and markers. By default, disabled in menus. Prevents scanning forward through the disc. 604 Chapter 23 Using Advanced Features • Backward Scan: Available in tracks, menus, stories, and markers. By default, disabled in menus. Prevents scanning backward through the disc. • Next Program: Available in tracks, menus, stories, and markers. By default, disabled in menus. Prevents skipping forward through chapters. • Previous Program: Available in tracks, menus, stories, and markers. By default, disabled in menus. Prevents skipping backward through chapters. • Go Up: Available only in menus. Prevents using the Return button on a remote control. Stream Selection All items available in tracks, menus, stories, and markers. • Audio Stream Change: Prevents changing to an alternate audio track during movie playback until the next track, marker, or story is reached. • Subpicture Stream Change: Prevents viewing an alternate subpicture stream (another name for the subtitle stream). • Angle Change: Prevents viewing different camera angles of the same material. • Video Presentation Mode Change: Prevents switching between 4:3 and 16:9 aspect ratios or switching between pan-scan and letterbox presentations. Menu Call All items available in tracks, menus, stories, and markers. • Root Menu (DVD Menu): Prevents using the Menu button on a remote control to access a DVD menu that you have previously set up in the Connections tab. • Title Menu: Prevents using the Title button on a remote control to access a DVD menu that you have previously set up in the Connections tab. • Subpicture Menu: Prevents accessing the subtitle menu during movie playback. • Audio Menu: Prevents accessing the audio menu during movie playback. • Angle Menu: Prevents accessing the angle menu during movie playback. • Chapter Menu: Prevents accessing the chapter menu during movie playback. Chapter 23 Using Advanced Features 605 Button There is only one item in the Button group. • Selection/Activation: Available only in tracks, menus, and stories. Prevents selecting and activating button highlight areas. Getting Consistent Previous and Next Button Behavior The action that happens when a viewer uses the Previous or Next button to skip through chapter markers on a track and reaches the first or last marker can vary, depending on the DVD player. For example, if the viewer is at the last marker in a track and presses the Next button one more time, different DVD players will do different things. There are two common approaches that DVD players take: • The viewer is constrained to that track: Additionally, the Previous or Next button (depending on whether you have reached the first or last marker, respectively) is disabled. • The viewer is not constrained to that track: Additionally, the DVD player jumps to the previous or next track (which could also be a story or slideshow) and allows the viewer to continue skipping through that track’s markers. You can use user operations to force consistent behavior in these situations, ensuring that the viewer has the same experience regardless of which player they are using. To ensure consistent Previous and Next button behavior 1 Select a track in either the Outline or Graphical tab, or in the Track Editor. 2 Select the first marker in the Track Editor. The Marker Inspector appears, displaying that marker’s properties. 3 Click the User Operations tab. 4 Select the Previous Program checkbox. This disables the remote control’s Previous button for this marker, which prevents the viewer from skipping to a marker on a different track. 5 Select the last marker in the track. The Marker Inspector now displays that marker’s properties. 6 Click the User Operations tab. 7 Select the Next Program checkbox. This disables the remote control’s Next button for this marker, which prevents the viewer from skipping to a marker on a different track. 606 Chapter 23 Using Advanced Features Note: The same issue can occur with slideshows; however, you cannot correct it unless you convert the slideshow to a track. Display Condition The menus, tracks, and stories within DVD Studio Pro can have a display condition applied to them that determines whether they appear, and if not, what should appear instead. For example, based on the DVD player’s aspect ratio setting, the condition can determine whether to play the current track or a track that is better suited to the aspect ratio setting. Or, you can choose to show or not show a menu based on the language setting. By assigning a pre-script to the element or running a script before it is selected, you can include settings in the General Purpose Register Memories (GPRMs) as part of the condition. See Scripting Overview for information on setting up scripts. Comparing Display Conditions and Pre-Scripts All three elements (menus, tracks, and stories) that can have display conditions can also have pre-scripts. Pre-scripts are scripts that are assigned to an element. They can do everything a display condition can do and more. There are some specific differences to be aware of: • When an element has both a pre-script and a display condition, the pre-script executes first. • Pre-scripts only execute if you have jumped to the root of the element they are assigned to, either by choosing the element’s name in the Connections tab or the name in square brackets in the shortcut menus. If you connect directly to a marker, slide, or menu button, the pre-script does not run. Display conditions, however, run any time the element it is assigned to is jumped to, whether you jump to its root or to a specific marker, slide, or button. • On the DVD, pre-scripts are automatically placed with all other scripts in the VTS 1 file group. This can cause slight delays when executing them because the DVD player may have to jump significant distances to get to and from the script. Display conditions reside in the same file groups as the element they are assigned to, which makes them more efficient when playing. Note: You can use the VTS Editor to manually place pre-scripts in the same VTS block as the element it is assigned to. See VTS Editor for more information. Chapter 23 Using Advanced Features 607 Display Condition Parameters There are four parameters you need to configure when setting up a display condition: Choose the conditional state. Choose the alternative element. Choose the conditional element. Choose the conditional relationship. Select to enable display conditions for this element. • The conditional element: You choose what is to be evaluated to determine whether the menu, track, or story should be displayed. Examples of what you can choose include the DVD player’s region code, aspect ratio, or the contents of a GPRM. Note: Display conditions can only use full 16-bit GPRMs. • The conditional relationship: You choose the operation to use to determine the relationship between the conditional element and the conditional state. Example settings include smaller, greater, and equal. • The conditional state selection: You choose the state of the conditional element. The choices depend on the conditional element. For example, the states for the player region code element are the eight regions (1 USA, 2 Europe, Japan, 3 Indonesia, Taiwan, and so on). • The alternative target selection: You choose the project element (menu, track, story, and so on) that should be displayed if the condition is not satisfied. Important: You must set all four parameters or else errors will occur during the build process. When setting display conditions for a track, there is an additional checkbox named Apply to Stories. Select it to have the display condition apply to the stories associated with this track. Setting Up a Display Condition You need to set four parameters to create a display condition. To set up a display condition 1 Choose the element (menu, track, or story) to set up a display condition for. 2 Do one of the following: • If you are setting up a menu: Click the Advanced tab in the Menu Inspector. • If you are setting up a track or story: Click the General tab in the Track or Story Inspector. 608 Chapter 23 Using Advanced Features 3 Select the Display Condition checkbox. 4 Choose the conditional element (the first parameter—defines what the condition is to be based on). For a list of conditional elements you can use, see Conditional Elements and States. 5 Choose the conditional relationship (the second parameter—determines how the conditional element is to be compared with the conditional state, set in the next step). For a list of conditional relationships, see Conditional Relationships. 6 Choose the conditional element’s state (the third parameter—defines the state that the conditional element is to be compared to). See Conditional Elements and States for the states you can choose for each element. 7 Choose the Alternate Target element (the fourth parameter—defines what happens if the condition is not met). To turn off the display condition, select the Display Condition checkbox to remove the checkmark. Stories can have their own display conditions, or you can use the track’s settings by selecting Apply to Stories in the Track Inspector’s General tab. Example: Setting a Video Configuration Display Condition For this example, you have a project with two versions of a track; one has the buttons over video optimized for pan-scan and the other has them optimized for letterbox. This display condition will use the video configuration information (SPRM 14) to choose which version to play. To configure a video configuration display condition for a track 1 Choose the track containing the pan-scan optimized video. 2 Click the General tab in the Track Inspector. 3 Select the Display Condition checkbox. 4 Choose Video Player Config from the conditional element pop-up menu. 5 Choose = (equal) from the conditional relationship pop-up menu. 6 Enter 256 as the conditional state. This is the value for SPRM 14 that indicates the DVD player is set for pan-scan. See SPRM 14: Player Video Configuration for more information. 7 Choose the track, optimized for letterbox, that you want to use as the alternative to this track from the Alternate Target pop-up menu. With this display condition, the video configuration of the DVD player is checked to see if it is set at pan-scan. If it is, the track plays. If not, the player jumps to the letterbox track and it is played. Chapter 23 Using Advanced Features 609 Conditional Elements and States The conditional elements are based on settings read from the System Parameter Register Memories (SPRMs) or the General Purpose Register Memories (GPRMs). The conditional states are determined by the element. For example, the menu language element has all supported languages as the possible states. If the state is a numeric entry, you need to enter a decimal-based number (binary and hex numbers are not supported). • Menu Language: Use to set up a condition based on the DVD player’s menu language setting (SPRM 0). The states include all supported languages. • Audio Language: Use to set up a condition based on the DVD player’s audio language setting (SPRM 16). The states include all supported languages. • Subtitle Language: Use to set up a condition based on the DVD player’s subtitle language setting (SPRM 18). The states include all supported languages. • Audio Stream Number: Use to set up a condition based on the currently selected audio stream (SPRM 1). The states include audio stream numbers 1 through 8. “Not set” appears next to any streams that currently have no assets assigned. • Subtitle Stream Number: Use to set up a condition based on the currently selected subtitle stream (SPRM 2). The states include subtitle stream numbers 1 through 32. “Not set” appears next to any streams that currently have no subtitles assigned. • Player Aspect Ratio: Use to set up a condition based on the DVD player’s aspect ratio setting (4:3 or 16:9—bits 8 and 9 of SPRM 14). The states include 4:3, 16:9 Pan-Scan, 16:9 Letterbox, and 16:9 Pan-Scan and Letterbox. • Last Track Played: Use to set up a condition based on the most recently played track (SPRM 4). The states include all track numbers in the project. • Last Chapter Played: Use to set up a condition based on the most recently played chapter (SPRM 7). The states include all chapter marker numbers in the track. • Last Button Selected: Use to set up a condition based on the most recently selected button (SPRM 8). The states include numbers 1 through 36. • Player Region Code: Use to set up a condition based on the DVD player’s region setting (SPRM 20). The states include all eight regions. • Parental Level: Use to set up a condition based on the DVD player’s parental level setting (SPRM 13). The states include all eight parental levels plus a Not Rated setting. Important: DVD players will always set SPRM 13 to Not Rated when playing DVDs authored with DVD Studio Pro. • Video Player Config: Use to set up a condition based on the DVD player’s aspect ratio setting (4:3 or 16:9) and display mode (letterbox or pan-scan) (SPRM 14). The state requires a decimal number entry. 610 Chapter 23 Using Advanced Features • Audio Player Config: Use to set up a condition based on the DVD player’s audio configuration—PCM, AC-3, and MPEG (SPRM 15). The state requires a decimal number entry. • GPRM 0 - 7: Use to set up a condition based on the values stored in one of the eight GPRM locations. The values must first be placed into the GPRM by a separate script that you have run. The state requires a decimal number entry. Note: Display conditions can only use full 16-bit GPRMs. See Scripting Overview for details on scripts, GPRMs, and SPRMs. Conditional Relationships There are seven conditional relationships for you to choose from when setting up your display condition. • = (equal): The element and state are exactly equal. For example, if you choose the Player Region Code element, a state of 1-USA, and the “equal” relationship, you can only play the track if the DVD player is set for region 1-USA. • != (not equal): The element and state are not exactly equal. For example, if you choose the Audio Language element, a state of French, and the “not equal” relationship, you can play the track as long as the DVD player is not set for French. • > = (greater or equal): The element is either greater than the state, or they are equal. For example, if you choose the Parental Level element, a state of PG-13, and “greater or equal,” you can play the track as long as the DVD player is set to PG-13 or higher (R or NC-17). • > (greater): The element is greater than the state. For example, if you choose the Audio Stream Number element, a state of 2, and “greater,” you can play the track as long as one of the two first audio streams is not selected. • <= (smaller or equal): The element is either less than the state, or they are equal. For example, if you choose the Last Track Played element, set the state to 12, and “smaller or equal,” you can play this track as long as the previous track is from 1 to 12. • < (smaller): The element is less than the state. For example, if you choose the Subtitle Stream Number element, set the state to 4, and “smaller,” you can play this track as long as subtitle streams 1 through 3 are selected. Chapter 23 Using Advanced Features 611 • & (and): Provides a binary bit-wise “and” function. Several of the elements contain multiple settings. You can use the “and” relationship to extract one setting from the element. For example, if you choose the Audio Player Config element (which contains several settings related to the DVD player’s audio capabilities), a state of 2048-DTS, and the “and” relationship, you can only play the track if bit 11 of the 16-bit byte is one, indicating that the DVD player supports DTS audio. See Using Bit-Wise Operations for details on using a bit-wise “and” function. Issues with Display Conditions There are several issues with using display conditions that you should be aware of: • The Last Chapter Played setting is reliable only when assigned to menus: When using the Last Chapter Played setting for display conditions assigned to a track or story, you get unreliable playback on some DVD players. The Last Chapter Played setting can be used reliably with display conditions assigned to menus. • Display Conditions using the subtitle stream number only work with the subtitle stream set to View: When you configure a display condition for a track or story that uses the subtitle stream number option, the display condition works correctly only if the subtitle stream is set to be viewed. For example, if you configure a menu’s button to use subtitle stream S1 and a track has a display condition configured for subtitle stream S1, the display condition only works correctly if you also select the subtitle stream’s View checkbox in the Button Inspector. • Some DVD players do not allow parental level in display conditions: Some DVD players do not process the parental level option correctly when used in a display condition, allowing content to play that should be disallowed. Important: DVD players always set SPRM 13 to Not Rated when playing DVDs authored with DVD Studio Pro. Remote Control Settings An important part of authoring a DVD title is to assign functions to the DVD player’s remote control buttons. For most projects, you set these functions for the entire disc. However, you can override several of the disc settings for individual tracks, stories, markers, slideshows, and menus. If an individual element has more than one remote control setting: • Track, slideshow, story, and menu settings take precedence over disc settings while they play. • Marker settings override all other settings while that part of the track or story plays. Note: All of these settings can also all be made in the Connections tab. 612 Chapter 23 Using Advanced Features Remote Control Buttons The disc’s remote control settings support seven buttons. Remote control settings for tracks, stories, markers, slideshows, and menus support only certain ones: • Title: Supported by the disc settings only. This button is typically linked to the primary menu so that, no matter where the viewers are in the title, when they press the Title button they will always go to the same place. • Menu: Supported by all elements that can set remote control settings (disc, track, story, marker, and slideshow) except menus. You should generally link this button to the last menu viewed. • Angle: Supported by the disc, track, and slideshow elements. You can link this button to a menu that allows the viewer to select the angle to view. • Chapter: Supported by the disc, track, and slideshow elements. Typically found only on specialized DVD players, you can link this button to a menu that allows the viewer to select the chapter to view. • Audio: Supported by the disc, track, and slideshow elements. You can link the Audio button to a menu that allows the viewer to select the audio stream to listen to. • Subtitle: Supported by the disc, track, and slideshow elements. You can link this button to a menu that allows the viewer to select whether subtitles appear and the subtitle stream to view. • Return: Supported by the disc and menu settings only. The Return button is usually used to provide an easy way for the viewer to navigate back through nested menus. Beware of Similar-Sounding Buttons The remote controls of most DVD players include stream select buttons labeled Angle, Audio, and Subtitle. These are not the same as the remote control buttons you can assign menus to. These three buttons allow the viewer to directly select the angle, audio, and subtitle stream without going to a menu first. The Angle, Chapter, Audio, and Subtitle remote control buttons that you can assign menus to are in addition to these three stream select buttons, and are found only on a few remote controls, typically grouped in a “Menus” section of the remote control. It is important to include alternative methods for viewers to get to these menus. You cannot count on all remote controls to have these buttons. Configuring the Remote Control Buttons You can configure the remote control buttons either in the Inspector or in the Connections tab. Chapter 23 Using Advanced Features 613 To set the remote control buttons using the Inspector 1 Select the element whose remote control buttons you want to set. You can select the element in the Outline tab, the Graphical tab, or use the pop-up menu in the appropriate editor. 2 In the Inspector, open the pop-up menu for the button to be set, then choose the function to link to. All elements currently set in the project are available to be linked to. The remote control settings are in different Inspector locations for different elements: • Disc Inspector: The commonly used remote control settings (Title, Menu, and Return) are in the General tab. The Advanced tab contains the settings that are not often used (Angle, Chapter, Audio, and Subtitle). • Track, Story, and Marker Inspectors: All remote control settings are in their General tabs. • Slideshow and Story Marker Inspectors: All remote control settings are in its main area (there are no tabs). • Menu Inspector: Its only remote control setting (Return) is in its Menu tab. To set the remote control buttons using the Connections tab 1 Click the Connections tab. You can see all source elements in the project together, or see one element at a time: • To see the remote control buttons for all project elements at once: Select the disc in the Outline tab or click an empty area in the Graphical tab. • To see the remote control buttons for a single element: Select that element in the Outline tab, the Graphical tab, or use the pop-up menu in the appropriate editor. 2 Use the View pop-up menu in the Connections tab to control which of the remote buttons are visible: • Basic: Shows the disc’s title button, and the track’s, story’s, and slideshow’s menu buttons. • Standard: Shows all basic buttons plus menu buttons for a track’s markers. • Advanced: Shows all possible remote buttons. 3 Set the link for the remote button by either dragging the target to the source element or Control-clicking the button’s setting in the Target column, and choosing the element to link to from the shortcut menu. Line 21 Settings for Closed Captions To add text to a video on a DVD, most users use the subtitle feature. To meet accessibility requirements, however, you may also need to consider closed captions. Note: The closed caption settings apply only to NTSC SD DVD projects. 614 Chapter 23 Using Advanced Features About Subtitles and Closed Captions Subtitles have several advantages: You can create them within DVD Studio Pro or using a third-party subtitle authoring application, you can set their font and color, and they can be displayed by any DVD player. Closed captions offer other advantages. Subtitles generally provide a text version of the dialogue only—they do not describe any other sounds that may be in the title (such as a dog barking or a phone ringing). Closed captions typically include descriptive text along with the dialogue, which makes them better suited for viewers with impaired hearing. You can add descriptive text to subtitles and make them more similar to the content of closed captions, and there are third-party programs that will convert closed captions to a suitable subtitle format. Closed captions require a decoder for playback. The decoder can be built in to the television or it can be a standalone box. Computers typically do not have closed caption decoders, so they cannot display captions. The font used by closed captions is determined by the decoder. Adding Closed Captions to a DVD With DVD Studio Pro, you can import closed caption files as part of a track. This is the most reliable way to include closed captions with your title. Do not assume that just because the closed-captioning information was present in the video during the MPEG encode that it will be available when the disc is played by the viewer. Be sure to perform a test before relying on this method of adding closed captions to your title. Some MPEG encoders can create separate closed caption files that DVD Studio Pro can use to add the function to your disc. DVD Studio Pro supports closed caption files in the “.cc” and “.scc” formats. Chapter 23 Using Advanced Features 615 About the Field 1 and Field 2 Settings The closed caption standard provides for encoding up to four caption streams in Line 21. The two most commonly used streams (C1 and C2) use field 1, and the other two streams (C3 and C4) use field 2. A closed caption file assigned to a track in DVD Studio Pro can have captions only in field 1 (C1 and C2) or in both fields (support for all four streams). It is important for you to configure the track’s Line 21 settings to match the file’s configuration. Note: Because the C3 and C4 streams are rarely used, you may assume the closed caption file contains only the C1 and C2 streams, and only supports field 1. Be sure to verify this with a test disc and a DVD player connected to a television monitor before sending your disc to a replicator. To assign a closed caption file to a track 1 Select the track so that it appears in the Track Editor and its properties appear in the Inspector. 2 Click the Other tab in the Track Inspector. 3 To choose the closed caption file, do one of the following: • In the Closed Caption (Line 21) area, click Choose. In the navigation dialog, locate and select the closed caption file to assign to this track. Click Choose. • Control-click in the Track Editor’s video stream, then choose Import Line 21 File from the shortcut menu. Locate the closed caption file in the navigation dialog and click Import. 4 Select the Field 1 and Field 2 boxes to match the configuration of the caption file. Note: Most often you should select Field 1 and leave Field 2 unselected. You can only assign one file to a track. 616 Chapter 23 Using Advanced Features Keyboard shortcuts let you perform commands in DVD Studio Pro using the keyboard instead of by pointing and clicking. The following are keyboard shortcuts available in DVD Studio Pro, grouped by function. Note: Some keyboard shortcuts are always active, whether or not you are working in the group that they are listed in. Other keyboard shortcuts are only active under special circumstances. This appendix covers the following: • General Interface and Application Controls (p. 618) • General Project Controls (p. 619) • Adding Project Elements (p. 620) • Scrolling Through Lists (p. 621) • Assets Tab (p. 622) • Connections Tab (p. 622) • Graphical Tab (p. 623) • Log Tab (p. 624) • Menu Tab (Menu Editor) (p. 624) • Outline Tab (p. 626) • Palette (p. 627) • Script Tab (Script Editor) (p. 627) • Simulator (p. 627) • Slideshow Tab (Slideshow Editor) (p. 628) • Story Tab (Story Editor) (p. 628) • Subtitle Editor (p. 628) • Track Tab (Track Editor) (p. 629) • Viewer Tab (p. 631) 617 Keyboard Shortcuts Appendix A General Interface and Application Controls Keyboard shortcut Function Opens the first 15 interface configurations, with F1 assigned to the basic configuration, F2 assigned to the extended configuration, and F3 assigned to the advanced configuration. F4 through F15 can be assigned to your custom configurations. (Note that F9, F10, and F11 may be used by Mac OS X for the Exposé feature, and F14 and F15 may be used to control the monitor’s brightness.) Function keys F1 through F15. Accesses the Viewer tab. 0 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Assets tab. 1 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Connections tab. 2 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Log tab. 3 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Menu tab. 4 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Outline tab. 5 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Graphical tab. option 5 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Script tab. 6 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. 618 Appendix A Keyboard Shortcuts Keyboard shortcut Function Accesses the Slideshow tab. 7 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Story tab. 8 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Accesses the Track tab. 9 This tab is brought to the front of its quadrant or, if in its own window, it’s brought to the front of the application. If the tab is closed, it’s opened as a window at its last position. Toggles the currently selected tab between full window and normal. Additionally, holding down the Shift and Space bar keys toggles the tab only until you release them. shift space Toggles the currently selected tab between full window and normal. Additionally, holding down the Shift and Space bar keys toggles the tab only until you release them. option Shows or hides the Palette. option P Shows or hides the Inspector. option I Opens or closes the Fonts window. T Opens or closes the Colors window. shift C , Opens Preferences. Opens DVD Studio Pro Help. shift ? Quits DVD Studio Pro. Q Minimizes DVD Studio Pro. M Hides DVD Studio Pro. H General Project Controls Keyboard shortcut Function Undoes the last change. Z Appendix A Keyboard Shortcuts 619 Keyboard shortcut Function Redoes a change you just undid. shift Z Creates a new project. N Opens an existing project. O Closes the project. W Saves the project. S Saves a project as a new project. shift S Copies the selected text, menu item, script command line, or subtitle button to the Clipboard. C This shortcut works with both text in your menus and subtitles and element names. Copies the selected text, menu item, script command line, or subtitle button to the Clipboard and deletes it from selection. X This shortcut works with both text in your menus and subtitles and element names. Pastes the Clipboard contents. V This shortcut works with both text in your menus and subtitles and element names. Duplicates the selected item. D Simulates a project from the current element or, if none are selected, from the project’s First Play setting. option 0 Burns the project. option B Builds the project. option C Formats the project. F Builds and formats the project. option F Adding Project Elements Keyboard shortcut Function Adds a track. control T Adds a story. shift T 620 Appendix A Keyboard Shortcuts Keyboard shortcut Function Adds a standard menu. Y Adds a layered menu. shift Y Adds a slideshow. K Adds a script. Adds a menu language. / Scrolling Through Lists Lists in DVD Studio Pro are found in the Assets, Log, Outline, Connections, Slideshow, Script, and Story tabs. Keyboard shortcut Function Drag scroller. Scrolls through the list. Press Option and drag scroller. Scrolls slowly through the list (useful for large lists). Selects the previous line in the list. Selects the next line in the list. Selects the previous line in the list, leaving the current line selected. shift Selects the next line in the list, leaving the current line selected. shift Goes to the top of the list. option Goes to the bottom of the list. option page Scrolls up one page in the list. up Press Option and click scroller’s Scrolls up one page in the list. up arrow. page Scrolls down one page in the list. down Press Option and click scroller’s Scrolls down one page in the list. down arrow. Appendix A Keyboard Shortcuts 621 Assets Tab Keyboard shortcut Function Double-click empty area. Imports an asset. Imports an asset. shift I Double-click asset name. Previews the selected asset. Previews the selected asset. space Selects all assets and folders. A Deselects all assets and folders. shift A Removes the selected asset. delete Creates a new folder. shift N Shows the encoder settings for the selected QuickTime movie. E Does the opposite of the “Find matching audio when dragging” preference, used when you drag a video asset to a project element. You must start dragging the video asset before pressing the Command key. Press Command and drag. Connections Tab Keyboard shortcut Function Scrolls up through items in the list not currently selected. control Scrolls down through items in the list not currently selected. control Double-click. Connects or disconnects the currently selected items. Connects or disconnects the currently selected items. return Disconnects the selected source’s connection. delete Connects the selected source to the selected target and moves down to the next source or target (whichever was last selected). enter Drag source’s target setting. Copies a source’s target setting to another source. Press Control and click separator. Switches between horizontal and vertical views. 622 Appendix A Keyboard Shortcuts Graphical Tab Keyboard shortcut Function Fits the tiles to the current window size. shift Z Zooms one step in while maintaining the current center. = Zooms one step out while maintaining the current center. Press Z and click in window. Zooms one step into the area you click. Press Option-Z and click in Zooms out one step from the area you click. window. Press Z and drag. Zooms into the selected area. Press Space bar and drag. Repositions the tile area in the window. Toggles macro view on and off. Additionally, you can hold down the key to temporarily show the macro view. M Toggles a tile’s flag on and off. F After a short pause, a ghost image of the tile appears that you can drag to the Menu Editor to link to an existing button or to create a new button linking to this tile. Click tile and hold it. Click tile. Selects the tile. Deselects any currently selected tiles first. Press Shift and click tile. Selects the tile. Retains any currently selected tiles. Press Command and click tile. Selects the tile. Retains any currently selected tiles. Selects all tiles. A Deselects all tiles. shift A Moves the selected tiles up. Moves the selected tiles down. Moves the selected tiles left. Moves the selected tiles right. Drag tile, then press Z. Temporarily zooms out to show more of the tile area. Toggles the tile position lock on and off. L Prints the Graphical tab. P Appendix A Keyboard Shortcuts 623 Log Tab Keyboard shortcut Function Copies the selected text. C Selects all text. A Menu Tab (Menu Editor) Keyboard shortcut Function Press Option and drag. Creates a duplicate of the selected item. Creates a duplicate of the selected item. D Drag. Creates a button. Press Option and drag. Creates a drop zone. Press Command and drag. Selects multiple items. Deselects any currently selected items first. Press Command-Shift and drag. Selects multiple items. Retains any currently selected items. Selects all menu items. A Deselects all menu items. shift A Double-click. Creates a text object. Press Command-Option and Creates a text object. drag. Applies a bold attribute to the selected text. B Applies an italic attribute to the selected text. I Adds an underline to the selected text. U Left aligns the selected text. shift { Center aligns the selected text. shift Right aligns the selected text. shift } Press Return while typing text. Creates a new line. Applies to button text and text objects. While typing text into the Menu Editor, exits text entry mode. While typing text in the Button or Text Object Inspector, creates a new line. Press Enter while typing text. 624 Appendix A Keyboard Shortcuts Keyboard shortcut Function Deletes the selected item. delete Press Shift-Option and drag. Repositions an asset in a drop zone or button (if possible). Forces a button or drop zone to match its asset’s aspect ratio, and maintains that aspect ratio while being resized. Press Shift and drag. Moves the selected item up 1 pixel. Moves the selected item down 1 pixel. Moves the selected item left 1 pixel. Moves the selected item right 1 pixel. Moves the selected item up 10 pixels. shift Moves the selected item down 10 pixels. shift Moves the selected item left 10 pixels. shift Moves the selected item right 10 pixels. shift Moves the selected item up 20 pixels. shift option Moves the selected item down 20 pixels. shift option Moves the selected item left 20 pixels. shift option Moves the selected item right 20 pixels. shift option Creates a submenu and adds a button to link to it. option Y Creates a slideshow and adds a button to link to it. option K Creates a track and adds a button to link to it. option T Sets button navigation when you drag from a button’s edge to another button. Press Command-Option and drag button’s edge. Performs a one-time Auto Assign button navigation pass. shift D Sends the selected item to the back. shift B Sends the selected item backward one step in priority. [ Brings the selected item forward one step in priority. ] Appendix A Keyboard Shortcuts 625 Keyboard shortcut Function Brings the selected item to the front. shift F Constrains the movement of an item to the vertical or horizontal direction only. Press Shift and drag. Duplicates the selected item and constrains its movement to the vertical or horizontal direction only. You must wait to press Shift until you have started dragging the item. Press Shift-Option and drag. Moves the selected item without snapping or showing the dynamic guides. Press Command and drag item. Changes the item size based on its center. (You must wait to press the Option key until after you start dragging.) Drag button’s edge to resize and press Option. Shows or hides rulers. R Shows or hides alignment guides. ; Toggles the button state through normal, selected, and activated. W Toggles the background view through background only, overlay only, and composite. Q Toggles the pixel display between square and rectangular. P Shows and hides the title safe area. shift E Shows the action safe area. option E Toggles menu motion on and off. space Toggles menu motion on and off. J Outline Tab Keyboard shortcut Function Press Option and click track Opens all disclosure triangles in the track area. disclosure triangle. Selects all items. A Deselects all items. shift A Duplicates the selected item. D 626 Appendix A Keyboard Shortcuts Palette Keyboard shortcut Function In a media tab, removes the selected folder from the list. delete In a Template, Style, or Shape tab, deletes the selected item from your system’s hard disk. delete Selects all items in the current view. A Deselects all items in the current view. shift A Applies the selected item to the menu (templates, styles, and shapes, if applicable). return Applies the selected item to the menu (templates, styles, and shapes, if applicable). Double-click. Does the opposite of the “Find matching audio when dragging” preference, used when you drag a video asset to a project element. You must start dragging the video asset before pressing the Command key. Press Command and drag. Script Tab (Script Editor) Keyboard shortcut Function Inserts a new command line. shift + Adds a new command line to the end of the script. = Deletes the current command line. delete Selects all command lines. A Simulator Keyboard shortcut Function Provides the up navigation arrow function. Provides the down navigation arrow function. Provides the left navigation arrow function. Provides the right navigation arrow function. Appendix A Keyboard Shortcuts 627 Keyboard shortcut Function Activates the selected button. return Shows or hides the information drawer on the left/right edges. shift ? Shows or hides the information drawer on the top/bottom edges. shift option ? Closes the Simulator. W Slideshow Tab (Slideshow Editor) Keyboard shortcut Function Shows large thumbnails. = Shows small thumbnails. Selects all slides. A Plays slideshow in Viewer tab or, if playing, stops and returns to the slide it started from. space Plays slideshow in Viewer tab or, if playing, stops and returns to the slide it started from. K Plays slideshow in Viewer tab, or if playing, pauses playback. L Story Tab (Story Editor) Keyboard shortcut Function Selects all markers in the list. A Plays story in Viewer tab or, if playing, stops and returns to the story entry it started from. space Plays story in Viewer tab or, if playing, stops and returns to the story entry it started from. K Plays story in Viewer tab, or if playing, pauses playback. L Subtitle Editor Keyboard shortcut Function Press Return while typing text. Creates a new line. 628 Appendix A Keyboard Shortcuts Keyboard shortcut Function While typing text into the Subtitle Editor, exits subtitle text entry mode. While typing text in the Subtitle Inspector, creates a new line. Press Enter while typing text. Drag. Creates a button. Press Option and drag. Duplicates the selected button. Duplicates the selected button. option D Press Command and drag. Selects multiple buttons. Selects the next subtitle. Selects the previous subtitle. Sets button navigation when you drag from a button’s edge to another button. Press Command-Option and drag button’s edge. Changes the button size based on its center. (You must wait to press the Option key until after you start dragging.) Press Option and drag button’s edge to resize. Press Command-A while editing Selects all of the text. text. Applies a bold attribute to the selected text. B Applies an italic attribute to the selected text. I Adds an underline to the selected text. U Left aligns the selected text. shift { Center aligns the selected text. shift Right aligns the selected text. shift } Track Tab (Track Editor) Keyboard shortcut Function Plays track in Viewer tab or, if playing, stops or pauses playback (depending on the “Space bar toggles between play/pause” setting in DVD Studio Pro Preferences). space If you hold down the Space bar, playing automatically stops or pauses when you release it. Plays track in Viewer tab or, if playing, pauses playback. L Appendix A Keyboard Shortcuts 629 Keyboard shortcut Function Stops playback and moves the playhead to where it started. K Moves the playhead to the beginning of the timeline. home Moves the playhead to the beginning of the selected clip. Moves the playhead to the beginning of the selected clip. option E Moves the playhead forward one frame. Moves the playhead backward one frame. Moves the playhead to the end of the timeline. end Moves the playhead to the end of the selected clip. Moves the playhead to the end of the selected clip. shift E Moves the playhead one second earlier. shift Moves the playhead one second later. shift Moves the playhead to the previous marker. control Moves the playhead to the previous marker. option M Moves the playhead to the next marker. control Moves the playhead to the next marker. shift M Moves the playhead to the previous GOP. option Moves the playhead to the next GOP. option Selects all clips in a stream. A Drag. Moves the clip in the stream or to another stream. Creates a duplicate of the clip that can be placed in this or another stream. Press Option and drag. Creates a duplicate of the clip that can only be placed in another stream at exactly the same time or in any suitable place on the current stream. Press Shift-Option and drag. Jumps playhead forward to next timeline event (marker, clip edge, and so on). 630 Appendix A Keyboard Shortcuts Keyboard shortcut Function Jumps playhead backward to next timeline event (marker, clip edge, and so on). Zooms the Track Editor timeline out to its maximum. shift Z Fits current clip to the Track Editor. shift option Z Toggles through stream height settings. shift T Zooms the timeline in on the Track Editor, scrolling to show the playhead if necessary. = Zooms the timeline out on the Track Editor, scrolling to show the playhead if necessary. Zooms the timeline in on the Track Editor, ignoring the playhead position. shift + Zooms the timeline out on the Track Editor, ignoring the playhead position. shift Locks or unlocks all streams. shift F4 Creates a marker. M Single-click above timeline. Creates a marker. Press M while playing. Creates a marker on the fly. Removes the selected clip from the timeline. delete Double-click in subtitle stream. Adds a subtitle clip. Adds a subtitle at the playhead. shift Viewer Tab The Viewer tab keyboard shortcuts apply to those tabs in which an asset can play. These include the Assets, Track, Story, and Slideshow tabs. Keyboard shortcut Function Plays the video asset or, if playing, stops or pauses playback (depending on the “Space bar toggles between play/pause” setting in DVD Studio Pro Preferences). space If you hold down the Space bar, playing automatically stops or pauses when you release it. Plays the video asset or, if playing, pauses playback. L Appendix A Keyboard Shortcuts 631 Keyboard shortcut Function Stop. K Frame step forward, or with slideshows, advance to the next slide. Step one second forward (not applicable with slideshows). shift Frame step backward, or with slideshows, go back to the previous slide. Step one second backward (not applicable with slideshows). shift 632 Appendix A Keyboard Shortcuts Using DVD Studio Pro 4, you can import projects created with earlier versions of DVD Studio Pro. This appendix covers the following: • Importing DVD Studio Pro 2 and DVD Studio Pro 3 Projects into DVD Studio Pro 4 (p. 633) Importing DVD Studio Pro 2 and DVD Studio Pro 3 Projects into DVD Studio Pro 4 There are several issues you should be aware of if you are importing projects created in DVD Studio Pro 2 and DVD Studio Pro 3 into DVD Studio Pro 4. These issues are discussed in the following sections: • Opening Old Projects • Importing Item Descriptions • Menu and Subtitle Text May Change • DVD Studio Pro 3 Projects Using Custom Transitions That Have Been Moved May Not Work Note: DVD Studio Pro 4 cannot import projects from DVD Studio Pro 1. Opening Old Projects When you open a project created in DVD Studio Pro 2 or DVD Studio Pro 3 in DVD Studio Pro 4, a warning appears saying that when you save the project, you will no longer be able to open it in DVD Studio Pro 2 or DVD Studio Pro 3. DVD Studio Pro 4 has improved the way text items in menus are handled, which may cause some menus to look slightly different. 633 Importing Other Projects Appendix B Importing Item Descriptions You cannot import item descriptions saved with any earlier version of DVD Studio Pro (1, 2, or 3) into DVD Studio Pro 4. Because an item description is a text file describing an element such as a menu or track, you can create a new item description by importing a project that contains the element into DVD Studio Pro 4, then saving an item description of it. Menu and Subtitle Text May Change When you open a project created in DVD Studio Pro 2 or DVD Studio Pro 3 that contains text typed onto a menu or subtitle within DVD Studio Pro, that text may appear different. DVD Studio Pro 4 correctly processes the text for both 4:3 and 16:9 aspect ratios, and for both NTSC and PAL resolutions. Additionally, if the project contains rotated menu text items, the rotated items may appear different. DVD Studio Pro 4 now correctly rotates menu text items without distorting them. DVD Studio Pro 3 Projects Using Custom Transitions That Have Been Moved May Not Work Projects created with DVD Studio Pro 3 that use custom Alpha Transitions may not build correctly if the transitions have been moved. (When you play the VIDEO_TS files, the transition is skipped.) You can correct this by choosing a different transition, then choosing the correct transition again everywhere the transition is used. 634 Appendix B Importing Other Projects A major concern when authoring your DVD project is knowing whether it will fit on the disc size you intend to use. The following describes in detail how to determine the amount of disc space your project requires, and provides a way to determine a safe bit rate to encode your video assets with. Note: The following example is specific to an SD project on a red laser disc. The same process applies to HD projects on blue laser discs. Also see Making Sure Your Content Will Fit for additional information on fitting your content to the disc. This appendix covers the following: • Calculating a Project’s Disc Space Requirements (p. 635) • Using the Calculated Bit Rate (p. 640) Calculating a Project’s Disc Space Requirements While the video bit rate is the single biggest factor in controlling the size of your project, a number of other factors determine how much disc space will be required to hold your project: • The number of and types of audio assets • The number of slideshows and their audio • The number of subtitles • Any DVD-ROM content to be included The steps below guide you through the process of estimating your project’s disc space requirements. For this example, the project has: • Video asset 1 with a duration of 01:26:13:12 and two audio streams: an AC-3 5.1 surround and an AC-3 stereo • Video asset 2 with a duration of 00:45:34:07 and one PCM 16-bit 48 kHz audio stream 635 Calculating Disc Space Requirements Appendix C • Motion menu video with a duration of 00:00:16:20 and one AC-3 stereo audio stream • Stage 1: Calculating the Total Video Play Time • Stage 2: Calculating Disc Capacities • Stage 3: Calculating the Bit Rates for Each Disc Size • Stage 4: Calculating the Audio Allowances • Stage 5: Calculating the Effect of Audio on the Video Bit Rate • Stage 6: Calculating DVD-ROM Allowances • Stage 7: Calculating Other Allowances Stage 1: Calculating the Total Video Play Time You first need to determine the total play time of all video assets and motion menus in your project. To make calculations easier, you need to convert the time from hours, minutes, and seconds to the total number of seconds. For frames, round up to the next second when there are frames left over. In the example above, video asset 1 is 5174 seconds long, video asset 2 is 2735 seconds long, and the motion menu contains 17 seconds of assets, for a total of 7926 seconds. Note: Slideshows do not count as video play time, and are discussed later. Stage 2: Calculating Disc Capacities To calculate the appropriate bit rate for your content, you need to know each disc type’s capacity in bits. The capacity of a DVD-5 disc is 4.7 GB (or 4.37 binary gigabytes). For the purposes of this calculation, you should use the 4.7 GB value because it does not have to be corrected to account for the difference that counting in binary adds. To make the calculation, you multiply the byte capacity by 8 (the number of bits in a byte). DVD name Byte capacity Bit capacity DVD-1 1.46 GB 11.68 gigabits (Gbit) DVD-2 2.66 GB 21.28 Gbit DVD-3 2.92 GB 23.36 Gbit DVD-4 5.32 GB 42.56 Gbit DVD-5 4.7 GB 37.6 Gbit DVD-9 8.54 GB 68.32 Gbit DVD-10 9.4 GB 75.2 Gbit DVD-14 13.24 GB 105.92 Gbit DVD-18 17.08 GB 136.64 Gbit 636 Appendix C Calculating Disc Space Requirements Stage 3: Calculating the Bit Rates for Each Disc Size Once you know the play time in seconds and the bit capacity of the different disc sizes, you can calculate a basic bit rate for each disc size. To do this, divide the disc size by the play time (7926 seconds in this example). DVD name Bit capacity Bit rate DVD-1 11.68 gigabits (Gbit) 1.47 megabits per second (Mbps) DVD-2 21.28 Gbit 2.68 Mbps DVD-3 23.36 Gbit 2.95 Mbps DVD-4 42.56 Gbit 5.37 Mbps DVD-5 37.6 Gbit 4.74 Mbps DVD-9 68.32 Gbit 8.62 Mbps DVD-10 75.2 Gbit 9.49 Mbps DVD-14 105.92 Gbit 13.36 Mbps DVD-18 136.64 Gbit 17.24 Mbps These bit rate values should not be considered final at this point because you still have to take into consideration the audio and DVD-ROM content. However, these values do provide an indication as to which DVD disc size you will need to use. If your project uses compressed audio, such as the Dolby Digital AC-3 format, and has little or no DVD-ROM content, you would need to decide whether encoding at 4.74 Mbps (or slightly less to ensure the video and audio all fit on the disc) would provide satisfactory results. If so, a DVD-5 disc should work for this project. If the project includes multiple soundtracks, a lot of slides or subtitles, and some DVD-ROM content, you may decide it is best to use a DVD-9 disc size so that everything you want to include will fit on the disc. Another point to keep in mind is that video assets are not required to use the same bit rate. For some assets, you may decide that quality is not as important as it is for others, and choose to use a lower bit rate for them, allowing more disc space for the other video assets. Choosing a bit rate that provides satisfactory results depends on the video content and the encoder you use. In general, bit rates below 4.0 Mbps are marginally acceptable. For bit rates between 4 and 6 Mbps, you should get good results when using a good variable bit rate (VBR) encoder, such as the integrated MPEG encoder, or, for more options, Compressor directly. For rates between 6 and 8 Mbps, you should have no trouble getting good results even when using a constant bit rate (CBR) encoder. Eight Mbps is usually considered the highest usable bit rate—the DVD specification allows up to 9.8 Mbps, but this can cause playback problems on some DVD players and limit your audio options. For more information on encoding, see Encoding Video Materials for DVD. Appendix C Calculating Disc Space Requirements 637 Stage 4: Calculating the Audio Allowances Depending on your project, the audio may have a relatively minor effect on disc space. It can also be challenging to determine the audio allowances because each video asset can have up to eight audio streams, and each stream can be a different type and length. The following table lists the typical bit rates for the common audio formats. Audio format Bit rate AC-3 stereo 192 kilobits per second (kbps) to 224 kbps AC-3 5.1 surround 384 to 448 kbps DTS 5.1 surround 754.5 kbps or 1509.75 kbps PCM stereo 16 bits at 48 kHz 1536 kbps PCM stereo 24 bits at 96 kHz 4608 kbps In the earlier example, video asset 1 has two audio streams, each 5174 seconds long. The first stream is AC-3 5.1 surround, and the second is AC-3 stereo. The video asset 2 has one audio stream 2735 seconds long, using 16-bit 48 kHz PCM audio. The motion menu has an AC-3 stereo audio stream 17 seconds long. If your slideshow includes audio, you also need to include that in the formula. To calculate the storage required, you determine each video asset’s total audio bit rate and multiply that by the duration. Section Duration Bit rate Disc space Video 1, AC-3 5.1 5174 seconds 448 kbps 2.32 gigabits (Gbit) Video 1, AC-3 stereo 5174 seconds 224 kbps 1.16 Gbit Video 2, 16-bit 48 kHz 2735 seconds 1536 kbps 4.20 Gbit PCM Menu, AC-3 stereo 17 seconds 224 kbps 0.004 Gbit Total: 7.684 Gbit As you can see, using PCM audio requires substantially more disc space than using a compressed format like AC-3. See Preparing Audio Assets for more information on the different audio formats. Stage 5: Calculating the Effect of Audio on the Video Bit Rate Now that you know how much disc space is required for the audio, you can more accurately determine the video bit rate you can use. Because the DVD-5 and DVD-9 discs were the only practical ones based on the previous calculations, you will continue experimenting with them in this example. 638 Appendix C Calculating Disc Space Requirements For the DVD-5 disc, you need to subtract the total audio amount from the total disc size: 37.6 gigabits – 7.684 gigabits = 29.916 gigabits for the video. Dividing the available space by the video duration provides a new bit rate: 29.916 gigabits ÷ 7926 = 3.77 Mbps. You can see that the audio has considerably affected the original bit rate for the DVD-5 disc (4.74 Mbps). The use of PCM audio for the second video asset in this example has forced the video bit rate to drop below 4 Mbps, making the use of a DVD-5 disc questionable because a bit rate that low may not provide suitable quality. For the DVD-9 disc, you end up with 60.636 gigabits available for the video (68.32 gigabits – 7.684 gigabits). The adjusted video bit rate is now 7.65 Mbps (60.636 gigabits ÷ 7926 seconds)—easily high enough to provide good quality. Stage 6: Calculating DVD-ROM Allowances If you intend to include DVD-ROM content on the disc, you need to subtract it from the disc space before coming up with your video bit rate. Because the size of your DVD-ROM content is expressed in binary megabytes, you must convert it to the same standard as used for the DVD disc size. In this example, there is a total of 36 MB of data. Each computer MB is equal to 1,048,576 actual bytes. To convert the DVD-ROM content, you need to multiply its size (36 MB) by 1,048,576 to get the actual size of 37,748,736. The next step is to convert this number into bits by multiplying it by 8, providing a final size of approximately 0.3 gigabits. While this is not a large amount of space, you should take it into account if you are trying to maximize usage of the disc’s available space. Stage 7: Calculating Other Allowances There are several other factors that should be taken into account when determining available disc space. • Slideshows: Each still in a slideshow requires approximately 200 kilobytes (KB) of disc space. A full slideshow with 99 stills requires about 20 MB of disc space. If the slideshow contains audio, you will find that the audio can require as much or more disc space than the stills. If your disc contains many stills, you will need to take them into account. • Still menus: Each standard still menu requires about 300 KB of space, depending on the number of buttons. Layered menus can require a lot more space than standard menus because a new menu is created for each button in each of its separately specified states (normal, selected, and activated). This can mean as many as 12 menus are created to support 4 buttons. See Creating Menus Using the Layered Method for more information on layered menus. Note: Menus that use button shapes with motion assets assigned are considered to be motion menus, and need to count as a video asset. Appendix C Calculating Disc Space Requirements 639 • Subtitles: The amount of space required by subtitles can vary widely, depending on how many of the 32 streams you use, the type of content you use (simple text characters or full-screen graphics), and how often you change them (several times a second, or more typically, once every four or five seconds). Simple subtitles average about 10 kbps—roughly 2 megabits of space per hour, which is negligible on most titles. If you intend to use subtitles more as an animation tool, with full-screen graphics that change often, you must make significant allowances for them. (The maximum bit rate allowed for a subtitle stream is 3.36 Mbps—almost as much as the video stream.) • Transitions: The amount of disc space required by each transition varies depending on the transition’s length and type. In general, for SD projects, which use a bit rate of 6 Mbps for transitions, you should allow 750 KB of disc space for every second of transition time in the project. For HD projects, which use a bit rate of 20 Mbps for transitions, you should allow 2.5 MB of disc space per second. Note: Keep in mind that adding a transition to a menu results in a separate transition clip for each button—a menu with 18 buttons can require 18 transition clips. Unless you are using an exceptional number of stills, menus, or subtitles, you can usually account for the amount of space required by these items by allowing a five percent overhead. The easy way to apply this overhead amount is to multiply the bit rate you have figured out by 0.95. In the earlier example, the DVD-5 disc bit rate drops from 3.77 Mbps to 3.58 Mbps; the DVD-9 bit rate drops from 7.65 Mbps to 7.27 Mbps. Important: It is much better to be conservative and find yourself with some disc space left over than to get to the end of the project and find it will not fit on the disc. Using the Calculated Bit Rate The bit rates you calculate can be used as the bit rate entry of your encoder, regardless of the encoding method you intend to use (one pass, one-pass variable bit rate [VBR], or two-pass VBR). See MPEG Encoding Methods for more information. 640 Appendix C Calculating Disc Space Requirements Most of the parameters of the standard transitions supplied with DVD Studio Pro are self-explanatory. However, some parameters are not as obvious. This appendix explains the parameters for each of the transitions. For details on using transitions with menus, see Using the Menu Transition Feature. For details on using transitions with tracks, see Adding Transitions to Still Clips. For details on using transitions with slideshows, see Using Slideshow Transitions. This appendix covers the following: • Transition Duration (p. 641) • Video Transition (p. 641) • Alpha Transitions (p. 642) • Standard Transitions (p. 642) Transition Duration All transitions have a duration setting. The duration can be set from a minimum defined for each transition (usually one second) to a maximum based on the source length or 10 seconds maximum, whichever is smaller. For example, a slide with a duration of 5:00 can have a maximum transition duration of 4:15 because the minimum duration for a slide is 15 frames. (This is in an NTSC project—in a PAL project, the maximum transition duration would be 4:13 because the minimum duration for a slide is 12 frames.) Video Transition Menus and buttons have an additional transition to choose called Video Transition. With Video Transition, you choose a video asset to play as the transition when a button is pressed. 641 Transition Parameters Appendix D Alpha Transitions DVD Studio Pro includes several Alpha Transitions. These transitions use short video clips to produce a transition from the current picture to the new picture. These transitions, indicated with the Greek letter alpha in front of their name, have no settings other than a duration, and are not listed with the standard transitions. Additionally, you can even create and import your own Alpha Transitions. See Preparing Alpha Transitions for details on the process. Standard Transitions The following sections contain details about the standard transitions available in menus, tracks, and slideshows. Blur Blurs the current picture while it fades, revealing the new picture underneath. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the amount of blur shown before the transition finishes. Blur Soft or Intense Cube Rotates the current picture off the screen while revealing the new picture as if on an adjacent side of a rotating cube. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Right, left, up, and Defines the direction the cube rotates in. down Direction Defines the amount of perspective, with 0 being maximum and 10 being minimum. Field of View 0–10 Defines the color that appears in areas the pictures do not cover. Background Color Dissolve Dissolves between the current and new pictures. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds 642 Appendix D Transition Parameters Drop Slides in the new picture over the current one, with a bounce as it “hits” the side. Use Move In to have the slide without the bounce. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Right, left, up, and Defines the direction the new picture moves in. down Direction Droplet The current picture ripples from its center and fades away, revealing the new picture. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the severity of the ripple before the transition finishes; 0 is subtle while 10 is extreme. Amplitude 0–10 Fade Through Color Dissolves from the current picture to a color, then to the new picture. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Color Color Defines the color dissolved to. Flip Rotates the current picture in 3D space, revealing the new picture on its back. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the direction the current image rotates toward. Right, left, up, and down Direction Defines the color that appears in areas the pictures do not cover. Background Color Defines the amount of perspective, with 0 being maximum and 10 being minimum. Field of View 0–10 Melt “Melts” the current picture while it fades, revealing the new picture. Appendix D Transition Parameters 643 Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines how far the picture melts before the transition finishes. Viscosity 0-10 Mosaic Divides the picture into panels that each flip independently to reveal the new picture on their back. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the direction the current image panels rotate toward. Right, left, up, and down Direction Defines the number of rows the picture is broken into. Rows 1–16 Defines the number of columns the picture is broken into. Columns 1–16 Defines the amount of perspective, with 0 being maximum and 10 being minimum. Field of View 0–10 Motion Dissolve Current picture zooms out while it dissolves to the next picture. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Move In Slides in the new picture over the current picture. Use Drop to have the slide with a bounce as it “hits” the side. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Right, left, up, and Defines the direction the new picture moves in. down Direction Page Flip Creates a page turn effect to remove the current picture, revealing the new picture underneath. 644 Appendix D Transition Parameters Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Right, left, up, and Defines the direction the page is turned to. down Direction Defines the amount the page flip’s fold rotates during the transition. Angle 0–359 degrees Defines the tightness of the fold, with 0 being minimum and 10 being maximum. Field of View 0–10 Push Current picture slides off as the new picture slides in. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Right, left, up, and Defines the direction the new picture moves in. down Direction Radial Blur Current picture blurs and zooms out while fading to reveal the new picture. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the amount of blur and zoom before the transition finishes, with 0 being minimum and 10 being maximum. Depth 0–10 Reveal Current picture slides off, revealing the new picture sitting underneath it. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the direction the current picture moves in. Right, left, up, and down Direction Rotate Spins the current picture about its Z-axis while zooming out and fading to reveal the new picture underneath. Appendix D Transition Parameters 645 Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the amount of rotation and zoom before the transition finishes, with 0 being minimum and 10 being maximum. Depth 0–10 Rotation Blur Spins the current picture about its Z-axis while blurring, zooming out, and fading to reveal the new picture underneath. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Controls how far the current picture rotates during the transition. Angle 0–359 degrees Wipe Current picture is wiped off and the new picture wiped on using a straight edge soft wipe. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Right, left, up, and Defines the direction the wipe moves in. down Direction Defines the softness of the wipe edge, with 0 being minimum and 10 being maximum. Thickness 0–10 Zoom Current picture zooms out and fades to reveal the new picture. Parameter name Range Notes You can enter a duration or drag the slider to set the duration. Duration 1 to 10 seconds Defines the amount of zooming before the transition finishes, with 0 being minimum and 10 being maximum. Depth 0–10 646 Appendix D Transition Parameters 4:3 The most common video aspect ratio, used for NTSC and PAL video standards. Also known as the 1.33 aspect ratio. See also aspect ratio. 16:9 The widescreen aspect ratio supported by the DVD-Video specification. Also known as the 1.78 aspect ratio. See also anamorphic, aspect ratio. AC-3 audio A compressed audio format developed by Dolby Laboratories. Also known as Dolby Digital audio. Supports single-channel through 5.1 surround sound configurations. The AC-3 encoder in Compressor outputs AC-3 format audio. active area The rectangular area that defines the part of the overlay graphic used for a button. Also defines a buttons hot spot that can be clicked when viewing the title on a computer. See also button. anamorphic A type of widescreen video in which the video uses the same frame size as standard 4:3 video, but with a horizontally compressed image, giving it a distorted appearance. Widescreen SD-based DVDs require you to use anamorphic 16:9 video. aspect ratio A video frames width-to-height ratio on your viewing screen. The most common aspect ratio is 4:3 used for standard video. The DVD specification also supports the 16:9 aspect ratio. See also 4:3, 16:9, anamorphic. assets The audio, video, and still image files used by DVD Studio Pro in authoring DVD projects. AUDIO_TS folder One of two folders required on standard definition DVD-Video discs (the VIDEO_TS folder is the other). The AUDIO_TS folder is reserved for use on DVD-Audio titles, and is always created but left empty when building projects with DVD Studio Pro. See also VIDEO_TS folder. authoring The process of creating a DVD. Authoring a DVD project requires you to use your sources to create elements, such as menus and tracks, connect the elements so that the viewer can get from one to the other, and then format the project into a DVD-compliant set of files, image, or DVD. See also elements. 647 Glossary Glossary authoring media The DVD-R format that supports the Cutting Master Format (CMF) for adding advanced features to master discs supplied to a replication facility. Requires using a special authoring DVD-R drive. See also Cutting Master Format (CMF), general media. AVC (Advanced Video Codec) See H.264. background image All menus have a background image, over which the menu’s buttons are placed. The background can be a still image or a motion video (creating a motion menu). See also motion menu. B-frame Bi-directional frame. In an MPEG video stream, a B-frame contains the motion differences between I-frames and P-frames occurring before and after it. With respect to file sizes, these are the most efficient frame types, although they have the greatest difficulty in handling abrupt scene changes. See also Group of Pictures (GOP), I-frame, P-frame. bit rate The number of bits per second that makes up a digital video or audio asset. The higher the bit rate, the better the quality. However, higher bit rates require larger file sizes and can cause playback problems if the DVD player is unable to keep up. The DVD specification places bit rate limits on assets used in DVD titles. blue laser The name for the new disc format supported by HD-based DVDs. The name refers to the color of the laser that plays the discs. Because a blue laser has a shorter wavelength than the red laser used with traditional SD-based DVDs, it is able to handle data that is more tightly packed than on red laser discs. This results in a little more than three times higher disc capacity. See also red laser. build To compile the project into its DVD-compliant format, creating the AUDIO_TS and VIDEO_TS folders for SD projects, and the HVDVD_TS folder for HD projects. The streams that make up a track are multiplexed into a single video object file. See also format. burn To write data to a disc. Within DVD Studio Pro, burn refers to a process that builds the project and then formats and writes it to a DVD-R, simplifying the process. See also build, format. button Each DVD menu has at least one button that the viewer can activate to access areas within the DVD. You can also place buttons over a video track. DVD Studio Pro supports three button types: overlay-based using an overlay graphic, shape-based using supplied or custom shape graphics, and layer-based using layers in an Adobe Photoshop (PSD) format file. You can connect buttons to a wide variety of project elements, including buttons on other menus, tracks, stories, slideshows, and scripts. See also button navigation, button states, motion button. 648 Glossary button navigation The actions that occur when a viewer presses a remote control’s arrow buttons. You can manually configure each button’s navigation settings or use the DVD Studio Pro Auto Assign feature to automatically set the navigation of all buttons on a menu at once. It is important to set the navigation so that viewers can logically get from the current button to the desired one. buttons over video Interactive buttons that appear over a video stream by way of a subtitle stream. Used to provide the viewer with viewing options while watching a title’s main program. Also known as interactive subtitles and interactive markers. button states Each button on a menu can be in one of three states: normal, selected, and activated. In the normal state, the button displays its inactive condition. All buttons on a menu except one are in the normal state. A button is selected when the viewer navigates to it. Only one button at a time can be in the selected state. The selected button becomes activated when the viewer presses the remote control’s Enter button. Depending on the button type, highlights or layers are used to indicate each button’s state. chapter Places in a track where you can connect to. Commonly used to identify scenes for a chapter index menu. You can assign up to 99 chapters in each track. clip The term used to describe a video or audio asset, especially after it has been added to a track. See also assets. color mapping When working with overlay graphics, the process of assigning a color and opacity setting to colors used in the overlay graphic. You assign separate colors and opacities for all three button states (normal, selected, and advanced). See also overlay. compile See build. constant bit rate (CBR) encoding A video MPEG encoding method that uses the same bit rate for the entire video file. Its primary advantage is that you can reliably predict the resulting file size. Its disadvantage is that all video scenes, whether still or with a lot of motion, are treated the same. See also variable bit rate (VBR) encoding. Content Scrambling System (CSS) Provides digital-based copyright protection for an SD DVD’s contents. See also Copy Generation Management System (CGMS), Macrovision. Copy Generation Management System (CGMS) Used to set whether an SD DVD can have unlimited copies made, a single copy made, or no copies made. Allowing no copies to be made activates the CSS and Macrovision settings. See also Content Scrambling System (CSS), Macrovision. Cutting Master Format (CMF) A format that provides the information needed by replication facilities to add advanced features to a DVD, such as support for copy protection and dual-layer discs. The cutting master format can be applied to DLTs and authoring DVD-Rs, but not general DVD-Rs. Glossary 649 Digital Linear Tape (DLT) drive The tape drive most often used to supply an SD DVD project to a replication facility. A separate tape is written for each project layer during the format process. See also disc description protocol (DDP), format. Digital Theatre Systems (DTS) audio A compressed audio format for single channel through 5.1 surround sound configurations. Requires an external DTS decoder for playing on your computer. disc description protocol (DDP) The file type most often used when formatting a project onto a DLT drive. See also Digital Linear Tape (DLT) drive. Dolby Digital See AC-3 audio. double-layer disc A recordable disc format that you can burn a dual-layer project to. Because it has the same capacity as a dual-layer disc, it is able to use the dual-layer settings in your project to place the break point, making it possible to test the project before sending it to the replicator. See also dual-layer disc. double-sided disc A DVD with content on both sides of the disc. Most DVD players require you to turn the disc over to play the second side. Each side can be single- or dual-layer. See also dual-layer disc. drop frame timecode Timecode that represents the actual time duration of NTSC at 29.97 frames per second (fps). To achieve this accuracy in numbering the frames, two frame numbers are dropped every minute on the minute, except for the tenth minute. See also non-drop frame timecode, timecode. drop zone An element you can add to a menus background. You can assign a still image or moving video asset to the drop zone. You can size, position, and rotate the drop zone. When you build the title, the drop zone is merged with the background. Drop zones cannot be linked to other elements in the project. dual-layer disc A DVD with two layers on a single disc side, almost doubling a single-layer disc’s capacity. While you can burn a dual-layer project on a double-layer drive, they are most often created by a replication facility. See also double-layer disc, double-sided disc, opposite track path (OTP), parallel track path (PTP). duplication facility When you need to create multiple copies of a DVD, and the disc fits on a standard DVD-R and requires no special high-end features such as copy protection, you can use a duplication facility. The duplication process creates DVD-R copies from a DVD-R that you burn on your system; they can automate the process and add professional labels. See also replication facility. 650 Glossary DVD@CCESS A feature in DVD Studio Pro that allows you to add additional interactivity to your title when it is played on a computer. With DVD@CCESS, you can add links to menus, tracks, and markers that can be used to open an application on the computer to display extra content. For example, you can open the system’s web browser and direct it to a specific URL. DVD-R The DVD format supported by the Apple SuperDrive, using write-once discs. See also authoring media, Cutting Master Format (CMF), general media. DVD-ROM A DVD with files in addition to those included on a standard DVD-Video disc. These files can be accessed when the title is played on a computer—they are ignored by standard set-top DVD players. The files can be almost anything you can write to a disc such as additional graphics or software. elements The parts of a DVD project, such as menus, tracks, stories, slideshows, and scripts. Authoring a project involves creating the elements and connecting them together. See also authoring. encoding The process of converting video or audio to a different format. For DVD projects, this means converting the video to an MPEG-2 file, and the audio to one of several DVD-compliant formats. First Play The element of a project that appears when the title begins playing. You can assign any of your projects elements as the First Play. format The process of writing the build files to an output device, which can be a DVD-R drive, an DLT drive, or your system’s hard disk. See also build. general media The DVD-R format most commonly used by DVD-R drives, including the Apple SuperDrive. It does not support the Cutting Master Format (CMF). See also authoring media, Cutting Master Format (CMF). General Purpose Register Memories (GPRMs) DVD players contain memory registers that are set aside for use by DVDs while they play. Scripts in a DVD use the GPRMs to store values used to provide special playback features, such as language customization or random playback. See also System Parameter Register Memories (SPRMs). Group of Pictures (GOP) A small section of an MPEG-2 encoded video clip, built from one I-frame and several B-frames and P-frames. Typical GOP sizes range from a few frames to a maximum of 18 frames (NTSC) or 15 frames (PAL). Marker placement and video trims can only occur at GOP boundaries. See also B-frame, I-frame, P-frame. Glossary 651 H.264 Based on the MPEG-4 part 10 format, the H.264 format, the H.264 video format, also known as Advanced Video Codec (AVC), provides for encoding with about twice the efficiency as with the MPEG-2 format. This results in better quality at the same bit rate, or you can choose to use a lower bit rate to achieve the same quality (with a smaller file size). In DVD Studio Pro, the H.264 format can only be used with HD projects. HDV An HD video format, using high bit rate MPEG-2 encoding, designed to be recorded on standard mini-DV tapes. HDV video can be edited in Final Cut Pro 5 and used in your HD projects without ever needing to be transcoded. HVDVD_TS The folder required on HD DVD-Video discs. DVD Studio Pro creates the HVDVD_TS folder when you build your HD project. It contains all of the video, audio, subtitle, menu, and navigation files that make up your HD DVD-Video title. I-frame Intra frame. In an MPEG video stream, I-frames, also known as reference or key frames, contain the complete image of the current frame. Unlike B-frames and P-frames, I-frames do not rely on other frames to provide image information. Each GOP contains one I-frame. See also B-frame, Group of Pictures (GOP), P-frame. interactive markers See buttons over video. interactive subtitles See buttons over video. jacket picture An optional part of the DVD-Video specification that is intended to allow a DVD player to display a graphic representing a DVD, either on a separate display or when the DVD player is stopped. layered menu creation method A method of creating menus that takes advantage of a Photoshop PSD file having separate layers for each button in its three states (normal, selected, and activated). This allows you to use complex graphics for the button highlights; however, you cannot include a motion video background or audio. See also button states, standard menu creation method. letterbox A method of displaying 16:9 video on a 4:3 monitor. The entire frame appears, with black bars at the top and bottom. See also pan-scan. Line 21 support In NTSC systems, the video line that can contain special data. Most often used to contain closed caption information. Macrovision Provides analog-based copyright protection for an SD DVD’s contents. See also Content Scrambling System (CSS), Copy Generation Management System (CGMS). marker An element you can add to a track to identify specific parts of the track’s content. There are several marker types, including chapter markers used to link chapter buttons and button highlight markers used to control buttons over video. You can have up to 99 chapter markers in a track, and up to 255 total markers in a track. Markers can only be placed at GOP boundaries. See also Group of Pictures (GOP). 652 Glossary menu An element in a project that provides buttons for the purpose of connecting to other elements in your project, such as tracks and slideshows. A menu can have a still or full motion background, and can include audio. See also background image, drop zone, motion button, motion menu. motion button Button shapes that can display a thumbnail image of an assigned asset. The asset can be a still image or a video clip. motion menu A menu that contains moving video content, either as the background, a motion button, or a drop zone. See also background image, drop zone, motion button. MPEG Acronym for Moving Picture Encoding Group. A group of encoding standards that define the MPEG-1 and MPEG-2 encoding standards used by DVDs. multiplexing The process of combining multiple streams, such as video streams, audio streams, and subtitle streams, into a single stream. This occurs when you build your title and create DVD-compatible streams. See also build. muxing See multiplexing. non-drop frame timecode Normal NTSC timecode, where frames are numbered sequentially and there are 30 frames per second, 60 seconds per minute, and 60 minutes per hour. Because NTSC’s frame rate is actually 29.97 fps, 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, timecode. NTSC Abbreviation for National Television Standards Committee. The organization that defines North American broadcast standards. The term NTSC video refers to the video standard defined by the committee, which has a specifically limited color gamut, is interlaced, and is approximately 720 x 480 pixels, 29.97 fps. See also PAL. one-pass and two-pass VBR (variable bit rate) encoding See variable bit rate (VBR) encoding. opposite track path (OTP) Used when creating dual-layer discs to control where the second layer starts. With OTP, the second layer starts at the outside edge of the disc, which is the opposite of the first layer, which starts at the disc’s inside edge. See also dual-layer disc, parallel track path (PTP). overlay A still graphic that provides the highlight information for buttons when creating menus or buttons over video. Overlays can be simple, using a single color on a white background, or advanced, using up to four predefined colors. You use color mapping to assign highlight colors to those used in the overlay, setting different colors for each button state (normal, selected, and activated). See also color mapping. PAL Acronym for Phase Alternating Line. A 25 fps (720 x 576 pixels) interlaced video format used by many European countries. See also NTSC. Glossary 653 pan-scan A method for displaying 16:9 video on a 4:3 monitor. Content is cropped at each end so that the 4:3 monitor is filled. An MPEG-2 video clip with pan and scan can include vectors that dynamically change the part of the picture that is cropped. See also letterbox. parallel track path (PTP) Used when creating dual-layer discs to control where the second layer starts. With PTP, the second layer starts at the inside edge of the disc, the same as the first layer. See also dual-layer disc, opposite track path (OTP). patches Specialized shapes that provide features not normally available with traditional shapes, such as shading and colorization. You cannot create your own patches. See also shapes. P-frame Predicted frame. In an MPEG video stream, P-frames are encoded based on the closest preceding I-frame or P-frame. They can be referenced by B-frames occurring before or after them. With respect to file size, they are not as efficient as B-frames, but handle abrupt scene changes better. See also B-frame, Group of Pictures (GOP), I-frame. pixel aspect ratio The distance between a pixel, the one next to it, and the one below it defines its aspect ratio. A square pixel aspect ratio, as used on computer systems and HD video monitors, has the same pixel distance in both directions. SD video monitors do not have the same distance in both directions, and have rectangular pixels. NTSC and PAL video each have different pixel aspect ratios. This difference must be accounted for when creating graphics on a computer for use in an SD project. project When you author a DVD title with DVD Studio Pro, you create and work in a project. red laser Refers to the color of the laser used to play the discs used by SD projects. See also blue laser. region codes DVDs can be set to play only in certain parts of the world by selecting the supported regions when you author your title. The DVD specification divides the world into six regions plus an additional region for use by airlines and cruise ships. replication facility You can use a replication facility when you need to reproduce a significant number of copies of your DVD (generally more than 100). You must use a replication facility if you require dual-layer discs, or if you intend to include high-end features such as copy protection or region codes. Replication facilities use a glass mastering process to create DVDs that are compatible with all DVD players, as opposed to the DVD-R process used by duplication facilities. See also duplication facility. scripts Simple programs you create to access specialized information from the DVD player, such as its region code, and to perform advanced functions, such as randomly playing all tracks. You can connect most elements of a project to scripts. See also General Purpose Register Memories (GPRMs), System Parameter Register Memories (SPRMs). 654 Glossary shapes Used with standard menus, shapes can be added to a menu as buttons or drop zones. In addition to their primary graphic, shapes can include the graphics required for highlights and video thumbnails. You can use those supplied with DVD Studio Pro or create your own. See also motion button, patches, standard menu creation method. slideshow An element in a project that can contain up to 99 still images and accompanying audio. DVD Studio Pro allows you to convert a slideshow into a track so that you can add additional features to it, such as a subtitle or additional languages for the audio. S/PDIF audio Sony/Philips Digital Interface. Digital audio output used by external AC-3 or DTS decoders to listen to DVD Studio Pro audio. standard menu creation method In DVD Studio Pro, refers to the process of creating menus that provides the most flexibility, including the ability to use motion video for the background, motion buttons, shapes, drop zones, and audio. Standard menus can also use templates and styles. See also layered menu creation method. story An element in a project that is specific to a particular track, allowing you to create a customized version of that track. For example, you can use stories to create alternate versions of a track that skip violent content or play just the track’s highlights. styles Used with standard menus, styles define how specific menu items, such as text objects, buttons, and drop zones, work in a menu. You can use those supplied by DVD Studio Pro or create your own. See also standard menu creation method, templates. subpicture See overlay. subtitle The DVD specification provides for up to 32 subtitle streams to be included in each track. These streams can contain plain text, similar to a closed caption function. They can also be used to provide buttons over video, allowing you to have buttons appear outside of menus. You can create the subtitles within DVD Studio Pro or import them from outside sources. System Parameter Register Memories (SPRMs) DVD players contain memory registers that contain configuration information, such as languages, video configuration, and region codes, for use by DVDs while they play. Scripts in the DVD can use the SPRMs to determine which version of a track to play or whether the DVD player has the proper region code. See also General Purpose Register Memories (GPRMs). templates Used with standard menus, templates can contain styles that define a menu’s background, button layout, text, and drop zones. You can use those supplied with DVD Studio Pro or create your own. See also standard menu creation method, styles. Glossary 655 timecode A method of associating each frame of video in a clip with a unique, sequential unit of time. The format is hours: minutes: seconds: frames. See also drop frame timecode, non-drop frame timecode. track The element of a DVD Studio Pro project that contains the video, audio, and subtitle streams that provide the primary content of the DVD. Each project can have a combination of up to 99 tracks, stories, and slideshows. transitions A short video clip that plays in place of the normal direct jump from one button or still image to the next element. There are a variety of transition types supplied with DVD Studio Pro that you can use. Transitions can be configured between a menu button and its target, between slides in a slideshow, and between still image clips in a track. variable bit rate (VBR) encoding A video MPEG encoding method that varies the bit rate based on the video content. Scenes with little motion use low bit rates to reduce the disc space needed, while scenes with a lot of motion use higher bit rates for greater quality. One-pass VBR encoding is faster than two-pass VBR encoding, but its quality is not quite as good and the final file size may be slightly different than you predicted. Two-pass VBR encoding makes a first pass through the video to determine its motion content, and then uses a second pass to perform the encode, with the advantage of better quality and providing a predictable file size. VIDEO_TS folder One of two folders required on DVD-Video discs (the AUDIO_TS folder is the other). DVD Studio Pro creates the VIDEO_TS folder when you build your SD project. It contains all of the video, audio, subtitle, menu, and navigation files that make up your DVD-Video title. video title set (VTS) The contents of a DVD are contained in one or more VTS blocks. DVD Studio Pro creates a VTS block for each track and slideshow in your project, with a maximum of 99 total. In addition to a track or slideshow, each VTS can also contain menus and scripts. You can use the VTS Editor to view and manage the VTS structure of your DVD projects. video zone The area of the DVD that contains the VIDEO_TS or HVDVD_TS folders. Logic Express 8 Manuel de l’utilisateur  Apple Inc. © 2007 Apple Inc. Tous droits réservés. En vertu des lois sur le copyright, il est interdit de copier le présent manuel en tout ou partie sans l’autorisation écrite d’Apple. Vos droits sur le logiciel sont régis par le contrat de licence du logiciel annexé. Le logo Apple est une marque d’Apple Inc. déposée aux États-Unis et dans d’autres pays. L’utilisation du logo Apple « clavier » (Option + 1) à des fins commerciales sans l’autorisation écrite préalable d’Apple peut constituer une contrefaçon de marque et une concurrence déloyale en violation des lois fédérales et nationales. Tous les efforts ont été mis en oeuvre pour garantir l’exactitude des informations contenues dans le présent manuel. Apple Inc. ne saurait être tenu pour responsable des coquilles, ni des erreurs d’écriture. Note : Apple fait souvent paraître de nouvelles versions et des mises à jour de ses logiciels système, applications et sites Internet. Les illustrations fournies dans ce manuel peuvent présenter de légères différences par rapport à ce qui apparaît sur votre écran. Apple Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, le logo Apple, Bonjour, Final Cut, Final Cut Pro, FireWire, iMovie, iPod, iTunes, Jam Pack, Logic, Mac, MacBook, Macintosh, Mac OS, PowerBook, QuickTime, Soundtrack et Ultrabeat sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder, GarageBand et Safari sont des marques d’Apple Inc. AppleCare est une marque de service d’Apple Inc. déposée aux États-Unis et dans d’autres pays. .Mac et iTunes Store sont des marques de service d’Apple Inc. Adobe, le logo Adobe, Acrobat, le logo Acrobat, Distiller, PostScript et le logo PostScript sont des marques ou des marques déposées d’Adobe Systems Incorporated aux États-Unis et/ou dans d’autres pays. Tout autre nom de société et de produit mentionné dans le présent manuel est une marque de son détenteur respectif. La mention de produits tiers n’est proposée que dans un souci d’information et ne constitue en rien un cautionnement ou une recommandation. Apple n’assume aucune responsabilité en ce qui concerne les performances ou l’utilisation de ces produits. 3 1 Table des matières Préface 15 Logic Express 8 : ressources et documentation 16 Conventions dans la documentation Logic Express 8 17 Logic Express aide à l’écran 17 Sites web Apple Chapitre 1 19 Présentation de Logic Express 20 Création de musique avec Logic Express 23 Opérations de base : projets et régions Chapitre 2 27 Présentation de l’interface Logic Express 28 Visite guidée de l’interface Logic Express 50 Fonctions standard des fenêtres Logic Express 53 Interaction entre les zones de la fenêtre Arrangement 58 Utilisation des éléments de l’interface Logic Express 60 Utilisation du clavier de l’ordinateur Chapitre 3 61 Personnalisation de la configuration de vos fenêtres 62 Types de fenêtres 64 Ouverture et fermeture des fenêtres 65 Déplacement et redimensionnement de fenêtres 68 Utilisation des différents niveaux de hiérarchie 69 Sélection de la zone de travail 71 Zoom 75 Relations entre les fenêtres 77 Personnalisation de la barre de transport 77 Personnalisation de la barre d’outils de la fenêtre Arrangement 79 Masquage ou affichage de l’Inspecteur 79 Réglage de l’affichage de la règle Mesure 81 Affichage des pistes globales 83 Utilisation des screensets Chapitre 4 87 Configuration du système 87 Conception de votre système de production musicale 94 Branchement de vos appareils MIDI et audio 4 Table des matières 103 Utilisation des appareils MIDI externes 103 Utilisation d’effets audio externes 103 Configuration de votre matériel audio Chapitre 5 109 Navigation dans votre projet 109 Réglage de la position de la tête de lecture 112 Utilisation des boutons de transport 114 Utilisation des raccourcis clavier de transport 115 Utilisation du mode Cycle 121 Utilisation de la fonction Suivi d’événements 123 Personnalisation de la barre de transport Chapitre 6 131 Utilisation des marqueurs 132 Ouverture des fenêtres et des zones relatives aux marqueurs 133 Création de marqueurs 136 Sélection de marqueurs 136 Suppression de marqueurs 137 Dénomination des marqueurs 139 Modification de l’apparence du texte du marqueur 140 Modification des marqueurs 142 Navigation à l’aide de marqueurs 143 Personnalisation de l’affichage des marqueurs dans la liste des marqueurs Chapitre 7 145 Utilisation des projets 145 À propos des projets 147 Création de projets 149 Ouverture de projets 151 Ouverture et création automatique de projets 152 Importation de réglages à partir d’autres projets 154 Vérification et correction de projets 155 Définition des propriétés de projet 163 Gestion des projets 165 Enregistrement de projets 167 Fermeture et sortie Chapitre 8 169 Fonctionnement de base 169 Utilisation de la souris 171 Saisie de valeurs numériques 172 Saisie de texte 172 Utilisation des raccourcis clavier 181 Utilisation d’outils 187 Utilisation des bulles d’aide 188 Utilisation du menu contextuel 189 Techniques de sélection Table des matières 5 195 Utilisation du Presse-papiers 196 Annulation et rétablissement d’opérations d’édition Chapitre 9 199 Utilisation des pistes 201 Configuration de l’en-tête de piste 202 Espace de travail et en-tête de piste 203 Création de pistes et de canaux 210 Suppression de pistes 211 Sélection de pistes 211 Réorganisation des pistes 212 Attribution de noms à des pistes 214 Assignation de pistes aux canaux 216 Zoom sur des pistes particulières 217 Assignation d’icônes à des pistes 218 Désactivation du son des pistes 220 Écoute en solo de pistes 221 Activation de l’enregistrement de pistes 222 Freeze des pistes 226 Masquage de pistes 227 Protection des pistes 228 Utilisation de la fonction d’activation en série pour les boutons placés au niveau de chaque piste Chapitre 10 229 Utilisation des instruments et des effets 230 Aperçu des bandes de canaux et de la table de mixage 234 Insertion, déplacement et retrait de modules 242 Chargement et suppression de configurations entières de bandes de canaux 246 Utilisation de la fenêtre de module 249 Fonctions communes de la fenêtre de module 256 Utilisation de la bibliothèque pour sélectionner les réglages de module 258 À propos des acheminements d’effets 262 Utilisation des instruments 275 Utilisation des applications ReWire 277 Utilisation d’effets audio externes 278 Utilisation de modules provenant d’autres fabricants Chapitre 11 281 Ajout de données préenregistrées 281 Formats de fichiers pris en charge 282 À propos des types de données préenregistrées pris en charge par Logic Express 284 Accès aux fichiers multimédia depuis le navigateur 290 Recherche de boucles Apple Loops dans le navigateur de boucles 299 Ajout et suppression de fichiers audio 309 Ajout de fichiers d’un projet et de fichiers MIDI 6 Table des matières Chapitre 12 311 Présentation des régions 311 Qu’est-ce qu’une région ? 315 Comparatif des régions MIDI et audio 317 Gestion des régions dans le chutier Audio et l’Éditeur des échantillons Chapitre 13 327 Création de votre arrangement 329 Accélération et simplification de la modification des régions 341 Sélection de régions 342 Sélection de parties d’une région 344 Ajout et enregistrement des régions 344 Suppression et restauration des régions 346 Déplacement de régions 352 Redimensionnement des régions 359 Coupe, copie et collage des régions 360 Ajout ou suppression de passages de morceaux 365 Répétition des régions 373 Division, démixage et fusion de régions 381 Utilisation des dossiers 385 Création de fondus et de fondus enchaînés dans des régions audio 389 Définition des paramètres de région Chapitre 14 395 Enregistrement dans Logic Express 395 Enregistrement audio 395 Vue d’ensemble de la procédure d’enregistrement 396 Préparation de l’enregistrement 405 Configuration des canaux de piste 407 Création d’un enregistrement audio 419 Gestion des enregistrements audio 420 Création d’accompagnements 424 Gestion des dossiers de prises 426 Enregistrement MIDI 427 Enregistrement de régions MIDI en temps réel 433 Enregistrement MIDI avec entrée pas-à-pas 439 Utilisation du clavier avec verrouillage majuscules Chapitre 15 441 Présentation de l’édition MIDI 442 Ouverture des éditeurs 444 Écoute des événements MIDI lors de l’édition 444 Édition d’événements MIDI dans la zone Arrangement 445 Contrôle et réinitialisation des événements MIDI Chapitre 16 447 Modification d’événements MIDI dans l’Éditeur Clavier 447 Découverte de l’interface de l’Éditeur Clavier 450 Création et édition d’événements de notes Table des matières 7 465 Scission d’accords 466 Utilisation d’Hyper Draw 468 Personnalisation de l’Éditeur Clavier 468 Raccourcis de l’Éditeur Clavier Chapitre 17 469 Modification d’événements MIDI dans l’Hyper Editor 471 Création et modification d’événements dans Hyper Editor 481 Utilisation de définitions d’événements 489 Utilisation d’hyper sets Chapitre 18 493 Modification d’événements MIDI dans la Liste des événements 494 Présentation et utilisation de l’interface Liste des événements 497 Sélection et création d’événements 501 Modification d’événements 503 Suppression d’événements et désactivation du son 504 Lecture en solo de régions ou de dossiers et changement de leur nom 505 À propos des types d’événements 511 Fenêtre Événement en premier plan Chapitre 19 513 Quantification d’événements MIDI 514 Quantification de régions 519 Quantification des événements et des notes 522 Création de modèles de groove Chapitre 20 527 Modification d’événements MIDI dans la fenêtre de transformation 528 Choix et utilisation des jeux de transformations 539 Utilisation des paramètres de la fenêtre de transformation 546 Création de vos propres jeux de transformations 547 Importation de jeux de transformations à partir d’autres projets 548 Exemples d’utilisation Chapitre 21 553 Modification de données audio dans l’Éditeur des échantillons 554 Lecture des fichiers audio 556 Navigation dans les fichiers audio 557 Modification des échelles des axes X et Y 559 Affichage de la forme d’onde sous forme de bits d’échantillonnage 560 Sélection de données 561 Copie, collage, suppression et coupe 562 Modification et traitement de données audio de façon destructrice 568 Réglage du tempo du projet 568 Fonctions de la boucle d’échantillonnage 568 Annulation des étapes de modification dans l’Éditeur des échantillons 570 Création de copies de sauvegarde manuelles 572 Utilisation de Digital Factory 8 Table des matières 588 Utilisation d’un Éditeur externe des échantillons Chapitre 22 589 Suppression des passages silencieux dans les régions audio 589 Utilisation de la fonction Éliminer les silences 591 Utilisation du processus d’élimination des silences Chapitre 23 595 Réglage du tempo des régions audio 595 Adaptation automatique au tempo 596 Réglage du tempo d’un projet afin de l’adapter à une région audio 598 Étirement temporel de régions 598 Utilisation de la fonction Suivre le tempo Chapitre 24 601 Gestion de fichiers audio 601 Tri, regroupement et changement de nom de fichier dans le chutier audio 606 Déplacement de fichiers audio 607 Copie ou conversion de fichiers audio 608 Suppression de fichiers audio 609 Optimisation des fichiers audio 609 Enregistrement de régions en tant que fichiers audio individuels 610 Exportation de pistes en tant que fichiers audio 611 Utilisation des fichiers SDII 611 Recherche et remplacement de fichiers audio orphelins Chapitre 25 613 Mixage 615 Étapes de mixage élémentaires 617 Éléments des bandes de canaux 618 Réglage des niveaux des bandes de canaux 621 Réglage du contrôle Pan ou Balance 622 Activation du mode solo et désactivation du son des canaux 624 Ajout d’effetsà l’aide d’insertions 624 Utilisation des envois 624 Utilisation des réglages des bandes de canaux 625 Monitoring à l’aide de modules d’effets 625 Armement des bandes de canaux 625 Modification du format d’entrée d’un canal 626 Réglage du mode Automation 626 Gestion des entrées et des sorties de la table de mixage 627 Ajustement des éléments de plusieurs bandes de canaux 629 Ajustement des bandes de canaux en mode Enregistrement ou Lecture 629 Utilisation des groupes 633 Types de bande de canal 641 Personnalisation de la table de mixage 647 Utilisation de la fenêtre Étiquettes E/S Table des matières 9 Chapitre 26 649 Utilisation de l’automatisation 650 Affichage des données d’automatisation de piste 653 Réglage d’un mode d’automatisation 657 Écriture des données d’automatisation de piste 658 Édition des données d’automatisation de piste dans la zone Arrangement 664 Édition des données d’automatisation de piste dans une liste des événements 664 Écriture des données d’automatisation avec des contrôleurs externes 666 Utilisation de la fonction Hyper Draw 670 Conversion de données d’automatisation Chapitre 27 673 Bounce de votre projet 674 Création d’un bounce 674 Direction des canaux vers une sortie 675 Définition de la plage de bounce 675 Utilisation de la fenêtre Bounce 685 Définition du nom et du dossier d’un fichier de bounce 685 Bounce et Dithering POW-r Chapitre 28 687 Création de boucles Apple Loops 688 Création de boucles Apple Loops dans Logic Express 691 Création de boucles Apple Loops dans l’Utilitaire de boucles Apple Loops 692 Conversion de fichiers ReCycle en boucles Apple Loops 693 Ajout de boucles Apple Loops au navigateur de boucles 694 Pistes globales et boucles Apple Loops 697 Conversion de boucles Apple Loops en fichiers audio 697 Boucles Apple Loops et fréquences d’échantillonnage Chapitre 29 699 Échange de projets et de fichiers 700 Partage de données Logic Express sur un réseau 705 Sauvegarde de fichiers audio 705 Sauvegarde et partage de projets 707 Utilisation des fichiers SMF 710 Importation de projets GarageBand 711 Utilisation des fichiers OMF 712 Utilisation des fichiers OpenTL 714 Ouverture, importation et exportation de fichiers AAF 715 Importation et exportation de fichiers XML Final Cut Pro 716 Exportation de régions 717 Exportation de pistes sous forme de fichiers audio Chapitre 30 719 Opérations avancées relatives au tempo 719 Affichage du tempo 720 Utilisation de la piste de tempo 725 Enregistrement des changements de tempo 10 Table des matières 725 Ajustement du tempo par rapport aux régions audio 726 Utilisation de la liste de tempos 729 Utilisation de la fenêtre Opérations sur le tempo 732 Utilisation de l’Interpréteur de tempo 734 Utilisation du curseur de tempo Chapitre 31 737 Régions de table des battements 738 Table des battements avec des régions MIDI 740 Table des battements avec des régions audio 741 Battements issus de la région 742 Table des battements réglée sur les marqueurs de scène 742 Table des battements réglée sur les marqueurs Chapitre 32 743 Transposition avec les pistes d’accord et de transposition 744 Méthode de transposition des événements MIDI et des boucles Apple Loops 745 Création et modification d’événements de transposition et d’accord 747 Analyse de régions MIDI Chapitre 33 749 Utilisation de la notation 750 À propos de l’éditeur de partition 757 Saisie de notes et de symboles dans l’éditeur de partition 757 Enregistrement MIDI en temps réel 758 Saisie des étapes 759 Saisie à l’aide la souris (à partir de la palette des symboles) 762 Utilisation d’Hyper Draw dans l’éditeur de partition 763 Utilisation de la palette des symboles 766 À propos des groupes de la palette des symboles 776 Notes et symboles d’édition : fonctionnement de base 776 Utilisation du menu contextuel 776 Modification simultanée de plusieurs objets 777 Suppression d’objets dans l’éditeur de partition 778 Déplacement ou copie d’objets à l’aide de la souris 781 Utilisation d’alias dans l’éditeur de partition 782 Modification de la position graphique des objets 784 Redimensionnement des notes et des symboles 785 Modification de notes et de symboles : opérations avancées 785 Modification de notes 791 Création et insertion de silences 793 Édition de clés 795 Édition d’articulations et de crescendi 797 Modification de signes de reprise et de traits de mesure 799 Utilisation du texte 799 Insertion de texte Table des matières 11 801 Édition de texte 802 Utilisation de polices de symboles musicaux 803 À propos des styles de texte 804 Utilisation de styles de texte 805 Utilisation de texte global 807 Utilisation d’objets textuels automatiques 808 Création de paroles 810 Création de symboles d’accords 814 Utilisation des temps et des armatures 815 Création de temps 816 Création d’altérations 816 Sélection d’articulations 817 Copie d’articulations 818 Édition d’articulations 818 Suppression d’articulations 819 Création et sélection d’articulations alternatives 820 Transcription d’enregistrements MIDI 821 Réglages par défaut des nouvelles régions MIDI 822 Sélection de plusieurs régions dans l’éditeur de partition 822 Paramètres d’affichage 828 Régions MIDI masquées 828 Utilisation des attributs de note pour modifier des notes séparément 835 Utilisation des styles de portée 858 Création de partitions et de rubriques instrumentales au moyen des jeux de partitions 866 Impression de la partition 866 Préparation de la mise en page de la partition pour l’impression 870 Impression de la partition 872 Exportation de la partition sous forme de fichier graphique 872 Préparation de l’exportation 872 Exportation de la partition 873 Personnalisation de l’apparence de l’éditeur de partition 873 Sélection d’un mode de couleur 874 Affichage des dossiers 874 Affichage des pistes globales 874 Affichage du nom des instruments 874 Réglages de projet associés à l’affichage des partitions 875 Réglages Partition globale 880 Nombres et noms 884 Tabl. guitare 888 Clefs et altérations 890 Mise en page 893 Réaction MIDI 895 Couleurs 12 Table des matières 897 Préférences de partition Chapitre 34 899 Utilisation de vidéo 900 Utilisation de la fenêtre Film 901 Utilisation de la piste vidéo 902 Utilisation de marqueurs de scène 903 Création de marqueurs de scène 904 Gestion de pistes audio de films QuickTime 906 Réglages de projet vidéo 908 Préférences vidéo Chapitre 35 909 Synchronisation de Logic Express 910 Relation de synchronisation maître-esclave 910 Utilisation d’une synchronisation externe 912 Réglages du projet de synchronisation 922 Affichage et utilisation des positions SMPTE 924 Contrôle de la machine MIDI (MCC, MIDI Machine Control) 926 Problèmes de synchronisation et solutions Chapitre 36 929 Utilisation des latences des modules 929 Au sujet des temps de latence 930 Utilisation du Mode de temps de latence faible 931 Utilisation de la compensation de retard de module Chapitre 37 937 Utilisation de formats de fichiers audio avec canaux scindés 938 Importation de fichiers avec canaux scindés 938 Utilisation de fichiers stéréo scindés 939 Exportation de fichiers avec canaux scindés Chapitre 38 941 Utilisation de l’Environnement 942 Utilisation de l’Environnement 942 Présentation de l’Environnement 944 Utilisation des couches 947 Personnalisation de l’affichage de l’Environnement 949 Utilisation des objets 954 Trajectoire du signal MIDI 961 Paramètres courants des objets Environnement 963 Échange d’Environnements 968 Objets Environnement 968 Instruments standard 971 Multi Instruments 977 Instruments mappés 981 Table de mixage GM 984 Boutons d’enregistrement MMC Table des matières 13 984 Clavier 985 Objet Moniteur 986 Objet Séparateur de canal 986 Arpégiateur 989 Objet Transformateur 994 Objet Ligne de retard 995 Objet Limiteur de voix 996 Objet Mémoriseur d’accord 999 Objet Touch Tracks 1002 Objets Entrée Physique et Entrée Séquenceur 1004 Objet Clic MIDI 1005 Objets internes 1006 Alias 1008 Ornement 1008 Macros 1010 Curseurs 1029 Objets Bandes de canaux Chapitre 39 1033 Réglages du projet et préférences 1034 Enregistrement des réglages du projet et des préférences 1034 Réglages du projet 1034 Réglages Synchronisation 1035 Réglages Métronome 1037 Réglages d’enregistrement 1039 Réglages d’accord 1045 Réglages audio 1047 Réglages MIDI 1048 Réglages de projet Partition 1048 Réglages de projet Vidéo 1049 Réglages de projet Ressources 1049 Préférences 1049 Préférences globales 1054 Préférences Audio 1060 Préférences MIDI 1063 Préférences d’affichage 1066 Préférences de partition 1066 Préférences vidéo 1067 Préférences d’automatisation 1068 Préférences de surface de contrôle 1068 Préférences de partage Annexe 1069 En savoir plus, service et assistance 1070 Informations relatives au service et à l’assistance AppleCare 14 Table des matières Glossaire 1071 Index 1109 15 Préface Logic Express 8 : ressources et documentation Logic Express 8 offre un recueil de documentation vous permettant d’apprendre à utiliser de manière approfondie l’ensemble des fonctionnalités de l’application. Pour obtenir des informations complémentaires sur Logic Express, notamment sur les mises à jour et les textes d’assistance, reportez-vous au site web Apple. Logic Express 8 est fourni avec la documentation suivante :  Manuel de l’utilisateur de Logic Express 8 : ce livret sert d’arbitre final pour tous les aspects de Logic Express. Il explique chaque élément du programme en détail, à l’exception des modules.  Premiers contacts avec Logic Express 8 : ce livret vous apprend à utiliser Logic Express rapidement.  Prise en charge des surfaces de contrôle de Logic Express 8 : ce document explique comment utiliser des surfaces de contrôle avec Logic Express 8.  Utilisation du matériel Apogee avec Logic Express 8 : ce document explique comment utiliser le matériel Apogee avec Logic Express 8.  Instruments et effets de Logic Express 8 : ce manuel traite de l’utilisation de tous les modules d’instruments et d’effets de Logic Express. Il n’aborde pas l’utilisation spécifique des modules dans les applications. Il couvre uniquement leurs fonctions, leurs paramètres et leur utilisation en général.  Informations de dernière minute : ce document est publié en ligne et fait l’objet de mises à jour au fur et à mesure des nouvelles versions de Logic Express 8 ou de la disponibilité d’informations inédites. Important : toutes les informations sur les sujets abordés dans ce manuel étaient exactes lorsque ce dernier a été rédigé. Pour obtenir des informations récentes sur les modifications et les ajouts effectués après la publication, reportez-vous au document intitulé Informations de dernière minute, que vous trouverez dans le menu Aide Logic Express, et au document Informations de mise à jour fourni avec chaque mise à jour de Logic Express. 16 Préface Logic Express 8 : ressources et documentation Conventions dans la documentation Logic Express 8 La rubrique qui suit vous présente les conventions utilisées dans la documentation de Logic Express 8. Fonctions des menus Les différents niveaux des menus hiérarchiques permettant d’accéder aux fonctions se présentent comme suit : Menu > Entrée du menu > Fonction. Entrées importantes Un texte apparaît comme suit : Important : informations sur la fonction ou le paramètre. Ces entrées traitent un concept clé ou donnent des informations techniques à suivre ou à prendre en compte. Vous devez leur prêter une attention particulière. Remarques certaines rubriques offrent des informations ou des astuces complémentaires vous facilitant l’utilisation de Logic Express. Elles s’affichent de la manière suivante : Remarque : informations sur la fonction ou le paramètre. Raccourcis clavier Un grand nombre de fonctions Logic Express sont accessibles à partir de raccourcis sur le clavier de votre ordinateur. Les raccourcis clavier mentionnés dans ce guide suivent le jeu de raccourcis clavier standard. Astuces Un certain nombre de raccourcis, de méthodes alternatives et d’astuces générales figurent tout au long de la documentation. Ces indications sont susceptibles d’améliorer votre flux de production ou de vous fournir des informations complémentaires sur d’autres utilisations possibles des fonctions. Les astuces se présentent de la manière suivante : Π Conseil : informations sur la fonction ou le paramètre. Avertissements Des messages d’avertissement sont inclus pour certaines fonctions destructives pouvant provoquer des pertes de données irrécupérables ou endommager votre matériel. Les avertissements sont affichés de la manière suivante : Prêtez une attention particulière à ces entrées car elles peuvent vous épargner de graves erreurs. Avertissement : informations sur la fonction ou le paramètre. Préface Logic Express 8 : ressources et documentation 17 Logic Express aide à l’écran L’Aide Logic Express comprend la documentation utilisateur Logic Express 8 au format électronique. Ces documents ont le mérite particulier d’être à portée de main dès que nécessaire et d’être interrogeables, vous offrant un accès rapide aux renseignements dont vous avez besoin.  Le menu Aide Logic Express présente également des fonctions complémentaires, notamment un accès direct aux pages Logic Express du site web Apple.  Une liste complète de signets vous permet de choisir (et de baliser) rapidement ceux que vous voulez consulter et vous renvoie directement à la source lorsque vous cliquez sur un lien. Informations de dernière minute Ce document est publié en ligne et fait l’objet de mises à jour au fur et à mesure des nouvelles versions de Logic Express 8 ou de la disponibilité d’informations inédites. Pour effectuer une vérification des dernières mises à jour, choisissez « Informations de dernière minute » dans le menu Aide. Le fichier PDF « Informations de dernière minute » est téléchargé. Si Safari est le navigateur web par défaut de votre système, le fichier PDF « Informations de dernière minute » s’affiche directement dans Safari. Certains navigateurs web peuvent ne pas afficher directement les fichiers PDF, auquel cas le fichier PDF sera téléchargé à l’emplacement de téléchargement par défaut. Sites web Apple Il existe sur le web une grande variété de groupes, de forums de discussion et de ressources pédagogiques relatifs à Logic Express. Sites web Logic Express Les sites web qui suivent offrent des mises à jour, des informations d’assistance et des informations générales sur Logic Express ainsi que les toutes dernières informations, ressources et documentation. Pour obtenir des informations à propos de Logic Express, consultez le site suivant : http://www.apple.com/fr/support/logicexpress Pour en savoir plus sur les formations dispensées par Apple, accédez au site suivant : http://www.apple.com/fr/training Pour faire part de vos commentaires à Apple et donner votre avis sur Logic Express, rendez-vous sur les forums de discussion Apple (en anglais) : http://discussions.apple.com/category.jspa?categoryID=156 18 Préface Logic Express 8 : ressources et documentation Site web de service et d’assistance Apple Consultez ce site pour obtenir des mises à jour de logiciels et des réponses aux questions fréquemment posées sur les produits Apple, en particulier Logic Express. Vous avez également accès à la spécification des produits, à la documentation de référence, ainsi qu’à des articles techniques sur les produits Apple et de tierce partie. Pour accéder à la page web du service et de l’assistance Apple : m Ouvrez votre navigateur Internet et tapez l’adresse http://www.apple.com/fr/support. Autres sites web  http://www.apple.com/fr : commencez par la page de démarrage d’Apple afin d’obtenir les dernières informations sur les produits Apple.  http://www.apple.com/fr/quicktime : QuickTime est la technologie standard développée par Apple pour le traitement de la vidéo, du son, des animations, des graphismes, du texte, de la musique et des scènes de réalité virtuelle (VR) à 360 degrés. QuickTime offre un haut niveau de performance, de compatibilité et de qualité pour la diffusion de la vidéo numérique. Rendez-vous sur le site web de QuickTime pour obtenir des informations sur les types de données compatibles, avoir un aperçu des spécifications et de l’interface QuickTime, etc.  http://www.apple.com/fr/firewire : FireWire est l’un des standards de périphériques les plus rapides, ce qui le rend indispensable pour l’utilisation de périphériques multimédia tels que les interfaces audio, les caméscopes vidéo ou les tout derniers disques durs ultra-rapides. Consultez ce site web pour obtenir des informations sur les avantages de la technologie FireWire, sur le logiciel FireWire et sur les produits FireWire de tierce partie.  http://www.apple.com/fr/pro : ce site web fournit des informations et d’autres ressources sur les séminaires, les événements et les outils de tierce partie utilisés pour la publication sur le web, la conception et l’impression de documents, la CAO, la musique et le son, la vidéo en fond d’écran, l’imagerie numérique, la modélisation et l’animation, ainsi que les arts médiatiques.  http://www..apple.com/fr/store : rendez-vous sur ce site pour acheter des logiciels, du matériel et des accessoires directement auprès d’Apple. Vous y trouverez également des promotions et des offres spéciales, notamment sur du matériel et des logiciels de tierce partie. 1 19 1 Présentation de Logic Express Logic Express est une application MIDI et audio complète et élaborée qui fournit tous les outils nécessaires à la réalisation de créations musicales de qualité professionnelle. Logic Express vous permet d’enregistrer des données audio et MIDI, de modifier des boucles audio et des éléments d’instruments logiciels et MIDI, d’ajouter des effets de grande qualité et de mixer votre musique en stéréo. La version mixée finale peut être exportée vers un fichier audio standard, gravée sur un CD audio ou sur un DVD susceptible d’être lu sur n’importe quel ordinateur ou chaîne hi-fi ou importée dans d’autres applications et périphériques. Voici un aperçu de ce que vous pouvez faire avec Logic Express :  Enregistrement d’informations MIDI via un périphérique d’entrée MIDI connecté, tel qu’un clavier, puis lecture de ces informations via tout appareil MIDI connecté (module ou clavier de synthétiseur) ou des instruments logiciels intégrés de Logic Express.  Création, arrangement et modification de projets MIDI, puis impression de notations musicales par le biais d’une imprimante connectée à votre ordinateur.  Enregistrement numérique d’instruments acoustiques et électriques ou de voix dans vos projets, puis traitement de ces enregistrements audio à l’aide d’un large éventail d’effets en temps réel intégrés.  Utilisation des instruments logiciels intégrés, notamment : Ultrabeat, ES1, ES2, EXS24 mkII, plus d’une dizaine d’instruments GarageBand de haute qualité ou d’instruments Audio Unit de tierce partie.  Chargement de projets ou de bandes de canaux depuis GarageBand, puis amélioration de ces éléments grâce aux possibilités de traitement et de modification supplémentaires offertes par Logic Express.  Mixage de vos pistes MIDI et audio, comprenant des effets et des réglages d’instruments logiciels, par l’intermédiaire d’un système élaboré d’automatisation du mixage avec remémoration totale. Logic Express fournit des effets de haute qualité, utilisables dans vos projets. Vous pouvez également installer et utiliser des effets et des instruments Audio Unit de tierce partie. 20 Chapitre 1 Présentation de Logic Express  Bounce (mixage) de toutes les données audio, y compris les instruments, les effets et les réglages d’automatisation du mixage, vers un fichier stéréo afin de les masteriser ou de leur appliquer un traitement supplémentaire.  Travail en temps réel : Logic Express vous permet de travailler sur vos projets en temps réel, d’ajouter des éléments audio et MIDI et de les modifier en cours de lecture, puis d’écouter immédiatement le résultat de vos modifications.  Utilisation de bibliothèques de boucles existantes : Logic Express prend directement en charge les fichiers Apple Loops et est compatible avec un grand nombre de types de fichiers audio existants, notamment ceux créés avec ReCycle.  Recherche et aperçu de fichiers : la zone Média, qui fait partie de l’interface Logic Express, offre des fonctions performantes de recherche et de navigation dans les fichiers, ce qui facilite la localisation de fichiers audio et d’autres types de fichiers pris en charge. Création de musique avec Logic Express Logic Express peut être utilisé de différentes façons, de la plus simple à la plus recherchée. La rubrique suivante décrit un exemple de processus courant auquel contribuent plusieurs projets. Le cas échéant, la structure de ce manuel suit ce processus de base. Étape 1 : création d’un projet Pour commencer à utiliser Logic Express, vous devez créer un projet ou en ouvrir un. Un fichier de projet contient des enregistrements de données MIDI, ainsi que des informations concernant les fichiers audio ou autres utilisés, y compris les pointeurs vers ces fichiers. Tous les fichiers (audio, vidéo, échantillons, etc.) peuvent être enregistrés dans un dossier de projet. Tous les fichiers d’un projet sont automatiquement placés dans les sous-dossiers appropriés, au sein du dossier principal. Pour plus de détails, reportez-vous à la rubrique « Opérations de base : projets et régions » à la page 23. Étape 2 : création et importation de vos oeuvres musicales L’importation d’une oeuvre musicale dans Logic Express peut être effectuée selon deux méthodes :  Nouveaux enregistrements de données audio ou MIDI (ces derniers peuvent ensuite être lus à l’aide de synthétiseurs MIDI externes ou d’instruments logiciels).  Importation d’enregistrements audio (fichiers audio, échantillons, boucles) ou de fichiers MIDI (et d’autres données de fichier) dans vos projets. Vous pouvez importer des enregistrements audio existants simplement en les faisant glisser depuis la zone Média, qui figure à droite de la fenêtre Arrangement. Chapitre 1 Présentation de Logic Express 21 Pour effectuer un enregistrement, vous devez faire appel à du matériel audio ou MIDI adapté, connecté à votre Macintosh ou installé sur ce dernier. Les enregistrements MIDI permettent de déclencher soit des périphériques MIDI externes, tels que les synthétiseurs, soit des instruments logiciels internes. Les instruments logiciels sont calculés sur l’unité centrale du Macintosh, puis lus par l’intermédiaire de votre interface audio ou des sorties audio Macintosh. Non seulement vous pouvez enregistrer les notes de vos performances, mais vous pouvez également enregistrer puis lire des informations telles que les changements de réglage du synthétiseur, et tout cela en temps réel. Pour effectuer un enregistrement audio, vous pouvez, entre autres, jouer d’un instrument (de la guitare par exemple) ou chanter dans un micro. Étape 3 : arrangement et modification Une fois vos oeuvres musicales importées ou enregistrées dans Logic Express, vous serez généralement amené à les organiser en une « structure de morceaux ». Pour ce faire, vous devez utiliser la fenêtre principale de Logic Express, appelée fenêtre Arrangement. Les oeuvres musicales apparaissent sous la forme de blocs rectangulaires, appelés régions. Ces régions s’exécutent de gauche à droite dans la fenêtre Arrangement et sont classées verticalement sous forme de pistes. Vous pouvez librement copier, répéter, passer en boucle, déplacer, raccourcir, allonger ou supprimer des régions, et ce sur une ou plusieurs pistes. Cette présentation en forme de grille et l’utilisation de blocs de construction (régions) permet de créer et de visualiser plus facilement la structure globale des morceaux. Vous serez souvent amené à modifier vos enregistrements de données audio ou MIDI de façon plus précise que cela n’est possible au niveau de la région. Logic Express dispose de plusieurs fenêtres d’édition qui vous permettent de modifier vos oeuvres musicales à différents niveaux. Voici quelques exemples de situations où cela peut s’avérer utile :  Vous avez réalisé l’enregistrement d’une performance principalement vocale mais on entend un bruit sourd lors des passages silencieux entre deux phrases, dus au fait que l’interprète donne un coup dans le pied du micro. Bien évidemment, c’est un son dont vous vous passeriez volontiers sur la version finale du CD. Cela ne pose pas de problème. Il vous suffit de modifier l’enregistrement en insérant un silence au moment du bruit sourd, voire même en supprimant complètement cette partie de l’enregistrement.  Vous avez réalisé un enregistrement MIDI au clavier qui serait parfait sans cette note erronée, qui aurait dû être un Do et non un Si. Cela ne pose pas de problème. Il vous suffit de faire glisser l’événement de note MIDI du Si vers le Do. Pour plus de détails, reportez-vous à la rubrique « Opérations de base : projets et régions » à la page 23. 22 Chapitre 1 Présentation de Logic Express Étape 4 : mixage, automatisation et utilisation de modules Après avoir créé un arrangement et y avoir apporté les modifications nécessaires, l’étape suivante du projet correspond généralement à la phase de mixage. Globalement parlant, le terme « mixer » signifie équilibrer les niveaux relatifs de chaque composant d’un morceau. En d’autres termes, la partie vocale principale doit être plus forte que la basse, les guitares, les percussions et les synthétiseurs, afin que l’on puisse entendre les paroles. Le mixage implique également l’utilisation d’effets audio, qui ont pour effet de modifier, d’améliorer ou de supprimer certains composants de morceau spécifiques, jusqu’à obtenir un produit final impeccable et unifié. Logic Express fournit divers effets que vous pouvez utiliser pour transformer votre morceau basique en un projet à la finition digne d’un professionnel. Logic Express vous permet d’enregistrer ou d’automatiser les modifications apportées aux réglages d’effet, d’instrument et de piste, tels que le volume, la balance, les filtres et d’autres commandes. Ces opérations peuvent être effectuées en temps réel ou hors ligne à l’aide de la souris ou d’un périphérique MIDI externe. Ces modifications sont répercutées lorsque vous lisez le projet et peuvent être modifiées indépendamment de l’oeuvre musicale. Cette fonction est très utile, pour diverses raisons :  Si vous utilisez la souris de l’ordinateur, vous ne pouvez ajuster qu’un seul niveau ou réglage d’une piste de lecture. La possibilité d’enregistrer et de lire plusieurs ajustements de tous les éléments de piste permet d’obtenir une version mixée élaborée.  Il est rare qu’une performance soit parfaitement cohérente. En effet, un interprète chante souvent plus ou moins fort au cours des différentes parties de sa performance, vous devrez donc égaliser ces changements de niveaux tout au long du morceau ou équilibrer les rubriques vocales basses et fortes par rapport au fond musical.  La dynamique d’un morceau (ses rubriques basses et fortes) bénéficie de l’animation. En d’autres termes, l’intensité d’une rubrique de morceau est souvent obtenue grâce à des changements de niveaux immédiats ou progressifs. Les morceaux dont le niveau reste régulier pendant toute leur durée ont tendance à paraître plats et à manquer d’énergie. Étape 5 : exportation et bounce La dernière étape du processus de création musicale dans Logic Express consiste à exporter votre produit final. Logic Express vous permet de créer un fichier stéréo de votre version mixée finale dans divers formats de fichier audio. Pour ce faire, vous devez accéder à la fenêtre Bounce. Choisissez simplement le ou les types de fichiers souhaités dans les menus disponibles, puis cliquez sur le bouton Bounce à l’écran. Vous pouvez même graver une version mixée stéréo directement sur un CD ou un DVD en une seule étape. Chapitre 1 Présentation de Logic Express 23 Opérations de base : projets et régions Cette rubrique fournit une présentation des éléments de base et de la terminologie d’un projet Logic Express. Des instructions détaillées concernant l’utilisation des projets, régions et événements sont fournies dans les chapitres ultérieurs. Si vous êtes un utilisateur chevronné, vous pouvez passer directement à la rubrique « Visite guidée de l’interface Logic Express » à la page 28. Projets Pour commencer à utiliser Logic Express, vous devez créer un projet ou en ouvrir un. Ce processus est similaire à l’utilisation d’une application de traitement de texte, où vous devez commencer par ouvrir un document pour pouvoir taper. Tout comme les applications de traitement de texte, Logic Express vous permet d’ouvrir plusieurs documents (projets) à la fois et de transférer des données multimédia (ou autres) de l’un à l’autre. Un fichier de projet Logic Express contient l’ensemble des événements MIDI et des réglages de paramètres, des informations sur les fichiers audio et vidéo devant être lus et toutes les modifications apportées aux données MIDI et audio. Il est important de noter que le fichier de projet pointe vers vos fichiers audio et vidéo, qui sont stockés sous la forme d’entités indépendantes sur le disque. Vous avez la possibilité d’inclure ces fichiers, ainsi que d’autres types de fichiers, dans le dossier du projet. Cette approche présente deux avantages essentiels :  L’enregistrement d’un projet sans ses « ressources » (fichiers d’échantillons, audio, vidéo, etc.) réduit la quantité de mémoire nécessaire au stockage des fichiers de projet (et des fichiers de sauvegarde de ce dernier).  L’enregistrement d’un projet avec ses ressources simplifie certaines tâches telles que l’archivage et le transport vers d’autres studios utilisant l’application Logic Express. Dossier de projet Un projet peut comprendre l’ensemble des fichier utilisés, y compris le « morceau » lui-même (le document de projet), les copies de sauvegarde du morceau, toutes les données audio, tous les instruments échantillonnés et les échantillons des instruments EXS24 ou Ultrabeat, ainsi que toutes les données vidéo. Ces éléments sont collectivement désignés comme étant les ressources du projet. Lorsque vous créez un nouveau projet, un dossier de projet est créé et nommé et son emplacement sur le disque dur est spécifié. Les nouveaux enregistrements sont automatiquement placés dans un sous-dossier intitulé Fichiers audio, au sein du dossier de projet principal. Si vous décidez d’inclure les ressources du projet, d’autres sous-dossiers sont automatiquement créés. Il s’agit notamment des dossiers Fichiers audio, Copies de sauvegarde du projet, Échantillons, Vidéo, ReCycle et Instruments de l’échantillonneur. 24 Chapitre 1 Présentation de Logic Express La structure de sous-dossiers est identique pour tous les projets, ce qui rend la navigation dans vos projets et ceux d’autres utilisateurs Logic Express plus simple et plus cohérente. Régions La fenêtre principale de Logic Express est intitulée fenêtre Arrangement. Il s’agit de la fenêtre qui s’affiche en premier lorsque vous ouvrez l’application et qu’un projet se charge. Cette fenêtre permet d’enregistrer, de modifier et d’arranger vos projets. Vos fichiers audio et MIDI apparaissent dans la fenêtre Arrangement sous forme de zones rectangulaires appelées régions. Les fichiers audio sont représentés par des régions audio, les fichiers MIDI par des régions MIDI. Régions audio et fichiers audio Les régions audio font tout simplement référence (pointent vers) un fichier audio sousjacent. Elles font office de marqueurs de lecture (signes de début et de fin), qui peuvent couvrir l’intégralité du fichier audio ou au contraire ne durer que quelques secondes au cours desquelles une petite partie du fichier audio est lue. Dossier du projet Dossier des fichiers audio Dossier des fichiers film Dossier des instruments de l’échantillonneur Dossier des réponses d’impulsion Ressources du projet Fichier de projet (« morceau ») Région audio 1 Fichier audio Région audio 2 Région audio 3 Chapitre 1 Présentation de Logic Express 25 Tout fichier audio utilisé dans Logic Express est automatiquement associé à au moins une région audio, qui correspond par défaut à l’intégralité du fichier en question. Vous pouvez librement créer autant de régions audio que vous le souhaitez. Pour vous convaincre de l’utilité des régions, imaginez une piste de batterie stéréo couvrant toute la durée de votre projet. Le batteur a parfaitement joué le deuxième refrain, mais s’est montré un peu brouillon le reste du temps. Logic Express vous permet de créer une région audio pointant sur le deuxième refrain du fichier audio (le morceau de batterie), puis d’utiliser cette prise parfaite à différents endroits du projet. Pour ce faire, la région audio (pointée sur le 2e refrain dans le fichier audio de la piste de batterie) doit être créée et copiée dans chacun des emplacements du refrain dans l a zone Arrangement. L’un des gros avantages des régions audio sur les fichiers audio réside dans le fait qu’elles n’utilisent que très peu de mémoire, alors que plusieurs copies d’une même rubrique du fichier audio prendraient beaucoup de place sur le disque dur. Bien entendu, il est possible de modifier, copier et déplacer directement des fichiers audio. Pour ce faire, vous devez faire appel à l’Éditeur des échantillons et à la zone Média. Régions et événements MIDI Les régions MIDI, quant à elles, contiennent des événements de données MIDI. Elles ne sont pas liées à des informations stockées dans des fichiers internes. Les régions MIDI peuvent être enregistrées sous forme de fichiers individuels mais elles peuvent également, et c’est le plus souvent le cas, être stockées comme faisant partie du projet. Les événements de données MIDI stockés au sein de régions MIDI incluent des informations telles que les changements de notes, de contrôleur, de programme, etc. Ces événements de données représentent des performances MIDI que vous avez enregistrées dans Logic Express. Ces prestations sont généralement créées à l’aide d’un clavier MIDI, mais elles peuvent également l’être au moyen de contrôleurs MIDI, de guitares MIDI, du clavier ou de la souris de votre ordinateur. Région MIDI Événements de note MIDI Événements de contrôleur MIDI 26 Chapitre 1 Présentation de Logic Express Les événements de données peuvent être affectés sous forme de groupe en traitant la région MIDI dans laquelle ils se trouvent. De tels traitements comprennent notamment les opérations de transposition, de quantification (correction temporelle semblable à la correction orthographique d’une application de traitement de texte, mais adaptée au domaine de la musique), de délai de temporisation et bien d’autres. Vous pouvez aussi modifier les événements d’une région MIDI un à un. Pour ce faire, ouvrez la région en question dans l’un des éditeurs MIDI. Ces fenêtres vous permettent de modifier de façon précise la position, la longueur et la tonalité d’événements de note MIDI. Les autres types d’événement MIDI sont modifiables de différentes façons. Grâce aux éditeurs mis à votre disposition, vous pouvez saisir librement des données MIDI à l’aide de votre clavier MIDI, de votre souris et/ou du clavier de votre ordinateur. Pour plus d’informations sur les données et les types d’événements MIDI, reportez-vous au chapitre 15, « Présentation de l’édition MIDI » à la page 441. 2 27 2 Présentation de l’interface Logic Express L’interface Logic Express se compose de plusieurs zones, chacune étant spécialement conçue pour des tâches particulières. L’espace de travail principal est la fenêtre Arrangement, qui peut comprendre l’ensemble des zones et éditeurs. Ce chapitre vous présente la fenêtre Arrangement. Vous allez y découvrir quelles sont ses interactions avec les autres fenêtres et éditeurs à votre disposition dans Logic Express. Pour obtenir des informations détaillées concernant ces éditeurs et leurs fonctions, reportez-vous aux chapitres figurant en référence croisée. Nous vous conseillons d’ouvrir dès à présent Logic Express afin de visualiser ces fenêtres et de vous familiariser avec elles. Cliquez sur les différentes parties de l’interface Logic Express et explorez-les à mesure qu’elles sont présentées. Vous pourrez ainsi mieux situer les différents éléments et avoir un bref aperçu de leurs fonctions et de la façon dont ils fonctionnent conjointement. Pour ouvrir Logic Express : m Dans le Finder ou le Dock, double-cliquez sur l’icône Logic Express dans le dossier Applications. Lorsque vous ouvrez Logic Express pour la première fois, la zone de dialogue Modèles s’affiche, vous permettant de sélectionner un modèle pour le type de projet que vous souhaitez créer (pour plus d’informations sur la zone de dialogue Nouveau, reportezvous à la rubrique « Création de projets » à la page 147). La présentation de l’interface de Logic Express dépend du modèle choisi. 28 Chapitre 2 Présentation de l’interface Logic Express Visite guidée de l’interface Logic Express La rubrique ci-après vous présente les divers éléments de l’interface Logic Express. Elle vise principalement à vous familiariser avec l’interface en vous faisant découvrir les caractéristiques de base de chaque zone. Toutes les options et fonctions ainsi que leur utilisation seront décrites en détail ultérieurement dans des chapitres spécifiques du manuel de l’utilisateur. Fenêtre Arrangement La fenêtre Arrangement peut incorporer l’ensemble des zones de travail et des éditeurs. Elle comporte une barre d’outils située dans sa partie supérieure et une barre de transport figurant dans sa partie inférieure. Vous pouvez afficher d’autres zones comme suit :  la zone d’édition, juxtaposée horizontalement, sous la zone Arrangement,  la zone Média ou Listes, juxtaposée verticalement, à droite de la zone Arrangement (et de la zone d’édition),  l’Inspecteur, juxtaposé verticalement, à gauche de la zone Arrangement (et de la zone d’édition). Si une zone n’est pas visible, il vous suffit de cliquer sur le bouton approprié de la barre d’outils ou de la zone Arrangement pour l’ouvrir, puis de redimensionner les zones affichées pour faire de la place à cette nouvelle zone. Π Conseil : vous pouvez également ouvrir un grand nombre de zones d’éditeurs et d’autres zones dans des fenêtres distinctes, indépendantes de la fenêtre Arrangement. Il convient pour cela d’utiliser le menu Fenêtre (et les raccourcis clavier associés). Cliquez sur ce bouton pour afficher la fenêtre Inspecteur. Fenêtre Arrangement Barre de transport Zone Arrangement Cliquez sur ce bouton pour afficher la zone Listes Cliquez sur ce bouton pour afficher la barre d’outils. Zone Média Inspecteur Barre d’outils Cliquez sur ces boutons pour afficher l’un des éditeurs. Chapitre 2 Présentation de l’interface Logic Express 29  Zone Arrangement : zone dans laquelle vous enregistrez des rubriques audio et instrumentales sous forme de régions, puis arrangez ces régions audio et MIDI sous la forme d’un morceau musical.  Zone Média ou Listes : si vous avez cliqué sur le bouton Média de la barre d’outils Arrangement, utilisez les divers onglets pour localiser et écouter un aperçu des fichiers audio (onglet Navigateur) ou bien sélectionner des éléments tels que des effets, des instruments et leurs réglages (onglet Bibliothèque). Lorsque vous cliquez sur le bouton Listes, vous pouvez afficher notamment les événements MIDI (Liste des événements) et les événements de tempo (Liste des tempos). Vous pouvez également activer la zone Média ou Listes via le menu Présentation de la fenêtre Arrangement (ou à l’aide des raccourcis clavier correspondants).  Zone d’édition : vous pouvez ouvrir ou fermer la Table de mixage, l’Éditeur Clavier, l’Hyper Editor, l’éditeur de partition ou l’Éditeur des échantillons directement dans la fenêtre Arrangement en cliquant sur un des boutons se trouvant dans la partie inférieure de la zone Arrangement. Ces fenêtres vous permettent de modifier précisément, de supprimer ou d’ajouter différents types de données.  Barre de transport : permet de naviguer dans le projet. La position actuelle de lecture, d’enregistrement ou d’édition est indiquée par la tête de lecture (trait fin vertical qui apparaît dans toutes les fenêtres Logic Express permettant l’affichage en temps réel de la lecture, à savoir la zone Arrangement et les fenêtres d’éditeurs).  Inspecteur : permet de définir les paramètres de piste et de région dans la fenêtre Arrangement ou les paramètres de la fenêtre d’édition active. Exemples :  En cliquant sur la zone éditeur de partition située en bas de la zone de l’éditeur, vous affichez tous les symboles de sonorisation de l’Inspecteur.  En cliquant sur la zone Éditeur Hyper, vous affichez les paramètres de la définition hyper actuellement sélectionnée (ligne sélectionnée dans la fenêtre Éditeur Hyper). Barre d’outils Arrangement La barre d’outils s’affiche en haut de la fenêtre Arrangement. Elle contient des boutons correspondant aux commandes fréquemment utilisées. La barre d’outils peut être personnalisée pour inclure des boutons permettant d’afficher les zones Inspecteur, Média et Listes, de créer des pistes, d’ajouter des fichiers audio et d’exécuter d’autres fonctions courantes. Pour plus d’informations, reportez-vous à la rubrique « Personnalisation de la barre d’outils de la fenêtre Arrangement » à la page 77. 30 Chapitre 2 Présentation de l’interface Logic Express Barre de transport La barre de transport occupe toute la partie inférieure de la fenêtre Arrangement. Elle vous permet de vous déplacer au sein de votre projet et de lancer un enregistrement. Elle contient des boutons que vous n’aurez aucun mal à reconnaître si vous avez déjà utilisé un magnétoscope ou un lecteur de CD/DVD : Lecture, Rembobiner, Pause, etc. La barre de transport intègre également diverses fonctions simplifiant les tâches que vous allez exécuter dans Logic Express, telles que l’enregistrement sur une rubrique qui se répète régulièrement ou l’écoute d’un morceau isolé. La barre de transport se compose des trois parties suivantes :  Boutons de transport : utilisés pour naviguer dans le projet.  Zone d’affichage : fournit des informations facilitant la navigation au sein du projet.  Boutons de mode : permettent d’activer des fonctions d’enregistrement et de lecture avancées. Vous pouvez modifier la barre de transport en ajoutant ou en supprimant des boutons et des affichages, de façon à pouvoir accéder plus rapidement aux fonctions dont vous avez le plus souvent besoin. Vous avez également la possibilité d’ouvrir une fenêtre d’affichage de la barre ou SMPTE. Pour plus d’informations, reportez-vous à la rubrique « Personnalisation de la barre de transport » à la page 77. Zone Arrangement La zone Arrangement s’affiche directement sous la barre d’outils. Elle permet d’enregistrer, d’importer, de trier et d’organiser des conteneurs de données audio et MIDI, appelés régions, dans un projet. Boutons de transport Zone d’affichage Boutons de mode Règle Mesure Grille Arrangement Liste des pistes Chapitre 2 Présentation de l’interface Logic Express 31  Règle Mesure : barre linéaire divisée en segments de mesures et de battements. La règle Mesure permet également d’afficher l’heure dans un format comprenant les heures, les minutes, les secondes et des divisions plus fines. Elle offre divers moyens pour marquer les rubriques du projet en vue de l’exécution de différentes tâches de lecture et d’enregistrement. Des informations plus détaillées sont présentées dans le chapitre 5, « Navigation dans votre projet » à la page 109.  Grille Arrangement : emplacement où sont affichées toutes les régions audio et MIDI sur des rangées horizontales, appelées pistes, alignées par rapport aux positions temporelles et présentées sous la forme d’une grille.  Liste des pistes : emplacement où vous définissez la bande de canaux cible pour la lecture des régions MIDI ou audio sur chaque rangée de piste horizontale. Les en-têtes de chaque rangée de la liste des pistes peuvent afficher le nom de la piste, les icônes correspondantes et plusieurs boutons associés aux pistes. Zone Média Vous pouvez ouvrir ou fermer la zone Média en cliquant sur le bouton Média dans la barre d’outils. La zone Média est l’emplacement où vous gérez tous les fichiers associés à votre projet, et notamment les réglages de module, audio et vidéo. Elle comporte quatre onglets :  Chutier audio : permet de gérer tous les fichiers audio utilisés dans le projet.  Navigateur de boucles : permet de rechercher des fichiers de boucle (par exemple, des boucles Apple Loops).  Bibliothèque : emplacement où vous pouvez rechercher (et éventuellement assigner directement) les réglages de module, de bande de canaux et d’instrument MIDI.  Navigateur : permet de rechercher tous les fichiers associés à Logic Express. Présentation du chutier Audio Le chutier audio affiche tous les fichiers audio utilisés dans le projet. Vous pouvez vous représenter le chutier audio comme un catalogue des fichiers audio du projet. Il vous donne également un aperçu des régions obtenues à partir de chaque fichier audio. 32 Chapitre 2 Présentation de l’interface Logic Express Vous pouvez définir des fichiers audio et des régions dans le chutier audio ou bien encore modifier, supprimer ou renommer des régions et des fichiers audio existants. Vous avez la possibilité de faire glisser directement l’ensemble des fichiers audio et des régions depuis le chutier audio vers la zone Arrangement, où ils peuvent alors être modifiés, déplacés et copiés. Vous pouvez également ajouter au chutier audio des fichiers qui ne sont pas encore utilisés dans l’arrangement, de façon à ce qu’ils soient facilement accessibles lors de la création du morceau.  Colonne Nom : répertorie tous les fichiers audio du projet actuel par leur nom. Le triangle d’affichage situé à gauche du nom de fichier indique toutes les régions associées au fichier audio sélectionné.  Colonne Infos : affiche des informations sur les régions et les fichiers audio. Les barres horizontales indiquent la longueur totale du fichier audio. Les rubriques colorées de ces barres spécifient l’emplacement et la taille des régions dans le fichier audio. D’autres informations, telles que la fréquence d’échantillonnage, la profondeur de bits, l’état mono ou stéréo et la taille des fichiers sont également indiquées dans cette colonne Infos. Les fichiers mono sont signalés par un symbole représentant un seul cercle et les fichiers stéréo par un symbole représentant deux cercles entrelacés.  Bouton Lecture : cliquez sur ce bouton pour écouter la région ou le fichier audio sélectionné. Cliquez une seconde fois pour arrêter la lecture.  Bouton Boucle : cliquez sur ce bouton pour écouter en boucle la région ou le fichier audio sélectionné Cliquez une seconde fois pour arrêter la lecture. Chapitre 2 Présentation de l’interface Logic Express 33 Lorsque vous ouvrez le chutier audio en tant que fenêtre indépendante et que vous le redimensionnez, la colonne Infos du chutier audio peut afficher des aperçus des formes d’onde des régions et des fichiers audio. 34 Chapitre 2 Présentation de l’interface Logic Express Présentation du navigateur de boucles Le navigateur de boucles est conçu pour accélérer la recherche de boucles Apple Loops et la rendre intuitive. Vous pouvez rechercher des boucles en utilisant des mots-clés, effectuer des recherches de texte, afficher un aperçu des boucles, afficher des informations sur les boucles ou bien encore limiter l’affichage aux boucles d’un Jam Pack ou d’une bibliothèque de boucles spécifique. Les fichiers correspondants s’affichent dans la liste des résultats de la recherche. Lorsque vous trouvez des fichiers que vous souhaitez utiliser, il vous suffit de les ajouter à votre projet en les faisant glisser dans la zone Arrangement. Trois présentations sont disponibles dans l’onglet Boucle : Colonne, Musique et Effets sonores. La présentation Musique, qui est la présentation par défaut, comprend 54 boutons qui correspondent chacun à une catégorie musicale. Il vous suffit de cliquer sur les boutons souhaités dans la matrice pour limiter la recherche aux boucles Apple Loops appropriées. Les boutons activés sont mis en surbrillance. Boutons Catégorie Cliquez sur ces boutons pour limiter la recherche aux boucles appropriées. Liste des résultats de la recherche Affiche toutes les boucles correspondant aux critères de recherche définis. Curseur de volume Menu Présentation Boutons de présentation Champ Recherche Chapitre 2 Présentation de l’interface Logic Express 35 La présentation Effets sonores inclut des boutons de catégories liés aux effets (par exemple, Explosions, Bruitage ou Personnes). La présentation Colonne offre un menu standard de fichiers en colonne Mac OS X, classé de façon hiérarchique selon les critères de recherche Tous, Par genre, Par instrument, Par ambiance et Signets.  Boutons de présentation : cliquez sur ces boutons pour passer d’une des trois présentations à une autre. Le bouton de gauche permet de passer en présentation Colonne, le deuxième (sur lequel figure l’icône d’une note) en présentation Musique et le troisième (sur lequel figure l’icône FX) en présentation Effets sonores.  Menu local d’affichage : affiche uniquement les boucles d’une bibliothèque de boucles spécifique.  Champ Recherche : saisissez du texte dans ce champ pour afficher les fichiers dont le nom contient la chaîne de texte recherchée.  Boutons Catégorie (présentations Musique et Effets sonores uniquement) : cliquez sur ces boutons pour afficher les fichiers qui correspondent à la catégorie dans la liste des résultats de la recherche. Colonnes Catégorie 36 Chapitre 2 Présentation de l’interface Logic Express  Colonnes Catégorie (présentation Colonne uniquement) : choisissez une colonne Catégorie pour afficher ses sous-catégories.  Liste des résultats de la recherche : affiche toutes les boucles qui correspondent aux critères de recherche.  Curseur de volume : règle le niveau de lecture du fichier sélectionné. Présentation de la bibliothèque La bibliothèque est un outil puissant permettant d’accéder aux types de fichiers suivants :  réglages des bandes de canaux (.cst),  réglages des modules (.pst),  instruments EXS (.exs),  programmes de l’environnement et instruments ou banques d’instruments MIDI créés dans l’utilitaire Configuration audio et MIDI,  instruments MIDI ReWire et hôtes ReWire actifs. La bibliothèque affiche automatiquement les fichiers de réglages qui correspondent à la rubrique et au type de bande de canaux sélectionnés (menu Réglages des bandes de canaux, emplacement d’insertion, emplacement d’instrument). Un cadre blanc entoure la rubrique sélectionnée des bandes de canaux de la fenêtre Arrangement. Chapitre 2 Présentation de l’interface Logic Express 37 Vous pouvez rechercher des fichiers en ouvrant des dossiers ou en effectuant des recherches de texte. Les fichiers de réglages qui correspondent s’affichent dans la liste des résultats de la recherche. Lorsque vous trouvez un fichier que vous souhaitez utiliser, il vous suffit de le sélectionner pour le charger. Présentation du navigateur Le navigateur vous permet de parcourir et de rechercher tous les types de fichiers pouvant être utilisés dans Logic Express, de façon à ce que vous puissiez accéder facilement à ces données et les utiliser lors de la phase de production. Il affiche les types de fichiers suivants sur tout volume de données connecté :  fichiers de projet Logic,  fichiers de morceaux de versions antérieures de Logic,  projets GarageBand,  tous les formats PIF (Project Interchange Format) avec lesquels Logic Express est compatible (fichiers OMF, AAF, OpenTL, XML et MIDI),  fichiers audio,  vidéos QuickTime. Boutons Précédent et Suivant Bouton Lecture Menu local Curseur de volume Action Champ Recherche Filtres de recherche Liste de fichiers Menu Chemin Boutons Ordinateur, Départ et Projet Boutons de présentation 38 Chapitre 2 Présentation de l’interface Logic Express  Boutons Précédent et Suivant : permettent le déplacement dans les niveaux précédemment affichés de la hiérarchie des dossiers.  Menu local Chemin : affiche les niveaux du chemin jusqu’à l’emplacement actuel, vous permettant ainsi de revenir à un niveau précédent.  Bouton Ordinateur : affiche le contenu du disque dur local, du lecteur optique et des autres supports de stockage connectés à votre ordinateur, le cas échéant.  Bouton Départ : affiche le contenu de votre répertoire de départ.  Bouton Dossier Projet : affiche le contenu du dossier Projet actuel.  Boutons de présentation : passe du mode d’affichage Colonne de la liste de fichiers au mode Liste et vice versa.  Champ Recherche : saisissez du texte dans ce champ pour afficher les fichiers dont le nom contient le texte recherché. Vous pouvez non seulement rechercher des fichiers par leur nom, mais également en fonction d’autres critères (informations supplémentaires enregistrées avec vos fichiers). Cliquez sur le bouton Plus pour afficher d’autres filtres de recherche. Logic Express effectue toujours la recherche dans l’emplacement affiché.  Filtres de recherche : les menus permettent d’affiner la recherche en fonction de types ou de formats de fichiers spécifiques, d’une date, d’une taille ou d’autres critères.  Liste de fichiers : affiche les fichiers et dossiers Logic se trouvant dans l’emplacement actuel. En présentation Colonne, vous pouvez parcourir le contenu des dossiers en cliquant sur les dossiers souhaités.  Menu local Action : choisissez des options de ce menu pour ajouter un fichier audio sélectionné au chutier audio ou afficher son emplacement dans le Finder.  Curseur de volume : permet de régler le volume de lecture.  Bouton Lecture : cliquez sur ce bouton pour lire le fichier audio sélectionné. Zone Listes Vous pouvez ouvrir ou fermer la zone Listes en cliquant sur le bouton Listes de la barre d’outils. Elle comporte quatre onglets indépendants affichant une liste des types de données suivants :  Liste des événements : affiche des régions ou des événements MIDI.  Liste des marqueurs : répertorie tous les marqueurs de votre projet.  Liste des tempos : affiche tous les changements de tempo.  Liste des articulations : affiche tous les événements de changement de temps et d’armature du projet. Les onglets de liste sont parfaitement adaptés si vous avez besoin d’exécuter des tâches d’édition précises ou d’avoir une vue complète de l’ensemble des données. Chapitre 2 Présentation de l’interface Logic Express 39 Présentation de la liste des événements La liste des événements répertorie tous les événements de votre projet, tels que les événements de note MIDI ou de début de région. Utilisez-la chaque fois que vous avez besoin d’apporter des modifications précises à des données enregistrées et que l’affichage graphique des autres éditeurs n’est pas aussi bien adapté à la tâche à exécuter. Vous pouvez restreindre les types d’événements affichés, afin de repérer plus aisément des types d’événements spécifiques. La liste des événements peut afficher deux types de données : celles relatives aux régions ou celles relatives aux événements. Les informations affichées dépendent du niveau actuel de la hiérarchie (c’est-à-dire du fait que vous affichez des informations dans la zone Arrangement ou que vous examinez une ou plusieurs régions MIDI dans la zone Arrangement). Pour plus d’informations sur la hiérarchie d’affichage, reportezvous à la rubrique « Utilisation des différents niveaux de hiérarchie » à la page 68.  Bouton Hiérarchie : cliquez sur ce bouton pour passer au niveau supérieur dans la hiérarchie de la liste des événements. Cela vous permet d’afficher toutes les régions du projet actuel. Bouton Hiérarchie Boutons Créer et Filtrer Boutons Type d’événement Zone Liste Écran des régions Écran des événements 40 Chapitre 2 Présentation de l’interface Logic Express  Boutons Créer et Filtrer : détermine la fonction des boutons de types d’événements. Lorsque vous activez le bouton Créer, le type d’événement sélectionné est ajouté quand vous cliquez sur le bouton de type d’événement. Lorsque vous activez le bouton Filtrer, vous pouvez utiliser les boutons de types d’événements pour faire disparaître de l’affichage des types d’événements spécifiques. Les événements sont alors simplement masqués, cela n’a aucune incidence sur la lecture.  Boutons Type d’événement : cliquez sur ce bouton pour faire disparaître de l’affichage des types d’événements spécifiques ou les ajouter (selon l’état des boutons Créer et Filtrer).  Zone Liste : affiche la liste actuelle des événements ou des régions, répartis en colonnes. Les détails relatifs à ces opérations sont présents dans la rubrique chapitre 18, « Modification d’événements MIDI dans la Liste des événements ». Présentation de la liste des marqueurs La liste des marqueurs affiche tous les marqueurs du projet. Vous pouvez l’utiliser pour créer et modifier des marqueurs ou encore sélectionner des marqueurs pour modifier du texte. Elle sert également d’aide à la navigation étant donné que vous pouvez cliquer sur un nom de marqueur pour accéder directement à la position correspondante (ou pour y placer la tête de lecture). Bouton Créer Zone de liste des marqueurs Zone de texte des marqueurs Bouton Zone de texte des marqueurs Chapitre 2 Présentation de l’interface Logic Express 41  Bouton Créer : crée un marqueur.  Zone de liste des marqueurs : affiche tous les marqueurs de votre projet.  Bouton Zone de texte des marqueurs : cliquez sur ce bouton pour afficher la zone de texte des marqueurs facultative vous permettant de saisir ou de modifier le texte des marqueurs.  Zone de texte des marqueurs : saisissez le texte du marqueur sélectionné ici. Présentation de la liste des tempos La liste des tempos affiche tous les changements de tempo intervenus dans le projet. Vous pouvez également l’utiliser pour créer ou modifier des événements de tempo.  Bouton Créer : cliquez sur ce bouton pour créer un événement de tempo.  Liste des tempos : affiche tous les changements de tempo et leur position dans le projet. Bouton Créer Liste des tempos 42 Chapitre 2 Présentation de l’interface Logic Express Présentation de la liste des articulations La liste des articulations affiche tous les événements de temps et d’armature qui interviennent dans le projet. Si des symboles de sonorisation sont présents dans la partition du projet, ils sont également affichés. Ces commandes sont les suivantes : signes de répétition et doubles traits de mesure (y compris les événements de fin de partition), traits de mesure courts, demi-traits, traits de mesure masqués et insérés manuellement. Vous pouvez utiliser la liste des articulations pour créer, copier, déplacer et supprimer des événements de temps et d’armature. Le temps et l’armature d’origine du projet s’affichent toujours en haut de la liste, sans indicateurs de position de mesure. Chapitre 2 Présentation de l’interface Logic Express 43 Inspecteur Vous pouvez afficher ou masquer l’Inspecteur en cliquant sur le bouton Inspecteur dans la barre d’outils. Le contenu de l’Inspecteur dépend de la zone active : la zone Arrangement ou une des zones d’édition figurant sous celle-ci. La capture d’écran suivante montre l’Inspecteur lorsque la zone Arrangement est active :  Zone Paramètres de région : permet de définir des paramètres de lecture, tels que la transposition et la quantification, pour des régions individuelles sur des rangées de piste. Aucun des paramètres de la zone Paramètres de région ne modifie vraiment les données d’origine de la région. Ils n’affectent que la lecture de cette dernière (et les événements qu’elle contient). Ces articulations de paramètres se produisent en temps réel, au fur et à mesure de la lecture de la région. En cliquant sur le petit triangle à gauche du nom, vous affichez ou masquez le contenu de la zone.  Zone Paramètres de piste : permet de modifier divers aspects de la bande de canaux d’une piste. Toutes les régions situées sur la rangée de cette piste sont affectées par les éventuelles modifications apportées dans cette zone (puisque toutes les régions sont acheminées via cette bande de canaux). En cliquant sur le petit triangle à gauche du nom, vous affichez ou masquez le contenu de la zone. La fermeture de la zone permet de libérer de l’espace pour les éléments ci-dessous. Zone Paramètres de région Zone Paramètres de piste Bandes de canaux de la fenêtre Arrangement 44 Chapitre 2 Présentation de l’interface Logic Express  Bandes de canaux de l’arrangement : la bande de canaux de gauche contrôle la sortie de la piste d’arrangement sélectionnée. La bande de canaux figurant sur la droite peut varier, en fonction des opérations effectuées dans la bande de canaux de gauche. Par exemple, la bande de canal à droite peut afficher la première bande de canal de destination auxiliaire ou de sortie correspondant à la bande de canal située à gauche. Cette fonction permet de configurer facilement et rapidement des effets et des schémas de routage audio flexibles. Elle fournit également une vue instantanée du processus de traitement et de routage pour la piste d’arrangement sélectionnée ; vous avez la possibilité d’accéder à toutes les fonctions de canal de mixage (volume, balance, envois, insertions, etc.) directement à partir de la zone Arrangement. Toute modification apportée à une bande de canal d’arrangement d’une piste est répercutée dans la bande de canal correspondante de la table de mixage, et inversement. Remarque : la taille horizontale de l’Inspecteur ne peut pas être modifiée. Si la zone active ne comporte pas de zone de paramètre, l’Inspecteur de la zone Arrangement s’affiche. Pour en savoir plus sur la façon dont l’Inspecteur procède aux mises à jour pour afficher les paramètres de la fenêtre active, reportez-vous aux chapitres relatifs à chaque fenêtre. Chapitre 2 Présentation de l’interface Logic Express 45 Zone d’édition Vous pouvez ouvrir la Table de mixage, l’Éditeur des échantillons, l’Éditeur Clavier, l’éditeur de partition et l’Hyper Editor directement dans la fenêtre Arrangement en cliquant sur le bouton correspondant au bas de cette dernière. Voici un bref aperçu des fonctions disponibles dans chaque fenêtre. Présentation de la Table de mixage La Table de mixage est l’emplacement où vous procédez au mixage de votre projet. Chaque piste est lue par le biais d’une bande de canaux. Vous pouvez régler le niveau et la balance d’une bande de canal, ajouter des effets, activer la lecture solo et désactiver le son des pistes ou bien encore envoyer la sortie d’une bande de canal à d’autres types de bandes de canaux, tels que des canaux de sortie et auxiliaires.  Bandes de canaux : utilisez les contrôles de bandes de canaux pour régler le niveau et d’autres aspects du signal audio lu par le biais de la bande de canaux.  Boutons de présentation : affiche la table de mixage en mode Vue unique, Arrangement ou Intégralité de la table, afin de limiter la vue de la table de mixage aux bandes de canaux requises pour la tâche en cours.  Boutons Filtrer : permettent de filtrer l’affichage de types de bandes de canaux spécifiques. Pour plus de détails, reportez-vous au chapitre 25, « Mixage » à la page 613. Bandes de canaux Boutons Boutons de présentation Filtrer 46 Chapitre 2 Présentation de l’interface Logic Express Présentation de l’Éditeur des échantillons L’Éditeur des échantillons affiche le contenu des fichiers audio sous la forme de graphiques de forme d’onde. Vous pouvez l’utiliser pour modifier précisément des fichiers audio (et des régions). L’Éditeur des échantillons comporte également de nombreux outils de traitement destructif utiles qui vous permettent de procéder à un étirement temporel (time stretch) et de changer de tonalité audio (pitch shift), de modifier des fréquences d’échantillonnage, d’extraire des grooves MIDI des données audio, et même de quantifier ces données.  Règle : affiche la position de la région dans l’arrangement. Si vous n’avez pas encore ajouté le fichier audio à l’arrangement, les traits de position du marqueur apparaissent en pointillé, indiquant qu’il n’existe aucune connexion temporelle.  Écran d’informations : affiche le point de départ et la longueur de la zone sélectionnée.  Vue d’ensemble de la forme d’onde : affiche une vue miniature de la forme d’onde complète. Le cadre blanc montre l’étendue de la rubrique visible dans l’affichage de la forme d’onde. Le cadre gris foncé indique la zone actuellement sélectionnée.  Écran de forme d’onde : fournit un affichage détaillé de la forme d’onde. Si vous utilisez un fichier stéréo, les deux canaux s’affichent, avec la partie gauche figurant en haut et la partie droite apparaissant en dessous. À gauche de l’écran de forme d’onde se trouve l’échelle d’amplitude.  Tête de lecture : le trait gris figurant dans l’affichage de la forme d’onde indique la position actuelle de la tête de lecture.  Point d’ancrage : définit un point de référence temporelle pour une région. Lorsque vous déplacez une région dans la zone Arrangement, Logic Express affiche la position du point d’ancrage dans la bulle d’aide et aligne le point d’ancrage de la région sur la division de la grille sélectionnée du menu Magnétisme.  Zone Région : modifiez cette barre pour ajuster la longueur de la région. Règle Écran Vue d’ensemble de la forme d’onde d’informations Affichage Oscilloscope Point d’ancrage Zone Région Tête de lecture Chapitre 2 Présentation de l’interface Logic Express 47 Présentation de l’Éditeur Clavier L’Éditeur Clavier affiche les notes MIDI sous forme de barres sur une grille. Le clavier du piano situé à gauche est aligné par rapport aux hauteurs de note représentées par chaque barre. La longueur des notes est indiquée par la longueur relative de chaque barre. La position des notes est affichée de la gauche vers la droite ; une règle et un quadrillage vertical permettent d’identifier plus facilement le début et la fin des notes. La vélocité des notes (force avec laquelle la note est frappée et généralement le niveau du volume sonore) est indiquée par des couleurs. Pour plus de détails, reportez-vous au chapitre 16, « Modification d’événements MIDI dans l’Éditeur Clavier » à la page 447. 48 Chapitre 2 Présentation de l’interface Logic Express Présentation de l’éditeur de partition L’éditeur de partition utilise une notation musicale traditionnelle pour afficher les événements de note MIDI (ainsi que des types de pédales et d’autres événements) des régions MIDI. Vous pouvez insérer et modifier des événements de note MIDI dans des portées et utiliser des symboles musicaux pour clarifier leur signification dans cet éditeur. Vous pouvez également intégrer du texte, tel que des paroles, des titres et des commentaires, à la partition. La fonction d’impression vous permet d’imprimer des partitions complètes, le nombre de portées n’étant limité que par le format du papier. Pour plus de détails sur l’utilisation de l’éditeur de partition, reportez-vous au chapitre 33, « Utilisation de la notation » à la page 749. Présentation de Hyper Editor Hyper Editor affiche les événements de contrôleur et de note MIDI sous forme de barres verticales, placées le long d’une grille temporelle définie par l’utilisateur. Cet éditeur est par conséquent l’emplacement idéal pour :  Ajouter ou modifier des données de contrôleur, telles que la vélocité des notes. Il permet d’effectuer beaucoup plus rapidement certaines tâches d’édition, telles que la mise à l’échelle des données. Chapitre 2 Présentation de l’interface Logic Express 49  Créer et modifier rapidement des morceaux de batterie MIDI.  Définition d’événement : chaque ligne (ou rangée) horizontale fournit une définition d’événement, qui détermine le type d’événement affiché/affecté. Lorsque vous sélectionnez une ligne dans la colonne des noms, la définition d’événement correspondante s’affiche dans la zone de paramètre Définition d’événement de l’Inspecteur.  Événements MIDI : chaque événement MIDI est représenté par une barre verticale, alignée par rapport à une position temporelle particulière. La valeur du contrôleur, ou vélocité de la note, est indiquée par la hauteur de la barre. Une barre plus haute indique des valeurs plus élevées. Définitions d’événements Zone Paramètre de définition d’événement Événements MIDI 50 Chapitre 2 Présentation de l’interface Logic Express Fonctions standard des fenêtres Logic Express Toutes les fenêtres Logic Express, y compris la zone Arrangement, comportent de nombreux éléments communs. Cette approche cohérente entre les fenêtres facilite votre travail étant donné que vous retrouverez ces éléments au même endroit dans toute l’application. Barres de menus locales La barre de menus locale d’une fenêtre contient des boutons permettant d’accéder aux fonctions propres à cette fenêtre. Par exemple, l’éditeur de partition offre une fonction Enharmonique, qui est utile pour la notation, mais pas pour l’édition de clavier. Menus Outil Les outils disponibles dans le menu Outil de chaque fenêtre sont spécifiques aux tâches exécutées dans cette dernière. Exemples : la zone Arrangement inclut des outils permettant d’exécuter différentes tâches d’arrangement telles que le découpage ou le déplacement de régions et la modification des données d’automatisation. L’éditeur de partition fournit des outils utilisés pour la présentation des partitions et pour des tâches telles que la séparation de voix. Le menu Outil de gauche affecte l’outil par défaut. Le menu de droite affecte un outil secondaire. Un menu Outil supplémentaire s’affiche si le bouton droit de la souris n’est pas affecté à d’autres tâches. Pour plus d’informations, reportez-vous à la rubrique « Utilisation d’outils » à la page 181. Barre de menus locale Chapitre 2 Présentation de l’interface Logic Express 51 Boutons Capture, Lien et Hiérarchie La plupart des fenêtres comportent des boutons Capture, Lien et Hiérarchie. Ils sont utilisés pour relier ou associer des fenêtres Logic Express et peuvent faciliter la navigation à travers différents niveaux de la structure de votre morceau. Cette fonction peut, par exemple, s’avérer utile dans le cas suivant : si vous cliquez sur une région MIDI de la zone Arrangement, le contenu d’une fenêtre liée (l’Éditeur Clavier, par exemple) sera immédiatement mis à jour pour afficher les événements de cette région. Barres de défilement Les barres de défilement verticale et horizontale s’affichent dans les parties inférieure et droite de la fenêtre. Elles vous permettent de visualiser des rubriques se trouvant hors de la zone d’affichage visible. Curseurs de zoom Les curseurs vertical et horizontal s’affichent dans l’angle inférieur droit de la fenêtre. Ils vous permettent de redimensionner horizontalement ou verticalement le contenu de la fenêtre, de façon à obtenir une vue des données plus rapprochée ou plus éloignée. Bouton Hiérarchie Bouton Lien Bouton Capture 52 Chapitre 2 Présentation de l’interface Logic Express Règle Mesure Une règle Mesure figure dans la partie supérieure de toutes les fenêtres d’édition linéaire. La position des régions et des événements dans un projet est alignée par rapport aux positions de la règle Mesure. La règle Mesure affiche des marqueurs et des locators et reflète les modifications apportées au temps. Elle indique également le mode de fonctionnement activé parmi les trois principaux : solo, enregistrement ou synchronisé. Pistes globales Toutes les fenêtres d’édition linéaire sont également dotées de pistes globales, qui s’affichent juste au-dessous de la règle Mesure, lorsqu’elles sont ouvertes. Cliquez sur le triangle d’affichage à gauche de la règle Mesure (intitulé Pistes globales) pour afficher les pistes globales.  Piste des marqueurs : contient des marqueurs utilisés pour identifier la position des mesures et les parties du projet. Vous pouvez librement modifier la longueur, le texte et la couleur de ces marqueurs (pour plus de détails, reportez-vous à la rubrique « Utilisation des marqueurs » à la page 131).  Piste de tempo : contient tous les changements de tempo d’un projet. Pour plus d’informations, reportez-vous à la rubrique « Utilisation de la piste de tempo » à la page 720.  Piste de table des battements : permet d’affecter la position de mesure souhaitée à tout événement musical (notes MIDI et accents distincts des régions audio). Il est ainsi possible d’ajuster le plan de montage musical sur la synchronisation d’origine d’une région MIDI ou audio ayant été enregistrée en rubato (temps libre, et notamment accélérations et ralentis), ou simplement sans clic de métronome. La sortie audible reste inchangée, mais l’affichage ainsi obtenu est adapté au plan de montage musical. Chapitre 2 Présentation de l’interface Logic Express 53  Piste d’articulation : contient la clé de base du projet et toutes les articulations (temps et armature), telles qu’elles sont affichées dans l’éditeur de partition.  Piste d’accord : contient les symboles d’accord pouvant être obtenus à partir des régions MIDI ou créés avec la souris. Ces symboles d’accord peuvent également être insérés dans la partition. Les notes originales des accords déterminent la transposition (changement de tonalité) de toutes les boucles Apple Loops et peuvent aussi avoir une incidence sur la lecture des régions MIDI.  Piste de transposition : affiche les événements de transposition globale. Elle est liée à la progression des notes racines des accords dans la piste d’accord : le changement d’une racine d’accord est reflété dans la piste Transposition, et inversement.  Piste vidéo : affiche des images d’une séquence QuickTime sous forme de miniatures parfaitement synchronisées avec la musique. Cette piste est donc tout à fait adaptée aux partitions de film. Les séquences de film coupées peuvent être automatiquement détectées et marquées. Interaction entre les zones de la fenêtre Arrangement La fenêtre Arrangement contient diverses rubriques qui interagissent les unes avec les autres. Ces rubriques vous permettent d’accéder à l’ensemble des fichiers, méthodes d’édition, paramètres de piste et de canal dans un seul emplacement, accélérant ainsi considérablement votre travail. Suivez la procédure décrite ci-dessous pour découvrir comment ces éléments de la fenêtre Arrangement fonctionnent en harmonie pour accélérer la production musicale. Pour découvrir comment les zones de la fenêtre Arrangement interagissent : 1 Ouvrez la zone Média en cliquant sur le bouton Navigateur de média dans la barre d’outils. 2 Cliquez sur l’onglet Navigateur, puis recherchez un dossier contenant des fichiers audio. 3 Cliquez sur le nom d’un fichier audio tout en maintenant le bouton de la souris enfoncé et faites glisser ce fichier sur une rangée de pistes audio de la zone Arrangement. 54 Chapitre 2 Présentation de l’interface Logic Express Relâchez le bouton de la souris lorsque la bulle d’aide affiche la position 1 1 1 1. Une région va être créée dans la zone Arrangement. 4 Cliquez sur le bouton Éditeur des échantillons en bas de la zone Arrangement. L’Éditeur des échantillons s’affiche, présentant le contenu de la région que vous venez de créer dans la zone Arrangement. 5 Cliquez sur l’onglet Chutier audio. Le chutier audio contient le fichier audio que vous venez d’ajouter au projet. Chapitre 2 Présentation de l’interface Logic Express 55 6 Cliquez sur l’onglet Boucles, puis sur un bouton de catégorie pour afficher les boucles correspondantes dans la liste des résultats de la recherche de l’onglet Boucles. 7 Sélectionnez une boucle associée à une icône verte et faites-la glisser dans une piste d’instruments logiciels de la zone Arrangement. Relâchez le bouton de la souris lorsque la bulle d’aide affiche la position 1 1 1 1. Une région MIDI va être créée dans la zone Arrangement. Π Conseil : s’il n’existe aucune piste d’instruments logiciels, vous pouvez également faire glisser la boucle Apple Loops depuis le navigateur de boucles directement dans la zone Arrangement vide (ou au-dessous des pistes existantes). Une piste et la bande de canal correspondante (qui comprend les réglages d’effet et d’instrument) sont automatiquement créées, et une boucle Apple Loops est chargée. 56 Chapitre 2 Présentation de l’interface Logic Express 8 Cliquez sur le bouton Clavier en bas de la zone Arrangement. L’Éditeur Clavier s’affiche, présentant le contenu de la région que vous venez de créer dans la zone Arrangement. 9 Placez la tête de lecture au début de votre projet en cliquant sur le bouton Aller au début dans la barre de transport. 10 Écoutez votre projet en cliquant sur le bouton Lecture de la barre de transport. Vous allez écouter le fichier audio et la boucle d’instrument que vous avez ajoutés au projet. Vous apprécierez peut-être la mélodie de la boucle d’instrument logiciel, mais pas le son associé. Utilisez la bibliothèque pour affecter un autre son à la piste d’instruments logiciels. Chapitre 2 Présentation de l’interface Logic Express 57 11 Sélectionnez la piste d’instruments logiciels, puis cliquez sur le bouton Inspecteur. La bande de canal de gauche affiche l’instrument logiciel et le(s) effet(s) de la piste sélectionnée. 12 Cliquez sur l’onglet Bibliothèque et parcourez les réglages de bandes de canaux affichés. Étant donné qu’il s’agit d’une bande de canaux/de piste d’instruments logiciels, seuls les réglages de cette bande sont affichés dans l’onglet Bibliothèque. 13 Sélectionnez un des réglages de bandes de canaux pour le charger. 14 Redémarrez la lecture pour écouter le nouveau son. Utilisation des éléments de l’interface Logic Express Vous pouvez accéder à l’ensemble des boutons, commutateurs, curseurs et menus présentés ci-dessus à l’aide de la souris et du clavier de l’ordinateur. L’utilisation des éléments de l’interface Logic Express est décrite ci-après. Cases à cocher et boutons Les cases à cocher sont des cases carrées que vous pouvez activer en cliquant dessus de façon à rendre une option (ou une fonction) disponible. Cliquez sur la case à cocher une deuxième fois pour la désactiver et rendre l’option indisponible. Certains boutons se comportent de la même façon, dans la mesure où la fonction qu’ils représentent est temporairement activée lorsqu’ils sont enfoncés (ils sont alors généralement éclairés). Un deuxième clic sur le bouton désactive la fonction. Les boutons Muet et Solo illustrent parfaitement ces types de boutons. Il existe un autre type de case à cocher : le bouton d’option. Plusieurs boutons groupés (représentant chacun une option différente) sont disponibles et vous devez n’en sélectionner qu’un. Ils diffèrent des cases à cocher habituelles et autres boutons, car vous ne pouvez en activer qu’un seul à la fois. On peut citer par exemple les boutons d’option Type de la zone de dialogue Nouvelles pistes. Chapitre 2 Présentation de l’interface Logic Express 59 Menus déroulants et menus locaux Les menus déroulants s’ouvrent lorsque vous cliquez sur l’option de menu souhaitée. Les menus locaux s’ouvrent lorsque vous cliquez sur certains champs de saisie ou boutons. Dans certains menus, une flèche apparaît en regard d’une ou de plusieurs options, indiquant un sous-menu. Pour choisir une option dans un sous-menu, positionnez la souris dans la direction de la flèche, puis déplacez le pointeur verticalement vers l’option souhaitée. Cliquez pour activer la commande ou le réglage de votre choix. Si vous souhaitez sélectionner une option se trouvant hors de la rubrique visible du menu, placez le pointeur de la souris sur la flèche située en haut ou en bas du menu. Le menu défile. Menus contextuels Pour accéder aux menus contextuels, il suffit de cliquer tout en maintenant la touche Contrôle enfoncée (ou avec le bouton droit de la souris) sur différentes zones des diverses fenêtres Logic Express. Ces menus offrent de nombreuses commandes de sélection ou d’édition ainsi que d’autres commandes spécifiques aux zones, vous permettant ainsi d’accéder rapidement à des fonctions courantes. Remarque : la fonction « clic droit » dépend du bouton droit de la souris : elle ouvre l’option de menu contextuel choisie dans l’onglet Logic Express > Préférences > Globales > Édition. 60 Chapitre 2 Présentation de l’interface Logic Express Utilisation du clavier de l’ordinateur Vous pouvez accéder à la plupart des fonctions de Logic Express au moyen de raccourcis clavier. Chaque fois que le présent manuel fait état d’un raccourci clavier, il se rapporte à une fonction ou à une option accessible par le biais d’une touche du clavier de l’ordinateur (ou d’une combinaison de touches, obtenue par exemple en appuyant simultanément sur les touches Contrôle et W du clavier). L’utilisation de raccourcis clavier à la place de la souris peut accélérer de façon considérable votre travail dans Logic Express. Tout au long de ce manuel, vous allez découvrir de nombreux exemples d’utilisation pratique, souvent présentés sous forme de procédures, qui incluent les raccourcis clavier par défaut correspondant à des fonctions particulières. Il est recommandé de suivre les procédures décrites dans le présent manuel et d’utiliser ces raccourcis clavier par défaut tandis que vous vous familiarisez avec Logic Express. Cela vous permet non seulement de les mémoriser, mais également de développer des méthodes de travail efficaces (et plus rapides) dès le départ. Une fois que vous aurez bien identifié les concepts fondamentaux de Logic Express et la façon dont vous souhaitez travailler, vous pourrez librement définir vos propres raccourcis clavier. Les fonctions et options de Logic Express pouvant être associées à des raccourcis clavier peuvent également être affectées à des commandes MIDI envoyées à partir de votre contrôleur MIDI. Pour plus de détails sur ces questions complexes, reportez-vous à la section « Utilisation des raccourcis clavier » à la page 172. 3 61 3 Personnalisation de la configuration de vos fenêtres Logic Express vous permet de personnaliser la configuration de vos fenêtres en fonction de votre mode de travail et de la tâche en cours. Bien que l’essentiel de votre travail s’effectue dans la fenêtre Arrangement, vous avez la possibilité d’ouvrir différentes combinaisons de fenêtres (et même plusieurs fenêtres de même type) et de les ajuster individuellement. Il est également facile d’enregistrer différentes dispositions de fenêtres (appelées « screensets » et présentées dans la rubrique « Utilisation des screensets » à la page 83) et de les rappeler en appuyant sur une touche. Toutes les fenêtres ouvertes d’un projet sont mises à jour en permanence d’après la position de la tête de lecture. D’ailleurs, les modifications apportées dans une fenêtre sont immédiatement prises en compte dans toutes les autres fenêtres ouvertes. Par exemple, si la tonalité d’un événement de note est modifiée dans l’éditeur de partition, ce changement est instantanément reflété dans une fenêtre « Éditeur de piano roll » ouverte. Ce chapitre vous explique comment personnaliser et enregistrer l’ensemble de la configuration de vos fenêtres. Les options d’affichage de fenêtres ou d’éditeurs individuels ne sont pas présentées dans ce chapitre. 62 Chapitre 3 Personnalisation de la configuration de vos fenêtres Types de fenêtres Il existe deux types de fenêtres dans Logic Express : les fenêtres normales et celles dites flottantes. Fenêtres normales Vous pouvez ouvrir autant de fenêtres normales que vous le souhaitez, y compris plusieurs fenêtres du même type. Bien que le contenu de toutes les fenêtres soit constamment mis à jour, une seule fenêtre peut avoir le statut de fenêtre « de premier plan » ou de fenêtre « active ». Il s’agit de la fenêtre qui se trouve au premier plan lorsque plusieurs fenêtres normales sont superposées ou affichées les unes à côté des autres. On dit alors que cette fenêtre est « active » ou « sélectionnée ». Les fenêtres actives sont identifiables par leur barre de titre « lumineuse », dont le texte (nom du projet) est affiché en noir. Pour activer une fenêtre ou une zone, effectuez l’une des opérations suivantes : m Cliquez sur la barre de titre de la fenêtre ou dans la zone de travail. Dans le cas d’une zone de travail, faites attention à ne pas insérer par mégarde un événement ou une région lorsque l’outil Crayon est actif dans la fenêtre. m Choisissez Fenêtre > Parcourir les fenêtres (ou utilisez le raccourci clavier correspondant). Si elle est intégralement masquée par d’autres fenêtres, la fenêtre ouverte suivante est activée. Bien évidemment, la fenêtre Arrangement peut inclure plusieurs autres fenêtres dans différentes zones. Pour les activer, il suffit de cliquer sur leur arrière-plan ou leur barre de titre (la zone de la fenêtre Arrangement que vous souhaitez utiliser) ou bien encore de sélectionner un de leurs outils. Π Conseil : vous pouvez également utiliser les touches Tabulation ou Maj + Tabulation pour parcourir les diverses zones de la fenêtre Arrangement : la touche Tabulation les passe en revue l’une après l’autre, alors que la combinaison Maj + Tabulation les parcourt en sens inverse. Lorsqu’elle est active, une fenêtre (ou une zone de la fenêtre Arrangement) se caractérise par le fait qu’elle est la seule à être affectée par les raccourcis clavier. En effet, ils n’ont aucun impact sur les autres fenêtres. Chapitre 3 Personnalisation de la configuration de vos fenêtres 63 Gestion des fenêtres d’arrière-plan Les fenêtres d’arrière-plan ne sont pas complètement masquées : leur barre de titre est grisée (elles peuvent être positionnées à côté de la fenêtre de premier plan ou juxtaposées sous cette dernière) et leur nom estompé. Dans une fenêtre d’arrière-plan, vous pouvez non seulement observer les modifications apportées, mais aussi effectuer pratiquement n’importe quel type de modification, sans avoir à activer la fenêtre au préalable. L’outil sélectionné est mémorisé dans chaque fenêtre, ce qui vous permet de modifier directement le contenu de toute fenêtre, qu’elle soit activée ou pas. Dès lors que ce type de modification est effectué, la fenêtre est automatiquement activée. Dans une fenêtre Arrangement avec les éditeurs Clavier et Liste des événements affichés, l’outil Pointeur est par exemple actif dans la zone Arrangement, le Crayon dans l’Éditeur Clavier et la Gomme dans l’Éditeur Liste des événements. Lorsque vous faites glisser le curseur de la souris d’une zone de la fenêtre Arrangement à une autre, l’outil correspondant devient automatiquement actif. Fenêtres flottantes Comme leur nom l’indique, ces fenêtres flottent au premier plan, recouvrant même la fenêtre active (l’ouverture de plusieurs fenêtres flottantes entraînant inévitablement leur superposition, il vous suffit de cliquer sur la fenêtre souhaitée pour la placer au premier plan). En général, la plupart des fenêtres d’aide affichées par Logic Express, telles que Préférences ou Réglages du projet, sont des fenêtres flottantes. Les fenêtres flottantes sont généralement identifiables par leur barre de titre grise, plus étroite (à l’exception de la fenêtre de module dont la barre de titre est différente). La souris s’utilise de la même façon dans les fenêtres flottantes que dans les fenêtres normales. 64 Chapitre 3 Personnalisation de la configuration de vos fenêtres Ouverture et fermeture des fenêtres Vous pouvez ouvrir toutes les fenêtres principales de Logic Express en choisissant leur type (Arrangement, Partition, etc.) dans le menu Fenêtre. Un raccourci clavier permettant d’ouvrir les fenêtres sans utiliser la souris est associé à chaque type de fenêtre. Par exemple, Commande + 1 ouvre la fenêtre Arrangement, Commande + 2 ouvre la Table de mixage, etc. Le menu Fenêtre indique ces raccourcis clavier à la suite du nom de chaque fenêtre. Il est fortement recommandé de se familiariser avec ces raccourcis clavier et de les utiliser à la place de la souris car ils accélèrent votre travail. Si nécessaire, vous pouvez ouvrir plusieurs fenêtres de même type. Cela peut s’avérer utile si vous souhaitez afficher et modifier individuellement le contenu de plusieurs régions dans un type d’éditeur particulier. Vous pouvez également ouvrir tous les éditeurs Logic Express de la fenêtre Arrangement en cliquant sur les boutons situés au bas de cette fenêtre. Si vous double-cliquez sur une région audio de l’arrangement, vous ouvrez automatiquement l’Éditeur des échantillons en bas de la fenêtre Arrangement. En revanche, si vous double-cliquez sur une région MIDI de l’arrangement, vous ouvrez l’éditeur par défaut en bas de la fenêtre Arrangement. Vous pouvez déterminer quel est l’éditeur par défaut grâce au menu « Double-cliquer une région MIDI ouvre » dans la fenêtre Préférences globales. Il vous suffit de maintenir la touche Option enfoncée tout en double-cliquant pour ouvrir l’éditeur par défaut dans une fenêtre séparée. Les raccourcis clavier Ouvrir/fermer la fenêtre… vous permettent de définir un raccourci clavier pour ouvrir ou fermer la fenêtre ou la zone correspondant au type affecté dans la fenêtre Arrangement active. Si cette fenêtre n’est pas disponible en tant que zone de la fenêtre Arrangement, elle s’ouvre en tant que fenêtre indépendante. Voici des exemples associés à la fenêtre Arrangement : vous pouvez ouvrir et fermer les zones Listes et Média grâce aux raccourcis clavier Afficher/Masquer le navigateur de fichiers, Afficher/ Masquer la bibliothèque, etc. Vous pouvez fermer la fenêtre active (qui est généralement la fenêtre affichée sur le dessus ou au premier plan) en choisissant Fichier > Fermer dans la barre des menus principale (ou en utilisant le raccourci clavier Fermer la fenêtre, par défaut : Commande + W). Chapitre 3 Personnalisation de la configuration de vos fenêtres 65 Vous pouvez également fermer les fenêtres en cliquant sur le symbole de fermeture situé dans l’angle supérieur gauche. Cliquez sur le symbole de fermeture en appuyant sur la touche Option pour fermer toutes les fenêtres du projet actif. Remarque : si vous fermez toutes les fenêtres ouvertes d’un projet, Logic Express suppose que vous souhaitez fermer le projet et vous demande si vous voulez enregistrer vos modifications. Déplacement et redimensionnement de fenêtres Vous pouvez déplacer et redimensionner toutes les fenêtres ouvertes individuellement, même si elles sont affichées sur plusieurs écrans. Vous avez également la possibilité de modifier la taille de tous les éléments de fenêtres dotés de la barre de redimensionnement. Vous pouvez par ailleurs ajuster la taille relative des zones d’édition et Arrangement de la fenêtre Arrangement en cliquant entre ces zones, puis en faisant glisser le pointeur verticalement. Le curseur se transforme en pointeur Redimensionner. La hauteur de la zone Table de mixage est mémorisée séparément. Toutes les autres zones d’édition partagent la même hauteur. Vous ne pouvez pas redimensionner les autres éléments de la fenêtre Arrangement (c’est-à-dire la zone Inspecteur, Média ou Listes). Ces zones peuvent uniquement être ouvertes ou fermées. 66 Chapitre 3 Personnalisation de la configuration de vos fenêtres Voici un exemple de configuration de fenêtres possible : imaginons que vous souhaitiez modifier les notes MIDI de diverses régions MIDI. Vous avez la possibilité d’augmenter la hauteur de l’Éditeur de piano roll de façon à utiliser un niveau de zoom élevé, ce qui réduit la hauteur de la zone Arrangement. Vous pouvez alors réduire le niveau de zoom de la zone Arrangement étant donné qu’elle n’est utilisée que pour la sélection des régions. Pour déplacer une fenêtre : m Cliquez sur la barre de titre tout en maintenant le bouton de la souris enfoncé et faites glisser la fenêtre vers l’emplacement souhaité. Pour ajuster la taille d’une fenêtre, effectuez l’une des opérations suivantes : m Faites glisser l’angle inférieur droit de la fenêtre, comme pour toute autre fenêtre du Finder. m Placez le pointeur de la souris sur le bord de la fenêtre. Lorsque le pointeur de la souris se transforme en pointeur de redimensionnement, faites-le glisser dans la direction souhaitée. Pointeur Redimensionner Chapitre 3 Personnalisation de la configuration de vos fenêtres 67 Pour ajuster la taille des éléments de fenêtre : 1 Placez le pointeur de la souris sur la barre de redimensionnement. 2 Lorsque le pointeur de la souris se transforme en pointeur de redimensionnement, faites glisser l’élément de fenêtre dans la direction souhaitée. Pour agrandir une fenêtre, effectuez l’une des opérations suivantes : m Sélectionnez la fenêtre, puis choisissez Fenêtre > Réduire/Agrandir. m Cliquez sur le bouton de zoom (situé à l’extrême droite des trois contrôles de fenêtre) dans l’angle supérieur gauche de la barre de titre de la fenêtre. Un deuxième clic sur l’icône permet de restaurer la fenêtre à sa taille initiale. Pour réduire une fenêtre, effectuez l’une des opérations suivantes : m Sélectionnez la fenêtre, puis choisissez Fenêtre > Placer dans le Dock (ou utilisez le raccourci clavier correspondant, par défaut : Commande + M). m Cliquez sur le bouton de réduction (situé au milieu de la rangée des trois contrôles de fenêtre) dans l’angle supérieur gauche de la barre de titre de la fenêtre. Cette opération permet de placer une icône (version réduite de la fenêtre) dans le Dock. Vous pouvez restaurer la fenêtre en cliquant sur cette icône. 68 Chapitre 3 Personnalisation de la configuration de vos fenêtres Utilisation des différents niveaux de hiérarchie Logic Express vous permet d’afficher une vue globale des projets (niveau Arrangement) ou détaillée (niveau Éditeur). Ces différents niveaux hiérarchiques sont conçus pour différents types de tâches, tels que l’arrangement des rubriques d’un projet ou le remaniement d’une partie instrumentale. Dans de nombreux cas, vous pouvez passer directement d’un niveau d’affichage à un autre, sans avoir à accéder à une autre fenêtre ou à en ouvrir une. Cliquez sur le bouton Hiérarchie situé dans l’angle supérieur gauche d’une fenêtre ou d’une zone de fenêtre pour remonter la vue affichée d’un niveau dans la hiérarchie (qui correspond généralement au niveau Arrangement). Remarque : en double-cliquant sur l’arrière-plan de la zone d’édition d’une fenêtre, vous passez également au niveau d’affichage supérieur. Niveaux d’affichage des éditeurs En général, les éditeurs sont configurés avec le niveau d’affichage le plus bas, qui permet d’afficher des événements individuels de la région sélectionnée. Dans l’Éditeur de piano roll et l’Éditeur Hyper, le niveau supérieur de la hiérarchie d’affichage affiche les événements de toutes les régions de la zone Arrangement. Lorsque vous cliquez sur le bouton Hiérarchie de la Liste d’événements, vous passez au niveau supérieur de la hiérarchie d’affichage, exactement comme dans les autres éditeurs. Toutefois, dans la Liste des événements, l’affichage reste quasiment identique, à cette différence près qu’il présente une liste des régions (au lieu d’une liste des événements individuels) avec la position et le nom des régions, ainsi que le numéro et la durée des pistes. La région MIDI que vous venez de modifier sera sélectionnée dans la liste des noms de régions. Si vous double-cliquez sur une région MIDI (ou au moyen du raccourci clavier Aller dans Dossier ou Région), vous revenez au niveau d’affichage le plus bas et affichez le contenu de la région MIDI. En double-cliquant sur une région audio, vous l’ouvrez dans l’Éditeur des échantillons. Dans l’éditeur de partition, vous passez au niveau d’affichage supérieur lorsque vous cliquez sur le bouton Hiérarchie. Contrairement aux autres éditeurs, l’éditeur de partition vous permet de modifier des événements individuels alors que vous vous trouvez dans un niveau d’affichage supérieur. Lorsque vous double-cliquez sur une portée (dans un point vide), vous revenez à un niveau d’affichage inférieur. Chapitre 3 Personnalisation de la configuration de vos fenêtres 69 Sélection de la zone de travail Les barres de défilement situées sur les bords droit et inférieur d’une fenêtre permettent de vous déplacer verticalement ou horizontalement sur la zone de travail. Vous pouvez déplacer la rubrique visible en cliquant sur les flèches ou en faisant glisser le défileur. Il convient de noter les deux points suivants :  La taille relative du défileur par rapport à la longueur totale de la barre de défilement correspond à celle de la rubrique visible de la fenêtre par rapport à la taille totale de cette dernière.  La rubrique visible change à mesure que vous déplacez le défileur. Barre de défilement Barre de défilement 70 Chapitre 3 Personnalisation de la configuration de vos fenêtres Utilisez les raccourcis clavier Page préc., Page suiv., Page Gauche et Page Droite pour revenir à la page précédente, passer à la page suivante ou vous déplacer d’une page vers la gauche ou vers la droite, comme si vous aviez cliqué dans la zone grisée (dans la barre de défilement) au-dessus ou en dessous du curseur de défilement vertical ou bien à gauche ou à droite du curseur de défilement horizontal. Les raccourcis clavier Page Haute, Page Basse, Page la plus à gauche et Page la plus à droite permettent de décaler la rubrique visible de la zone de travail vers le haut, le bas, la gauche ou la droite, comme si vous aviez saisi un des curseurs de défilement et l’aviez placé à l’une des extrémités des barres de défilement. Dans la zone Arrangement, la Liste d’événements, l’Éditeur Hyper et l’Éditeur de piano roll, la rubrique visible de la fenêtre d’édition se déplace vers le premier ensemble d’événements sélectionnés si vous choisissez Présentation > « Aller à la sélection ». Cette fonction est disponible sous la forme d’un raccourci clavier dans la fenêtre active. Pour défiler simultanément à la verticale et à l’horizontale, effectuez l’une des opérations suivantes : m Appuyez sur Maj + Contrôle, cliquez sur l’arrière-plan de la fenêtre Arrangement tout en maintenant le bouton de la souris enfoncé, puis faites glisser le pointeur dans la direction de votre choix. m Cliquez sur l’arrière-plan de la fenêtre Arrangement avec le troisième bouton de la souris (par exemple, la roulette) et maintenez ce dernier enfoncé, puis faites glisser le pointeur dans la direction souhaitée. La distance qui sépare le pointeur de la souris de l’emplacement sur lequel vous avez initialement cliqué détermine la vitesse de défilement. Remarque : cette opération fonctionne uniquement si vous n’avez pas affecté le troisième bouton de la souris à une commande globale (par exemple, Exposer). Cliquez dans la zone grisée en dessous du curseur de défilement vertical pour passer à la page suivante. Chapitre 3 Personnalisation de la configuration de vos fenêtres 71 Zoom Les commandes de zoom de zoom permettent d’effectuer un zoom avant et arrière sur la zone d’affichage en cours. La sélection des différentes valeurs de zoom réduit ou augmente la taille des événements ou des régions dans la rubrique d’écran affichée. Cela vous permet d’effectuer les opérations suivantes :  afficher un plus grand nombre d’événements ou de régions dans le même espace à l’écran (zoom arrière),  afficher plus en détail les événements ou les régions (zoom avant). Pendant le zoom, l’événement ou la région (sélectionné(e)) situé(e) le plus près de l’angle supérieur gauche demeure dans la zone visible à l’écran. En d’autres termes, l’événement ou la région qui est sélectionné en premier sera conservé dans la fenêtre à laquelle le zoom est appliqué. Si aucune région ou aucun événement n’est visible, le zoom est centré sur la tête de lecture. Si la tête de lecture n’est pas visible, le centre de la fenêtre est pris en compte. Les contrôles de zoom horizontal et vertical sont situés dans la partie inférieure droite de la zone de travail de la fenêtre. Pour effectuer un zoom arrière : m Cliquez sur les barres peu espacées pour réduire le niveau de zoom. Pour effectuer un zoom avant : m Cliquez sur les barres très espacées pour augmenter le niveau de zoom. Pour faire défiler les niveaux de zoom, vous pouvez déplacer les curseurs correspondants. Les différences de taille relative entre les pistes sont conservées lors du zoom. Si vous cliquez sur une valeur de contrôle de zoom tout en maintenant la touche Commande enfoncée, vous définissez le curseur de zoom sur le niveau correspondant. Commande de zoom vertical Commande de zoom horizontal 72 Chapitre 3 Personnalisation de la configuration de vos fenêtres Zoom au moyen des barres de défilement Les barres de défilement ne permettent pas seulement de naviguer entre les fenêtres Arrangement et d’édition. Elles peuvent également être utilisées pour effectuer un zoom. Pour effectuer un zoom avec les barres de défilement : m Cliquez sur l’une des poignées de zoom situées aux extrémités de la barre de défilement tout en maintenant le bouton de la souris enfoncé, puis déplacez-la :  vers le haut ou le bas sur la barre de défilement verticale,  vers la gauche ou la droite sur la barre de défilement horizontale. À mesure que vous déplacez les poignées, un zoom est effectué sur le contenu de la fenêtre. Zoom sur la forme d’onde des régions audio La zone Arrangement offre un outil « Zoom de forme d’onde » unique se trouvant à gauche du curseur de zoom horizontal. Cet outil vous permet de redimensionner visuellement l’oscilloscope, ce qui permet de déterminer plus facilement les points de repère (hit points) pouvant s’avérer utiles pour certaines tâches d’édition. Pour faire un zoom sur la forme d’onde des régions audio : 1 Cliquez sur le bouton « Zoom de forme d’onde » et maintenez le bouton de la souris enfoncé. Un curseur apparaît. Chapitre 3 Personnalisation de la configuration de vos fenêtres 73 2 Faites glisser le curseur ; tandis que vous effectuez cette opération, la taille de la forme d’onde affichée dans toutes les régions audio augmente ou diminue. Si le bouton « Zoom de forme d’onde » est activé, il apparaît en gris foncé. Cliquez dessus pour le désactiver. Remarque : il s’agit d’une fonction purement visuelle. L’amplitude (niveau) de la forme d’onde n’est pas affectée. Enregistrement et rappel des réglages de zoom Vous pouvez enregistrer trois réglages de zoom différents pour chaque fenêtre au moyen des raccourcis clavier Sauver zoom 1-3. Utilisez les raccourcis clavier Rappel zoom 1-3 pour rappeler vos réglages de zoom. Ces raccourcis s’appliquent uniquement à la fenêtre ou zone de fenêtre active. Zoom avant sur une rubrique de l’écran Pour agrandir une rubrique de l’écran afin qu’elle occupe l’intégralité de la fenêtre, sélectionnez-la par étirement avec l’outil Zoom. Vous pouvez répéter cette opération si vous devez effectuer un autre zoom avant. Π Conseil : vous pouvez accéder à l’outil Zoom lorsque d’autres outils sont sélectionnés en maintenant les touches Contrôle et Option enfoncées. Rétablissement du réglage de zoom précédent Cliquez sur l’arrière-plan de la fenêtre avec l’outil Zoom. Vous rétablissez le réglage initial du niveau de zoom ou revenez aux niveaux de zoom précédents si l’outil a été utilisé plusieurs fois. 74 Chapitre 3 Personnalisation de la configuration de vos fenêtres Raccourcis clavier de navigation dans les réglages de zoom Vous pouvez définir et rappeler jusqu’à trente niveaux de zoom et positions de barre de défilement pour chaque fenêtre. Vous avez ainsi la possibilité de naviguer entre plusieurs niveaux de zoom et positions de barre de défilement, de façon à accélérer les tâches d’édition répétitives. Vous avez la possibilité d’utiliser les commandes ci-dessous pour effectuer un zoom sur les événements sélectionnés ou sur une région définie par les locators, afin d’adapter leur taille à l’écran. L’utilisation de toutes les commandes de zoom crée une nouvelle étape dans le chemin de navigation.  Réduire/agrandir pour cadrer la sélection verticalement et horizontalement, enregistrer le réglage de navigation : affiche la sélection actuelle avec la taille la plus grande possible et l’enregistre dans le chemin de navigation.  Zoom pour afficher la sélection horizontale, enregistrer réglage de navigation : affiche la sélection actuelle avec la taille horizontale la plus grande possible et l’enregistre dans le chemin de navigation.  Agrandir pour afficher les locators, enregistrer réglage de navigation : affiche la zone de locator actuelle avec la taille la plus grande possible et l’enregistre dans le chemin de navigation. Les raccourcis clavier de navigation vous permettent de rappeler les réglages de zoom précédents ou suivants.  Enregistrer réglage de navigation : les réglages actuels du zoom et de la barre de défilement (position de la fenêtre) sont enregistrés en tant qu’étape du chemin de navigation.  Navigation : arrière : rappelle l’étape précédente du chemin de navigation.  Navigation : avance rapide : passe à l’étape suivante du chemin de navigation. Les commandes associées au chemin de navigation peuvent par exemple être utiles si vous souhaitez couper et coller des rubriques d’une région audio dans plusieurs autres emplacements, dans le cadre d’un projet comportant des centaines de pistes. Une étape de votre chemin de navigation est une vue de la région audio sur laquelle vous effectuez un zoom. Une autre étape peut être une version de plusieurs pistes sur laquelle vous effectuez un zoom avant verticalement (pistes cibles des rubriques de région collées). Une étape postérieure peut correspondre à une rubrique sur laquelle vous effectuez un zoom arrière horizontalement, ce qui permet de coller les segments de la région sur une position ultérieure. Remarque : étant donné qu’il n’existe pas de raccourci clavier par défaut pour la plupart de ces options de navigation, vous devez les définir dans la fenêtre Raccourcis clavier. Choisissez Logic Express > Préférences > Raccourcis clavier et saisissez « nav » dans la zone Trouver. Les entrées décrites ci-dessus s’affichent. Pour plus en savoir plus sur l’affectation des raccourcis clavier, reportez-vous à la rubrique « Attribution de raccourcis clavier à des touches de l’ordinateur » à la page 178. Chapitre 3 Personnalisation de la configuration de vos fenêtres 75 Relations entre les fenêtres Logic Express permet d’associer ou de dissocier indépendamment des fenêtres, offrant ainsi des options d’affichage flexibles. De cette façon, vous pouvez par exemple configurer deux fenêtres Liste d’événements, l’une affichant les régions Arrangement et l’autre présentant le contenu des régions. Il vous suffit de cliquer sur le nom de région de votre choix pour mettre à jour le contenu de la deuxième liste d’événements. Les deux boutons situés dans l’angle supérieur gauche de la plupart des fenêtres déterminent leur position par rapport à :  la position de la tête de lecture (Capture),  d’autres fenêtres (Pas de lien, « Lien de même niveau » ou Lien de contenu). Capture Activez le bouton Capture pour vous assurer que la rubrique visible d’une fenêtre suit la tête de lecture lors de la lecture ou de l’enregistrement. Si le bouton est désactivé, l’affichage n’est pas mis à jour, même lorsque la tête de lecture se déplace au-delà du bord droit de la partie visible de la fenêtre. L’option « Capturer au démarrage de Logic » (Logic Express > Préférences > Globales > Capturer) permet d’activer le mode Capture chaque fois que vous appuyez sur la touche Lecture ou Pause. Quant à la préférence « Capturer lors du déplacement de la tête de lecture », elle active le mode Capture chaque fois que vous déplacez la tête de lecture. Glissement en lecture Les menus Présentation de toutes les fenêtres affichant la durée horizontalement (zone Arrangement, éditeur de partition, « Éditeur de piano roll » et Éditeur Hyper) comportent le réglage Présentation > Glissement en lecture. Si la fonction Capture de la fenêtre est également activée, la tête de lecture reste au milieu de la fenêtre, tandis que l’arrière-plan défile doucement de la droite vers la gauche. 76 Chapitre 3 Personnalisation de la configuration de vos fenêtres Modes Pas de lien, Lien de même niveau et Lien au contenu Ces options d’affichage permettent de définir la façon dont les informations sont présentées lorsque vous utilisez des fenêtres d’éditeurs connexes. Pour définir l’un de ces modes : m Cliquez sur le bouton Lien tout en maintenant la touche Contrôle enfoncée (ou avec le bouton droit de la souris), puis choisissez le mode requis dans le menu.  Pas de lien : dissocie la fenêtre des autres fenêtres.  Lien de même niveau : lorsque ce mode est activé dans une fenêtre donnée, celle-ci affiche toujours un contenu identique à celui de la fenêtre active. L’affichage est mis à jour chaque fois que la sélection (de données) change dans la fenêtre active. Exemple : supposons que la fenêtre active soit l’Éditeur de piano roll. En mode « Lien de même niveau », l’éditeur de partition et la Liste des événements affichent les mêmes données sous une autre forme.  Lien au contenu : dans ce mode, la fenêtre affiche toujours le contenu de la région sélectionnée dans la fenêtre active. L’affichage est par conséquent toujours situé juste au-dessous de la fenêtre supérieure. Voici un exemple de lien de contenu : si la zone Arrangement est la fenêtre active, toute fenêtre d’éditeur MIDI ouverte affiche les événements de la région MIDI sélectionnée. Si une autre région MIDI est sélectionnée dans la zone Arrangement, l’affichage de l’éditeur lié est mis à jour pour présenter le contenu de cette région. Vous pouvez également utiliser le mode Lien de contenu dans une zone Arrangement pour afficher le contenu des dossiers d’une autre zone Arrangement. Π Conseil : vous avez aussi la possibilité de passer d’un mode à un autre en cliquant sur le bouton Lien : lorsque vous cliquez une seule fois sur ce bouton, vous passez du mode Pas de lien au mode « Lien de même niveau » ou vice versa. Si vous cliquez deux fois sur le bouton Lien, vous activez le mode Lien de contenu. Le symbole figurant sur le bouton Lien indique le mode d’affichage choisi : Mode Lien de même niveau Mode Lien au contenu Chapitre 3 Personnalisation de la configuration de vos fenêtres 77 Mode Capture du contenu Le mode Capture du contenu est généralement utilisé dans la zone Arrangement, avec des fenêtres d’éditeurs MIDI liées mises à jour pour présenter les événements de la région MIDI en cours de lecture (sur la piste Arrangement sélectionnée). Initialement, ce mode équivaut au mode Lien de contenu ; toutefois, lorsque la tête de lecture atteint la région suivante de la même piste, le contenu de cette région est affiché. Pour activer le mode Capture du contenu : 1 Cliquez sur le bouton Capture pour l’activer. 2 Cliquez sur le bouton Lien tout en maintenant la touche Contrôle enfoncée (ou avec le bouton droit de la souris) et choisissez le mode Lien de contenu. Personnalisation de la barre de transport Vous pouvez personnaliser la barre de transport en ajoutant ou en supprimant dans celle-ci des boutons et des affichages, de façon à avoir accès aux fonctions dont vous avez le plus souvent besoin. Cette opération a toutefois une incidence sur la taille de la fenêtre Transport. Vous avez également la possibilité d’ouvrir une fenêtre d’affichage de la barre ou SMPTE. Pour plus d’informations, reportez-vous à la rubrique « Personnalisation de la barre de transport » à la page 123. Personnalisation de la barre d’outils de la fenêtre Arrangement Vous pouvez personnaliser la barre d’outils en ajoutant des boutons pour les commandes que vous utilisez le plus souvent. Il est également possible de configurer l’affichage pour visualiser uniquement les icônes des boutons ou leur libellé. Pour ajouter un bouton à la barre d’outils Logic Express : 1 Cliquez sur la barre d’outils de la fenêtre Arrangement tout en maintenant la touche Contrôle enfoncée (ou avec le bouton droit de la souris) et choisissez « Personnaliser la barre d’outils » dans le menu contextuel. 78 Chapitre 3 Personnalisation de la configuration de vos fenêtres 2 Faites glisser les boutons que vous souhaitez ajouter depuis la zone de dialogue « Personnaliser la barre d’outils » vers une zone vide située dans la partie supérieure de la fenêtre. Si vous faites glisser un bouton vers un emplacement situé entre deux boutons, ces derniers se déplacent afin de libérer de l’espace pour le nouveau bouton. Remarque : vous pouvez également choisir de faire glisser tout l’ensemble par défaut depuis le bas de la zone de dialogue « Personnaliser la barre d’outils », si vos modifications ne fonctionnent pas aussi bien que vous l’espériez. 3 Cliquez sur Terminé une fois l’opération effectuée. Pour supprimer un bouton de la barre d’outils : m Cliquez sur le bouton de votre choix tout en maintenant la touche Contrôle enfoncée, puis sélectionnez l’option Supprimer dans le menu. Pour modifier l’apparence des éléments de la barre d’outils : m Le menu contextuel et le menu Afficher de la zone de dialogue « Personnaliser la barre d’outils » vous permettent de présenter les éléments de la barre d’outils sous différentes formes : icône et texte, Icône seulement ou Texte seulement. Il vous suffit de choisir l’option d’affichage que vous préférez. Lorsque vous redimensionnez la fenêtre Arrangement, l’espace disponible dans la barre d’outils peut s’avérer insuffisant pour afficher tous les boutons. Pour qu’un bouton de la barre d’outils reste visible lorsque vous redimensionnez la fenêtre Arrangement : m Cliquez sur le bouton de votre choix tout en maintenant la touche Contrôle enfoncée (ou avec le bouton droit de la souris), puis sélectionnez « Rendre l’élément visible » dans le menu. Chapitre 3 Personnalisation de la configuration de vos fenêtres 79 Masquage ou affichage de l’Inspecteur Vous pouvez masquer toute la zone Inspecteur située dans la partie gauche de la fenêtre Arrangement et des fenêtres d’éditeurs, de façon à libérer de l’espace pour les régions, les événements et d’autres données. Pour masquer ou afficher l’Inspecteur dans la fenêtre Arrangement, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Inspecteur dans la barre d’outils. m Choisissez Présentation > Inspecteur (ou utilisez le raccourci clavier Afficher/Masquer l’inspecteur). Pour masquer ou afficher l’Inspecteur dans les fenêtres d’édition : m Choisissez Présentation > Inspecteur (ou utilisez le raccourci clavier Afficher/Masquer l’inspecteur). Si l’espace disponible verticalement est insuffisant pour afficher toutes les zones de l’Inspecteur, vous pouvez cliquer sur les triangles d’affichage pour les masquer individuellement. Réglage de l’affichage de la règle Mesure Vous pouvez choisir parmi quatre modes d’affichage de la règle Mesure :  Temps : affiche une règle de temps SMPTE divisée en heures, minutes, secondes et images.  Mesure : affiche une règle Mesure divisée en mesures, battements, divisions et ticks. Selon les réglages de zoom (voir la rubrique « Zoom » à la page 71), les mesures sont affichées en diverses unités (1, 4, 8 ou 16) dans la partie supérieure. Les modifications apportées à la signature apparaissent également ici. Une ligne verticale s’affiche pour chaque mesure dans le tiers inférieur. Les lignes plus courtes représentent un battement, mais ne sont pas toujours visibles (selon le réglage du zoom). 80 Chapitre 3 Personnalisation de la configuration de vos fenêtres  Mesure et temps : affiche la règle Mesure au-dessus de la règle SMPTE.  Temps et mesure : affiche la règle SMPTE au-dessus de la règle Mesure. Pour définir le mode d’affichage de la règle Mesure : m Cliquez sur la petite icône de la flèche vers le bas à droite de la règle Mesure et choisissez le mode d’affichage souhaité dans le menu contextuel. Le réglage Outil Sélecteur masque ou affiche l’outil sélecteur, qui permet d’effectuer les tâches de sélection. Pour plus d’informations, reportez-vous à la rubrique « Sélection de parties d’une région » à la page 342. Vous pouvez également utiliser les raccourcis clavier suivants pour modifier l’affichage de la règle :  Position et durée de l’événement en unités SMPTE : permet de basculer entre l’affichage de la règle Mesure et de la règle SMPTE si une règle est affichée et inverse la position de ces règles si elles sont affichées toutes les deux.  Règle secondaire : active/désactive l’affichage de la deuxième règle. Chapitre 3 Personnalisation de la configuration de vos fenêtres 81 Affichage des pistes globales Toutes les fenêtres d’édition linéaire peuvent afficher des pistes globales sous la règle Mesure. Vous pouvez limiter l’affichage à des pistes globales particulières, redimensionner les pistes et les déplacer. Pour masquer ou afficher des pistes globales, procédez de l’une des manières suivantes : m Cliquez sur le triangle d’affichage Pistes globales à gauche de la règle Mesure. m Choisissez Présentation > Pistes globales (ou utilisez le raccourci clavier Activer/Désactiver pistes globales). m Utilisez l’un des raccourcis clavier suivants :  Masquer toutes les pistes globales  Afficher toutes les pistes globales Affichage et masquage de pistes globales individuelles Par défaut, les pistes globales de marqueur, d’articulation et de tempo s’affichent dès que vous ouvrez les rangées de pistes globales à l’aide des méthodes décrites ci-dessus. Pour masquer ou afficher des pistes globales particulières : 1 Effectuez l’une des opérations suivantes :  Cliquez n’importe où dans la zone d’en-tête des pistes globales tout en maintenant la touche Contrôle enfoncée (ou avec le bouton droit de la souris), puis choisissez « Configurer les pistes globales » dans le menu contextuel. 82 Chapitre 3 Personnalisation de la configuration de vos fenêtres  Choisissez Présentation > Configurer les pistes globales (ou utilisez le raccourci clavier Configurer les pistes globales). 2 Effectuez l’une des opérations suivantes dans la zone de dialogue « Configurer les pistes globales » :  Cochez les cases correspondantes pour afficher ou masquer chaque type de piste globale.  Cliquez sur les boutons Tout activer ou Tout désactiver pour respectivement afficher ou masquer toutes les pistes globales. Tous les réglages effectués dans la zone de dialogue « Configurer les pistes globales » n’affectent que la fenêtre active. En effet, chaque fenêtre peut disposer de sa propre configuration de l’affichage des pistes globales. Remarque : vous pouvez également affecter et utiliser les raccourcis clavier suivants pour activer ou désactiver chaque piste globale : Marqueur, Transposition, Accord, articulation, Tempo, Table de battements et Vidéo. Cette opération a un effet immédiat et la zone de dialogue « Configurer les pistes globales » ne s’ouvre pas. Redimensionnement et déplacement des pistes globales Vous pouvez redimensionner chaque piste globale ou bien encore l’intégralité de la zone des pistes globales. Pour redimensionner des pistes globales individuelles, effectuez l’une des opérations suivantes : m Cliquez sur le triangle d’affichage dans l’angle supérieur gauche de chaque piste globale. La hauteur des pistes augmente et d’autres contrôles s’affichent. Si vous cliquez de nouveau sur le triangle, la hauteur des pistes diminue. Chapitre 3 Personnalisation de la configuration de vos fenêtres 83 m Placez le pointeur de la souris sur l’un des diviseurs de voie situés entre les pistes globales dans la zone d’en-tête, puis faites-le glisser vers le haut ou le bas. Pour redimensionner l’intégralité de la zone des pistes globales : m Placez le pointeur de la souris sur la ligne de séparation entre les pistes globales et les pistes Arrangement, puis faites-le glisser vers le haut ou le bas. Pour changer l’ordre des pistes globales : m Cliquez n’importe où (sauf sur les commandes) dans la zone d’en-tête de la piste globale que vous souhaitez déplacer et maintenez le bouton de la souris enfoncé, puis glissez vers le haut ou le bas. L’ordre d’affichage des pistes globales est enregistré indépendamment pour chaque fenêtre. Π Conseil : si les sélecteurs de protection de piste sont visibles (Présentation > Configurer l’en-tête de piste > Sélecteurs de protection), vous pouvez empêcher que des modifications ne soient apportées accidentellement à des pistes globales individuelles en cliquant sur le sélecteur de protection correspondant. Utilisation des screensets Vous allez positionner les fenêtres de façon choisir une disposition adaptée à vos méthodes de travail. Cette présentation des diverses fenêtres, et notamment la taille de l’affichage, les niveaux de zoom et la position de chaque fenêtre (et d’autres réglages), est appelée « screenset ». Une fois que vous avez défini des screensets, vous pouvez les enregistrer et passer librement de l’un à l’autre, tout comme vous le feriez avec des écrans d’ordinateur. 84 Chapitre 3 Personnalisation de la configuration de vos fenêtres Enregistrement et rappel des screensets Les screensets sont numérotés de 1 à 99 (exclusivement au moyen des touches d’ordinateur 1 à 9, la touche 0 étant affectée par défaut à la commande Arrêter). Vous n’êtes pas obligé d’enregistrer les screensets avec une commande explicite. L’enregistrement s’effectue automatiquement dès lors que vous passez à un autre screenset. Par conséquent, la vue de travail actuelle est toujours enregistrée en tant que screenset actif, sans que vous ayez à intervenir. Pour créer un screenset : 1 Appuyez sur une touche numérique, telle que 7. Pour les screensets à deux chiffres, maintenez la touche Contrôle enfoncée tout en saisissant le premier chiffre. 2 Choisissez la disposition souhaitée pour vos fenêtres (modifications des réglages de zoom, relation entre la zone Arrangement et les zones d’éditeurs, zones Inspecteur, Média ou Listes ouvertes ou fermées, etc.). Remarque : lorsque vous choisissez le numéro d’un screenset qui n’a pas été enregistré, une fenêtre Arrangement agrandie s’ouvre. Pour rappeler un screenset ou passer d’un screenset à un autre, effectuez l’une des opérations suivantes : m Saisissez le numéro du screenset souhaité (1 à 9). Pour les screensets à deux chiffres, maintenez la touche Contrôle enfoncée tout en saisissant le premier chiffre. m Sélectionnez le screenset de votre choix dans le menu Screenset. m Utilisez le raccourci clavier Screenset suivant ou Screenset précédent. Rappel des screensets 1 à 9 au moyen des raccourcis clavier Les screensets 1 à 9 peuvent être rappelés au moyen de raccourcis clavier librement définis, et pas uniquement des touches numérotées du clavier de votre ordinateur. Cela vous permet d’utiliser les touches numérotées à d’autres fins, telles que l’ouverture ou la fermeture des fenêtres. Les raccourcis clavier 1 à 9 correspondent respectivement à Rappeler screenset 1 (jusqu’à 9) dans la fenêtre Raccourcis clavier. Changement de screenset contrôlé par le séquenceur Vous pouvez passer automatiquement d’un screenset à un autre par le biais du métaévénement n° 49 ; il vous suffit de l’ajouter à une région MIDI de la Liste d’événements. Pour passer automatiquement d’un screenset à un autre : 1 Sélectionnez la région MIDI dans laquelle vous souhaitez insérer le méta-événement. 2 Placez la tête de lecture sur le point à partir duquel vous souhaitez changer de screenset. Chapitre 3 Personnalisation de la configuration de vos fenêtres 85 3 Cliquez sur le bouton Créer dans la Liste d’événements, puis sur le bouton Méta-événements. La valeur par défaut du méta-événement est de 50 (sélection du projet). 4 Remplacez le nombre 50 figurant dans la colonne Nombre par 49. Le nom « screenset » s’affiche. 5 Saisissez le numéro du screenset souhaité dans la colonne Valeur. Vous pouvez arrêter le processus de changement de screenset en désactivant la région MIDI contenant le méta-événement 49. Protection, copie, changement de nom et suppression de screensets Logic Express vous permet de protéger, copier, renommer et supprimer des screensets, ce qui simplifie leur gestion. Pour empêcher toute modification du screenset actif : m Choisissez Screensets > Verrouiller screenset (ou utilisez le raccourci clavier Verrouiller/ Déverrouiller screenset actuel correspondant, par défaut : Maj + L). Une puce apparaît devant le numéro du screenset pour indiquer qu’il est verrouillé. Réutilisez le raccourci clavier ou la commande de menu pour déverrouiller le screenset. Important : la commande Fichier > Nouveau désactive tous les verrous de screenset. Pour copier des screensets : 1 Activez le screenset que vous souhaitez copier, puis choisissez Screensets > Dupliquer (ou utilisez le raccourci clavier correspondant). 86 Chapitre 3 Personnalisation de la configuration de vos fenêtres 2 Dans la fenêtre Duplication de screenset qui s’ouvre : saisissez le numéro du screenset cible (vers lequel vous souhaitez effectuer la copie) et un nom. Pour renommer le screenset actuel : m Choisissez Screensets > Renommer (ou utilisez le raccourci clavier correspondant), puis saisissez un nouveau nom dans la fenêtre Renommer le screenset. Cliquez sur le bouton Nom automatique pour attribuer automatiquement un nom au screenset. Les noms de fenêtres visibles définis par défaut sont utilisés (par exemple, Arrangement/Piano roll ou Arrangement/Table de mixage). Le nom est automatiquement mis à jour chaque fois qu’une fenêtre ou une vue est ouverte ou fermée. Pour supprimer le screenset actuel : m Choisissez Screensets > Supprimer (ou utilisez le raccourci clavier correspondant). Importation de screensets à partir d’un autre projet Vous pouvez importer des screensets d’un autre projet. Pour importer tous les screensets d’un autre projet : 1 Ouvrez la fenêtre Importation de réglages en effectuant l’une des opérations suivantes :  Choisissez Fichier > Réglages du projet > Importer réglages (ou utilisez le raccourci clavier Importer réglages).  Cliquez sur le bouton de barre d’outils Réglages, puis choisissez Importer réglages dans le menu local. 2 Dans la zone de dialogue Importation, cliquez sur l’option Screensets. 3 Accédez au projet voulu (celui depuis lequel vous voulez importer) et sélectionnez-le. 4 Cliquez sur Ouvrir (ou double-cliquez sur le nom du projet source). Les réglages sont importés dans le projet actif. Rétablissement des screensets enregistrés La commande de menu « Revenir au screenset enregistré » (ou le raccourci clavier correspondant) restaure l’écran à son état initial, c’est-à-dire avant toute modification de l’aspect du screenset actuel. 4 87 4 Configuration du système Logic Express recherche et configure automatiquement le matériel MIDI et audio pris en charge lors de sa première exécution, à la suite de son installation. Il existe de nombreuses situations dans lesquelles vous souhaiterez sans doute améliorer ou étendre cette configuration automatique de base. Le présent chapitre vous permettra d’optimiser votre matériel afin de l’utiliser avec Logic Express. Il contient également de nombreuses informations de base sur les composants que votre système de production musicale peut intégrer. Si c’est la première fois que vous utilisez Logic Express, et que vous souhaitez vous familiariser avec l’application, ignorez ces informations et poursuivez. Vous pourrez toujours revenir aux rubriques suivantes lorsque vous envisagerez d’ajouter un composant à votre système. Il n’est toutefois pas nécessaire d’en prendre connaissance pour utiliser Logic Express. Conception de votre système de production musicale Votre système de production musicale peut intégrer bien davantage que votre ordinateur et le logiciel Logic Express. Un studio Logic Express complet peut parfaitement être constitué de l’un des composants suivants, voire de l’ensemble de ces composants :  Un ordinateur Macintosh et des périphériques connexes, tels qu’une souris ou tout autre dispositif de pointage, un clavier, des écrans, etc.  Des interfaces MIDI et audio.  Des générateurs de sons MIDI externes, tels que des échantillonneurs et des synthétiseurs.  Des périphériques audio externes, tels que des tables de mixage, des convertisseurs audio, des préamplificateurs, des bandes de canaux, des unités d’effets, etc.  Des claviers et des surfaces de contrôle MIDI externes. Un éclairage externe contrôlé via MIDI peut également être géré par Logic Express.  Un système d’amplification et des haut-parleurs. 88 Chapitre 4 Configuration du système  Un logiciel supplémentaire qui s’exécute et s’intègre avec Logic Express. Par exemple, une série d’applications ReWire et un logiciel MIDI ou audio.  Des modules d’instrument et d’effets supplémentaires, notamment ceux qui sont accélérés via DSP tels que PowerCore. Prenez connaissance de cette rubrique si vous envisagez d’intégrer certains de ces composants à votre système de production musicale Logic Express. Si vous disposez déjà de tous ces composants, et que leur intégration vous donne satisfaction, vous pouvez ignorer cette rubrique. Ordinateur Cette rubrique présente plusieurs facteurs informatiques dont vous devez tenir compte pour votre système Logic Express. La configuration requise est décrite dans le document Avant d’installer, situé dans le dossier Documentation des disques d’installation de Logic Express. Remarque : la configuration requise peut varier d’une version de Logic Express à une autre ; il est donc conseillé de toujours consulter le site web d’Apple et le dernier document Avant d’installer figurant dans les mises à jour de Logic Express. Puissance requise Le traitement audio est complexe, de sorte que la règle qui s’applique généralement est la suivante : plus votre ordinateur est puissant, mieux c’est. Cette règle ne concerne pas seulement la vitesse de la ou des UC de votre Macintosh, mais aussi la taille des mémoires principales, la vitesse des bus et l’efficacité de la communication avec les périphériques connectés. Un studio mobile ou fixe ? Vous hésitez peut-être entre un ordinateur Macintosh de bureau ou portable pour installer votre système Logic Express et réfléchissez sans doute à l’utilité d’un ordinateur portable pour réaliser des compositions lors de vos déplacements. Sachez que les ordinateurs portables Macintosh sont parfaitement adaptés à l’utilisation de Logic Express. Ils offrent d’excellentes capacités d’extension pour le matériel MIDI et audio sous forme de connecteurs FireWire et USB. Ils sont également suffisamment rapides pour permettre une large utilisation des effets et des instruments logiciels. Les ordinateurs portables étant économes en énergie par nature, ils comportent généralement des disques durs plus lents, ce qui entraîne un nombre de pistes inférieur par rapport à un ordinateur de bureau. Bien évidemment, les ordinateurs de bureau sont munis de logements d’extension supplémentaires, ce qui offre plus de possibilités en matière de matériels MIDI et audio. Ils peuvent aussi être équipés de plusieurs processeurs. Les vitesses du disque dur et du processeur sont généralement plus élevées, ce qui permet un nombre de lectures de pistes supérieur ainsi que l’utilisation simultanée d’un plus grand nombre d’effets et d’instruments logiciels. Chapitre 4 Configuration du système 89 Π Conseil : si vous disposez à la fois d’un ordinateur portable et d’un ordinateur de bureau Macintosh, vous pouvez aisément transférer les projets et autres données de l’un à l’autre. Emplacements de stockage et disques durs La production musicale génère un nombre considérable de gros fichiers. Ces derniers comportent des échantillons pour instruments audio, des bibliothèques de boucles, des enregistrements audio, des fichiers vidéo, etc. Il vous faudra envisager d’acheter séparément un (voire plusieurs) disque dur de grande capacité pour vos fichiers audio. Vous devrez également réfléchir à un système de sauvegarde de haute capacité, et automatiser votre routine de sauvegarde, sur une fréquence quotidienne de préférence. Interfaces MIDI et audio Une interface audio est nécessaire pour transmettre des signaux sonores à votre ordinateur, ou pour qu’il en restitue. Une interface MIDI est nécessaire pour des signaux MIDI d’entrée et de sortie. Lorsque vous utilisez des interfaces MIDI et audio, vous devez installer leurs gestionnaires avant de démarrer Logic Express. Logic Express peut ainsi identifier et utiliser ces périphériques au démarrage. Les interfaces audio doivent être prises en charge par un gestionnaire Core Audio et les interfaces MIDI doivent être prises en charge par un gestionnaire Core MIDI. Contactez le fabricant de votre équipement pour plus de détails sur la prise en charge de Mac OS X. Interface audio Lorsqu’un signal audio analogique arrive aux entrées de l’interface audio de votre ordinateur, il doit être converti en données numériques pour que l’ordinateur puisse l’utiliser. Ce processus appelé conversion analogique-numérique est géré par le convertisseur prévu à cet effet de votre interface audio. Il existe un nombre considérable d’interfaces audio externes disponibles sur le marché, et presque autant de façons de les configurer et de les utiliser avec Logic Express et des appareils audio externes. Compte tenu de la diversité des besoins et des méthodes de travail, qui varient d’un utilisateur à l’autre et d’un pays à l’autre, il n’existe aucun branchement « universel » s’appliquant à toutes les interfaces audio. Dans le scénario le plus simple, il suffit d’utiliser l’interface audio interne de votre ordinateur pour enregistrer et reproduire les données audio. Lors du choix de votre interface audio, assurez-vous qu’elle peut s’exécuter sur du matériel Macintosh. Si le périphérique nécessite un gestionnaire, vérifiez qu’il est compatible avec la version Mac OS X requise par Logic Express. 90 Chapitre 4 Configuration du système Logic Express prend en charge les entrées provenant d’interfaces audio numériques, avec une fréquence d’échantillonnage et une profondeur de bits maximales de 192 kHz et 24 bits. Vous trouverez des informations détaillées sur la configuration de votre interface audio, notamment des informations sur les optimisations, les gestionnaires, etc., dans la rubrique « Configuration de votre matériel audio » à la page 103 et les rubriques suivantes. Interface MIDI Votre ordinateur Macintosh ne fournit ni sorties, ni entrées MIDI. Si vous souhaitez utiliser des périphériques MIDI équipés de ports MIDI, une interface MIDI est nécessaire pour communiquer avec votre ordinateur. Les interfaces MIDI sont généralement connectées à vos ports USB Macintosh. Certaines interfaces MIDI nécessitent l’installation d’un logiciel pilote, d’autres sont automatiquement reconnues par votre Macintosh. Remarque : de nombreux appareils MIDI modernes, en particulier les claviers, comprennent un port de connexion FireWire ou USB qui permet la communication MIDI (et audio dans certains cas) avec votre ordinateur. Les appareils de ce type ne nécessitent pas d’interface MIDI (ou audio) supplémentaire. Certains appareils nécessitent l’installation d’un logiciel pilote, d’autres sont automatiquement reconnus par Mac OS X. Pour en savoir davantage, consultez les sites web des fabricants d’appareils MIDI. Types d’appareils MIDI Il existe une large gamme d’appareils MIDI : générateurs de sons, claviers, surfaces de contrôle, processeurs d’effets, tables de mixage, contrôleurs d’éclairage MIDI, etc. Clavier MIDI Voici le candidat le plus probable à une intégration dans votre système Logic Express. Les claviers MIDI sont utilisés pour entrer des informations de notes (et de contrôleur) dans Logic Express. Certains claviers MIDI sont de simples périphériques d’entrée (également appelés « claviers de contrôleur »), d’autres comprennent leurs propres moteurs de synthèse (synthétiseurs et claviers arrangeurs). Logic Express peut être utilisé pour enregistrer les performances du clavier sous forme de données MIDI, et peut les rejouer via un instrument logiciel interne ou un appareil MIDI connecté. Pas de panique si votre clavier MIDI n’est pas très pratique ! Logic Express offre un clavier avec verrouillage des majuscules qui vous permet d’utiliser le clavier de votre ordinateur pour entrer les notes MIDI. Reportez-vous à la rubrique « Utilisation du clavier avec verrouillage majuscules » à la page 439. Chapitre 4 Configuration du système 91 Surfaces de contrôle Les surfaces de contrôle sont des périphériques équipés de diverses commandes, dont des curseurs, des sélecteurs rotatifs, des commutateurs et des écrans. Ces commandes peuvent être mappées à des fonctions de Logic Express, ce qui permet de modifier des paramètres de manière plus précise et plus rapide que cela n’est possible avec la souris et le clavier de l’ordinateur. Vous pouvez également contrôler plusieurs paramètres simultanément. Vous trouverez des informations détaillées sur la configuration et l’utilisation des surfaces de contrôle dans le manuel relatif aux surfaces de contrôle. Synthétiseurs et effets MIDI contrôlés Logic Express fournit de nombreux effets et instruments logiciels et peut également être utilisé comme hôte pour les modules Audio Unit de fabricants tiers. Vous trouverez plus d’informations sur l’utilisation des effets et des instruments de modules au chapitre 10, « Utilisation des instruments et des effets » à la page 229. Vous pouvez également intégrer des unités d’effets contrôlés MIDI et des instruments matériels MIDI à votre système de production musicale Logic Express. Ceux-ci sont connectés via une interface MIDI, à l’aide de câbles MIDI (voir « Branchement de vos appareils MIDI et audio » à la page 94). Les unités d’effets contrôlés MIDI ne traitent pas les données MIDI. Il existe, en revanche, des processeurs audio (tels que des appareils à multi-effets ou de réverbération) qui peuvent être gérés via des messages MIDI. Cela vous permet d’automatiser les paramètres de ces appareils, tels que le décalage ou la vitesse du flanger, depuis Logic Express. En règle générale, tous les périphériques externes, tels que les synthétiseurs et les unités d’effets contrôlées MIDI, sont connectés à l’interface audio ou à une console matérielle de mixage. Les unités d’effets contrôlés MIDI sont connectées au sein d’une boucle envoi/retour, en utilisant :  Une paire d’entrée/sortie audio (ou d’entrée/sortie auxiliaire, le cas échéant) sur votre interface audio  Une paire d’entrée/sortie auxiliaire (parfois appelée FX envoi/retour) sur votre console de mixage Les deux méthodes permettent d’utiliser le module In/Out de Logic Express ; vous pouvez ainsi acheminer librement des informations audio via l’unité d’effets externe ; la connexion MIDI fournit un contrôle sur les paramètres des effets. Sous de nombreux aspects, cela revient à utiliser les modules d’effets internes de Logic Express. Remarque : le module d’entrée/sortie pour l’acheminement de périphériques externes est utile lorsque vous disposez d’une interface audio équipée de plusieurs ports d’entrée/sortie. 92 Chapitre 4 Configuration du système Les effets et les instruments MIDI permettent une sélection des correctifs à distance (présélection) depuis Logic Express. Cette sélection, ainsi que d’autres informations (de contrôle) peuvent être stockées sous forme de fichiers du projet Logic Express, garantissant une lecture parfaite depuis vos appareils MIDI lors du prochain chargement du projet. Appareils audio auxiliaires Toute discussion à propos d’un système audio Logic Express serait incomplète sans aborder un certain nombre d’options que vous devrez bien connaître pour exploiter pleinement l’application. Système de lecture audio Votre interface audio fournit des entrées et des sorties entre le monde réel et votre ordinateur. Lors de la lecture audio, l’interface audio convertit les données informatiques en données audibles et compréhensibles : des sons et de la musique. Pour faciliter cette opération, un amplificateur et des haut-parleurs sont requis. Vous pouvez certainement utiliser des écouteurs, connectés à la prise casque de votre interface audio, ou votre chaîne hi-fi pour écouter le morceau Logic Express, mais cela n’est pas recommandé sur le long terme. Il faudra vous procurer un ensemble de moniteurs de référence dédié (haut-parleurs) et l’amplificateur de référence correspondant. Actuellement, de nombreux systèmes de contrôle disposent de haut-parleurs amplifiés. Dans ce cas, un amplificateur séparé n’est pas nécessaire. Remarque : des moniteurs de référence sont des haut-parleurs spécialement conçus qui offrent une réponse en fréquence plate parmi une large gamme (généralement de 20 Hz à 20 kHz). Il ne s’agit en aucun cas de vos haut-parleurs hi-fi personnels. Ces moniteurs sont généralement disponibles auprès de revendeurs de matériel musical professionnel ou d’équipement pour studios. Ce type de système est recommandé en raison de sa précision. Logic Express permet d’obtenir un son au moins de qualité CD ; généralement, les morceaux créés sur une chaîne hi-fi classique ne sont pas correctement équilibrés. En effet, la plupart des haut-parleurs de chaîne hi-fi personnelle ont tendance à renforcer certaines zones du spectre des fréquences ; les morceaux ainsi créés ont trop de fréquences basses, moyennes ou aiguës lorsqu’ils sont joués sur d’autres systèmes. Les amplificateurs et les moniteurs de référence sont conçus pour fournir une réponse en fréquence plate, sans accentuer certaines zones de votre morceau. Vous disposez ainsi d’un produit dont le son est de bonne qualité (ou, tout du moins, de qualité acceptable) sur la plupart des systèmes de contrôle, tels que les équipements stéréo utilisés dans les voitures, les chaînes hi-fi, les lecteurs portables, etc. Chapitre 4 Configuration du système 93 Écouteurs Un bon ensemble d’écouteurs de type studio est utile pour certaines tâches, telles que l’édition d’échantillons et l’égalisation précise. De par la conception de la plupart écouteurs et du fait qu’ils sont utilisés si près des oreilles, la majorité des gens estiment qu’ils rendent les morceaux trop nets ou trop lourds. C’est pourquoi il n’est pas recommandé de les utiliser pour des tâches de contrôle courantes. Ils restent toutefois de précieux outils. Si vous enregistrez plusieurs groupes de personnes, vous aurez probablement besoin de plusieurs paires d’écouteurs, d’un amplificateur de distribution pour écouteurs et d’une console de mixage. Π Conseil : il ne faut pas utiliser les écouteurs pendant plus de 10 à 20 minutes en continu, car ils peuvent générer une fatigue auditive et vous amener à faire des choix inappropriés pour votre morceau. Consoles de mixage audio L’ajout d’une table de mixage audio (analogique ou numérique) dépend surtout de l’utilisation que vous faites de votre studio en général. Il dépend également du nombre d’entrées et de sorties fournies par votre interface audio et de vos préférences de travail. Par exemple, si vous envisagez d’enregistrer des groupes, plusieurs synthétiseurs MIDI ou de la batterie dans votre studio, vous aurez besoin de plusieurs micros et de plusieurs entrées de niveau de ligne pour enregistrer simultanément les interprétations des musiciens et des chanteurs du groupe. Les entrées des micros varient entre les différentes entrées de niveau de ligne sur le plan de l’alimentation fournie (appelée alimentation fantôme), qui est utilisée pour amplifier le signal entrant provenant des micros à condensateur. Plusieurs sorties de table de mixage et un amplificateur de distribution pour écouteurs sont également utiles lorsque vous enregistrez des groupes, car différents signaux peuvent être envoyés à chaque interprète. Exemples : une piste-métronome pour le batteur, une version mixée de la batterie et une piste-métronome pour le bassiste, une version mixée composée pour le chanteur et le guitariste, avec une pointe de réverbération pour le chanteur, etc. Cette approche en différentes phases est couramment utilisée, car elle permet d’obtenir la meilleure interprétation de chaque membre du groupe. Les tables de mixage peuvent également comporter plusieurs canaux de bus ou canaux auxiliaires qui permettent de simplifier un certain nombre de tâches. Par exemple : envoyer différents signaux (ou versions mixées si vous préférez) vers plusieurs emplacements, tels qu’un système de sonorisation Front of House et un enregistreur multipistes, ajouter des effets individuels à plusieurs canaux, réacheminer un fichier audio traité vers une autre position sur le chemin du signal, etc. 94 Chapitre 4 Configuration du système Une grande partie de ces tâches de mixage peuvent être effectuées avec une interface audio à plusieurs entrées/sorties, en utilisant Logic Express (et le logiciel de contrôle d’interface, le cas échéant) pour ajuster les niveaux et les routages. Cette méthode présente toutefois deux inconvénients : elle n’est pas aussi instantanée que le fait de déplacer physiquement un curseur ou un bouton sur une console de mixage, et votre ordinateur doit être mis sous tension pour permettre le contrôle. Pour équilibrer l’équation, vous pouvez ajouter une surface de contrôle à votre système Logic Express afin de rendre son fonctionnement plus pratique. Enfin, un certain nombre d’interfaces audio actuelles peuvent être utilisées en mode autonome, mais le problème du contrôle de niveaux demeure, à moins que l’ordinateur ne soit sous tension. Des microphones Si vous enregistrez des performances acoustiques (parlées, chantées ou jouées) dans Logic Express, vous devez disposer d’un ou de plusieurs micros. La gamme de micros actuellement disponible est considérable. En résumé, elle se divise en deux catégories : les micros à condensateur et les micros dynamiques.  D’une manière générale, les micros à condensateur sont plus sensibles, et sont couramment utilisés pour des enregistrements de voix. Ils sont également utilisés pour l’enregistrement d’ambiances et pour les instruments tels que des guitares et les instruments à vent en bois.  Les micros dynamiques sont souvent utilisés pour les enregistrements avec des niveaux de pression sonore élevés (c’est-à-dire des signaux lourds), tels que de la batterie ou des percussions. Enfin, les deux types de micros peuvent être utilisés pour tout travail d’enregistrement, mais chacun présente un avantage spécifique (du point de vue de la sonorité) dans différentes situations d’enregistrement. En bref, les deux types de micros, à condensateur et dynamiques, sont disponibles sous diverses formes, dont beaucoup sont tout spécialement conçues pour l’enregistrement de certains instruments. De ce fait, il n’existe pas de micro universel pour tous les enregistrements que vous réaliserez. Il est donc conseillé d’acheter ou de louer différents micros en fonction des projets réalisés. Remarque : les micros à condensateur nécessitent une alimentation électrique. Celle-ci peut être fournie par un préamplificateur ou une console de mixage reliée à une alimentation fantôme. Branchement de vos appareils MIDI et audio Pour permettre la communication entre Logic Express et les différents appareils, vous devez brancher vos appareils MIDI et audio externes à votre ordinateur. La rubrique suivante vous présente les capacités d’extension d’un ordinateur Macintosh, le câblage MIDI et audio ainsi que d’autres éléments à prendre en compte lors du branchement des interfaces MIDI et audio à votre système. Chapitre 4 Configuration du système 95 Extensions de l’ordinateur Les ordinateurs Macintosh actuels offrent les capacités d’extension suivantes, pouvant être utilisées pour des interfaces MIDI et audio :  FireWire  USB  PCI  ExpressCard Remarque : les taux de transfert des données évoqués dans les rubriques suivantes correspondent au maximum théorique. En réalité, ces taux sont réduits à cause des temps système. En général, les protocoles associés à un maximum théorique plus rapide transmettent les données plus rapidement que les protocoles plus lents. FireWire (IEEE 1394) FireWire est une norme grand public et professionnelle qui peut être utilisée pour les types d’appareils MIDI et audio, ainsi que pour des disques durs et autres périphériques. Elle combine des taux de transfert de données rapides, de hautes capacités de stockage et une connexion plug-and-play (prête à l’emploi). Tous les ordinateurs Macintosh actuels s’accompagnent de connecteurs FireWire, et un certain nombre d’interfaces MIDI et audio FireWire sont disponibles. FireWire 1.0 transfère les données à une vitesse de 400 Mbits/sec. FireWire 2.0 transfère les données à une vitesse de 800 Mbits/sec. Il existe deux types de connecteurs FireWire : un connecteur à 4 broches (généralement utilisé pour les équipements vidéo, comme les caméscopes) et un connecteur à 6 broches (celui des ordinateurs et des équipements audio). USB (Universal Serial Bus) USB est une norme grand public destinée aux périphériques et autres dispositifs informatiques. La norme USB 1.1 permet un débit de transmission de données très inférieur à celui de FireWire (11 Mbits/sec). USB 2.0, toutefois, transfère les données à une vitesse de 480 Mbits/sec. Elle permet un fonctionnement plug-and-play et la connexion de plusieurs appareils en série (chaîne). Certains périphériques USB tirent leur alimentation d’un câble USB, d’autres requièrent une alimentation séparée. Tous les ordinateurs Macintosh actuels comportent des ports USB 2.0. FireWire 400 (6 broches) (parfois étiqueté iLINK) FireWire 400 (4 broches) 96 Chapitre 4 Configuration du système Il existe deux types de connecteurs USB :  Connecteur A, généralement utilisé pour connecter un appareil à un concentrateur USB.  Connecteur B, généralement utilisé pour connecter des appareils les uns aux autres, et également pour connecter un appareil à un ordinateur. Remarque : les interfaces audio USB doivent toujours être connectées directement à votre ordinateur. Évitez systématiquement les connexions via un concentrateur, l’écran, le clavier ou tout autre périphérique raccordé à votre ordinateur. PCI Contrairement aux interfaces FireWire et USB, les interfaces PCI (Peripheral Component Interconnect) nécessitent l’installation d’une carte dédiée sur votre ordinateur. Les PCI fournissent des taux de transfert de données rapides et une bande passante très élevée, ce qui vous permet d’enregistrer et de lire un grand nombre de fichiers aux fréquences d’échantillonnage et aux profondeurs de bits les plus élevées possibles. ExpressCard ExpressCard est une version mise à jour des cartes PC (PCMCIA ou CardBus) installées sur les ordinateurs MacBook Pro. ExpressCard ressemble beaucoup aux interfaces PCI décrites ci-dessus, mais les cartes de ce format s’insèrent dans un logement situé à l’extérieur de votre ordinateur portable. Les cartes ExpressCard et PC disponibles comportent des interfaces audio, des disques durs, des interfaces réseau et SCSI, des adaptateurs sans fil, etc. Câblage audio Les types de connecteurs et câbles audio suivants sont généralement utilisés sur des équipements audio grand public et professionnels :  XLR  Jack audio d’1/4 de pouce et mini-jack d’1/8 de pouce  RCA (Cinch)  Toslink  AES-EBU, S/PDIF, ADAT USB (Universal Serial Bus) Chapitre 4 Configuration du système 97 XLR Les câbles et connecteurs XLR sont utilisés avec des micros de qualité professionnelle, des moniteurs et d’autres équipements de musique. Ils assurent un signal stable et de haute qualité à un niveau de + 4 dB. Jack audio d’1/4 de pouce Les connecteurs d’1/4 de pouce (parfois appelés phono ou prises phono) sont utilisés par un grand nombre d’équipements musicaux professionnels et grand public, y compris des instruments de musique, des amplificateurs, des haut-parleurs et des périphériques d’effets externes. Ils peuvent être équilibrés ou déséquilibrés. Certains appareils nécessitent des connecteurs TRS (Tip-Ring-Sleeve). Ces connecteurs à trois contacts sont utilisés pour des signaux mono équilibrés et des signaux stéréo déséquilibrés. Mini-jack d’1/8 de pouce Les connecteurs mini-jack sont utilisés pour des entrées/sorties audio vers des ordinateurs, et sur certains appareils électroniques destinés au grand public, en particulier les appareils portables. RCA (Cinch) Les connecteurs RCA sont utilisés sur les équipements audio grand public, tels que les chaînes hi-fi et les magnétoscopes. Connecteur XLR (symétrique) Prise 1/4 de po (TRS) Prise 1/4 de po (TR) Miniprise stéréo (asymétrique) Prise RCA (asymétrique) 98 Chapitre 4 Configuration du système AES/EBU, S/PDIF et ADAT Les protocoles AES/EBU, S/PDIF et ADAT fournissent une connexion numérique entre des équipements audio grand public et professionnels, notamment des interfaces audio, des machines DAT (bande audionumérique), des consoles de mixage, des échantillonneurs, etc. S/PDIF et AES/EBU fournissent deux canaux audio, lorsque le format ADAT optique en fournit huit. Vous pouvez utiliser des connecteurs optiques TOSLINK pour transporter des flux audio numériques entre des composants S/PDIF et ADAT. Connexion de votre interface audio Logic Express prend en charge la fonction plug-and-play pour les interfaces audio, ce qui permet de se connecter et de basculer sur une nouvelle interface audio lorsque Logic Express est en cours d’exécution. Lorsque vous vous connectez à un nouvel appareil, une alerte apparaît, vous invitant à sélectionner et confirmer le gestionnaire et l’interface audio que vous souhaitez utiliser. Toutes les interfaces audio numériques sont susceptibles de subir un temps de latence, c’est-à-dire un retard notable entre le moment où le signal audio est émis et celui où vous l’entendez. Une interface audio doit toujours être connectée directement à l’ordinateur, et non via un concentrateur ou en chaîne par l’intermédiaire d’un autre appareil. Cela peut, en effet, générer un temps de latence considérable, en particulier avec les appareils USB 1.1 qui sont plus lents. Branchement MIDI MIDI signifie Musical Instrument Digital Interface (interface numérique pour instruments de musique). Il s’agit d’une norme de connexion universelle à 5 broches et d’un langage informatique, qui permettent la communication entre des appareils MIDI. Prise numérique optique Toslink Prise MIDI Chapitre 4 Configuration du système 99 Connexion des modules et des claviers MIDI Si vous utilisez un simple clavier maître MIDI, n’intégrant pas de fonctions de génération audio internes, il suffit de connecter son port de sortie MIDI Out au port d’entrée MIDI In de votre interface MIDI, en utilisant un câble MIDI. Si le clavier peut générer ses propres sons, vous devez également connecter le port de sortie MIDI Out de l’interface MIDI au port d’entrée MIDI In du clavier. Si votre interface MIDI dispose de plusieurs sorties MIDI, connectez d’autres générateurs de sons (ou d’autres appareils MIDI, tels que des surfaces de contrôle qui nécessitent une communication MIDI bidirectionnelle) à ces sorties. Ordinateur Interface MIDI Sortie Clavier Entrée Ordinateur Interface MIDI Générateur audio Sortie Sortie Clavier Entrée Entrée Entrée 100 Chapitre 4 Configuration du système Si l’interface MIDI connectée à votre ordinateur ne dispose que d’une seule sortie MIDI, vous devez connecter l’entrée MIDI In du second générateur de sons au port MIDI Thru du clavier. Un troisième appareil pourra être relié au port MIDI Thru de la seconde unité et ainsi de suite. Le port MIDI Thru délivre toujours une copie des signaux reçus via le port d’entrée MIDI In de l’appareil. Il est préférable d’utiliser une connexion directe entre la sortie MIDI Out de l’ordinateur et l’appareil, plutôt que de mettre en chaîne un trop grand nombre d’appareils, les uns après les autres. Cela peut, en effet, entraîner d’éventuels problèmes de décalage temporel dans la chaîne si de nombreuses commandes MIDI sont envoyées sur une courte période. Cela s’explique par le léger retard induit par chaque relais du MIDI In au MIDI Thru. C’est pourquoi il est recommandé d’utiliser une interface MIDI à plusieurs entrées/sorties dans les studios disposant de plusieurs contrôleurs et générateurs de sons MIDI. Utilisation d’appareils MIDI multicanaux La plupart des générateurs de sons MIDI modernes peuvent recevoir simultanément des données MIDI sur plusieurs canaux MIDI (appareils MIDI multitimbraux). Chaque canal MIDI peut être affecté à une tonalité ou à un son, tel que le piano, les instruments à cordes, la basse, etc. Pour tirer pleinement parti des fonctionnalités de chaque appareil multitimbral connecté, vous devez utiliser des ports de sortie MIDI Out séparés (de l’interface MIDI de l’ordinateur aux ports d’entrée MIDI In) pour chaque appareil. Pour bien comprendre, imaginez un scénario où :  Il y a quatre générateurs de sons MIDI capables de recevoir des données sur plusieurs canaux.  Tous les appareils disposent de 16 canaux MIDI pour la réception.  L’ordinateur ne dispose que d’une sortie MIDI Out, et tous les appareils sont connectés en chaîne via des connexions MIDI Thru vers MIDI In. Ordinateur Interface MIDI Sortie Sortie Clavier Entrée Entrée Entrée Entrée Port MIDI Thru Générateur audio 2 Générateur audio 3 Chapitre 4 Configuration du système 101 Logic Express permet de canaliser les données MIDI (en les acheminant via les canaux MIDI 1 à 16) et d’envoyer ces données canalisées vers des ports de sortie MIDI Out spécifiques. Malheureusement, dans le scénario ci-dessus, nous ne disposons que d’un seul port de sortie MIDI Out. Dès lors, toutes les données envoyées sur le canal MIDI 1 seront envoyées aux quatre générateurs de sons MIDI installés en chaîne. Chaque générateur de sons MIDI lira les données d’entrée avec le son assigné au canal 1, qui peut être :  Une cornemuse sur le module 1  Une batterie sur le module 2  Un effet d’hélicoptère sur le module 3, etc. Le résultat sera sans doute coloré, mais certainement pas musical, à moins que vous ne soyez adepte de l’avant-garde. Le même processus s’applique aux 15 autres canaux MIDI. Comme vous avez pu le constater dans cet exemple, l’interface MIDI peut être divisée en 16 canaux distincts, mais elle ne peut être divisée entre appareils, à moins d’utiliser une interface MIDI à plusieurs sorties. Prenons le scénario décrit ci-dessus, en remplaçant l’interface MIDI à une seule sortie par une interface MIDI à 4 sorties, connectée via les ports de sortie MIDI Out A, B, C et D aux ports d’entrée MIDI In respectifs de chaque appareil. Il n’y a pas de connexions MIDI Thru, ce qui permet à Logic Express d’assigner et d’envoyer :  un enregistrement ou une interprétation sur le canal MIDI 1 vers le port A/module 1,  un autre enregistrement ou une interprétation (également sur le canal MIDI 1) vers le port B/module 2,  un autre enregistrement encore, ou une autre interprétation sur le canal MIDI 1 vers le port C/module 3, et ainsi de suite sur les canaux et modules suivants. En réalité, disposer d’une interface MIDI à plusieurs sorties revient à disposer de plusieurs canaux MIDI. Dans le présent scénario, cela revient à avoir 64 canaux MIDI indépendants, avec 16 canaux par port (A, B, C et D). Cela permet de jouer jusqu’à 64 sons différents en même temps via les générateurs de sons, mais cela permet également un contrôle MIDI complet pour chacun des canaux de chaque appareil. Cette option devient primordiale lors de l’arrangement et de l’orchestration d’un grand nombre de morceaux instrumentaux. Si votre ordinateur dispose de plusieurs entrées MIDI, vous pouvez lui connecter les sorties MIDI d’autres contrôleurs et expandeurs MIDI. 102 Chapitre 4 Configuration du système Claviers MIDI USB Si le clavier MIDI dont vous disposez est pourvu d’un connecteur USB, il n’est pas nécessaire d’utiliser une interface MIDI séparée, car elle est déjà intégrée au clavier. Veillez simplement à bien installer le gestionnaire, si nécessaire, et à connecter le clavier à votre ordinateur à l’aide d’un câble USB. Certains contrôleurs et claviers USB modernes sont automatiquement reconnus par Mac OS X. Séparation d’un clavier MIDI de son générateur de sons Si votre clavier dispose de sons internes, il est important de désactiver le déclenchement de ces sons dès lors que vous appuyez sur les touches. Autrement dit : si vous achetez un nouveau clavier prévu pour être utilisé sans séquenceur et que vous le connectez à un amplificateur, vous en attendrez sans doute qu’il produise un son lorsque vous jouez sur les touches. En d’autres termes, qu’il soit directement connecté au générateur de sons. À l’inverse, cela n’est pas souhaitable lorsque vous utilisez un clavier MIDI avec Logic Express. Dans ce cas, le clavier est utilisé comme un appareil d’entrée de données informatiques, et Logic Express retransmettra les informations entrantes de l’interprétation au générateur de sons du clavier (ou à un instrument logiciel interne ou encore à un autre module de sons connecté, si vous le souhaitez). Si la connexion directe entre le clavier et son générateur de sons n’est pas coupée, chaque note est jouée en double : l’une est jouée directement par le clavier vers le générateur de sons interne et l’autre est renvoyée vers le générateur de sons par Logic Express. Non seulement cela génère un son phasé, mais cela réduit en outre de moitié la polyphonie du générateur de sons du clavier. Si vous vouliez contrôler ou enregistrer un autre module de sons ou instrument logiciel via votre clavier, les sons de ce dernier et ceux de l’instrument MIDI ou logiciel seraient également entendus (du fait de la connexion directe entre le clavier et le générateur de sons). C’est pourquoi le clavier doit être séparé de son propre générateur de sons. Cette fonction est appelée Local Off et peut être activée directement depuis votre clavier. Pas d’inquiétude, vous pourrez toujours utiliser le générateur de sons de votre clavier. Logic Express peut toujours communiquer avec le générateur de sons de votre clavier comme avec n’importe quel instrument logiciel ou module de sons, dépourvu de clavier, auquel il serait connecté. Remarque : si vous ne trouvez pas la fonction Local Off dans le menu MIDI de votre clavier, consultez le manuel correspondant pour connaître la meilleure utilisation avec un séquenceur. Certains claviers vous donnent le choix entreLocal, MIDI ou Both pour chacune de leurs parties (sons/canaux MIDI individuels des appareils MIDI multitimbraux). Le réglage MIDI, s’il est disponible sur votre clavier, est l’équivalent de la fonction Local Off. Chapitre 4 Configuration du système 103 Utilisation des appareils MIDI externes Logic Express reconnaît tous les appareils MIDI configurés dans l’utilitaire AMS (Audio MIDI Setup), l’outil de configuration audio et MIDI intégré de Mac OS X. Vous trouverez cet utilitaire dans le menu Applications/Utilitaires. Pour en savoir plus sur son utilisation, consultez l’Aide d’AMS. L’onglet Bibliothèque affiche tous les appareils MIDI détectés par l’utilitaire AMS (divisés en canaux MIDI, dans le cas d’appareils multicanaux) lorsqu’une piste MIDI externe est sélectionnée. Il vous suffit de sélectionner l’appareil/le sous-canal MIDI pour l’assigner à la piste. Vous pouvez configurer des appareils MIDI externes dans l’Inspecteur. Pour en savoir plus, reportez-vous aux rubriques « Instruments standard » à la page 968, « Multi Instruments » à la page 971 et « Instruments mappés » à la page 977. Utilisation d’effets audio externes Si vous souhaitez envoyer un son vers un appareil d’effets audio externes (contrôlé via MIDI), vous devez insérer le module d’entrée/sortie dans l’un des emplacements d’insertion du canal audio que vous voulez traiter. Pour plus d’informations, reportezvous à la rubrique « Utilisation d’effets audio externes » à la page 277. Remarque : le module d’entrée/sortie pour l’acheminement de périphériques externes est utile lorsque vous disposez d’une interface audio équipée de plusieurs ports d’entrée/sortie. Configuration de votre matériel audio Pour utiliser des interfaces audio spécifiques avec Logic Express, le pilote de l’appareil doit être installé, activé et configuré correctement. Les gestionnaires sont des programmes logiciels qui permettent d’utiliser différents matériels et logiciels avec Mac OS X. Ils permettent la reconnaissance de l’appareil par les applications telles que Logic Express, ainsi que la transmission des données entre les logiciels et le matériel, dans un format compris par les deux parties. Vous pouvez sélectionner, activer et configurer un gestionnaire audio particulier via les préférences des périphériques audio de Logic Express. Pour ouvrir les préférences relatives aux périphériques audio, effectuez l’une des opérations suivantes : m Choisissez Logic Express > Préférences > Audio (ou utilisez le raccourci clavier Ouvrir les Préférences Audio), puis cliquez sur l’onglet Périphériques. 104 Chapitre 4 Configuration du système m Cliquez sur le bouton de la barre d’outils des préférences, choisissez Audio dans le menu local, puis cliquez sur l’onglet Périphériques. Sous Mac OS X, l’accès à tous les périphériques audio se fait via Core Audio, qui fait partie intégrante du système d’exploitation. Core Audio est un système audio hautes performances, à faible temps de latence, qui permet à plusieurs applications d’utiliser une interface audio en même temps. Logic Express est compatible avec tous les appareils audio équipés d’un gestionnaire Core Audio. Configuration d’appareils Core Audio Logic Express reconnaît automatiquement tout matériel Core Audio installé et utilise les réglages par défaut définis dans l’utilitaire Configuration audio et MIDI (Applications/ Utilitaires/Configuration audio et MIDI). Il peut toutefois être préférable d’optimiser les réglages de configuration de votre matériel individuel, en particulier si vous utilisez plusieurs interfaces audio ou un appareil à plusieurs entrées/sorties. Pour cela, cliquez sur Logic Express > Préférences > Audio > onglet Core Audio. Activé Cochez cette case pour activer le gestionnaire Core Audio. Remarque : dans les cas où le matériel souhaité n’est pas disponible, par exemple, lorsque votre interface audio n’est pas connectée (ou lorsqu’elle est désactivée), Logic Express sélectionne automatiquement le matériel audio intégré à votre Macintosh. Chapitre 4 Configuration du système 105 Mémoire système requise La quantité de mémoire RAM disponible requise (en dehors de la mémoire assignée à Logic Express) est indiquée ici. Le volume requis change dès lors que vous modifiez les paramètres décrits ci-dessous. Périphérique Cette option vous permet de choisir un appareil parmi les périphériques Core Audio installés, y compris le matériel audio interne. Il peut également s’agir d’appareils audio agrégés qui se composent de plusieurs interfaces audio. Pour plus d’informations sur les appareils agrégés, reportez-vous à l’aide sur la configuration audio et MIDI. Taille mémoire tampon E/S Ce paramètre détermine la taille de la mémoire tampon utilisée par le matériel audio, aussi bien en entrée qu’en sortie. Plus la mémoire tampon est petite, plus le temps de latence est réduit lors du contrôle en cours d’enregistrement ou de l’utilisation d’instruments logiciels. Quelques points à prendre en compte :  Plus ce paramètre est réduit, plus la pression sur l’unité centrale du système est élevée.  Il peut y avoir un niveau où la taille de la mémoire tampon E/S sélectionnée est trop faible pour votre système et altère alors la lecture. Cela apparaît généralement sous forme de cliquetis, de petits bruits secs et de grésillements sur votre morceau.  Vous devez, par conséquent, utiliser la taille de mémoire tampon E/S la plus faible possible sans introduire ce type de phénomène. Π Conseil : si vous trouvez une valeur de réglage de l’option Taille mémoire tampon E/S plus élevée et qui génère un faible temps de latence lors du contrôle de l’enregistrement et de la lecture d’instruments logiciels, utilisez-la. Cela permettra de minimiser l’impact sur l’unité centrale de votre système. Délai d’Enregistrement Ce paramètre vous permet de retarder l’enregistrement audio d’une certaine valeur fixe, afin de compenser tout retard d’informations causé par le gestionnaire audio. Remarque : vous n’avez pas, normalement, à modifier ce paramètre. Mode de piste Universelle Le mode de piste universelle est activé par défaut. Il vous permet de jouer des séquences mono et stéréo sur une seule piste. Vous devez le laisser activé. 106 Chapitre 4 Configuration du système Enregistrement 24 Bit Lorsque ce réglage est activé, Logic Express peut enregistrer des fichiers 24 bits. Les enregistrements 20 ou 24 bits offrent une amélioration significative dans la plage dynamique disponible, mais nécessitent des composants périphériques de haute qualité tels que des micros, des préamplificateurs et des convertisseurs numériques- analogiques/analogiques-numériques de haute qualité. Les fichiers 20 et 24 bits utilisent une fois et demie l’espace disque utilisé par des fichiers 16 bits comparables. Remarque : activer ce paramètre est utile uniquement si vous utilisez une interface 20 ou 24 bits. Monitoring Logiciel Cette option vous permet d’activer ou de désactiver le Monitoring Logiciel (en écoutant le signal d’entrée réel). Dans la plupart des cas, vous devez la laisser activée. Remarque : lorsque l’option Contrôle logiciel est activée, le signal audio est traité via le logiciel et un certain retard audible (couramment appelé « temps de latence ») est inévitable. Si vous écoutez le signal enregistré via votre console de mixage, ou si votre interface audio prend en charge le contrôle matériel, vous devez désactiver cette option. Niveau de monitoring indépendant pour les bandes de canaux activées pour l’enregistrement Cochez cette case pour activer l’utilisation d’un niveau de monitoring indépendant pour les bandes de canaux audio activées pour l’enregistrement. Après avoir activé une piste pour l’enregistrement, vous pouvez régler le curseur sur le niveau de votre choix. Le niveau d’origine sera restauré lorsque vous désactiverez le bouton d’activation pour l’enregistrement. Remarque : les réglages effectués à l’aide ce curseur n’affectent pas le niveau lors de l’enregistrement, mais seulement lors du monitoring. Taille de la mémoire tampon de calcul Ce paramètre détermine la taille de la mémoire tampon utilisée pour calculer les effets et les versions mixées. Vous pouvez choisir entre différentes tailles : Petite, Moyenne et Grande. Remarque : les mémoires tampon les plus grandes génèrent un temps de latence plus important. En fonction de la vitesse de l’unité centrale, les mémoires tampon trop petites peuvent compromettre le traitement audio en temps réel. Chapitre 4 Configuration du système 107 Comportement ReWire Ce menu permet de configurer le comportement ReWire lors de l’envoi de données MIDI vers un instrument logiciel ReWire compatible.  Mode Lecture : utilisé lors de la lecture de pistes MIDI via ReWire. Ce réglage nécessite moins de puissance d’unité centrale.  Mode Live : utilisé lors de la lecture en direct d’un instrument ReWire. Ce réglage utilise davantage de ressources d’unité centrale, mais permet un temps de latence inférieur. Vitesse de Scrub Maximum Ce menu local vous permet de définir la vitesse de défilement. Vous pouvez choisir entre les options suivantes :  Normal : la vitesse de lecture normale est utilisée pour le défilement.  Double : la vitesse de lecture par défilement est deux fois plus rapide. Réponse du Scrub Ce menu détermine le temps de réaction pour le défilement audio. Choisissez la valeur la mieux adaptée à votre configuration système. Les options sont les suivantes : Lente, Normale, Rapide, Plus rapide. 5 109 5 Navigation dans votre projet Dans ce chapitre, vous allez apprendre à lire et à répéter différentes parties de votre projet, ainsi qu’à naviguer à travers ces parties. Logic Express offre un certain nombre de méthodes pour contrôler la lecture et la navigation dans les différentes rubriques de votre projet. Vous pouvez utiliser la barre de transport, les raccourcis clavier, la règle Mesure, ainsi que les marqueurs pour baliser des rubriques de votre projet et passer facilement de l’une à l’autre. La tête de lecture indique la position de lecture en cours. Ce chapitre se concentre sur l’utilisation de la barre de transport et de la règle Mesure pour la navigation. Des informations sur l’utilisation de marqueurs se trouvent dans le chapitre 6, « Utilisation des marqueurs » à la page 131. Réglage de la position de la tête de lecture La tête de lecture est une ligne verticale qui indique la position en cours dans toutes les fenêtres temporelles horizontales. Tête de lecture Locator Locator gauche droit 110 Chapitre 5 Navigation dans votre projet Pour placer la tête de lecture dans la règle Mesure : m Cliquez sur la position voulue dans le tiers inférieur de la règle Mesure. Double-cliquer dans le tiers inférieur de la règle Mesure repositionne la tête de lecture et bascule entre les modes lecture (ou enregistrement) et arrêt. Le partie supérieure de la règle Mesure contient deux locators affichés sous forme de bande grise semi-transparente lorsqu’ils sont désactivés et sous forme de bande verte lorsque le mode Cycle est activé. Le point de départ de la bande est déterminé par la position du locator gauche, et le point d’arrivée par celle du locator droit. Pour en savoir plus sur l’utilisation des locators au moment de l’enregistrement et de la lecture, consultez le présent chapitre et les chapitres suivants. Réglage de la tête de lecture avec l’écran de position L’écran de position de la barre de transport affiche la position actuelle de la tête de lecture dans deux formats :  Temps SMPTE : la ligne supérieure affiche la position de la tête de lecture en format de temps SMPTE ; heures: minutes: secondes: trames/sous-trames.  Division musicale du temps : la ligne inférieure affiche la position de la tête de lecture en mesures, battements, division et ticks. Un battement correspond au dénominateur dans la signature temporelle. La valeur de la division est définie dans la barre de transport, en dessous de la signature temporelle. Un tick représente la plus petite subdivision possible d’une mesure ; le tick est égal à 1/3840e de note. Valeur de division Chapitre 5 Navigation dans votre projet 111 Pour définir la position de la tête de lecture dans l’écran de position, effectuez l’une des opérations suivantes : m Cliquez sur l’un des nombres de l’écran de position en maintenant le bouton de la souris enfoncé, puis déplacez la souris vers le haut ou le bas. m Double-cliquez sur un champ d’affichage, puis tapez une nouvelle position. La tête de lecture bouge pour se placer à la position d’affichage. Ajuster le premier nombre dans l’écran de mesure déplace la tête de lecture par mesures et par heures dans l’affichage SMPTE. Ajuster le second nombre entraîne un déplacement par battements dans l’écran de mesure et par minutes dans l’affichage SMPTE, et ainsi de suite, en divisions de plus en plus petites avec les autres valeurs affichées dans l’écran de position. Lors de la saisie d’une position entière, via l’écran de mesure, par exemple, procédez comme suit :  3 espace 3 espace 2 espace 2, touche Entrée pour quitter le mode d’entrée de texte.  3.3.2.2, touche Entrée pour quitter le mode d’entrée de texte. Si vous tapez simplement 3322 et que vous appuyez ensuite sur la touche Entrée, la tête de lecture se déplace jusqu’à la mesure 3322 et non à la mesure 3, battement 3, division 2, tick 2. L’avantage de cette approche est que vous pouvez naviguer rapidement jusqu’au début d’une mesure en saisissant simplement le premier chiffre. Réglage de la tête de lecture au niveau d’un marqueur Si vous avez utilisé un marqueur pour étiqueter un passage, cliquez n’importe où sur ce marqueur tout en maintenant la touche Option enfoncée pour positionner la tête de lecture au début de ce marqueur. Si Logic Express est arrêté, vous pouvez démarrer la lecture au début du marqueur en double-cliquant dessus tout en maintenant la touche Commande enfoncée. Ajustement de la taille de la tête de lecture Vous pouvez ajuster l’épaisseur de la tête de lecture dans les préférences d’affichage générales. Pour ajuster l’écran de tête de lecture : 1 Ouvrez les préférences d’affichage en effectuant l’une des opérations suivantes :  Choisissez Logic Express > Préférences > Affichage (ou utilisez le raccourci clavier Ouvrir les préférences d’affichage). 112 Chapitre 5 Navigation dans votre projet  Cliquez sur le bouton « Barres d’outils de préférences », puis choisissez Affichage dans le menu. 2 Cliquez sur l’onglet Général et activez la case « Tête de lecture large ». Utilisation des boutons de transport Vous pouvez utiliser les boutons de transport de la barre de transport pour contrôler la lecture ou pour définir la position de la tête de lecture. Vous pouvez cliquer sur les boutons pour activer ou désactiver des fonctions ou mieux encore, utiliser les raccourcis clavier correspondants (raccourcis clavier de l’ordinateur) pour accélérer votre flux de production. Remarque : la capture d’écran ci-dessous montre tous les boutons de transport. Les boutons disponibles dans la barre de transport de votre projet peuvent être différents, car vous pouvez la personnaliser. Pour plus d’informations, reportez-vous à la rubrique « Personnalisation de la barre de transport » à la page 123. De gauche à droite :  Aller au début : positionne la tête de lecture au début du projet. Raccourci clavier par défaut : Retour.  Aller à la position : ouvre une zone de dialogue permettant de taper la position de la tête de lecture voulue (cible) sous forme numérique. Tête de lecture par Tête de lecture épaisse défaut Chapitre 5 Navigation dans votre projet 113  Aller au locator gauche : place la tête de lecture au niveau du locator gauche.  Aller au locator droit : place la tête de lecture au niveau du locator droit.  Aller au début de la sélection : place la tête de lecture au point de départ de la première région ou du premier événement sélectionné dans la fenêtre active. Raccourci clavier par défaut : Maj + Retour  Lire depuis le début : démarre la lecture au début du projet.  Lire depuis le bord de fenêtre gauche : lit depuis le point le plus à gauche de la zone d’affichage visible dans la fenêtre active.  Lecture depuis locator gauche : place la tête de lecture sur la position du locator gauche et commence la lecture.  Lecture depuis locator droit : place la tête de lecture sur la position du locator droit et commence la lecture.  Lecture depuis la sélection : place la tête de lecture au point de départ des régions ou des événements sélectionnés et commence la lecture. Raccourci clavier par défaut : Maj + Entrée.  Rembobinage et Avance rapide : un clic sur l’un des boutons permet de déplacer la tête de lecture d’une barre, vers l’avant ou vers l’arrière. Cliquer en maintenant la touche Commande enfoncée permet de placer la tête de lecture sur le marqueur suivant ou précédent. Cliquer en maintenant l’un des boutons enfoncés permet de rembobiner ou d’effectuer une avance rapide. Cliquer sur l’un des boutons tout en maintenant le bouton de la souris enfoncé, puis glisser vers la gauche ou la droite pour effectuer un une avance rapide ou un retour arrière Shuttle (ces deux boutons permettent des déplacements Shuttle lorsqu’ils sont utilisés de cette façon).  Stop : arrête l’enregistrement ou la lecture. Cliquer une seconde fois sur le bouton Stop place la tête de lecture au point de départ du projet ou à la position du locator gauche si le mode Cycle est activé. Raccourci clavier par défaut : 0.  Lecture : lance la lecture à partir de la position actuelle de la tête de lecture ou depuis la position du locator de gauche en mode Cycle. Raccourci clavier par défaut : Entrée.  Pause : interrompt l’enregistrement ou la lecture, jusqu’à ce que vous cliquiez sur le bouton Pause ou Lecture.  Enregistrement : cliquez pour commencer l’enregistrement (si une piste est activée pour l’enregistrement). Raccourci clavier par défaut : *. Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris pour ouvrir le menu Enregistrement.  Capture de l’enregistrement : permet de conserver la performance la plus récente, même si Logic Express n’était pas en mode d’enregistrement lors de celle-ci. Remarque : tous les raccourcis clavier du bouton de transport ci-dessus, à l’exception de Rembobinage et Avance rapide, utilisent le pavé numérique du clavier de votre ordinateur. 114 Chapitre 5 Navigation dans votre projet Utilisation des raccourcis clavier de transport Il existe un certain nombre de fonctions de transport uniquement disponibles sous forme de raccourcis clavier. La plupart des raccourcis clavier correspondant à ces fonctions ne sont pas attribués par défaut. Vous devrez donc les définir. Reportez-vous à la rubrique « Attribution de raccourcis clavier à des touches de l’ordinateur » à la page 178.  Lecture ou Stop : bascule entre la lecture et l’arrêt, en fonction de l’état de lecture ou d’arrêt au moment de l’utilisation de la commande. Raccourci clavier par défaut : Barre d’espace. Π Conseil : la barre d’espace peut être utilisée pour démarrer ou arrêter la lecture de fichiers audio ou de régions dans l’Éditeur des échantillons, le chutier audio et le navigateur de boucles, lorsque ces fenêtres sont au premier plan. Ce raccourci clavier particulièrement pratique mérite d’être mémorisé.  Lecture depuis la mesure précédente : démarre la lecture au début de la mesure précédente.  Arrêter et aller au locator gauche : arrête le lecture et place la tête de lecture à la position du locator gauche.  Aller à la dernière position de lecture : place la tête de lecture à la dernière position atteinte avec une commande de positionnement ou un positionnement direct de la tête de lecture à l’aide de la souris ou de la règle.  Arrêter et aller à la dernière position de lecture : comme ci-dessus avec arrêt de la lecture.  Retour arrière Shuttle et Avance rapide Shuttle : appuyer à plusieurs reprises sur les touches augmente la vitesse de rembobinage. Appuyer à plusieurs reprises sur la touche « shuttle » opposée ralentit la vitesse et, à terme, modifie le sens de rembobinage. Shuttle désactive le mode Cycle. La navigation par shuttle est arrêtée par la commande Stop.  Aller à la fin de la sélection : place la tête de lecture à la fin de la première région ou du premier événement sélectionné dans la fenêtre active. Remarque : il existe un grand nombre de raccourcis clavier « Aller à » disponibles pour les marqueurs. Pour plus d’informations, reportez-vous à la rubrique « Navigation à l’aide de marqueurs » à la page 142. Chapitre 5 Navigation dans votre projet 115 Utilisation du mode Cycle Vous pouvez utiliser le mode Cycle pour qu’un passage sélectionné soit lu à plusieurs reprises. Ce mode est utile pour :  composer une section d’un projet (un couplet ou un refrain, par exemple) ;  s’entraîner avant d’effectuer un enregistrement ;  enregistrer des pistes individuelles de manière consécutive ;  modifier des événements ;  enregistrer plusieurs prises. La zone de lecture en boucle est définie par la position des locators gauche et droit. Lorsque le mode Cycle est activé, il est affiché sous la forme d’une bande verte dans le haut de la règle Mesure. Pour activer et désactiver le mode Cycle, procédez de l’une des manières suivantes : m Cliquez sur le bouton Cycle dans la barre de transport (ou utilisez le raccourci clavier du mode Cycle). m Cliquez sur la partie supérieure de la règle Mesure (sur la bande grisée des locators). Comportement de Logic Express en mode Cycle :  La tête de lecture passe de la fin du cycle au début.  La commande Lecture commence la lecture depuis le début du cycle. Locator gauche Locator droit Zone de lecture en boucle 116 Chapitre 5 Navigation dans votre projet  Pour commencer la lecture depuis une autre position, cliquez deux fois sur Pause ou sur Pause, puis Lecture.  Au point de saut de cycle, vous pouvez utiliser la fonction Suivi des Événements : Fichier > Réglages du projet > MIDI > Suivi > « Suivi sur le saut de Cycle ». Pour en savoir plus sur le suivi des événements, reportez-vous à la rubrique « Utilisation de la fonction Suivi d’événements » à la page 121.  Vous pouvez déterminer la façon dont fonctionne l’enregistrement en mode Cycle, en utilisant les différentes options de la sous-fenêtre Fichier > Réglages du projet > Enregistrement. Définition du cycle Il existe plusieurs façons de définir un cycle. Vous pouvez :  le tracer directement dans la règle Mesure (définir en fait les positions des locators gauche et droit),  utiliser les affichages des locators dans la barre de transport,  créer un cycle basé sur des séquences sélectionnées,  créer un cycle basé sur des marqueurs. Définition et ajustement d’un cycle dans la règle Mesure Cliquez dans le tiers supérieur de la règle Mesure tout en maintenant le bouton de la souris enfoncé, puis définissez la zone du cycle en faisant glisser le pointeur de gauche à droite. La zone de lecture en boucle s’affiche sous la forme d’une bande verte dans la règle Mesure et le mode Cycle est activé automatiquement. Pour déplacer le cycle : m Placez la souris au milieu de la bande de cycle verte (le curseur se transforme en main), puis faites-la glisser vers la gauche ou la droite. Deux lignes s’étendent sur l’écran depuis les points de début et de fin du cycle. Cela facilite l’alignement du cycle avec les séquences dans la zone Arrangement ou des événements dans l’Éditeur de piano roll. Pour redimensionner le cycle : m Saisissez les poignées (triangles) à chaque extrémité du cycle pour déplacer les points de début ou de fin (vous pouvez même le faire en cours d’exécution de Logic Express). Remarque : vous pouvez définir le début ou la fin d’un cycle (selon ce qui est le plus proche) en cliquant sur la position voulue dans la règle Mesure tout en maintenant la touche Maj enfoncée. Cela fonctionne même si la bande est en dehors de la plage visible ou si le mode Cycle est désactivé. Chapitre 5 Navigation dans votre projet 117 Lorsque vous voulez définir la taille d’un cycle graphiquement dans la règle Mesure, ses points de début et de fin (et donc sa taille) sont quantifiés en fonction du réglage sélectionné dans le menu Alignement. Pour plus d’informations, reportez-vous à la rubrique « Alignement des régions modifiées sur des positions temporelles » à la page 329. Définition d’un cycle via les écrans du locator de la barre de transport Vous pouvez saisir au format numérique la position des locators et ce faisant, définir les limites du cycle, dans l’affichage des locators de la barre de transport. Les locators sont affichés sur la droite de l’écran Position : la valeur du haut indique la position du locator de gauche et celle du bas, la position du locator de droite. Pour définir des positions de locator dans la barre de transport, procédez de l’une des manières suivantes : m Double-cliquez sur l’une des zones de l’écran du locator, puis tapez directement une valeur de position de gauche ou de droite. Tapez toutes les valeurs de mesure, de battement, de battement secondaire et de tick (en insérant un espace ou un point entre les numéros), puis appuyez sur Retour pour fermer la zone d’entrée et définir le locator. Remarque : vous pouvez définir rapidement le locator au début d’une mesure en tapant simplement le premier chiffre. m Cliquez en maintenant le bouton de la souris enfoncé sur l’une des zones de numéros de locator gauche ou droit dans la barre de transport, puis déplacez la souris vers le haut ou vers le bas. La limite de cycle correspondante (si elle est affichée dans la règle Mesure) se déplace en conséquence. Locator droit Locator gauche Écran de position 118 Chapitre 5 Navigation dans votre projet Utilisation des boutons de mode de la barre de transport pour définir des locators Vous pouvez utiliser les commandes suivantes, disponibles sous la forme de boutons de la barre de transport, pour définir les positions de locator. Vous pouvez cliquer sur les boutons pour activer ou désactiver des fonctions ou mieux encore, utiliser les raccourcis clavier correspondants (raccourcis clavier de l’ordinateur) pour accélérer votre flux de production. Remarque : la capture d’écran ci-dessous montre tous les boutons pertinents. Les boutons disponibles dans la barre de transport de votre projet peuvent être différents, car vous pouvez la personnaliser. Pour plus d’informations, reportez-vous à la rubrique « Personnalisation de la barre de transport » à la page 123.  Régler locator gauche et Régler locator droit : ces boutons permettent de taper directement l’un des points de locator dans une zone de dialogue. Également disponibles en tant que raccourcis clavier.  Régler le locator gauche sur la tête de lecture et Régler le locator droit sur la tête de lecture : la position actuelle de la tête de lecture est utilisée pour définir la valeur du locator gauche ou droit.  Déplacer en avant les locators par longueur de cycle et Déplacer en arrière les locators par longueur de cycle : déplace le passage du cycle d’une longueur égale à la longueur du cycle. Également disponible en tant que raccourci clavier. Utilisation de séquences ou d’événements pour définir un cycle Vous pouvez utiliser les raccourcis clavier suivants pour définir des locators aux points de début et de fin des séquences ou événements sélectionnés :  Définir des locators par séquences/événements : définit des locators aux points de début et de fin des séquences ou événements sélectionnés.  Définir des locators et lire : définit des locators aux points de début et de fin des régions (ou événements) sélectionnés, puis commence la lecture.  Régler les locators arrondis sur les séquences/événements : arrondit la position des locators selon la ligne de mesure la plus proche des points de début et de fin des séquences ou événements sélectionnés.  Définir des locators arrondis et lire et Définir des locators arrondis et enregistrer : arrondit la position des locators selon la ligne de mesure la plus proche des points de début et de fin des séquences ou événements sélectionnés et commence la lecture ou l’enregistrement. Chapitre 5 Navigation dans votre projet 119  Définir des locators arrondis et lire en boucle et Définir des locators arrondis et enregistrer en boucle : arrondit la position des locators selon la ligne de mesure la plus proche des points de début et de fin des séquences ou événements sélectionnés et passe au mode de lecture ou d’enregistrement en boucle. Définition d’un cycle à l’aide de marqueurs Si vous faites glisser un marqueur vers la partie supérieure de la règle Mesure, un cycle de même longueur que ce marqueur est automatiquement créé. Le chapitre 6, « Utilisation des marqueurs » à la page 131 fournit des détails sur la création et l’utilisation de marqueurs. Vous pouvez aussi utiliser l’un des raccourcis clavier suivants :  Définir des locators par marqueur et activer la lecture en boucle : définit le cycle sur le marqueur sélectionné et active le mode Cycle. La longueur du cycle est déterminée par la longueur du marqueur.  Placer les locators sur le marqueur suivant et activer la lecture en boucle : définit le cycle sur le marqueur suivant et active le mode Cycle.  Définir des locators par marqueur précédent et activer la lecture en boucle : définit le cycle sur le marqueur précédent et active le mode Cycle. Remarque : ces commandes conviennent parfaitement pour la répétition de passages au cours de performances en direct. Définissez des marqueurs pour toutes les parties de projet à répéter de cette façon au cours de votre performance. 120 Chapitre 5 Navigation dans votre projet Cycle d’omission Vous pouvez omettre un passage en mode lecture, ce qui est utile pour tester l’effet musical de diverses transitions d’une rubrique de morceau à une autre, sans qu’il soit nécessaire de déplacer physiquement des séquences. Cette fonction est très pratique lors de l’arrangement. Le cycle d’omission est également utile lors de l’édition pour ignorer les parties d’un projet qui ne doivent pas être affectées par l’édition. Pour configurer un cycle d’omission, effectuez l’une des opérations suivantes : m Faites glisser la zone du cycle d’omission de droite à gauche dans la règle Mesure. m Si une zone de lecture en boucle (normale) existe déjà, vous pouvez échanger les locators gauche et droit en cliquant sur le bouton « Intervertir les locators gauche et droit » dans la barre de transport (ou via le raccourci clavier correspondant). La zone Cycle d’omission est affichée sous la forme d’une barre rayée verte dans la règle Mesure. Lorsque la tête de lecture atteint la position du locator de droite, elle passe directement au locator de gauche (c’est-à-dire que la position des locators droit et gauche est intervertie). Chapitre 5 Navigation dans votre projet 121 Utilisation de la fonction Suivi d’événements Si vous lancez la lecture au milieu d’un projet, il se peut que certains événements ne soient pas entendus (comme des notes, des événements de pédale Sustain et Pitch Bend commençant avant le point de départ de la lecture). Grâce à la fonction Suivi d’événements, Logic Express peut analyser le projet et inclure certains ou la totalité de ces événements lors de la lecture. Pour configurer la fonction Suivi d’événements : 1 Ouvrez les réglages du projet MIDI en procédant de l’une des manières suivantes :  Choisissez Fichier > Réglages du projet > MIDI (ou utilisez le raccourci clavier correspondant).  Cliquez sur le bouton de barre d’outils Réglages, puis choisissez MIDI. 2 Cliquez sur l’onglet Suivi, puis cochez les cases de tous les événements que doit rechercher la fonction Suivi d’événements avant le point de départ de la lecture. Vous pouvez choisir parmi les options suivantes :  Notes : les notes à lire au point de départ de lecture.  Soutenues : les notes qui continuent à être lues au point de départ de lecture en raison d’un événement de pédale Sustain.  Dans les bandes de canaux d’instruments « Aucun transposition » : les bandes de canaux d’instruments (particulièrement les percussions) peuvent se voir affecter le paramètre « Pas de Rég Trp » dans l’Inspecteur. Il s’agit d’un paramètre de lecture qui serait ignoré si la séquence contenant les notes de l’instrument était lancée à mi-chemin.  Changement de programme : les changements de programme dans les séquences chevauchant le point de départ de la lecture sont envoyés lorsque la case est activée.  Pitch Bend : les événements de ce type qui précèdent immédiatement le point de départ de lecture sont envoyés. 122 Chapitre 5 Navigation dans votre projet  Changements de commande 0–15, 64–71, Tous les autres : cliquez pour rechercher les contrôleurs continus 0 à 15, les contrôleurs de commutation continus 64 à 71 ou tous les autres contrôleurs.  Aftertouch : cliquez pour rechercher des messages Aftertouch (de canal) monophonique.  Aftertouch Polyphonique : activez pour rechercher des messages Aftertouch Polyphonique.  System Exclusive : le message SysEx le plus récent avant le point de départ de la lecture est transmis.  Meta Events Texte : le message Meta Event Texte le plus récent avant le point de départ de lecture est transmis.  Suivi séparé des canaux dans « Tous les canaux » : les Multi Instruments (figurant dans l’Environnement) ont un canal général et peuvent posséder jusqu’à 16 sous-canaux MIDI. Activez cette option pour rechercher des événements sur chaque sous-canal MIDI, plutôt que sur le canal Multi Instrument général.  Suivi sur le saut de Cycle : recherche et envoie tous les types d’événement si les points de départ et de fin du cycle se trouvent dans des séquences.  Notes : limite la recherche de saut de cycle aux événements de type note.  Envoyer la réinitialisation MIDI complète avant suivi : envoie un message de réinitialisation MIDI avant le suivi, garantissant que tous les périphériques MIDI déclenchés sont réglés sur leurs valeurs par défaut. Il existe un problème potentiel lors du suivi de notes utilisées pour déclencher une boucle de percussions dans un échantillonneur. À moins que vous ne parveniez à démarrer la séquence MIDI précisément au début de la boucle d’échantillonnage, l’échantillon est déclenché au mauvais moment et est donc lu de façon désynchronisée avec d’autres séquences (au moins jusqu’à la prochaine note de déclenchement). Ce problème se produit car la plupart des échantillonneurs ne peuvent lire les échantillons que depuis le début et ne peuvent pas les synchroniser avec le battement lorsqu’ils démarrent au milieu. Pour éviter de déclencher les boucles de percussions d’un échantillonneur lors du suivi d’événements de type note : 1 Activez le paramètre « Aucun transposition » de votre instrument de boucles de percussions dans la zone Paramètres de piste de l’Inspecteur. 2 Désactivez l’option « Dans les bandes de canaux d’instruments « Aucun transposition » de l’onglet Réglages du projet > MIDI > Suivi. Chapitre 5 Navigation dans votre projet 123 Ces réglages empêchent la lecture des boucles de percussions de votre échantillonneur jusqu’à ce qu’elles atteignent la prochaine note de déclenchement, lorsque le projet passe à une nouvelle position. Le paramètre « Aucun transposition » empêche la transposition par les paramètres de lecture de la séquence, ce qui n’est pas souhaitable non plus pour les sons ou les boucles de percussions. Personnalisation de la barre de transport La barre de transport propose un jeu de boutons, d’écrans et de curseurs par défaut. Ce sont les éléments les plus utilisés et les plus utiles pour la majorité des utilisateurs. Il se peut cependant que vous ayez besoin d’accéder régulièrement à des fonctions particulières ne faisant pas partie du jeu par défaut, pour les raisons suivantes :  type de projet utilisé : la bande son d’un film par exemple ;  méthode de travail très spécifique ;  volonté d’accéder rapidement à tous les éléments. Quelle que soit votre motivation, vous pouvez facilement personnaliser la barre de transport en fonction de vos besoins. Masquage et affichage des fonctions de la barre de transport Vous pouvez masquer ou afficher indépendamment différentes parties de la barre de transport. Cela vous permet alors de contrôler la largeur de la barre de transport. N’affichez sur la barre de transport que les fonctions auxquelles vous devez accéder régulièrement ou mieux encore, configurez et mémorisez tous les raccourcis clavier de transport ou de mode correspondants. Cela vous permettra d’étendre la zone d’affichage de la barre de transport, afin d’obtenir un plus grand nombre d’informations consultables rapidement. Remarque : si vous voulez que toutes les commandes et options soient visibles dans la barre de transport, vous devez vous procurer un second écran d’ordinateur ou un écran ayant une résolution horizontale exceptionnellement élevée. Π Conseil : Logic Express autorise l’ouverture simultanée d’un nombre illimité de barres de transport. Vous pouvez personnaliser individuellement chacune de ces barres de transport supplémentaires, afin de visualiser et d’accéder à d’autres fonctions qui ne tiendraient pas sur la barre de transport standard au bas de la fenêtre Arrangement. Des barres de transport personnalisées (et d’autres fenêtres) peuvent être enregistrées dans le cadre d’un screenset. 124 Chapitre 5 Navigation dans votre projet Pour personnaliser la barre de transport : 1 Cliquez tout en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur la barre de transport, puis choisissez « Personnaliser la barre de transport » dans le menu. 2 Activez ou désactivez les fonctions voulues en cochant des cases dans la zone de dialogue Personnaliser. Boutons de transport Cette zone contient des cases pour les boutons qui transportent littéralement la tête de lecture au sein du projet. Consultez la rubrique « Utilisation des boutons de transport » à la page 112 (dans ce chapitre) pour obtenir une explication sur chaque fonction et commande individuelle. Zone d’affichage Cette rubrique sert principalement à vous informer sur la position de la tête de lecture et des locators, mais vous pouvez aussi vous en servir pour naviguer dans le projet.  Positions (SMPTE/Mesure) : indique la position actuelle de la tête de lecture. La ligne du haut indique la position au format SMPTE (heures: minutes: secondes: images), la ligne du bas en mesures, battements, division et ticks. Chapitre 5 Navigation dans votre projet 125  Locators (gauche/droit) : la ligne du haut indique la position du locator gauche, la ligne du bas celle du locator droit. Les locators sont utilisés pour définir une rubrique particulière du projet pour un certain nombre de tâches d’enregistrement ou de lecture.  Fréquence d’échantillonnage ou locators du punch : indique la fréquence d’échantillonnage du projet en cours ou les locators d’entrée/de sortie d’enregistrement Punch (lorsque le mode d’enregistrement Punch est activé). Comme pour d’autres zones d’affichage de la barre de transport, vous pouvez définir la fréquence d’échantillonnage ou les locators Punch à l’aide de la souris ou en saisissant directement des valeurs numériques.  Fin de tempo/projet : l’écran Tempo indique la vitesse de lecture ou d’enregistrement en cours. L’écran Fin du projet affiche le nombre total de mesures ou de temps. Il se comporte comme un marqueur d’arrêt de lecture ou d’enregistrement pour le projet.  Altération/Fraction : l’écran articulation (du temps) indique l’articulation temporelle de lecture ou d’enregistrement en cours, dans un format musical standard : 4/4, 5/4, etc. L’écran Division détermine la résolution d’affichage (et d’édition) actuelle. La valeur /16 indique qu’une mesure 4/4 est divisée en 16 sous-sections, soit 4 battements secondaires pour chaque battement de la mesure.  Activité MIDI (E/S) : affiche les données MIDI entrantes et sortantes. L’écran Entrée MIDI (haut) affiche les noms des accords pour les données de note MIDI entrantes.  Charger les curseurs (CPU/DD) : cliquez pour afficher les indicateurs de charge du processeur et de charge de débit du disque dur. Double-cliquez pour ouvrir les indicateurs de charge sous forme de fenêtre distincte. Modes et fonctions Les boutons de mode et le curseur de niveau principal situés à droite sont utilisés pour plusieurs fonctions d’enregistrement et de lecture avancées, notamment la répétition de rubriques de projet, la réalisation de solos et l’enregistrement Punch. Les boutons ne déclenchent pas immédiatement une action. Ils servent à changer d’état de fonctionnement. Le bouton adéquat est mis en évidence pour indiquer que le mode est activé.  Monitoring Logiciel : active le monitoring logiciel, permettant de traiter des sources externes via des effets Logic Express. Permet aussi d’entendre des sources externes lors de l’enregistrement.  Monitoring automatique d’entrée : permet d’entendre automatiquement des sources externes au niveau des entrées audio.  Témoin du vu-mètre pré-équilibreur : fait basculer tous les indicateurs de canaux de la table de mixage du mode pré-équilibreur (l’équilibreur de niveau sur chaque canal) au mode post-équilibreur (si désactivé) et vice versa. 126 Chapitre 5 Navigation dans votre projet  Mode de temps de latence faible : active le Mode de temps de latence faible, ce qui vous permet de limiter le délai (temps de latence) généré par certains effets.  Régler locator gauche et Régler locator droit : ces boutons permettent de taper directement l’un des points de locator dans une zone de dialogue. Également disponibles en tant que raccourcis clavier.  Régler le locator gauche sur la tête de lecture et Régler le locator droit sur la tête de lecture : la position actuelle de la tête de lecture est utilisée pour définir la valeur du locator gauche ou droit.  Déplacer en avant les locators par longueur de cycle et Déplacer en arrière les locators par longueur de cycle : déplace le passage du cycle d’une longueur égale à la longueur du cycle.  Déplacer les locators à gauche par cycle : conserve le cycle existant, mais le déplace vers la gauche d’une valeur égale à la longueur du cycle. Par exemple, si le cycle a une longueur de 4 mesures et couvre les mesures 12 à 16, utiliser cette commande décale le cycle de quatre mesures vers la gauche, aboutissant à un cycle allant de la mesure 8 à la mesure 12.  Déplacer les locators à droite par cycle : comme ci-dessus, mais décale le cycle vers la droite.  Cycle : active ou désactive la lecture ou l’enregistrement répété sur une rubrique de projet. Les limites du cycle sont indiquées (ou définies) par les valeurs des locators de gauche et de droite.  Autopunch : active ou désactive le point de départ et de fin d’un enregistrement. Couramment utilisé avec les locators autopunch de gauche et de droite pour enregistrer automatiquement sur une rubrique de projet particulière. Cette méthode est souvent utilisée pour corriger une erreur dans un enregistrement vocal ou instrumental.  Régler le point Autopunch gauche sur la tête de lecture : la position actuelle de la tête de lecture est utilisée pour définir la valeur du locator Autopunch de gauche.  Régler le point Autopunch droit sur la tête de lecture : la position actuelle de la tête de lecture est utilisée pour définir la valeur du locator Autopunch droit.  Remplacer : permet l’écrasement d’un enregistrement existant par un nouvel enregistrement.  Solo : seules les séquences sélectionnées sont lues, le son des autres est désactivé.  Synchro : activez cette option pour synchroniser Logic Express avec une source externe (faire de Logic Express l’« esclave » de synchronisation d’un autre périphérique). Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez sur ce bouton en le maintenant enfoncé pour ouvrir le menu Synchronisation.  Clic : utilisé pour activer ou désactiver le métronome interne de Logic Express. Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez sur ce bouton en le maintenant enfoncé pour ouvrir le menu Métronome. Chapitre 5 Navigation dans votre projet 127  Niveau principal : cliquez pour afficher un curseur de volume à droite de la barre de transport. Ce curseur est directement lié au canal principal de la table de mixage et fait office de contrôle de niveau principal pour toutes les pistes audio et d’instruments logiciels. 128 Chapitre 5 Navigation dans votre projet Utilisation d’un affichage SMPTE ou d’un affichage de mesures géant Vous pouvez configurer la barre de transport pour qu’elle présente un affichage SMPTE ou un affichage de mesures géant au lieu de la zone de d’affichage de la barre de transport standard. Vous pouvez aussi créer une fenêtre d’affichage SMPTE ou d’affichage de mesures géante. Pour remplacer la zone d’affichage de la barre de transport standard par un affichage SMPTE ou un affichage de mesures : m Cliquez sur la zone d’affichage de la barre de transport tout en maintenant la touche Contrôle enfoncée, puis choisissez « Grand affichage de la barre » ou « Grand affichage des codes SMPTE », en fonction de vos besoins. La zone d’affichage de transport est remplacée par le grand affichage choisi. Répétez l’étape ci-dessus pour revenir à l’affichage standard. Pour ouvrir une nouvelle fenêtre d’affichage SMPTE ou d’affichage de mesures : m Cliquez sur la zone d’affichage de la barre de transport tout en maintenant la touche Contrôle enfoncée, puis choisissez « Ouvrir ’affichage maxi de la barre » ou « Ouvrir l’affichage maxi des codes SMPTE », en fonction de vos besoins. Une nouvelle fenêtre transparente flottante est alors affichée. Elle peut être positionnée et redimensionnée librement. Pour redimensionner la fenêtre d’affichage SMPTE ou d’affichage de mesures : 1 Positionnez le curseur sur l’un des bords ou coins inférieurs. Chapitre 5 Navigation dans votre projet 129 2 Lorsque le curseur se transforme en pointeur de redimensionnement, cliquez dessus et faites-le glisser dans la direction voulue. Pour fermer l’affichage géant choisi, cliquez sur l’icône de fermeture située dans le coin supérieur gauche de la fenêtre. Remarque : Logic Express autorise l’ouverture simultanée d’un nombre illimité de fenêtres de transport (et d’affichage SMPTE ou d’affichage de mesures géantes). Personnalisation des affichages de mesures, SMPTE et du tempo Vous pouvez personnaliser les affichages de mesures, SMPTE et du tempo dans les préférences d’affichage. Pour personnaliser les affichages de mesures, SMPTE ou du tempo : 1 Ouvrez les préférences d’affichage générales en procédant de l’une des manières suivantes :  Choisissez Logic Express > Préférences > Affichage (ou utilisez le raccourci clavier Ouvrir les préférences d’affichage).  Cliquez sur le bouton « Barres d’outils de préférences », puis choisissez Affichage dans le menu. 2 Choisissez l’un des réglages suivants dans le menu Format d’horloge :  Format d’horloge 1 1 1 1  Format d’horloge 1. 1. 1. 1  Format d’horloge 1 1 1 0  Format d’horloge 1. 1. 1. 0  Format d’horloge 1 1. _ 1  Format d’horloge 1. 1. _ 1  Format d’horloge 1 1. _ 0  Format d’horloge 1. 1. _ 0 3 Choisissez l’un des réglages suivants dans le menu Affichage SMPTE :  Avec Bits : les sous-images (de 0 à 79 bits SMPTE) sont affichées.  Sans Bits : les sous-images ne sont pas affichées.  Avec Quart d’images : les quart d’images sont affichés. 130 Chapitre 5 Navigation dans votre projet  Respecter taille des images, film 35 mm : l’affichage est défini en pieds et en images, pour les films de 35 mm.  Respecter taille des images, film 16 mm : l’affichage est défini en pieds et en images, pour les films de 16 mm.  Avec millisecondes : les fractions d’image sont affichées en millisecondes, et non en bits SMPTE (également appelés sous-images). N’oubliez pas que cette valeur dépend de la fréquence d’images : à 25 ips, une image dure 40 millisecondes, à 30 ips, elle dure environ 33 ms.  Avec échantillons : les fractions d’image sont affichées comme des valeurs d’échantillon.  Avec images et échantillons : les fractions d’image sont affichées, tout comme les valeurs d’échantillon. 4 Cochez la case Zéros comme espaces si vous voulez que les zéros soient représentés par des espaces plutôt que par le chiffre 0 dans les affichages du temps SMPTE. 5 Choisissez l’un des réglages suivants dans le menu Afficher Tempo en :  Battements à la minute (BPM, Maelzel) : battements par minute, jusqu’à quatre décimales pouvant être paramétrées individuellement.  BPM sans décimales : battements par minute, sans aucune décimale.  Images par clic avec croches : images par battement avec croches. L’unité ipc s’affiche après la valeur.  Images par clic avec décimales : images par battement, jusqu’à quatre décimales. Faites attention, cet affichage peut être facilement confondu avec l’affichage BPM. 6 131 6 Utilisation des marqueurs Les marqueurs ont pour principale fonction de baliser différentes parties d’un morceau et de permettre une sélection rapide de ces parties afin de les lire, de les modifier et de les arranger. Ils sont utilisés comme une sorte de plan de route représentant un morceau sous forme graphique. Ils peuvent être affichés et modifiés dans les zones de la fenêtre suivantes : Piste des marqueurs Zone de texte des marqueurs Liste des marqueurs 132 Chapitre 6 Utilisation des marqueurs  Piste des marqueurs: affiche les marqueurs sous forme de rubriques de couleur (facultatif ). Si la piste des marqueurs est cachée, les marqueurs apparaissent sous forme de courtes chaînes de texte dans la règle des mesures de toutes les fenêtres d’édition linéaire. La zone Piste des marqueurs présente un avantage par rapport au marqueur affiché dans la règle des mesures : elle vous permet de sélectionner, de copier, de déplacer ou de redimensionner des marqueurs directement avec la souris. Cliquez sur le triangle d’affichage situé dans l’angle supérieur gauche de la colonne de noms associée à la piste des marqueurs pour développer la hauteur de la piste, et afficher ainsi des contrôles supplémentaires. Vous pouvez ajuster le bord inférieur de la piste des marqueurs comme il vous convient, en la faisant glisser avec la souris vers le haut ou vers le bas.  Liste des marqueurs : répertorie les noms de tous les marqueurs, ainsi que la durée et la position de la mesure.  Zone et fenêtre Texte des marqueurs : affiche le texte associé au marqueur. Les marqueurs peuvent ainsi être utilisés comme des bloc-notes, permettant de sauvegarder, avec le morceau, des commentaires. Le texte du marqueur peut être tapé et édité, comme dans un éditeur de texte classique. Les commandes Couper, Copier, Coller, Effacer et Tout sélectionner peuvent être utilisées pour importer ou exporter du texte à partir ou vers d’autres applications logicielles (telles que des applications de traitement de texte). Exception faite des fonctions relatives au texte, les marqueurs peuvent également être considérés comme des zones de stockage de positions de locators (qui peuvent être nommés individuellement). Ouverture des fenêtres et des zones relatives aux marqueurs Comme mentionné dans l’introduction, Logic Express présente plusieurs méthodes pour interagir avec les marqueurs, les créer ou les supprimer. Pour ouvrir la piste des marqueurs : 1 Cliquez sur le triangle d’affichage situé dans la zone d’en-tête Pistes globales. 2 Cliquez sur le triangle d’affichage de la piste des marqueurs. Vous pouvez également définir et utiliser le raccourci clavier Afficher/Masquer la piste des marqueurs. Pour ouvrir la liste des marqueurs, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Listes dans la barre d’outils Arrangement, puis sur l’onglet Marqueur (ou utilisez le raccourci clavier Afficher/Masquer la liste des marqueurs). m Choisissez Options > Marqueur > Ouvrir la liste des marqueurs (ou utilisez le raccourci clavier correspondant). Chapitre 6 Utilisation des marqueurs 133 Remarque : double-cliquer sur un marqueur (avec l’outil Pointeur) dans la Piste des marqueurs permet d’afficher ou de masquer la zone Liste. Le marqueur sur lequel vous avez cliqué est alors sélectionné dans la liste. Pour ouvrir la fenêtre Texte des marqueurs : m Maintenez la touche Option enfoncée tout en double-cliquant sur un des marqueurs de la piste à l’aide de l’outil Pointeur. Le marqueur sur lequel vous avez cliqué est alors sélectionné dans la liste. Remarque : veillez à ne pas effectuer cette opération lorsque l’outil Crayon est sélectionné, car vous créez alors un nouveau marqueur. La fenêtre Texte des marqueurs est également disponible au bas de la fenêtre Liste des marqueurs, où elle est nommée « Zone de texte des marqueurs ». Utilisation des menus contextuels des marqueurs Il est possible d’accéder à de nombreuses commandes concernant les marqueurs, telles que les commandes de sélection, d’édition et autres, en cliquant à n’importe quel endroit dans les zones de marqueurs tout en maintenant la touche Contrôle enfoncée (ou en cliquant avec le bouton droit de la souris). Ces commandes vous permettent d’accélérer votre travail. Remarque : le menu contextuel accessible via le bouton droit de la souris n’est disponible que si l’option de menu local « Bouton droit de la souris : Ouvre le menu contextuel » est sélectionnée dans Logic Express > Préférences > Global > onglet Édition. Création de marqueurs Vous pouvez créer des marqueurs à n’importe quelle position du morceau. La rubrique suivante décrit toutes les options permettant de créer des marqueurs. Pour créer un marqueur au début de la mesure la plus proche, effectuez l’une des opérations suivantes : m Dans la piste des marqueurs :  Réglez la tête de lecture sur la position voulue, puis cliquez sur le bouton Créer.  Sélectionnez l’outil Crayon, puis cliquez sur la position désirée. 134 Chapitre 6 Utilisation des marqueurs m Dans la règle Mesure : placez le pointeur sur le tiers inférieur de la règle Mesure, puis cliquez sur la position désirée tout en maintenant les touches Option et Commande enfoncées. Cette opération n’est possible que si la piste des marqueurs n’est pas affichée. m Dans la liste des marqueurs :  Sélectionnez Options > Créer.  Sélectionnez l’outil Crayon, puis cliquez dans la Liste des marqueurs.  Cliquez sur le bouton Créer de la Liste des marqueurs. m Dans n’importe quelle fenêtre : sélectionnez Options > Marqueur > Créer dans la barre des menus principale (ou utiliser le raccourci clavier Créer un marqueur). Le marqueur est créé au début de la mesure la plus proche. Si un marqueur existe déjà à cet endroit (ou est éloigné de cette position de moins d’une valeur de noire), aucun marqueur n’est créé. La durée du marqueur se prolonge automatiquement jusqu’au point de départ du marqueur suivant, ou jusqu’à la fin du morceau ou du dossier, s’il n’y a pas d’autres marqueurs. Π Conseil : vous pouvez utiliser les raccourcis clavier Créer un marqueur pour ajouter des marqueurs à la volée au cours de la lecture. Pour créer un marqueur qui ne soit pas arrondi à la mesure la plus proche : m Dans n’importe quelle fenêtre : sélectionnez Options > Marqueur > Créer sans arrondis (ou le raccourci clavier Créer un marqueur sans arrondis). m Dans la liste des marqueurs : sélectionnez Options > Créer sans arrondis. Pour créer un marqueur et déterminer sa position : m Cliquez sur le début ou la fin de la zone des marqueurs de la liste des marqueurs avec l’outil Crayon, puis entrez la position désirée dans la zone de saisie correspondante. Chapitre 6 Utilisation des marqueurs 135 Pour créer des marqueurs aux emplacements des régions actuellement sélectionnées : m Dans la piste des marqueurs : cliquez sur le bouton De régions ou faites glisser une région d’une piste d’arrangement vers la piste des marqueurs. m Sélectionnez Options > Marqueur > Créer par régions, dans la barre de menus principale (ou utilisez le raccourci clavier Créer des marqueurs par régions). Les marqueurs ainsi créés se voient attribuer les noms, la couleur, la durée et la position de mesure des régions dont ils sont dérivés. Pour créer un marqueur qui corresponde exactement à la durée et à la position d’une boucle : m Faites glisser la boucle vers le bas, dans la piste des marqueurs ou dans le tiers inférieur de la règle des mesures. La boucle ne peut être déplacée dans la règle des mesures que sur le plan horizontal ou vertical. Cela permet d’éviter d’effectuer de manière accidentelle les opérations suivantes :  Déplacer la boucle lors de la création de marqueurs (en faisant glisser la boucle vers le tiers inférieur de la règle des mesures ou dans la Piste des marqueurs).  Créer des marqueurs lors du déplacement de la zone de lecture en boucle. 136 Chapitre 6 Utilisation des marqueurs Le déplacement des marqueurs et la boucle interagissent de la manière suivante :  Lorsque vous faites glisser la boucle vers la zone des marqueurs dans la règle Mesure, le pointeur se transforme en main munie d’une flèche vers le bas et d’une flèche vers le haut. Lorsque vous déplacez le pointeur à l’horizontale dans la zone des marqueurs de la règle Mesure, le pointeur se transforme en main (sans flèches). La copie de la boucle vers la zone des marqueurs est annulée.  Si vous déplacez d’abord la boucle à l’horizontale, puis tentez de le faire glisser vers la zone des marqueurs de la règle Mesure, aucun marqueur n’est créé.  Si vous appuyez sur la touche Maj après avoir cliqué sur la boucle tout en maintenant le bouton de la souris enfoncé, vous pouvez déplacer la boucle à l’horizontale et la faire glisser vers la zone des marqueurs en un seul mouvement. Remarque : si vous appuyez sur la touche Maj avant de cliquer sur la boucle, la limite de la boucle la plus proche est fixée à l’endroit où vous avez cliqué. Pour copier un marqueur : m Dans la piste des marqueurs : vous pouvez faire glisser le marqueur ou utiliser les commandes standard Copier (Commande ) et Coller (Commande V). m Dans la liste des marqueurs : utilisez les commandes standard Copier et Coller. Sélection de marqueurs Pour sélectionner des marqueurs, vous pouvez utiliser les techniques de sélection habituelles. Pour plus d’informations, reportez-vous à la rubrique « Techniques de sélection » à la page 189. Suppression de marqueurs Vous pouvez supprimer des marqueurs à tout moment. Une fois supprimés, ils n’apparaissent plus dans la règle des mesures, la piste des marqueurs, la liste des marqueurs ni dans la fenêtre Texte des marqueurs. Pour supprimer des marqueurs : m Effectuez l’une des opérations suivantes dans la piste des marqueurs et la liste des marqueurs :  Cliquez sur les marqueurs avec l’outil Gomme.  Sélectionnez les marqueurs, puis choisissez Éditer > Supprimer (ou utilisez le raccourci clavier correspondant, par défaut : retour arrière). Chapitre 6 Utilisation des marqueurs 137 m Dans la règle Mesure : saisissez le marqueur que vous souhaitez supprimer et faites-le glisser à l’extérieur de la règle des mesures. Relâchez le bouton de la souris lorsque le curseur représente une main maintenant deux flèches. m À la position actuelle du morceau : sélectionnez Options > Marqueur > Supprimer (ou utiliser le raccourci clavier Supprimer le marqueur). Dénomination des marqueurs Les marqueurs créés se voient automatiquement attribués le nom « Marqueur ## » (exceptés ceux issus de régions, comme indiqué ci-dessus). Les signes « ## » représentent une valeur numérique qui reflète l’ordre d’apparition des marqueurs dans la règle des mesures (soit « Marqueur 1 », « Marqueur 2 », etc.). Le nombre attribué dépend de l’ordre réel de tous les marqueurs du morceau, y compris ceux qui ont été renommés. Les noms attribués automatiquement peuvent être modifiés directement dans la règle des mesures, la piste des marqueurs, la liste des marqueurs ou dans la fenêtre Texte des marqueurs. La longueur du nom affiché dans la piste des marqueurs, la règle des mesures et la liste des marqueurs dépend de l’espace disponible sur l’écran ou de la position du marqueur suivant. Si vous souhaitez modifier un nom de marqueur lors de sa création, maintenez les touches Contrôle + Option + Commandes enfoncées tout en cliquant sur la position de la piste des marqueurs désirée : une zone de texte s’affiche, vous permettant de saisir le nouveau nom. Appuyez sur la touche Retour pour valider le nom saisi. Vous pouvez également double-cliquer sur la règle Mesure tout en maintenant les touches Contrôle, Maj et Commande enfoncées (si la piste des marqueurs n’est pas visible). Pour modifier le nom d’un marqueur dans la règle Mesure : 1 Effectuez l’une des opérations suivantes :  Sélectionnez Options > Marqueur > « Édition rapide de marqueur » (ou utiliser le raccourci clavier correspondant).  Appuyez sur Contrôle et Maj tout en double-cliquant sur le marqueur. 138 Chapitre 6 Utilisation des marqueurs 2 Tapez le nom désiré dans la zone de texte. Pour modifier un nom de marqueur dans la Piste des marqueurs : 1 Effectuez l’une des opérations suivantes :  Sélectionnez Options > Marqueur > « Édition rapide de marqueur » (ou utiliser le raccourci clavier correspondant).  Sélectionnez l’outil Texte, puis cliquez sur un marqueur.  Appuyez sur Contrôle et Maj tout en double-cliquant sur le marqueur. 2 Tapez le nom de marqueur désiré dans la zone de texte. Pour modifier un nom de marqueur dans la Liste des marqueurs : 1 Cliquez sur le marqueur désiré dans la colonne des noms de marqueur. 2 Cliquez ou faites glisser le curseur dans l’entrée « Marqueur ## » de la Zone de texte des marqueurs au bas de la fenêtre, et tapez le nom désiré. Lorsque vous saisissez le nom, le texte affiché dans la colonne Nom de marqueur (et Piste des marqueurs) est mis à jour. Pour modifier un nom de marqueur dans la fenêtre Texte des marqueurs : m Ouvrez le marqueur dans la fenêtre Texte des marqueurs, puis tapez le texte. Toute frappe sur le clavier d’ordinateur (avec ou sans la touche Maj enfoncée) sera interprétée comme une entrée de texte si la fenêtre Texte des marqueurs est la fenêtre active, même si un raccourci clavier est défini pour la touche. Le premier paragraphe de la fenêtre sera utilisé comme nom de marqueur. Remarque : si vous utilisez la touche Retour pour créer des paragraphes dans la zone ou la fenêtre Texte des marqueurs, le premier paragraphe du texte s’affiche dans une ligne de titre distincte (du marqueur) dans la piste des marqueurs. Chapitre 6 Utilisation des marqueurs 139 Contrairement au marqueur qui s’affiche uniquement dans la règle des mesures, le texte situé en dessous du premier paragraphe s’affiche également dans la piste des marqueurs, selon l’espace disponible (vous pouvez modifier la hauteur de la piste des marqueurs pour afficher la totalité du texte). Cette option peut être utilisée pour des notes techniques ou musicales, par exemple. Dans ce cas, la couleur du marqueur n’apparaît que dans la ligne du titre, le reste du texte étant affiché en blanc sur gris. Modification de l’apparence du texte du marqueur Vous pouvez modifier l’apparence du texte du marqueur dans la fenêtre et la zone Texte des marqueurs. Vous pouvez définir une police, une taille et un style différents pour n’importe quelle rubrique sélectionnée du texte du marqueur. Toutes les polices installées sur votre système peuvent être utilisées. Différentes couleurs peuvent être attribuées à l’ensemble du texte ou aux parties sélectionnées, ainsi qu’à l’arrière-plan de la zone et de la fenêtre Texte des marqueurs. Pour modifier l’apparence du texte du marqueur : 1 Sélectionnez le texte de marqueur que vous souhaitez modifier. 2 Cliquez sur le bouton Police de la fenêtre ou de la zone Texte des marqueurs ou de la fenêtre Liste des marqueurs. 3 Effectuez les réglages désirés dans la fenêtre Police. 140 Chapitre 6 Utilisation des marqueurs Modification des marqueurs Les marqueurs peuvent être modifiés de différentes manières. Les tâches communes comprennent la modification des positions des marqueurs, l’attribution de couleurs aux marqueurs et l’ajustement de leur durée. Pour modifier la position d’un marqueur, procédez de l’une des manières suivantes : m Dans la piste des marqueurs : faites glisser le marqueur vers la gauche ou la droite. m Dans la règle Mesure : faites glisser le marqueur vers la gauche ou la droite, tout en maintenant la touche Commande enfoncée. m Dans la liste des marqueurs : utilisez la souris comme un curseur sur l’affichage de la position de mesure, ou double-cliquez sur une valeur de position pour en saisir une nouvelle sur votre clavier. Remarque : la définition des plus petits déplacements réalisables dans la Piste des marqueurs et dans la règle Mesure dépendent du réglage de la division dans la zone Transport, du menu Alignement et du niveau de zoom horizontal (y compris le placement précis des échantillons aux niveaux de zoom les plus élevés). Observez la bulle d’aide pour connaître précisément les déplacements en cours. Des ajustements de position très fins peuvent également être obtenus grâce à la liste des marqueurs. Dans certaines situations, il peut être nécessaire de bloquer la suppression des marqueurs. Heureusement, Logic Express a une caractéristique qui préserve la position temporelle absolue des événements. Pour verrouiller la position des marqueurs sélectionnés : 1 Choisissez Options > Verrouiller la position SMPTE dans la Liste des marqueurs (ou utilisez le raccourci clavier correspondant). Cette opération permet de verrouiller (fixer) la position SMPTE des marqueurs. Ce statut est symbolisé par un cadenas placé en tête du nom du marqueur. Ces marqueurs conservent toujours leur position temporelle absolue : si le tempo du morceau est modifié, les positions des mesures sont également modifiées afin de conserver les marqueurs aux mêmes positions SMPTE. Π Conseil : vous pouvez également verrouiller/déverrouiller la position SMPTE des marqueurs depuis le menu Région de la zone Arrangement et le menu Fonctions des fenêtres Éditeur Clavier et Hyper Editor en activant l’affichage des pistes globales. Chapitre 6 Utilisation des marqueurs 141 Pour déverrouiller la position des marqueurs sélectionnés : m Choisissez Options > Déverrouiller la position SMPTE dans la Liste des marqueurs (ou utilisez le raccourci clavier correspondant). Remarque : il est impossible de déverrouiller la position SMPTE des marqueurs de scène (reportez-vous à la rubrique « Utilisation de marqueurs de scène » à la page 902). Pour modifier la durée d’un marqueur : m Dans la piste des marqueurs : placez le pointeur sur le bord du marqueur désiré. Lorsque le curseur se transforme en pointeur de redimensionnement, faites glisser l’extrémité du marqueur à la position désirée. m Dans la liste des marqueurs : utilisez la souris comme un curseur sur l’affichage de la position de mesure, ou double-cliquez sur une valeur de position pour en saisir une nouvelle sur votre clavier. L’extrémité du marqueur peut également être le début du marqueur suivant, en particulier si la durée du second marqueur n’a pas été définie. Les marqueurs ne peuvent pas se chevaucher. Pour adapter un marqueur à une boucle : m Faites glisser une boucle sur un marqueur dont l’extrémité gauche ou droite (ou les deux) se trouve à l’intérieur des limites de la boucle. Le glissement de la zone de la boucle dans la règle des mesures est limité aux mouvements horizontaux et verticaux. Cela permet d’éviter d’effectuer de manière accidentelle les opérations suivantes :  Déplacer la boucle lors de la création de marqueurs (en faisant glisser la boucle vers le tiers inférieur de la règle des mesures ou dans la Piste des marqueurs).  Créer des marqueurs lors du déplacement de la boucle. Π Conseil : si vous appuyez sur la touche Maj après avoir cliqué sur la boucle tout en maintenant le bouton de la souris enfoncé, vous pouvez déplacer la boucle à l’horizontale et la faire glisser sur un marqueur en un seul mouvement. 142 Chapitre 6 Utilisation des marqueurs Remarque : si vous appuyez sur la touche Maj avant de cliquer sur la boucle, la limite de la boucle la plus proche est fixée à l’endroit où vous avez cliqué. Pour attribuer une couleur à un marqueur : m Sélectionnez un marqueur dans la piste des marqueurs, puis choisissez Présentation > Couleurs et cliquez sur la couleur désirée dans la palette proposée. Si des couleurs sombres sont utilisées, le texte du marqueur s’affiche automatiquement dans une couleur plus claire. Si vous créez des marqueurs à partir de régions, le marqueur correspondant utilise la couleur de la région. Navigation à l’aide de marqueurs Vous pouvez parcourir votre morceau à l’aide de marqueurs. Cela est utile lorsque vous souhaitez, par exemple, passer rapidement à une position spécifique du morceau (et modifier des régions ou des événements). Pour déplacer la tête de lecture sur un marqueur, effectuez l’une des opérations suivantes : m Dans la piste des marqueurs : appuyez sur la touche Option, puis cliquez sur le marqueur. m Dans la règle Mesure : appuyez sur la touche Commande, puis cliquez sur le marqueur. m Dans la liste des marqueurs : cliquez sur un marqueur à l’aide de l’outil Doigt. Π Conseil : si vous appuyez sur la touche Option, puis cliquez sur un marqueur dans la liste des marqueurs avec l’outil Doigt, les locators sont définis sur les points de départ et de fin du marqueur sélectionné. m Utilisez les raccourcis clavier Aller au marqueur numéro 1 à 20 (20 commandes différentes). Les numéros figurant dans ces commandes font référence à l’ordre (en série) de tous les marqueurs du projet. m Le raccourci clavier Aller au marqueur ouvre une fenêtre qui vous permet de saisir le numéro de marqueur auquel vous souhaitez accéder. La tête de lecture se déplace alors au début du marqueur choisi. Pour accéder au marqueur suivant ou précédent : m Utilisez les raccourcis clavier « Aller au marqueur précédent » et « Aller au marqueur suivant ». Les locators sont définis aux points de départ et de fin du marqueur sélectionné. Chapitre 6 Utilisation des marqueurs 143 Pour commencer une lecture à partir de la position de départ d’un marqueur, effectuez l’une des opérations suivantes : m Dans la règle Mesure : double-cliquez sur un marqueur tout en maintenant la touche Commande enfoncée. m Dans la liste des marqueurs : cliquez sur un marqueur sans relâcher le bouton de la souris, à l’aide de l’outil Doigt. Logic Express continue la lecture jusqu’à ce que le bouton de la souris soit relâché. Pour créer une boucle à partir d’un marqueur, effectuez l’une des opérations suivantes : m Faites glisser un marqueur jusqu’au tiers supérieur de la règle des mesures. Cette opération permet de définir une boucle dotée des mêmes position et durée que le marqueur. Si Logic Express est arrêté lorsqu’il effectue cette action, la tête de lecture est replacée au point de départ de la boucle. m Sélectionnez le marqueur, puis utilisez l’un des raccourcis clavier suivants :  Définir des locators à l’aide d’un marqueur et activer la lecture en boucle  Définir des locators à l’aide du marqueur précédent et activer la lecture en boucle  Définir des locators à l’aide du marqueur suivant et activer la lecture en boucle Personnalisation de l’affichage des marqueurs dans la liste des marqueurs Il existe deux options permettant d’afficher la position et la durée d’un marqueur dans la liste des marqueurs :  Présentation > Position et durée de l’événement en unités SMPTE : permet de faire basculer l’affichage de la durée et de la position du marqueur entre les positions de mesure et les positions temporelles SMPTE.  Présentation > Durée en tant que position absolue : permet de faire basculer l’affichage de la durée du marqueur entre la durée (valeur relative) réelle et l’affichage (valeur absolue) de la position de fin du marqueur (indiquée comme une position de mesure). 7 145 7 Utilisation des projets Les projets Logic Express offrent des options souples de stockage et d’extraction de vos productions musicales. Ce chapitre fournit des informations sur tous les aspects de la création et de la gestion des projets Logic Express. À propos des projets Dans Logic Express, vous devez d’abord ouvrir ou créer un projet pour pouvoir commencer à travailler. Ce processus est similaire à l’utilisation d’une application de traitement de texte, où vous devez commencer par ouvrir un document pour pouvoir taper. Logic Express, comme les applications de traitement de texte, autorise l’ouverture simultanée de plusieurs documents (projets). Le principal type de document de Logic Express est le fichier de projet. Il contient tous les événements MIDI et les réglages de paramètres (sauf les préférences et les raccourcis clavier), ainsi que des informations sur les fichiers audio et vidéo à lire. Il est important de noter que les fichiers de projet pointent sur vos fichiers audio et vidéo, qui sont stockés en tant qu’entités distinctes sur le disque. Les fichiers audio et vidéo ne sont pas enregistrés avec le projet. Lorsque vous créez un projet (ou que vous utilisez la fonction Enregistrer, en général), vous pouvez aussi choisir d’enregistrer tous les fichiers associés (ressources). 146 Chapitre 7 Utilisation des projets Logic Express crée un dossier de projet qui contient le fichier de projet, ainsi que des dossiers distincts pour les fichiers utilisés dans le projet (fichiers audio, etc.). La possibilité d’enregistrer des projets sans ressources réduit la mémoire requise pour le stockage des projets, ce qui permet de facilement les transférer (physiquement ou comme pièces jointes de courrier) vers d’autres studios exploitant Logic. Cela signifie aussi que le projet, une fois déplacé, ne pourra plus charger les fichiers audio et vidéo référencés, sauf si ces derniers sont également déplacés (en d’autres termes, le projet est enregistré avec ses ressources). Les dossiers de projet permettent d’effectuer un suivi de votre travail ; en effet, tous les fichiers relatifs à un projet particulier sont enregistrés dans un seul emplacement. Ce système facilite la sauvegarde et le transfert de projets entre ordinateurs ou disques et permet d’éviter des problèmes graves tels que la perte de fichiers audio ou d’échantillons que vous devez rechercher ou recréer dans le studio. Dossier du projet Dossier des fichiers audio Dossier des fichiers film Dossier des instruments de l’échantillonneur Dossier des réponses d’impulsion Ressources du projet Fichier de projet (« morceau ») Chapitre 7 Utilisation des projets 147 Création de projets Dans Logic Express, vous devez commencer par créer un projet. Pour créer un projet : 1 Choisissez Fichier > Nouveau (ou utilisez le raccourci clavier correspondant ; affectation par défaut : Commande + N). 2 Choisissez le modèle voulu dans la zone de dialogue Modèles. La zone de dialogue Modèles est scindée en deux zones : Collection et Modèle.  Cliquez sur un dossier de collection pour afficher le modèle associé dans la zone Modèles.  Cliquez sur un modèle pour le charger. Une zone de dialogue Enregistrer sous s’affiche automatiquement. 148 Chapitre 7 Utilisation des projets 3 Accédez à l’emplacement dans lequel vous voulez stocker le projet, puis tapez un nom pour le projet dans le champ correspondant. 4 Cochez la case Inclure les ressources si vous voulez inclure les fichiers audio et autres dans le dossier de projet (voir « Gestion des ressources d’un projet » à la page 162). Π Conseil : il est recommandé de cocher la case Inclure les ressources, car votre projet est ainsi « sécurisé ». En effet, vous pouvez alors déplacer ou copier le dossier du projet sans perdre les références des fichiers qui pointent vers des éléments contenus dans ce dossier. 5 Cliquez sur le triangle d’affichage Options avancées pour afficher et choisir les types de fichier à enregistrer dans le dossier de projet. Vous pouvez modifier ces réglages à tout moment en choisissant Fichier > Réglages du projet > Ressources. Pour obtenir plus d’informations sur ces ressources de projet, reportez-vous à la rubrique « Gestion des ressources d’un projet » à la page 162. Chapitre 7 Utilisation des projets 149 6 Cliquez sur Enregistrer.  Un dossier nommé contenant plusieurs sous-dossiers (selon les choix effectués aux étapes 3 et 4) est créé à l’emplacement cible.  Par défaut, un sous-dossier Fichiers audio est créé dans le dossier de projet, même si vous n’avez pas activé la case Inclure les ressources. Ce dossier est utilisé pour les nouveaux enregistrements audio.  Le chemin d’accès aux enregistrement audio est, par défaut également, automatiquement défini en fonction du nouveau sous-dossier de projet/fichiers audio. Si vous décidez de ne pas créer de dossier de projet dans un premier temps, mais que vous souhaitez le faire ultérieurement, choisissez simplement la commande Enregistrer sous. Π Conseil : vous pouvez créer rapidement un projet par défaut vide en maintenant la touche Option enfoncée tout en choisissant Fichier > Nouveau. Ouverture de projets Dans Logic Express, vous devez d’abord ouvrir un projet pour pouvoir commencer à travailler. Un projet peut aussi être constitué de données créées dans d’autres applications, comme les morceaux provenant de versions antérieures de fichiers XML Logic Express ou Final Cut Pro. Pour ouvrir un projet, procédez comme suit : 1 Choisissez Fichier > Ouvrir (ou utilisez le raccourci clavier correspondant, par défaut : Commande + O). Si un projet est déjà chargé, vous êtes invité à indiquer si le projet chargé doit être fermé ou non. Vous pouvez bloquer l’affichage de ce message en désactivant l’option « À l’ouverture d’un projet, demander de fermer les projets en cours », accessible via Logic Express > Préférences > Global > Gestion du projet. 150 Chapitre 7 Utilisation des projets La zone de dialogue Ouvrir comporte un menu Type de fichier, permettant de choisir les options suivantes :  Tout type de document Logic : affiche tous les types de documents pris en charge par Logic Express  Projets Logic : projets créés avec la version en cours ou des versions antérieures de Logic  Projets GarageBand : projets créés dans GarageBand  Morceaux Notator SL : morceaux créés dans C-Lab/Emagic Notator ou Creator SL  Fichiers MIDI : fichiers MIDI standard au format 0 ou 1  Fichiers AAF : format AAF (Advanced Authoring Format) utilisé par d’autres applications DAW telles que Pro Tools.  Fichiers d’échange OMF : fichier OMF (Open Media Framework) utilisés par d’autres applications DAW telles que Pro Tools  Fichiers OpenTL : fichiers OpenTL (Open Track List) utilisés dans les appareils tels que les enregistreurs sur disque dur Tascam  XML (Final Cut Pro) : norme de source libre prise en charge par Final Cut Pro et Soundtrack Pro Pour plus d’informations sur les types de fichier, reportez-vous au chapitre 29, « Échange de projets et de fichiers » à la page 699. 2 Pour limiter l’affichage à certains types de fichier dans la zone de sélection des fichiers, choisissez le type voulu dans le menu Type de fichier. Choisissez « Tout type de document Logic » pour afficher tous les types de fichier pris en charge et y accéder. 3 Accédez au fichier voulu et sélectionnez-le, puis cliquez sur Ouvrir. Pour ouvrir un projet récent : m Choisissez le nom du projet directement depuis le menu Fichier > « Ouvrir le projet récent ». Cela permet de ne pas passer par la zone de dialogue Ouvrir. Vous pouvez effacer tous les éléments du menu « Ouvrir le projet récent » en choisissant Effacer le menu. Π Conseil : si vous réglez Action de démarrage (dans les préférences de gestion du projet) sur l’option « Ouvrir le projet le plus récent », Logic Express charge votre dernier projet automatiquement au démarrage (voir « Ouverture et création automatique de projets » à la page 151). Chapitre 7 Utilisation des projets 151 Ouverture de projets par glisser-déposer Il est possible d’ouvrir des projets et des fichiers MIDI en les faisant glisser depuis le Finder dans la zone Arrangement. La position du curseur de la souris (lorsque vous relâchez le bouton) détermine l’emplacement du fichier importé. Cela comprend la position (arrondie à la mesure la plus proche) et la destination de la première piste. Pour plus d’informations sur les fichiers MIDI standard, reportez-vous à la rubrique « Utilisation des fichiers SMF » à la page 707. Vous pouvez aussi ouvrir un projet Logic Express ou un fichier MIDI en le faisant glisser sur l’icône Logic Express dans le Dock. Ouverture de morceaux issus de versions antérieures à la version 8 Vous pouvez ouvrir des morceaux issus de Logic 5, Logic 6 et Logic 7 dans Logic Express 8. Lors du chargement d’un morceau ou d’un projet créé dans une version antérieure à la version 8 de Logic, il est converti au format de la version 8. Une zone de dialogue Enregistrer sous s’ouvre pour vous permettre d’enregistrer le projet sous un nouveau nom. Le morceau de la version d’origine est conservé. Important : les projets enregistrés dans Logic Express 8 ne sont pas compatibles avec les versions antérieures de Logic Express. Navigation entre plusieurs projets Vous pouvez ouvrir plusieurs projets simultanément, afin de copier ou de déplacer des données entre eux ou de comparer différentes versions d’un projet. Pour naviguer entre les projets : m Choisissez le nom du projet en bas du menu Fenêtre (le projet actif est signalé par une coche). Ouverture et création automatique de projets Vous pouvez configurer Logic Express pour ouvrir ou créer automatiquement des projets, au démarrage, en choisissant une action de démarrage dans l’onglet Logic Express > Préférences > Globales > Gestion du projet.  Ne rien faire : comme l’indique son nom, cette option n’a aucun effet. Logic Express s’ouvre et vous devez créer un projet ou ouvrir un projet ou un modèle existant. 152 Chapitre 7 Utilisation des projets  Ouvrir le projet le plus récent : ouvre automatiquement le dernier projet ouvert la dernière fois que vous avez quitté Logic Express.  Ouvrir un projet existant : affiche automatiquement la zone de dialogue Ouvrir, dans laquelle vous pouvez rechercher un projet existant.  Créer un projet d’après un modèle : ouvre automatiquement la zone de dialogue Modèles.  Créer un projet vide : charge automatiquement un projet vide et ouvre la zone de dialogue Enregistrer sous, dans laquelle vous pouvez nommer et enregistrer votre projet.  Créer un projet via un modèle par défaut : ouvre automatiquement le modèle par défaut et la zone de dialogue Enregistrer sous, dans laquelle vous pouvez nommer et enregistrer votre projet. Pour définir le modèle par défaut : 1 Cliquez sur le bouton Choisir sous le champ Modèle par défaut dans l’onglet de préférences de gestion du projet. 2 Accédez au modèle (ou au projet) voulu et choisissez-le. Le chemin d’accès complet et le nom du modèle ou projet choisi sont affichés dans le champ Modèle par défaut. Vous pouvez utiliser n’importe quel modèle ou projet comme modèle par défaut. Importation de réglages à partir d’autres projets Vous pouvez importer les réglages suivants à partir d’autres projets :  Screensets  Jeux de transformations  Jeux Hyper  Jeux de partitions  Styles de portée de partition  Réglages de partition (tous les réglages du projet relatifs à la partition, comme Nombres et Noms ou Clés et Signatures.)  Styles de texte de partition Chapitre 7 Utilisation des projets 153 Pour importer des réglages depuis un autre projet : 1 Choisissez Fichier > Réglages du projet > Importer réglages (ou utilisez le raccourci clavier Importer réglages). 2 Sélectionnez les réglages voulus en cochant les cases au bas de la fenêtre Importation de réglages. 3 Accédez au projet voulu (celui depuis lequel vous voulez importer) et sélectionnez-le. 4 Cliquez sur Ouvrir (ou double-cliquez sur le nom du projet source). Les réglages sont importés dans le projet actif. 154 Chapitre 7 Utilisation des projets Vérification et correction de projets Il peut arriver que vous ayez besoin de connaître le nombre de séquences d’un projet, la quantité de mémoire utilisée, etc. Ces données sont disponibles dans la fenêtre « Informations sur le projet ». Il peut arriver, très rarement, qu’un projet semble lent ou devienne corrompu en raison de conflits liés au gestionnaire ou à la mémoire. En cas de corruption, un message d’avertissement vous informe de l’existence et de la nature du problème. Ces problèmes peuvent généralement être rectifiés dans la fenêtre « Informations sur le projet ». Pour ouvrir la fenêtre « Informations sur le projet » : m Choisissez Options > « Informations sur le projet ». La fenêtre « Informations sur le projet » fournit la fonction Réorganiser la mémoire qui permet d’augmenter la quantité de mémoire disponible et de prévenir certains types de corruption ou de problèmes relatifs à des projets. Pour reconfigurer la mémoire : m Cliquez sur le bouton Réorganiser la mémoire dans la fenêtre « Informations sur le projet ». Simultanément, le projet en cours est contrôlé afin d’y détecter tout signe de dommage, de problèmes structurels et de blocs inutilisés. Si des blocs inutilisés sont détectés (ce qui ne devrait normalement pas se produire), vous pouvez les supprimer et corriger le projet. Remarque : cette réorganisation est également effectuée automatiquement après l’enregistrement ou le chargement d’un projet. L’un des usages habituels (recommandé) de cette fonction a pour but de libérer de la mémoire après la fermeture d’un projet, si au moins deux projets étaient ouverts avant cette opération. Chapitre 7 Utilisation des projets 155 Définition des propriétés de projet Après avoir créé un projet, il est nécessaire de vérifier, et de modifier si nécessaire, le nombre de propriétés du projet. Cette pratique est recommandée car elle limite le nombre de corrections à apporter par la suite, telle que la conversion de fréquences d’échantillonnage d’une centaine de fichiers audio ou plus. Cette rubrique présente les propriétés de projet que vous devez prendre en compte avant de commencer votre travail. Définition de la fréquence d’échantillonnage La fréquence d’échantillonnage du projet détermine le nombre d’échantillons utilisés par Logic Express pour la lecture audio. Lorsque vous ajoutez ou enregistrez des fichiers audio dans votre projet, leur fréquence d’échantillonnage est automatiquement adaptée à celle du projet. Important : le réglage de projet « Convertir la fréquence du fichier audio lors de l’importation » doit être activé pour pouvoir adapter automatiquement la fréquence d’échantillonnage. Vous pouvez activer ce réglage dans la sous-fenêtre Fichier > Réglages projet > Ressources. Pour définir la fréquence d’échantillonnage, effectuez l’une des opérations suivantes : m Choisissez Fichier > Réglages du projet > Audio (ou utilisez le raccourci clavier « Ouvrir les réglages du projet audio »), puis choisissez la fréquence d’échantillonnage voulue dans le menu correspondant. m Cliquez sur l’écran Fréquence d’échantillonnage dans la barre de transport, puis choisissez la fréquence voulue dans le menu local. Remarque : si l’écran Fréquence d’échantillonnage ne figure pas dans votre barre de transport, cliquez sur cette dernière en appuyant sur la touche Contrôle, puis choisissez « Personnaliser la barre de transport » dans le menu local. Activez la case « Fréquence d’échantillonnage ou locators du punch » dans la zone de dialogue « Personnaliser la barre de transport ». 156 Chapitre 7 Utilisation des projets Vous constaterez peut-être que les fichiers audio de votre projet ne correspondent pas à la fréquence d’échantillonnage que vous venez de sélectionner. La lecture des fichiers qui ne correspondent pas à la fréquence d’échantillonnage du projet est anormalement plus lente (si la fréquence du fichier est plus élevée) ou plus rapide (la fréquence est plus faible). Pour adapter la fréquence d’échantillonnage d’un fichier à celle du projet, vous pouvez procéder de deux façons : m Utilisez la commande Copier/Convertir Fichier(s) du chutier audio, puis replacez le fichier dans le projet. Logic Express effectue une conversion de fréquence d’échantillonnage native en temps réel. Toute fréquence d’échantillonnage disponible dans Logic Express (via Audio > Fréquence d’échantillonnage) peut être utilisée pour la conversion, même si votre matériel audio ne prend pas en charge la fréquence sélectionnée. La fonction logicielle native de conversion de fréquence d’échantillonnage s’adapte à la fréquence d’échantillonnage de tout matériel audio, permettant ainsi la lecture de projets sur pratiquement tout système audio, même si le matériel n’est pas compatible en terme de fréquence d’échantillonnage. Rien n’est perdu au cours du processus. Tout traitement et opération de bounce interne est toujours effectué à la fréquence d’échantillonnage d’origine et au niveau de qualité le plus élevé, même dans les cas où le matériel ne prend pas en charge une fréquence particulière. Cette fonction vous permet de travailler sur des projets créés sur des systèmes audio de pointe avec des configurations de niveau inférieur. Exemple : un projet a été créé avec du matériel audio configuré pour fonctionner à 96 kHz. Déplacer ce projet sur un ordinateur portable ou sur une configuration qui ne prend pas en charge la fréquence d’échantillonnage du projet d’origine entraîne généralement une vitesse de lecture incorrecte. La fonction native de conversion de fréquence d’échantillonnage en temps réel va contrebalancer cet effet, permettant une lecture correcte du projet sur l’ordinateur portable, quelle que soit la fréquence d’échantillonnage. Remarque : les fréquences d’échantillonnage élevées consomment plus d’espace disque et entraînent une surcharge du processeur. Chapitre 7 Utilisation des projets 157 Réglage du tempo d’un projet Vous pouvez définir le tempo de base du projet dans le transport, la piste Tempo ou la liste des tempos. Logic Express affiche le tempo sous la forme de noires par minute ou de battements par minute (bpm). Le tempo varie de 5 à 9 999 bpm et peut-être ajusté jusqu’à quatre décimales après la valeur entière. Pour définir le tempo du projet, effectuez l’une des opérations suivantes : m Cliquez sur la valeur de tempo du transport en maintenant le bouton de la souris enfoncé, puis faites glisser cette valeur vers le haut ou le bas ou double-cliquez sur le champ Tempo, puis tapez une nouvelle valeur. m Cliquez sur la valeur de tempo dans la liste des tempos en maintenant le bouton de la souris enfoncé, puis faites glisser cette valeur vers le haut ou le bas ou double-cliquez sur le champ Tempo, puis tapez une nouvelle valeur. m Ouvrez la piste Tempo et faites glisser la ligne de tempo vers le haut ou le bas avec l’outil Pointeur. Pour plus d’informations sur les opérations avancées liées au tempo, reportez-vous au chapitre 30, « Opérations avancées relatives au tempo » à la page 719. 158 Chapitre 7 Utilisation des projets Réglage de l’articulation du temps dans un projet La signature temporelle définit le nombre de battements que contient une mesure dans la règle Mesure, ainsi que la valeur de note qui constitue un battement. Les signatures temporelles n’affectent pas la lecture de votre projet, mais déterminent la grille d’édition du champ Arrangement et les éditeurs MIDI, comme l’illustrent les images ci-après. Les deux images présentent la même séquence MIDI, la première avec une signature temporelle de 2/8 et la deuxième de 6/8. Vous pouvez définir la signature temporelle du projet dans le transport, la liste des signatures ou la piste Signature. Le transport affiche la signature temporelle dans le format suivant : numérateur: dénominateur de mesures: valeur de division. Dénominateur de Numérateur mesures Valeur de division Chapitre 7 Utilisation des projets 159 La valeur de division définit la division dans tous les écrans de position (comme dans les éditeurs d’événements) et forme la grille pour les différentes opérations relatives à la durée et au placement. La valeur de division est normalement réglée sur 1/16 de note mais dispose d’une plage de valeurs du 1/4 au 1/192 de note. Si la valeur de note de la division est supérieure ou égale au dénominateur de mesures, la troisième valeur de l’écran de position est automatiquement supprimée. Π Conseil : vous pouvez utiliser le raccourci clavier « Définir la division supérieure/inférieure suivante » pour passer à la division immédiatement supérieure ou inférieure. L’indicateur de tempo de la fenêtre Transport est toujours relatif aux noires, même si huit notes sont choisies comme dénominateur pour la signature temporelle. Pour modifier la signature temporelle, effectuez l’une des opérations suivantes : m Cliquez en maintenant le bouton de la souris enfoncé sur l’une des valeurs de signature temporelle de transport et faites-la glisser vers le haut ou le bas ou double-cliquez sur les nombres du champ et tapez une nouvelle valeur. m Cliquez en maintenant le bouton de la souris enfoncé sur la valeur dans la liste des signatures, puis faites glisser cette valeur vers le haut ou le bas ou double-cliquez sur la valeur de signature, puis tapez une nouvelle valeur. m Ouvrez la piste Signature et double-cliquez sur la valeur affichée. Définissez les valeurs du numérateur et du dénominateur (et d’autres réglages, le cas échéant). Pour en savoir plus sur les signatures temporelles, reportez-vous à la section « Utilisation des temps et des armatures » à la page 814. 160 Chapitre 7 Utilisation des projets Définition des points de départ et de fin d’un projet Un projet débute normalement à la position 1 1 1 1. Vous pouvez placer le point de départ du projet sur une position antérieure, permettant la lecture des commandes de temps faible ou de changement de programme avant le premier temps fort. Pour définir le point de départ d’un projet : m Faites glisser le marqueur de début du projet dans la règle Mesure vers la gauche ou la droite. Pour définir le point de fin d’un projet, effectuez l’une des opérations suivantes : m Faites glisser le marqueur de fin du projet dans la règle Mesure vers la gauche ou la droite. m Définissez la valeur voulue dans l’écran « Fin du projet numérique » de la barre de transport. Remarque : si votre barre de transport n’inclut pas l’écran Fin du projet, cliquez dessus en appuyant sur la touche Contrôle et choisissez « Personnaliser la barre de transport » dans le menu local. Activez la case Tempo/Fin du projet dans la sous-fenêtre « Personnaliser la barre de transport ». Dès que Logic Express atteint le point de fin du projet, il s’arrête automatiquement sauf lors d’un enregistrement. Dans cette situation, le point de fin du projet est automatiquement déplacé à la fin de l’enregistrement. Écran de fin du projet Chapitre 7 Utilisation des projets 161 Réglage du volume de base du projet Vous pouvez définir le volume de base du projet en faisant glisser le curseur Niveau du master qui se trouve sur la droite de la barre de transport (si votre écran est assez large). Ce curseur est directement lié au canal principal de la table de mixage et fait office de contrôle de niveau principal pour toutes les pistes audio et d’instruments logiciels. Important : ce curseur définit le niveau de lecture de votre projet et affecte le nivea u général de votre mixage Cliquez sur le symbole du haut-parleur à droite du curseur Niveau du master pour régler le curseur principal sur 0 dB. Cliquez sur le symbole du haut-parleur à gauche du curseur Niveau du master pour activer le mode Niveau d’assourdissement : le volume de lecture adopte alors la valeur de Niveau d’assourdissement définie dans les préférences Logic Express > Audio > Général. Cliquez à nouveau sur ce bouton pour désactiver le mode Niveau d’assourdissement et définissez le niveau sonore de la lecture à la valeur actuelle du curseur Niveau du master. 162 Chapitre 7 Utilisation des projets Ajustement des réglages du projet Les réglages du projet incluent un certain nombre d’options pouvant avoir un impact significatif sur le comportement de Logic Express. Ils sont enregistrés indépendamment avec chaque projet, ce qui signifie que chaque projet peut avoir ses réglages propres. Vous pouvez à tout moment modifier les réglages d’un projet, mais il est généralement préférable de commencer avec les réglages nécessaires, car cela rendra vos processus plus fluides. Pour ouvrir les réglage d’un projet, effectuez l’une des opérations suivantes : m Choisissez Fichier > Projet > Réglages (Synchronisation, MIDI, Partition, etc.) ou utilisez le raccourci clavier correspondant. m Cliquez sur le bouton Réglages dans la barre d’outils, puis choisissez l’entrée de menu voulue. Pour plus d’informations sur les réglages d’un projet, reportez-vous à la rubrique « Réglages du projet » à la page 1034. Gestion des ressources d’un projet Les réglages du projet comprennent également un onglet Ressources. Si vous avez enregistré votre projet avec ses ressources, vous pouvez utiliser cet onglet pour déterminer la façon dont les fichiers importés depuis des emplacements externes (emplacements en dehors du dossier du projet) doivent être traités. Pour ouvrir les réglages de projet Ressources, effectuez l’une des opérations suivantes : m Choisissez Fichier > Réglages du projet > Ressources (ou utilisez le raccourci clavier « Ouvrir les réglages des ressources pour le projet »). m Cliquez sur le bouton Réglages dans la barre d’outils, puis choisissez Ressources dans le menu local.  Activez les cases de copie pour copier les types de fichier respectifs dans le dossier du projet.  Activez la case « Convertir la fréquence du fichier audio lors de l’importation » pour convertir automatiquement la fréquence d’échantillonnage de tous les fichiers importés (utilisant une autre fréquence) afin qu’elle corresponde à celle du projet. Chapitre 7 Utilisation des projets 163  Si vous désactivez la case « Copier les échantillons EXS dans le dossier du projet », seuls les fichiers d’instruments EXS sont copiés dans le dossier du projet lors de l’enregistrement, mais aucun échantillon associé à ces fichiers d’instruments EXS. Les fichiers ne sont copiés dans le dossier de projet que lorsque le projet est enregistré. Une fois enregistré, votre projet est sécurisé. Vous pouvez donc déplacer ou copier la totalité du dossier de projet sans perdre la moindre référence à un des fichiers présents dans le dossier. Gestion des projets Cette rubrique présente les opérations de maintenance qui sont parfois nécessaires pour optimiser vos projets. Copie ou déplacement d’un dossier de projet Un dossier de projet peut être déplacé ou copié librement dans un autre emplacement à l’aide de l’une des méthodes de système d’exploitation standard. Cela s’avère fort utile pour archiver et transporter des projets dans d’autres studios ou installations. Tous les fichiers du dossier cible (copié) demeurent à l’emplacement correct, pourvu qu’ils soient tous à la racine (ou dans des sous-dossiers) du dossier de projet ; les fichiers audio sont dans le sous-dossier Fichiers audio, les échantillons dans le sous-dossier Échantillons, les instruments de l’échantillonneur dans le sous-dossier Instruments de l’échantillonneur, etc. Nettoyage de projets Si votre dossier de projet contient des fichiers de projet inutilisés, utilisez la commande Fichier > Projet > Nettoyer. Si des fichiers inutilisés sont trouvés, la zone de dialogue suivante s’affiche : Cochez les cases de la première colonne pour choisir les fichiers à supprimer. Le nom et le chemin d’accès au fichier à supprimer figure dans les deux dernières colonnes. Seuls les fichiers correspondant à des cases cochées dans la première colonne sont supprimés. Les entrées non cochées demeurent intactes. 164 Chapitre 7 Utilisation des projets Si plusieurs lignes sont sélectionnées, il suffit de cliquer sur l’une des cases pour cocher/décocher toutes les lignes sélectionnées. Remarque : la commande Nettoyer ne supprime que les fichiers inutilisés (de tout type sauf les fichiers de film). Le nettoyage prend en compte le projet en mémoire ainsi que tous les autres fichiers du projet Logic Express se trouvant dans le dossier du projet. Seuls les fichiers non utilisés par ces projets sont affichés dans la liste de nettoyage. Consolidation des réglages du projet Si votre projet contient des fichiers ne se trouvant pas dans les sous-dossiers corrects, vous pouvez utiliser la commande Consolider pour les organiser automatiquement selon la structure standard de fichiers de projet. Pour consolider votre projet : 1 Choisissez Fichier > Projet > Consolider (ou utilisez le raccourci clavier Consolider le Projet). 2 Choisissez l’option de menu voulue pour les différents types de fichier dans la zone de dialogue de consolidation, afin de déplacer, conserver ou copier les fichiers existants. Les deux boutons de raccourci en bas à gauche de la fenêtre permettre d’effectuer rapidement et facilement la consolidation du projet.  Cliquez sur Tout copier pour régler tous les menus sur l’option de copie.  Cliquez sur Tout déplacer pour régler tous les menus sur l’option de déplacement. 3 Cochez la case « Supprimer dossiers vides après déplacement » pour retirer les dossiers vides du projet source, une fois que les fichiers ont été placés dans le projet cible. 4 Cochez la case « Créer dossiers pour les groupes de fichiers audio » pour créer des dossiers de groupes dans le sous-dossier Audio Files du projet cible. Les groupes doivent d’abord être créés dans le chutier audio du projet source. Reportez-vous à la rubrique « Regroupement de fichiers dans le chutier audio » à la page 603. 5 Cliquez sur OK lorsque vous avez terminé. Chapitre 7 Utilisation des projets 165 Gestion de l’importation ReCycle dans les projets Les instruments EXS créés via une importation ReCycle sont placés dans un sous-dossier Instruments de l’échantillonneur/ReCycle du dossier de projet. Toutes les données audio générées par une importation ReCycle sont placées dans le dossier Audio ReCycle, avec le fichier de projet. Remarque : cela se produit automatiquement et ne peut pas être changé. Si aucun dossier de projet n’existe, les fichiers ReCycle sont enregistrés dans ~Musique/Logic/ ReCycle Audio. Enregistrement de projets Si vous choisissez Fichier > Enregistrer (ou que vous utilisez le raccourci clavier correspondant, par défaut : Commande + S), le projet en cours est enregistré et son nom demeure inchangé. Si vous ne voulez pas écraser la version la plus récente du fichier de projet enregistré avec ce nom (ce qui se produira si vous utilisez Fichier > Enregistrer ou Commande + S), utilisez Fichier > Enregistrer sous ou Fichier > « Enregistrer une copie sous ». Dans la zone de dialogue de sélection de fichiers qui apparaît, vous pouvez saisir un nouveau nom pour le projet et définir Ressources comme bon vous semble (et sélectionner un nouveau répertoire ou même créer un dossier).  Fichier > Enregistrer : lors du prochain enregistrement à l’aide de la commande Enregistrer (Commande + S), le nouveau nom de fichier et le nouveau chemin seront utilisés.  Fichier > Enregistrer une copie sous : lors du prochain enregistrement à l’aide de la commande Enregistrer (Commande + S), le nom de fichier et le chemin existants continueront à être utilisés. La copie est une réplique du projet existant, stockée dans un autre emplacement. Elle ne met pas à jour le chemin d’enregistrement du fichier. La commande « Enregistrer une copie sous » est idéale pour archiver et déplacer des données. Sauvegarde automatique de fichiers Lorsque vous enregistrez un projet, Logic Express enregistre automatiquement une copie de sécurité (une sauvegarde) du fichier du projet. Les fichiers de sauvegarde sont enregistrés dans le même dossier et sous le même nom que le projet, le caractère ~ apparaissant toutefois à la fin du nom. Retour à une version enregistrée Vous pouvez annuler vos éventuelles erreurs en choisissant Edition > Annuler (Commande + Z). En cas d’erreur vraiment grave (même si cela est fort improbable) ou bien si le travail réalisé lors des quinze dernières minutes depuis le dernier enregistrement ne vous satisfait pas du tout, la fonction Fichier > Revenir à la version enregistrée (ou le raccourci clavier correspondant) peut s’avérer très utile. Le projet en cours est alors remplacé par la version précédemment enregistrée. Enregistrement d’un projet en tant que modèle Vous pouvez enregistrer un projet en tant que modèle, créant ainsi des points de départ pour de nouveaux projets. Tous les projets n’ont pas les mêmes besoins. Par conséquent, personnaliser plusieurs projets ayant les mêmes besoins offre un point de départ idéal pour différentes tâches. Exemples :  Un modèle axé sur des instruments logiciels et destiné à des projets de musique dansante. Il pourrait comprendre 32 pistes d’instruments logiciels et huit pistes audio.  Un modèle centré sur des pistes audio, comportant par exemple 64 pistes audio, serait idéal pour les enregistrements en direct.  Un modèle de performances en direct qui permet de passer plus rapidement d’une partie à une autre ou pouvant utiliser intensément le traitement d’environnement.  Plusieurs modèles de sonorisation pour des choeurs, un groupe de rock, un orchestre symphonique, un quatuor à cordes, une petite formation de jazz, etc.  Un modèle contenant des réglages de synchronisation modifiés pour le contrôle de matériel ADAT.  Un modèle pour le travail vidéo. Il pourrait contenir une piste vidéo et une zone de dialogue spécifique, un bruitage et des pistes de musique.  Un second modèle vidéo pourrait être utilisé pour des tâches où la vidéo est lue sur un magnétoscope externe synchronisé avec Logic Express via SMPTE. Il est possible de personnaliser des screensets pour chaque modèle ou vous pouvez utiliser la commande Fichier > Réglages du projet > Importer réglages pour les copier d’un modèle à un autre. Chapitre 7 Utilisation des projets 167 Pour enregistrer un projet comme modèle : m Choisissez Fichier > Enregistrer comme modèle (ou utilisez le raccourci clavier correspondant), puis tapez le nom voulu. Le projet est enregistré dans le dossier ~/Bibliothèque/Application Support/Logic/ Project Templates. Lors de la prochaine ouverture de la zone de dialogue Modèles, votre modèle se trouvera dans la collection Mes modèles, sous les collections de modèles par défaut. Vous pouvez créer des collections sous Mes modèles en créant des sous-dossiers dans le dossier ~/Bibliothèque/Application Support/Logic/Project Templates. Cela peut être effectué dans le Finder ou à l’aide du bouton Créer un dossier dans la zone de dialogue Enregistrer comme modèle. Lorsque tous les modèles créés par l’utilisateur sont placés dans des sous-dossiers, les noms de ces sous-dossiers apparaissent en dessous des collections par défaut. Π Conseil : vous pouvez inclure un texte descriptif dans vos modèles en ajoutant un commentaire au fichier de projet dans le Finder. La zone de dialogue Modèles affiche l’icône affectée à un fichier de modèle, ce qui vous permet de la changer très facilement. Pour plus d’informations sur l’ajout d’un commentaire à un fichier ou le changement de l’icône d’un fichier, reportez-vous à l’aide du Finder. Fermeture et sortie Après avoir créé ou écouté un projet, il est préférable de le fermer et de quitter Logic Express. Voici comment procéder : Pour fermer le projet actif : m Choisissez Fichier > Fermer le projet (ou utilisez le raccourci clavier correspondant, par défaut : Option + Commande + W). Si vous avez apporté des modifications depuis la dernière opération d’enregistrement, Logic Express vous demande si le projet doit être enregistré à nouveau avant de le fermer, afin de conserver les modifications apportées. Pour fermer la fenêtre active : m Choisissez Fichier > Fermer (ou utilisez le raccourci clavier correspondant, par défaut : Commande + W). Cette opération ne ferme que la fenêtre du haut, pas la totalité du projet. Le projet ne sera correctement fermé que lorsque toutes les fenêtres seront fermées. 168 Chapitre 7 Utilisation des projets Pour quitter l’application : m Choisissez Logic Express > Quitter Logic Express (ou utilisez le raccourci clavier correspondant, par défaut : Commande + Q). Si vous avez apporté des modifications à votre projet, mais que vous ne les avez pas sauvegardées, vous êtes invité à le faire avant de quitter l’application (appuyez sur Entrée pour enregistrer le projet). Si plusieurs projets sont ouverts, vous êtes alors invité à passer en revue les modifications ou à fermer simplement le projet en ignorant les modifications. Le raccourci clavier « Fermer le projet sans sauvegarder » ferme le projet actif sans l’enregistrer (vous n’êtes pas invité à le faire). Cette commande a été incluse à la demande d’un grand nombre d’utilisateurs expérimentés de Logic Express. Ne l’utilisez que si vous êtes sûr de vous. 8 169 8 Fonctionnement de base Le chapitre suivant présente les techniques d’utilisation, de sélection et d’édition de base disponibles dans Logic Express. Vous y apprendrez les différentes techniques de saisie et de correction des erreurs, ainsi qu’un grand nombre de raccourcis et de fonctionnalités qui permettent d’accélérer votre travail et de vous assister lors de votre apprentissage de l’application Logic Express. Utilisation de la souris Si vous n’êtes pas habitué à vous servir de la souris dans Logic Express, où l’utilisation diffère de celle des autres applications, la rubrique suivante vous sera particulièrement utile. Elle explique comment utiliser la souris dans Logic Express. Si vous savez déjà comment utiliser une souris dans Logic Express, passez directement à la rubrique suivante. Cliquer Placez le pointeur au-dessus d’un élément (région, événement, bouton, menu, zone de saisie, etc.), puis et appuyez une fois sur le bouton de la souris. Double-cliquer Même chose que cliquer sur un élément, sauf que vous appuyez deux fois de suite sur le bouton de la souris, rapidement. Vous pouvez définir l’intervalle qui vous convient dans les Préférences système (sous-fenêtre Clavier et souris). Capturer ou cliquer et maintenir le bouton de la souris enfoncé Même chose que cliquer sur un élément, sauf que vous maintenez le bouton de la souris enfoncé. Déplacer ou faire glisser Sélectionnez l’élément et déplacez le curseur (en maintenant le bouton enfoncé) jusqu’à l’emplacement souhaité. 170 Chapitre 8 Fonctionnement de base Cliquer avec le bouton droit de la souris Même chose que cliquer, sauf que vous appuyez sur le bouton droit de la souris, s’il est disponible. Cette opération a pour effet d’ouvrir un menu contextuel, d’ouvrir la boîte à outils ou de sélectionner un outil spécifique. Cliquer ou faire glisser en appuyant sur une touche de modification Plusieurs commandes, fonctions, outils supplémentaires ou ajustements plus précis sont accessibles si vous maintenez enfoncée une touche de modification : Contrôle, Maj, Option ou Commande tout en cliquant ou en faisant glisser un élément. Exemples : si vous faites glisser une région en appuyant sur la touche Option, une copie de la région est créée ; si vous cliquez sur un curseur ou un potentiomètre tout en maintenant la touche Option enfoncée, sa valeur par défaut ou sa valeur centrale est réinitialisée. Événements liés à la molette de souris Vous pouvez utiliser la molette de la souris pour faire défiler verticalement la page dans Logic Express. Certains outils de modification sont également pris en charge :  Si vous appuyez sur Commande, la molette de la souris effectue un défilement horizontal.  Si vous appuyez sur Option, la molette effectue un zoom avant ou arrière à la verticale.  Si vous appuyez simultanément sur Option et Commande, la molette effectue un zoom avant ou arrière à l’horizontale.  Si vous appuyez simultanément sur Option et Contrôle, la molette effectue un zoom avant ou arrière dans les deux sens. Remarque : Logic Express prend également en charge les souris ayant une molette de défilement dotée d’un axe des X et d’un axe des Y (telles que la souris Apple Mighty Mouse). Sur une souris à deux axes, la touche de modification Commande (qui permet de basculer entre les orientations horizontale et verticale sur une souris dotée d’un seul axe) n’est pas utilisée. Souris faisant office de curseur Vous pouvez définir la plupart des réglages numériques (même les valeurs et noms de notes) en sélectionnant la valeur d’un réglage et en faisant monter ou descendre la souris. Si le réglage contient plusieurs nombres distincts (position du projet, par exemple), vous pouvez ajuster chaque nombre à l’aide de cette méthode. Chapitre 8 Fonctionnement de base 171 Saisie de valeurs numériques Vous pouvez utiliser des entrées numériques dans de nombreuses zones du programme. Le fait de double-cliquer sur une valeur de réglage numérique a pour effet d’ouvrir une zone de saisie. La valeur est mise en surbrillance et peut être écrasée par une nouvelle entrée. Cette méthode est idéale pour définir rapidement une valeur de réglage dans l’Inspecteur ou pour accéder instantanément à une mesure lorsque vous l’appliquez dans la fenêtre Transport. Voici un exemple d’utilisation : double-cliquez sur l’écran Position dans la fenêtre Transport, saisissez 45, puis appuyez sur la touche Retour. La tête de lecture se place directement au début de la mesure 45. Vous pouvez également utiliser la souris pour effectuer une sélection partielle dans une zone de saisie, de sorte que seule la partie mise en surbrillance est écrasée. Tant que la zone de saisie est ouverte, le clavier de l’ordinateur peut uniquement être utilisé pour saisir des données, il ne permet pas de faire appel à des raccourcis clavier (à l’exception des fonctions de menu principales). Voici quelques-unes des méthodes possibles. Vous pouvez saisir des données sous forme de :  Nombres décimaux : 1, 01, 2, 3, 4, 127, …  Nombres hexadécimaux : $1, $01, $2, $3, $A, $0A, $7F  Notes : « C3 », « C#3 », « Cb3 », « C##2 » (équivalent de D2), « Dbb2 » (équivalent de C2). Si vous double-cliquez sur la note « E3 », vous pouvez saisir une valeur décimale telle que « 64 » ou hexadécimale telle que « $40 » à la place du nom de la note.  Code ASCII : vous pouvez également saisir des nombres sous forme de code ASCII. Il vous suffit de saisir le caractère ` ou " avant la touche sélectionnée et le code ASCII est saisi sous forme de nombre. Par exemple : "! correspond à la valeur 33 et "a à la valeur 97. Cette fonction s’avère particulièrement utile pour saisir du texte dans des chaînes SysEx. Opérations arithmétiques Dans de nombreuses zones de l’application Logic Express, des opérations mathématiques peuvent également servir à modifier des valeurs. Exemples :  Vous pouvez effectuer une soustraction sur valeur existante en saisissant « –5 ».  Vous pouvez additionner deux valeurs en saisissant « 38+17 ».  Vous pouvez multiplier deux valeurs en saisissant « 7*8 ».  Vous pouvez diviser deux valeurs en saisissant « 80/5 ». 172 Chapitre 8 Fonctionnement de base Annulation d’une entrée numérique Pour annuler une entrée numérique, ne saisissez aucun texte, puis appuyez sur la touche Entrée ou Retour. Saisie de texte Vous pouvez saisir un nom de la même façon que des nombres, si ce n’est que vous devez cliquer une fois sur une zone de nom pour activer la saisie. Vous pouvez cliquer directement sur une région (ou une bande de canal dans la table de mixage) avec l’outil Texte pour la renommer. Un même nom peut être attribué à autant d’objets sélectionnés (tels que des régions) que vous le souhaitez. Si le nom se termine par un nombre, celui-ci est automatiquement incrémenté de 1, objet après objet. Cela vous permet, par exemple, de nommer toutes les régions d’une piste de façon rapide et unique. Remarque : pour désactiver la numérotation automatique, insérez un espace après le numéro, à la fin du nom que vous saisissez. Tous les objets sélectionnés se terminent alors par le même numéro. Cette méthode peut s’avérer très utile pour identifier, par exemple, toutes les régions enregistrées au cours d’une autre session avec la voix principale (il vous suffit alors de les renommer en « voix principale 030707 » suivi d’un espace, pour identifier les régions par date). Utilisation des raccourcis clavier Vous pouvez exécuter quasiment toutes les fonctions de Logic Express à l’aide d’un raccourci clavier ou d’un message MIDI. À chaque fois que ce manuel mentionne un raccourci clavier, il est fait référence à une fonction, une commande ou une option à laquelle vous pouvez accéder en appuyant sur des touches de votre clavier (comme Option + R pour ouvrir les réglages d’enregistrement du projet) ou à l’aide d’un message MIDI. L’utilisation de raccourcis clavier à la place de la souris peut accélérer de façon considérable votre travail. Tout au long de ce manuel, vous allez rencontrer un certain nombre d’exemples pratiques, souvent détaillés, précisant le raccourci clavier par défaut pour chaque fonction. Π Conseil : il est recommandé d’utiliser ces raccourcis clavier par défaut à mesure que vous vous familiarisez avec l’application, en suivant les étapes décrites dans le manuel. Non seulement cela va vous aider à les mémoriser, mais également à vous habituer à des pratiques de travail efficaces (et rapides) dès le départ. Dès que vous maîtrisez les concepts de base de Logic Express et que vous avez adopté une méthode de travail qui vous convient, vous pouvez attribuer les raccourcis clavier de votre choix aux fonctions que vous utilisez le plus. Chapitre 8 Fonctionnement de base 173 La fenêtre Raccourcis clavier vous permet d’associer des fonctions de Logic Express à des touches de votre clavier ou à des messages MIDI. Ainsi, vous pouvez entièrement personnaliser l’application afin qu’elle soit adaptée au mieux à votre façon de travailler. Remarque : certaines de ces fonctions sont disponibles uniquement sous forme de raccourcis clavier. Il est possible que certaines ne soient associées à aucun raccourci clavier par défaut. Dans ce cas, vous devez créer vous-même un raccourci pour utiliser la fonction concernée. Si vous débutez avec Logic Express et souhaitez vous familiariser avec l’application, passez directement à la rubrique « Utilisation d’outils » à la page 181. Vous pouvez toujours revenir à la rubrique suivante une fois que vous êtes prêt à créer et personnaliser vos propres raccourcis clavier, mais cela n’est pas indispensable pour utiliser Logic Express. Enregistrement de raccourcis clavier Vos raccourcis clavier personnels sont stockés dans un fichier séparé, situé dans le dossier ~Bibliothèque/Application Support/Logic/Key Commands. Il est conseillé d’effectuer les opérations suivantes :  Effectuez une copie de sauvegarde de vos raccourcis clavier personnalisés à un autre emplacement du disque avant de modifier le moindre raccourci clavier.  Effectuez une copie de sauvegarde sur un support amovible (un CD-ROM ou un lecteur flash USB, par exemple), sur un Macintosh en réseau (à l’aide de Bonjour) ou dans un compte .Mac (reportez-vous à la rubrique « Partage de données Logic Express sur un réseau » à la page 700). Ces différentes options de sauvegarde facilitent le transfert de vos raccourcis clavier lorsque vous utilisez Logic Express sur un autre ordinateur. Même si vous installez des mises à jour de Logic Express, vos raccourcis clavier personnels sont conservés. Remarque : presque tous les raccourcis clavier peuvent être définis par l’utilisateur. Certains raccourcis attribués par défaut aux commandes standard telles que Annuler, Enregistrer, Quitter, Nouveau, Ouvrir, Couper, Copier et Coller suivent les conventions de Mac OS X et il est préférable de ne pas les modifier. Certaines touches sont « attribuées de manière définitive » à des fonctions ou des commandes spécifiques, et ne peuvent donc pas être modifiées. Elles sont d’ailleurs estompées dans la liste des raccourcis clavier afin de signaler leur état « fixe ». Reportez-vous à la rubrique ci-dessous. 174 Chapitre 8 Fonctionnement de base Touches spéciales Certaines touches sont associées à des fonctions spéciales :  Les touches de modification Maj, Contrôle, Option et Commande peuvent uniquement être utilisées conjointement avec d’autres touches.  La touche Arrière a une fonction fixe qui consiste à supprimer les objets sélectionnés. Elle ne peut être attribuée à une autre fonction que si elle est associée à l’une des touches de modification.  Les combinaisons de touches affectées aux commandes de la barre de menus principale peuvent être redéfinies, mais il est généralement conseillé de conserver leur valeur par défaut. Les raccourcis clavier sont affichés à la suite des éléments de menu principaux. Exemples : Commande + 1 ouvre la fenêtre Arrangement, Maj + L verrouille le screenset actuel.  Les touches Plus et Moins sont associées aux raccourcis clavier « Augmenter/Diminuer le dernier paramètre de 1 ». Comme leur nom le laisse supposer, ces fonctions permettent d’augmenter ou de diminuer la valeur d’un paramètre sélectionné d’une unité à la fois.  Si vous combinez la touche Maj avec les touches Plus et Moins, vous accédez aux raccourcis clavier « Augmenter/Diminuer le dernier paramètre de 10 ». Fenêtre Raccourcis clavier La fenêtre Raccourcis clavier vous permet d’associer des fonctions de Logic Express à des touches de votre clavier ou à des messages MIDI. Vous pouvez ainsi entièrement personnaliser l’application, afin qu’elle corresponde à votre façon de travailler. Pour ouvrir la fenêtre Raccourcis clavier, effectuez l’une des opérations suivantes : m Cliquez sur Logic Express > Préférences > Raccourcis clavier (ou utilisez le raccourci clavier Option + K, qui correspond à l’option Ouvrir raccourcis clavier). m Cliquez sur le bouton Préférences de la barre d’outils, puis cliquez sur Raccourcis clavier dans le menu contextuel. Chapitre 8 Fonctionnement de base 175 Π Conseil : si vous sélectionnez une commande dans un menu tout en maintenant la touche Contrôle enfoncée, la fenêtre Raccourcis clavier apparaît avec la commande en question sélectionnée. Cela fonctionne également avec les menus contextuels.  Liste des raccourcis clavier : répertorie tous les raccourcis clavier disponibles. La puce identifie les raccourcis clavier qui ne sont pas disponibles sous forme d’éléments de menu.  Colonnes Touche et Attribution : affichent la touche actuellement attribuée et, le cas échéant, le message MIDI.  Zone Rechercher : permet de rechercher des raccourcis clavier par nom ou partie du nom.  Zone Combinaison de touches : affiche la combinaison de touches associée au raccourci clavier sélectionné.  Zone Attributions : affiche l’attribution de la surface de contrôle associée à la commande sélectionnée.  Boutons Apprendre : cliquez dessus pour apprendre à Logic Express à utiliser une touche ou combinaison de touches spécifique pour effectuer une opération. Liste des raccourcis clavier Colonnes Touche et Attribution Zone réservée aux combinaisons de touches Champ Rechercher Boutons Apprendre Zone réservée aux attributions Bouton Apprendre 176 Chapitre 8 Fonctionnement de base Groupes et hiérarchies de raccourcis clavier Les raccourcis clavier globaux sont toujours actifs, quelle que soit la fenêtre active. Quant aux commandes non globales, elles nécessitent que la fenêtre correspondante soit active (et qu’elle figure au premier plan ou au-dessus des autres fenêtres). Cela vous permet d’affecter le même raccourci clavier (ou la même combinaison de touches) à différentes fonctions dans différentes fenêtres. Important : il existe une hiérarchie des classes de raccourcis clavier, qui ne sont pas simplement réparties en raccourcis globaux et locaux. Par exemple, il existe une classe de raccourcis qui s’applique à toutes les fenêtres affichant des régions. Cette classe a un niveau de priorité supérieur aux raccourcis clavier globaux, mais inférieur aux raccourcis locaux dans les fenêtres correspondantes (Arrangement, Partition, Clavier, etc.). Sélection de jeux de raccourcis clavier Le menu Options dispose de commandes vous permettant de passer d’un jeu de raccourcis clavier à un autre, de les importer ou de les exporter. Cela s’avère particulièrement utile lorsque vous devez travailler provisoirement sur le système Logic Express d’un autre utilisateur : vous pouvez ainsi utiliser vos raccourcis clavier personnels sans modifier les réglages de l’autre système.  Menu Options > Préréglage : affiche tous les jeux de raccourcis clavier enregistrés dans le dossier ~Bibliothèque/Application Support/Logic/Key Commands, ce qui vous permet de passer rapidement d’un jeu à l’autre.  Options > Importer raccourcis clavier : ouvre une zone de sélection des fichiers vous permettant d’importer des jeux de raccourcis clavier depuis n’importe quel emplacement. Le fichier existant (sur le système cible) est automatiquement enregistré sous forme de fichier *.bak. Ce dernier contient les anciens raccourcis clavier. Il n’est pas nécessaire de redémarrer Logic Express pour utiliser le nouveau jeu de raccourcis clavier.  Options > Exporter raccourcis clavier : ouvre une zone de sélection des fichiers vous permettant d’enregistrer les attributions de raccourcis clavier en cours dans n’importe quel emplacement. Chapitre 8 Fonctionnement de base 177 Navigation au sein des raccourcis clavier Les raccourcis clavier sont regroupés en plusieurs catégories. Vous pouvez développer ou réduire un groupe en cliquant sur son triangle d’affichage. La commande Options > Étendre tout affiche le contenu de tous les groupes de raccourcis clavier. La commande Options > Tout condenser masque le contenu de tous les groupes de raccourcis clavier. Si vous développez des groupes de raccourcis clavier, il est possible que le raccourci clavier que vous aviez sélectionné ne soit plus visible. Pour y revenir rapidement, choisissez Options > Aller à la sélection. Lorsque la liste est activée, vous pouvez utiliser un raccourci clavier (ou une combinaison de raccourcis) pour sélectionner la fonction associée dans la liste. Recherche de raccourcis clavier Vous pouvez utiliser le champ Rechercher de la fenêtre Raccourcis clavier pour rechercher des raccourcis par nom ou partie du nom :  La recherche s’effectue à mesure que vous tapez du texte. Il n’est pas nécessaire d’appuyer sur la touche Retour, sauf si vous souhaitez conserver un historique des recherches de raccourcis clavier.  Le bouton Annuler situé sur la droite (qui apparaît dès que vous tapez du texte) efface toute entrée de texte et affiche l’ensemble des raccourcis clavier.  Le menu Rechercher situé à gauche (la loupe) conserve un historique des termes récemment recherchés. L’option de menu Effacer permet d’effacer l’historique de recherche. Remarque : l’historique de recherche contient uniquement les recherches validées à l’aide de la touche Retour. 178 Chapitre 8 Fonctionnement de base Attribution de raccourcis clavier à des touches de l’ordinateur Cette rubrique vous explique comment associer certaines touches de votre clavier à des fonctions Logic Express. Pour associer une fonction à une touche : 1 Sélectionnez la commande voulue dans la colonne Commande. 2 Activez le bouton « Apprendre par nom de touche ». 3 Appuyez simultanément sur la touche et la ou les touches de modification à utiliser (Maj, Contrôle, Option ou Commande). 4 Si vous souhaitez définir une autre attribution, répétez les étapes 1 à 3. 5 Désactivez le bouton « Apprendre par nom de touche ». La fonction « Apprendre par position de touche » fonctionne à l’identique, mais elle ne se limite pas à stocker une référence à un code ASCII : elle enregistre le code matériel de la touche sur laquelle vous appuyez. En pratique, cela signifie que vous pouvez, par exemple, affecter différentes commandes aux touches numérotées du pavé numérique et à celles situées dans la partie supérieure du clavier. Par ailleurs, la position de la touche reste la même, quels que soient les réglages linguistiques de votre système d’exploitation ou le clavier utilisé. À titre d’exemple, l’utilisation du code matériel pour une fonction affectée à la touche Y d’un clavier anglais fonctionne de la même façon sur un clavier allemand, même si la touche Z du clavier allemand figure à la place de la touche Y du clavier anglais. Seul inconvénient : c’est le code de la touche (un numéro) qui est affiché dans la fenêtre Raccourcis clavier, et non le symbole ASCII. Ce dernier est plus utile à des fins de référence. Pour clarifier la différence entre ces deux fonctions, voici une petite comparaison :  Si vous utilisez la fonction « Apprendre par nom de touche » et définissez un seul raccourci clavier pour une touche donnée, celui-ci est toujours utilisé, que vous appuyiez sur l’une ou l’autre des deux touches (la touche 7 du clavier alphanumérique ou le 7 du pavé numérique, par exemple).  Si vous utilisez la fonction « Apprendre par position de touche » et définissez deux raccourcis clavier (un pour le clavier alphanumérique, un autre pour le pavé numérique), seul le raccourci clavier approprié est utilisé (un pour chaque touche numérotée 7, par exemple). Chapitre 8 Fonctionnement de base 179 Utilisation de raccourcis clavier Si vous attribuez une combinaison de touches déjà définie au niveau local à un nouveau raccourci clavier global, le message d’avertissement suivant apparaît : Trois possibilités s’offrent à vous : Annuler, Remplacer ou OK.  Annuler : ne modifie pas les attributions existantes.  Remplacer : remplace le raccourci existant (attribué à une combinaison de touches particulière) par la fonction sélectionnée.  OK : attribue la combinaison de raccourci clavier à la fonction sélectionnée, tout en conservant le raccourci clavier ou la fonction existante. Pour supprimer des attributions de raccourcis clavier : 1 Sélectionnez la fonction dont vous souhaitez supprimer l’attribution de raccourci clavier. 2 Activez le bouton « Apprendre par nom de touche » ou « Apprendre par position de touche ». 3 Appuyez sur la touche Retour arrière. 4 Pour supprimer d’autres attributions, répétez les étapes 1 et 3. 5 Désactivez le bouton « Apprendre par nom de touche » ou « Apprendre par position de touche ». Attribution de raccourcis clavier à des surfaces de contrôle Le bouton « Apprendre nouvelle assignation » vous permet d’attribuer des raccourcis clavier particuliers à des messages de surface de contrôle, dans le but d’apprendre à Logic Express à réellement comprendre ces messages. Pour apprendre une assignation du contrôleur : 1 Cliquez sur le bouton « Apprendre nouvelle assignation ». 2 Sélectionnez une commande dans la colonne Commande. 3 Envoyez le message MIDI souhaité depuis votre contrôleur. 180 Chapitre 8 Fonctionnement de base Le champ Assignations affiche l’assignation apprise, ce qui peut inclure l’un ou l’ensemble des éléments suivants :  Le nom de la surface de contrôle (ou la chaîne MIDI), si l’assignation provient d’une surface de contrôle non prise en charge.  Le nom du contrôle.  La zone et le mode auxquels l’assignation appartient, le cas échéant. Remarque : le bouton « Apprendre nouvelle assignation » est automatiquement désactivé une fois que vous avez reçu l’intégralité du message, ce qui vous évite de recevoir d’autres messages (éventuellement) envoyés par le périphérique lorsque vous relâchez le bouton. Pour vous assurer de bien recevoir le message, maintenez le bouton enfoncé pendant quelques secondes, puis relâchez-le. 4 Si vous souhaitez définir une autre assignation, répétez les étapes 2 et 3. Si vous souhaitez assigner d’autres fonctions, en dehors des raccourcis clavier, à une surface de contrôle, ouvrez l’éditeur des assignations du contrôleur. Pour y accéder, double-cliquez sur une ligne de la rubrique d’assignation ou choisissez Logic Express > Préférences > Surfaces de contrôle > Apprendre l’assignation pour xxx (raccourci clavier Ouvrir l’éditeur des assignations du contrôleur). Cette procédure est détaillée dans le manuel d’assistance sur les surfaces de contrôle. Réinitialisation des attributions de raccourcis clavier Vous pouvez restaurer les attributions par défaut de tous les raccourcis clavier. Cette opération vous fera perdre tous vos raccourcis clavier, donc pensez à créer d’abord une copie de votre fichier de raccourcis clavier. Pour réinitialiser toutes les attributions de raccourcis clavier : m Cliquez sur Options > Initialiser tous les raccourcis clavier dans la fenêtre Raccourcis clavier. Chapitre 8 Fonctionnement de base 181 Impression d’une liste de raccourcis clavier Vous pouvez utiliser la fonction Options > Copier les raccourcis dans le Presse-papiers pour copier toutes vos attributions de raccourcis clavier dans le Presse-papiers sous forme de texte. Ensuite, il vous suffit de coller les résultats dans n’importe quelle application de traitement de texte, de leur appliquer la mise en forme souhaitée et de les imprimer. La commande « Copier vers le Presse-papiers » se limite à copier les attributions de raccourcis clavier actuellement affichées. Ainsi, vous pouvez exporter un groupe donné de raccourcis clavier (ceux contenant une chaîne de caractères spécifique, par exemple). Ce que vous voyez dans la fenêtre affichée correspond exactement au contenu exporté. Utilisation d’outils Chaque éditeur fournit des outils différents, adaptés aux tâches effectuées dans la fenêtre. Ces outils ne fonctionnent que dans les limites de la zone de travail de la fenêtre dans laquelle vous les avez sélectionnés. Vous pouvez définir des outils individuels pour chaque fenêtre. Un outil (comme les Ciseaux) agit sur les régions ou événements sur lesquels vous cliquez. Si vous avez sélectionné plusieurs régions, elles sont donc toutes modifiées par l’outil (les Ciseaux ont pour effet de couper toutes les régions sélectionnées au même emplacement de la tête de lecture). La commande « Copier vers le Presse-papiers » copie uniquement les attributions de raccourcis clavier actuellement visibles. 182 Chapitre 8 Fonctionnement de base Pour accéder aux outils, il vous suffit de cliquer sur les menus Outil situés dans l’angle supérieur droit de chaque fenêtre. Ils vous permettent d’effectuer directement des opérations de modification et de gestion des régions, événements ou fichiers. Vous pouvez affecter librement au moins deux outils, un dans chaque menu Outil. Dans certaines fenêtres, des menus Outil supplémentaires peuvent apparaître si vous avez déjà affecté deux outils. Pour assigner l’outil de clic gauche (outil par défaut) : m Cliquez sur le menu Outil de gauche pour l’ouvrir, puis sélectionnez l’outil souhaité. Pour assigner l’outil de clic + touche Commande (outil secondaire) : m Cliquez sur le menu Outil de droite, puis sélectionnez l’outil souhaité. Lorsque vous modifiez une région, un événement ou un fichier, les deux outils sont disponibles au niveau du pointeur de la souris. L’outil du menu de gauche est actif par défaut. Pour basculer de l’outil par défaut à l’outil secondaire : 1 Maintenez la touche Commande enfoncée pour activer l’outil secondaire (menu de droite). 2 Relâchez la touche Commande pour revenir à l’outil par défaut (menu de gauche). Le pointeur de la souris adopte la forme de l’outil « actif ». Vous pouvez donc immédiatement l’identifier en regardant sa forme. Chapitre 8 Fonctionnement de base 183 Assignation du bouton droit de la souris Si vous possédez une souris qui convient, vous pouvez également affecter le bouton droit de la souris à l’un des éléments suivants :  Un troisième outil  Le menu Outils  Un menu contextuel (par défaut) Pour définir le comportement du bouton droit de la souris : 1 Ouvrez les préférences globales en procédant de l’une des manières suivantes :  Cliquez sur Logic Express > Préférences > Global (ou utilisez le raccourci clavier correspondant).  Cliquez sur le bouton Préférences de la barre d’outils, puis cliquez sur Globales dans le menu contextuel. 2 Cliquez sur l’onglet Édition, puis sélectionnez le réglage souhaité dans le menu local « Bouton droit de la souris ».  Est assignable à un outil : lorsque cette option est sélectionnée, un troisième menu Outil apparaît (à droite des menus Outil par défaut et secondaire) dans la fenêtre de travail. Sélectionnez l’option de menu appropriée pour affecter un outil au bouton droit de la souris. Le fait de cliquer avec le bouton droit de la souris active le troisième outil dans la fenêtre de travail. Menu Outil (clic gauche) Menu Outil (clic droit) Menu Outil (clic + touche Commande) 184 Chapitre 8 Fonctionnement de base  Ouvre le menu Outil : si vous cliquez avec le bouton droit de la souris sur la zone de travail de la fenêtre active, le menu Outil s’ouvre à l’endroit où se trouve le curseur de la souris. Pour sélectionner l’outil souhaité, il vous suffit de cliquer dessus. Lorsque le menu Outil est ouvert, vous pouvez également appuyez sur le chiffre indiqué en regard du nom d’un outil pour le sélectionner.  Ouvre le menu contextuel : si vous cliquez avec le bouton droit de la souris sur la zone de travail de la fenêtre active, un menu s’affiche dans lequel plusieurs commandes d’édition et de sélection spécifiques à la zone sont disponibles (voir « Utilisation du menu contextuel » à la page 188). Chapitre 8 Fonctionnement de base 185 Utilisation de raccourcis clavier pour sélectionner des outils Vous pouvez également utiliser les raccourcis clavier suivants pour sélectionner des outils :  Régler outil suivant et Régler outil précédent : permettent d’accéder à l’outil le plus proche dans la fenêtre active.  Afficher menu Outil : ouvre le menu Outil à l’emplacement du curseur. Lorsque le menu Outil est ouvert, vous pouvez également utiliser la touche numérotée indiquée en regard d’un outil pour sélectionner ce dernier. (Raccourci clavier par défaut : Échap).  Régler outil X : chaque outil peut être sélectionné via un raccourci clavier spécifique. Les raccourcis clavier assignés à un outil donné permettent de basculer entre cet outil et l’outil précédemment sélectionné. À propos des outils courants La rubrique suivante décrit les outils les plus courants disponibles dans Logic Express. Quant aux outils spécifiques à certaines fenêtres d’édition, ils sont détaillés dans les chapitres correspondants à ces fenêtres. Outil Pointeur Le Pointeur est l’outil par défaut lorsque Logic Express s’ouvre. Le curseur de la souris prend également cette forme en dehors de la zone de travail, lorsque vous sélectionnez un menu ou saisissez une valeur. Au sein de la zone de travail, vous pouvez utiliser l’outil Pointeur pour :  Sélectionner un ou plusieurs événements, régions ou autres éléments en cliquant dessus. Reportez-vous à la rubrique « Techniques de sélection » à la page 189.  Déplacer un élément (en le saisissant, puis en le faisant glisser) ;  Copier un élément (en le faisant glisser tout en maintenant la touche Option enfoncée) ;  Modifier des longueurs (en saisissant l’angle inférieur droit ou gauche, puis en le faisant glisser) ;  Lire des régions en boucle (en saisissant leur angle supérieur droit, puis en le faisant glisser). 186 Chapitre 8 Fonctionnement de base Outil Crayon Le Crayon permet d’ajouter de nouvelles régions ou de nouveaux événements. Il vous permet également de sélectionner, faire glisser, lire en boucle des régions, ainsi que de modifier la durée de régions ou d’événements. Outil Gomme La Gomme permet de supprimer les régions ou événements sélectionnés. Lorsque vous cliquez sur une région ou un événement avec la Gomme, l’ensemble des régions ou événements sélectionnés sont supprimés (comme si vous aviez appuyé sur la touche Retour). Grâce à la Gomme, vous pouvez également supprimer une région ou un événement non sélectionné en cliquant dessus. Outil Texte L’outil Texte permet de nommer des régions ou d’ajouter du texte à une partition musicale. Outil Ciseaux L’outil Ciseaux est utilisé pour dissocier des régions et des événements, ce qui permet de copier, déplacer ou supprimer des rubriques individuelles. Outil Colle La fonction de l’outil Colle est l’inverse de celle de l’outil Ciseaux. Toutes les régions ou tous les événements sélectionnés sont fusionnés en une région ou un événement unique. Outil Solo Lorsque vous cliquez sur une région avec l’outil Solo et que vous maintenez le bouton de la souris enfoncé, vous pouvez écouter la région ou l’événement sélectionné de façon isolée. Le déplacement de la souris à l’horizontale a également pour effet de produire (effectuer un scrub) tout événement touché par le curseur. Outil Muet Lorsque vous cliquez sur une région ou un événement avec l’outil Muet, cela empêche sa lecture. Il vous suffit de cliquer une seconde fois sur l’outil Muet pour activer le son de la région ou de l’événement. Si vous avez sélectionné plusieurs régions ou événements, le réglage Muet/Son actif de celui ou celle sur lequel vous avez cliqué s’applique à tous. Outil Zoom L’outil Zoom vous permet d’obtenir un zoom de la zone sélectionnée par étirement (jusqu’à ce qu’elle remplisse la fenêtre). Il vous suffit ensuite de cliquer sur l’arrière-plan de la fenêtre avec cet outil pour rétablir le niveau de zoom normal. Vous pouvez également accéder à la fonction Zoom (même si d’autres outils sont actifs) en maintenant les touches Contrôle et Option enfoncées. Chapitre 8 Fonctionnement de base 187 Utilisation des bulles d’aide Lorsque vous utilisez plusieurs outils, une balise d’aide apparaît juste en dessous du curseur aussi longtemps que vous maintenez le bouton de la souris enfoncé. Cette bulle d’aide fournit des commentaires utiles concernant le type d’opération que vous effectuez. Remarque : vous devez activer l’option Logic Express > Préférences > Afficher > Général > Afficher les bulles d’aide afin de pouvoir visualiser les bulles d’aide au cours de vos opérations de modification. Lors d’opérations impliquant des régions, la bulle d’aide se présente comme ceci : De gauche à droite (et de haut en bas), les valeurs indiquent :  Nom de l’opération.  Position de la souris (ou de la région).  Nom de la région/l’événement.  Numéro de la piste.  Durée de la région. Lors d’opérations impliquant des événements, la bulle d’aide est semblable à ceci : De gauche à droite, les valeurs indiquent :  Nom de l’opération.  Position de la souris (ou de l’événement).  Type d’événement.  Canal MIDI de l’événement. 188 Chapitre 8 Fonctionnement de base  Premier octet de données (tonalité, par exemple).  Second octet de données (vélocité de la note, par exemple).  Durée de l’événement (durée de la note, par exemple). Utilisation du menu contextuel Maintenez la touche Contrôle enfoncée et cliquez n’importe où dans la fenêtre Arrangement, l’Éditeur Clavier ou les Éditeurs de liste pour afficher un menu contextuel. Ce menu vous sert pour diverses tâches d’édition et de sélection. Les menus contextuels affichés varient d’une fenêtre à l’autre (et au sein d’une même fenêtre) selon l’état de sélection des événements ou régions figurant dans la fenêtre et le type d’informations géré par l’éditeur. Les éléments disponibles dans chaque menu reflètent le contexte actuel. Voici deux exemples associés à la fenêtre Arrangement :  Fenêtre Arrangement ne comportant aucune région ou dans laquelle aucune région n’est sélectionnée : les commandes Sélectionner, Coller et Glissement en lecture sont disponibles.  Fenêtre Arrangement dans laquelle une ou plusieurs régions sont sélectionnées : les commandes Couper, Copier, Supprimer, Pousser, SMPTE - Verrouiller/Déverrouiller la position, Nom et Couleur de la région sont alors disponibles. Remarque : vous pouvez toujours accéder au menu contextuel en cliquant tout en maintenant la touche Contrôle enfoncée, mais vous pouvez aussi utiliser le bouton droit de la souris pour l’ouvrir. Pour ce faire, vérifiez que l’option de menu contextuel « Bouton droit de la souris : ouvre le menu contextuel » est sélectionnée dans l’onglet Préférences > Globales > Édition. Chapitre 8 Fonctionnement de base 189 Techniques de sélection À partir du moment où vous souhaitez effectuer une opération sur un ou plusieurs événements ou régions (ou d’autres éléments, tels que des bandes de canaux de la table de mixage), vous devez d’abord les sélectionner. Soit les éléments, régions ou événements sélectionnés sont affichés dans un schéma en couleur inversé, leur nom apparaissant en surbrillance, soit ils clignotent (les événements de note dans l’éditeur de partition, par exemple). Une région ou un événement sélectionné dans une fenêtre l’est également dans toutes les autres fenêtres dans lesquelles il ou elle figure. Ainsi, un événement de note sélectionné dans l’Éditeur Clavier l’est également dans l’éditeur de partition et dans la Liste d’événements. La région qui contient l’événement sélectionné est également sélectionnée dans la zone Arrangement. Si vous déplacez le focus principal sur une autre fenêtre, cela n’a pas d’incidence sur la sélection (tant que vous ne cliquez pas sur l’arrière-plan de la fenêtre, ce qui a pour effet de tout désélectionner). Veillez à cliquer sur les barres de titre des fenêtres lorsque vous changez de fenêtre. Π Conseil : pensez à utiliser les fonctions Zoom lorsque vous sélectionnez un élément, étant donné qu’un niveau de zoom élevé permet d’effectuer beaucoup plus facilement des sélections précises. Sélection de régions, d’événements et d’autres éléments individuels Vous pouvez sélectionner des régions ou des événements individuels (ou d’autres éléments, comme des bandes de canaux de la table de mixage) en cliquant dessus à l’aide de l’outil Pointeur. Pour les désélectionner, il vous suffit de cliquer sur l’arrière-plan de la fenêtre ou de sélectionner une autre région, un autre événement ou un autre élément. 190 Chapitre 8 Fonctionnement de base Les raccourcis clavier Sélectionner la région ou l’événement suivant (assignation par défaut : touche Flèche droite) et Sélectionner la région ou l’événement précédent (assignation par défaut : touche Flèche gauche) permettent de passer rapidement d’une région ou d’un événement à un autre (et de les sélectionner individuellement). Si vous appuyez sur une touche d’une lettre dans la zone Arrangement, la première région dont le nom commence par cette lettre est sélectionnée (comme dans le Finder), à condition qu’aucun raccourci clavier ne soit affecté à cette touche. Sélection de plusieurs régions, événements et autres éléments Vous serez souvent amené à sélectionner plusieurs régions, événements ou autres éléments afin, par exemple, de les déplacer, traiter ou copier. Pour sélectionner l’ensemble des régions, événements ou éléments d’une fenêtre : m Choisissez Édition > Tout sélectionner (ou utilisez le raccourci clavier correspondant, par défaut : Commande + A). Pour désélectionner l’ensemble des régions, événements ou éléments d’une fenêtre : m Cliquez sur Édition > Tout désélectionner (ou utilisez le raccourci clavier correspondant, par défaut Maj + Commande + A). Pour sélectionner plusieurs régions, événements ou éléments non contigus d’une fenêtre : m Cliquez dessus l’un après l’autre, tout en appuyant sur la touche Maj. À mesure que vous sélectionnez des régions ou des événements, les sélections précédentes sont conservées. Sélections horizontales Vous pouvez effectuer des sélections horizontales dans différentes fenêtres d’édition, afin de sélectionner rapidement l’ensemble des régions ou événements alignés sur une voie. Pour sélectionner toutes les régions d’une piste dans la zone Arrangement, effectuez l’une des opérations suivantes : m Cliquez sur le nom de la piste souhaitée dans la liste de pistes. m Choisissez Édition > Tout sélectionner selon la même piste (ou utilisez le raccourci clavier correspondant). Toutes les régions suivant (situées après) la région choisie sont alors sélectionnées. Chapitre 8 Fonctionnement de base 191 Pour sélectionner tous les événements (d’une définition d’événement spécifiée) dans l’Éditeur Hyper, effectuez l’une des opérations suivantes : m Cliquez sur le nom de la définition d’événement. m Cliquez sur Édition > Tout sélectionner selon la même hauteur tonale (ou utilisez le raccourci clavier correspondant). Tous les événements situés après l’événement choisi sont alors sélectionnés. Pour sélectionner toutes les notes d’une certaine tonalité dans l’Éditeur Clavier, effectuez l’une des opérations suivantes : m Cliquez sur la touche appropriée sur le clavier du piano roll. m Cliquez sur Édition > Sélectionner tous les éléments ayant la même tonalité (ou utilisez le raccourci clavier correspondant). Important : les techniques de sélection expliquées ci-dessus concernent uniquement les régions ou événements faisant partie de la zone de cycle définie dans la règle Mesure, lorsque le mode Cycle est activé. Sélections par étirement Pour sélectionner plusieurs régions ou événements consécutifs (ou d’autres éléments, tels que des bandes de canaux de la table de mixage), cliquez sur l’arrière-plan, puis tracez à l’aide du pointeur une zone autour de ces éléments. Toutes les régions ou tous les événements touchés ou entourés par cette zone grisée sont sélectionnés. 192 Chapitre 8 Fonctionnement de base Inversement de l’état de sélection Si vous effectuez une sélection (y compris horizontale ou par étirement) tout en maintenant la touche Maj enfoncée, l’état actif de sélection des régions ou événements concernés est inversé. Vous pouvez également inverser l’état de sélection de l’ensemble des régions ou événements à l’aide de la commande Édition > Inverser la sélection (raccourci clavier par défaut : Maj + T). Par exemple : si vous souhaitez sélectionner toutes les régions d’un projet à quelques exceptions près, commencez par sélectionner les régions à exclure de votre sélection, puis utilisez la commande Inverser la sélection. Sélection des régions ou événements consécutifs Pour sélectionner toutes les régions ou tous les événements qui figurent à la suite d’une région ou d’un événement sélectionné (ou, si aucun n’est sélectionné, pour sélectionner l’ensemble des régions ou événements situés après la tête de lecture), cliquez sur Édition > Sélectionner tous les suivants (raccourci clavier par défaut : Maj + F). Pour ajouter la région ou l’événement suivant à votre sélection : m Utilisez le raccourci clavier Basculer sur région/événement suivant (par défaut : Maj + Flèche droite). Pour ajouter la région ou l’événement précédent à votre sélection : m Utilisez la commande Basculer sur région/événement précédent (par défaut Maj + Flèche gauche). Sélection de régions ou d’événements à l’intérieur de locators Cliquez sur Édition > Sélectionner entre les locators (raccourci clavier par défaut : Maj + I) pour sélectionner l’ensemble des régions ou événements figurant en partie ou en totalité entre les positions des locators. La commande Édition > Désélectionner hors locators (ou le raccourci clavier correspondant) permet de sélectionner toutes les régions ou tous les événements figurant en dehors des locators. Les sélections à l’intérieur des limites de locators ne changent pas. Sélection de régions ou d’événements spécifiques Vous pouvez utiliser les commandes suivantes pour sélectionner des régions ou des événements répondant à une condition spécifique ou présentant une caractéristique particulière.  Édition > Sélectionner les régions vides (raccourci clavier par défaut : Maj + U) : permet de sélectionner toutes les régions vides.  Édition > Sélectionner les régions/événements superposés : permet de sélectionner l’ensemble des régions ou événements superposés. Chapitre 8 Fonctionnement de base 193  Édition > Sélectionner les régions/événements silencieux (raccourci clavier par défaut : Maj + M) : permet de sélectionner l’ensemble des régions ou événements silencieux.  Édition > Sélectionner régions/événements aux couleurs équivalentes (raccourci clavier par défaut : Maj + C) : si vous avez sélectionné une région ou un événement d’une certaine couleur, cette commande permet de sélectionner l’ensemble des régions ou événements dotés de la même couleur. Cette option s’avère particulièrement utile lorsque vous remplacez des rubriques d’un morceau ou effectuez d’autres tâches d’édition groupées.  Raccourci clavier Désélectionner toutes les régions sauf celles de la piste sélectionnée : permet de désélectionner toutes les régions ne faisant pas partie de la piste sélectionnée. Cette commande s’avère particulièrement utile si vous l’utilisez après d’autres commandes de sélection spéciales, car elle limite leurs effets à la piste d’enregistrement. Sélection d’objets, régions ou événements similaires ou identiques Si vous avez sélectionné une région, un événement ou un objet d’environnement, vous pouvez utiliser la fonction Édition > Sélectionner objets/régions/événements similaires pour sélectionner l’ensemble des objets, événements ou régions similaires (raccourci clavier par défaut : Maj + S). La fonction Sélectionner régions/événements/objets équivalents permet de sélectionner l’ensemble des objets, régions ou événements identiques (raccourci clavier par défaut : Maj + E). Le tableau ci-dessous présente les différences entre objets similaires et identiques (équivalents). Élément Similaire Identique Région Type de région (audio ou MIDI)  Régions MIDI : contenu et format identiques  Région audio : toutes les régions ayant la même durée et la même position Événements du contrôleur Numéro de contrôleur équivalent, octet de données indifférent (valeur de contrôle) Numéro de contrôleur et octet de données (valeur de contrôle) identiques Événement de note Note équivalente, octave indifférente Note et octave identiques Objet d’environnement Même type d’objet (par ex., curseur) Même type de curseur (par ex., texte) 194 Chapitre 8 Fonctionnement de base Sélection d’événements dotés du même canal MIDI Après avoir sélectionné un événement, vous pouvez sélectionner tous les autres événements partageant le même canal MIDI à l’aide de la commande Édition > Sélectionner les canaux de même valeur (raccourci clavier par défaut : Maj + K). Par exemple : imaginez que vous changiez une région MIDI contenant des informations sur le contrôleur de volume et de balance pour 16 canaux MIDI. Pour sélectionner tous les événements des canaux 1 et 3 : 1 Tout en maintenant la touche Maj enfoncée, sélectionnez un événement du canal 1 et un autre du canal 3. 2 Cliquez sur Édition > Sélectionner les canaux de même valeur (ou utilisez le raccourci clavier correspondant, par défaut Maj + K). Tous les autres événements de ces deux canaux sont sélectionnés. Sélection de régions ou d’événements ayant la même sous-position Vous pouvez sélectionner toutes les régions et tous les événements ayant une position relative donnée, par exemple l’ensemble des caisses claires sur le contretemps. Sélectionnez une région ou un événement à la position relative souhaitée, puis cliquez sur Édition > Sélectionner les sous-positions équivalentes (raccourci clavier par défaut : Maj + P). L’ensemble des régions ou événements ayant la même position relative est sélectionné. Accélération des opérations d’édition à l’aide des commandes de sélection Comme vous avez pu le constater, il existe de nombreuses méthodes permettant d’effectuer des sélections en fonction de divers critères. Ces méthodes sont capables d’accélérer de nombreuses opérations d’édition lorsqu’elles sont complétées par l’utilisation de raccourcis clavier. Voici quelques exemples : Pour supprimer l’ensemble des régions, événements ou objets similaires, effectuez votre sélection, puis utilisez le raccourci clavier Supprimer objets similaires. À l’inverse, pour conserver l’ensemble des régions, événements ou objets similaires et supprimer tout le reste, utilisez le raccourci clavier « Supprimer mais conserver objets similaires ». Vous pouvez utiliser le raccourci clavier Canal événement +1 ou Canal événement -1 pour modifier d’une unité le numéro de canal du ou des événements sélectionnés, ce qui facilite leur réassignation ultérieure à un autre canal MIDI. Chapitre 8 Fonctionnement de base 195 Utilisation du Presse-papiers Le Presse-papiers est une zone invisible de la mémoire, dans laquelle vous pouvez couper ou copier des informations sélectionnées (régions ou événements, par exemple) pour ensuite les copier à un autre emplacement. Le Presse-papiers est universel, ce qui signifie qu’il peut être utilisé pour échanger des informations d’un projet à un autre. Toutes les options suivantes sont disponibles dans le menu Édition. Couper Tous les éléments sélectionnés sont supprimés de leur emplacement actuel et placés dans le Presse-papiers. Lors de cette opération, tout contenu dans le Presse-papiers est écrasé (raccourci clavier par défaut : Commande + X). Copier Une copie de tous les éléments sélectionnés est placée dans le Presse-papiers. Ces éléments restent à leur place. Comme avec la fonction Couper, le contenu du Presse-papiers est écrasé (raccourci clavier par défaut : Commande + C). Coller Tout le contenu du Presse-papiers est copié dans la fenêtre active. Lors de cette opération, le contenu du Presse-papiers n’est pas effacé (raccourci clavier par défaut : Commande + V). Coller à la position originale Cette commande fonctionne de la même façon que la commande Coller, mais les régions ou événements contenus dans le Presse-papiers sont toujours collés à l’endroit où ils ont été coupés, quelle que soit la position actuelle de la tête de lecture (position où les objets seraient collés avec la fonction Coller standard). Coller Remplacer Cette fonction n’est disponible que dans la fenêtre Arrangement et dans l’Éditeur. Elle ressemble à la commande Coller, mais les régions ou événements collés remplacent les régions ou événements situés à un emplacement donné. Avertissement : lorsque vous utilisez cette fonction, toutes les régions ou tous les événements qui figurent dans la période de temps occupée par ces derniers dans le Presse-papiers sont effacés. Annulation et rétablissement d’opérations d’édition Changer d’avis ou faire une erreur d’édition, autant de situations inévitables au cours du processus de production musicale. Heureusement, Logic Express vous permet d’annuler très simplement vos modifications. Pour ce faire, vous disposez de la commande Annuler, conçue pour annuler votre dernière opération d’édition. Pour annuler la dernière opération : m Cliquez sur Édition > Annuler (raccourci clavier par défaut : commande + Z) de suite après avoir fait une erreur. La quasi-totalité des modifications (déplacement, suppression, changement de nom, modification de réglages, création d’événements, de régions ou de canaux, etc.) peut être annulée. Le réglage Nombre de pas d’annulation présent dans l’onglet Logic Express > Préférences > Globales > Édition vous permet de déterminer le nombre d’opérations qu’il est possible d’annuler. L’Historique d’annulation est enregistré avec le projet. Il est donc disponible dès que vous rouvrez le projet. Pour ouvrir la fenêtre Historique d’annulation : m Cliquez sur Édition > Historique d’annulation (ou utilisez le raccourci clavier correspondant, par défaut Option + Z). Chapitre 8 Fonctionnement de base 197 L’Historique d’annulation affiche la liste de toutes les opérations pouvant être annulées. L’étape la plus récente (opération d’édition), qui est annulée en premier, est sélectionnée. Pour annuler ou rétablir plusieurs opérations : m Cliquez sur une entrée pour annuler ou rétablir toutes les opérations effectuées entre les entrées sur lesquelles vous avez cliqué et celles en surbrillance. Pour annuler ou rétablir une étape isolée : m Cliquez sur l’opération souhaitée tout en maintenant la touche Commande enfoncée. Vous annulez ou rétablissez alors une seule opération, sans aucun impact sur les opérations situées entre l’opération sur laquelle vous cliqué et les entrées en surbrillance. Pour effacer l’Historique d’annulation : m Choisissez sur Édition > Supprimer l’historique d’annulation. Avertissement : prenez garde à cette commande. En effet, annulations et rétablissements sont possibles concernant les opérations supprimées, une fois que l’Historique d’annulation a été effacé. 9 199 9 Utilisation des pistes Les pistes incluent les régions audio et les régions MIDI d’un projet. Les pistes sont répertoriées verticalement dans la liste des pistes Arrangement et présentées horizontalement, par lignes, dans la zone Arrangement. Chaque piste est assignée à un canal dans la table de mixage. En d’autres termes, la sortie produite par une piste donnée est envoyée vers une bande de canal. Si une piste n’est pas envoyée vers une bande de canal, ses régions ne peuvent pas être entendues. Remarque : les pistes de dossier sont l’exception à cette règle. Pour en savoir plus sur les dossiers, reportez-vous à la rubrique « Utilisation des dossiers » à la page 381. 200 Chapitre 9 Utilisation des pistes Une fois la piste associée à un type de canal de mixage donné, sa fonctionnalité est limitée de la manière suivante : Comme vous pouvez le voir, chaque type de piste traite des données particulières et a un objectif bien défini. En effet, chaque piste est acheminée vers un type de canal spécifique dans la table de mixage. Les paramètres d’une piste s’affichent dans la zone correspondante de l’Inspecteur. Important : ces paramètres font référence à la bande de canal (l’objet) vers laquelle la piste est acheminée et non à la piste proprement dite. Aussi, si vous modifiez des paramètres dans cette zone, vous affectez toutes les pistes assignées à cette bande de canal. La plupart des fonctions décrites dans ce chapitre s’appliquent indifféremment aux pistes audio, instruments logiciels et appareils MIDI externes. Outre les types de piste déjà décrits, il existe également des pistes dotées de fonctions spécifiques, telles que les pistes globales. Ces pistes, situées en haut des fenêtres d’édition linéaires, servent à visualiser et à modifier les événements globaux, tels que le tempo, qui ont une influence sur toutes les pistes de l’arrangement. Ces types de piste ne sont pas traités dans ce chapitre. Type de piste Assignation dans la table de mixage Utilisation de la piste Audio Canaux audio Lecture, enregistrement et automation de régions audio. Instrument Canaux instrumentaux Lecture, enregistrement et automation des données MIDI envoyées aux instruments logiciels MIDI Canaux MIDI Lecture, enregistrement et automation des données MIDI envoyées aux appareils MIDI externes Dossier Aucune assignation Lignes pour les régions de dossier. Les régions de dossier contiennent simplement d’autres régions et ne sont pas assignées à un canal de mixage. Zone Paramètres de piste Chapitre 9 Utilisation des pistes 201 Configuration de l’en-tête de piste L’en-tête de chaque piste (qui apparaît dans la liste de pistes de la zone Arrangement) peut afficher un certain nombre de boutons en regard de l’icône et du nom de la piste. Par défaut, on trouve les boutons Activation pour l’enregistrement, Muet et Solo pour toutes les pistes. Le bouton Monitoring des entrées apparaît uniquement pour les pistes audio. Vous pouvez utiliser la zone de dialogue Configuration de piste pour afficher ou masquer ces éléments d’en-tête de piste, et d’autres. Pour déterminer les éléments affichés dans l’en-tête de piste : 1 Ouvrez la zone de dialogue Configuration de piste en effectuant l’une des méthodes ci-dessous :  Dans la zone Arrangement, sélectionnez Présentation > « Configurer l’en-tête de piste ».  Cliquez sur une en-tête dans la liste des pistes tout en maintenant la touche Contrôle enfoncée, puis sélectionnez « Configurer l’en-tête de piste » dans le menu local. 2 Activez les éléments d’en-tête souhaités dans la zone de dialogue Configuration de piste. Bouton Bouton Freeze Protection Bouton Contrôler les entrées Bouton Préparer à l’enregistrement Bouton Solo Bouton Désactiver l’audio Barre de couleur pour les pistes 202 Chapitre 9 Utilisation des pistes  Barres des commandes de piste : activez cette option pour afficher les barres. Ces barres indiquent les pistes auxquelles vous accédez à partir des surfaces de contrôle connectées à votre système. Il est possible de définir une couleur différente pour chaque surface de contrôle dans la zone Paramètres d’appareil. Pour en savoir plus, consultez le manuel intitulé « Prise en charge des surfaces de contrôle ».  Numéros de piste/VU-mètre : cochez cette case pour afficher le numéro d’une piste. Durant la phase de lecture, un petit VU-mètre s’affiche à la place du numéro de la piste. Pour les pistes d’instruments logiciels ou d’appareils MIDI externes, ce VUmètre indique la vélocité de l’enregistrement et devient rouge lorsque la valeur de vélocité maximale est atteinte. Pour les pistes audio, le VU-mètre signale le niveau de sortie.  Icône des pistes : cliquez dessus pour afficher ou masquer l’icône des pistes dans l’en-tête.  Rubrique Noms : utilisez les différents menus de cette rubrique pour déterminer les noms affichés dans l’en-tête de piste. Pour plus d’informations, reportez-vous à la rubrique « Attribution de noms à des pistes » à la page 212.  Rubrique Boutons : cochez les cases associées aux divers boutons que vous souhaitez afficher dans l’en-tête de piste.  Barres de couleur pour les pistes : cochez cette case pour afficher une fine bande de couleur à droite de chaque piste. Cette aide visuelle permet de suivre les régions déplacées entre les pistes. Espace de travail et en-tête de piste Si vous activez la totalité des boutons, icônes, noms de piste et autres, la quantité d’informations à afficher dans l’en-tête de piste s’avère considérable. Pour visualiser tous ces éléments, vous pouvez redimensionner la liste des pistes, en faisant glisser le coin supérieur gauche de la zone Arrangement. Le curseur de la souris se transforme alors en icône de redimensionnement. L’inconvénient de cette technique est que cela réduit l’espace de travail dans la zone Arrangement ainsi que dans les zones d’édition. Pour libérer un peu plus d’espace de travail, vous pouvez masquer la totalité de la zone Inspecteur à gauche de la fenêtre Arrangement et des Éditeurs. Vous obtiendrez ainsi davantage d’espace pour l’affichage des régions, événements et autres données. Pour afficher ou masquer la zone Inspecteur dans la fenêtre Arrangement, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Inspecteur dans la barre d’outils. m Sélectionnez Présentation > Inspecteur (ou utilisez le raccourci clavier par défaut Masquer/Afficher l’Inspecteur, à savoir : I). Chapitre 9 Utilisation des pistes 203 Création de pistes et de canaux Si vous souhaitez enregistrer ou lire des données audio, MIDI ou issues d’un instrument logiciel dans Logic Express, vous devez d’abord créer une piste. Les bandes de canaux correspondantes sont alors automatiquement créées dans la table de mixage. Si des canaux d’un type particulier (canaux audio, par exemple) sont déjà définis dans la table de mixage, les pistes créées sont assignées aux canaux existants correspondants. Important : certaines options de création de pistes génèrent de nouveaux canaux, mais pas toutes. Chacune correspond à un type de tâche différent. Ces commandes sont expliquées une à une ci-après et des délimitations les distinguent dans le menu Piste au sein de l’application. Voici un exemple explicatif :  Supposons que vous créez 8 pistes audio dans la zone Arrangement d’un projet incluant 24 canaux audio déjà configurés dans la table de mixage.  Ces nouvelles pistes sont assignées aux canaux audio 1 à 8 dans la table de mixage.  Vous décidez de créer par la suite 16 pistes audio. Celles-ci sont assignées aux canaux audio 9 à 24 dans la table de mixage.  S’il n’existe aucun canal du type requis (ou en nombre suffisant) dans la table de mixage, les canaux nécessaires sont automatiquement créés lors de la création des pistes.  Vous avez besoin de 8 pistes audio supplémentaires pour votre projet ; or, vous avez déjà utilisé les 24 canaux audio de la table de mixage. Cela ne pose pas de problème. Créez simplement les 8 pistes audio supplémentaires. Logic Express génère alors automatiquement les canaux audio correspondants dans la table de mixage. Ces pistes (de 25 à 32) sont automatiquement assignées aux canaux audio 25 à 32. Remarque : la création automatique des canaux correspondants s’applique à tous les types de piste (jusqu’à ce que le nombre maximal de canaux autorisés soit atteint). Cette limite est de l’ordre de la centaine pour les canaux d’instrument ou audio, et de l’ordre du millier pour les canaux MIDI. Il est fort probable que votre ordinateur atteigne ses limites de capacités bien avant que vous ne parveniez à ce nombre maximal pour chaque type de canal. Π Conseil : la création simple et rapide de canaux, par le biais de la création de pistes, permet de ne pas avoir à générer des centaines de canaux de tout type dans la table de mixage avant de commencer à jouer. 204 Chapitre 9 Utilisation des pistes Commandes de création de pistes et de canaux Les commandes et méthodes présentées dans cette rubrique permettent de créer à la fois des pistes et les bandes de canaux correspondantes. Pour créer des pistes (et les canaux correspondants) : 1 Effectuez l’une des opérations suivantes :  Dans la barre des menus locale de la zone Arrangement, sélectionnez Piste > Nouvelle (ou utilisez le raccourci clavier Créer des pistes).  Cliquez sur le bouton Créer une piste (il s’agit du bouton avec le signe plus, au-dessus de la liste des pistes). 2 Dans la zone de dialogue Nouvelles pistes, sélectionnez le type et saisissez le nombre de pistes à créer. 3 Cochez la case Ouvrir la bibliothèque (le cas échéant) pour ouvrir automatiquement l’onglet Bibliothèque dans la zone Données. Vous pouvez ainsi définir immédiatement les réglages du type de piste créé. 4 Cliquez sur Créer. La nouvelle piste est créée à l’emplacement sélectionné et toutes les pistes suivantes (en dessous) se décalent dans la liste des pistes. Chapitre 9 Utilisation des pistes 205 Utilisation de la zone de dialogue Nouvelles pistes Lors de la génération de pistes, la zone de dialogue Nouvelles pistes propose diverses options pour chaque type de piste. Ces options sont présentées ci-après. Création de pistes MIDI externes dans la zone de dialogue Nouvelles pistes Les pistes MIDI externes ne disposent d’aucune option supplémentaire mais, si vous choisissez MIDI externe dans la zone de dialogue Nouvelles pistes, voici ce qui se passe :  Un objet Multi Instrument MIDI est créé dans l’environnement pour la première piste. Cette dernière est ensuite assignée au sous-canal 1.  Les pistes suivantes sont assignées aux sous-canaux de l’objet Multi Instrument MIDI (jusqu’à 16).  Si plus de 16 pistes MIDI externes sont créées, elles reprennent à partir des canaux 1, 2, 3 et ainsi de suite. Il est possible de réassigner librement ces pistes à tout sous-canal. Si votre système dispose de plusieurs ports MIDI, vous pouvez réassigner les pistes supplémentaires (au-delà des 16 premières) à un second objet Multi Instrument MIDI.  Une bande de canal est automatiquement générée dans la table de mixage pour tous les sous-canaux de chaque objet Multi Instrument MIDI. Π Conseil : une fois la création des pistes terminée, vous pouvez rapidement réassigner les différentes pistes aux sous-canaux de tout objet Multi Instrument MIDI. Pour ce faire, vous pouvez utiliser la bibliothèque ou cliquer sur la liste des pistes tout en maintenant la touche Contrôle enfoncée et en sélectionnant les éléments souhaités dans le menu Réassignation de l’objet. Pour en savoir plus sur la configuration de claviers MIDI externes et de leurs modules sonores internes, consultez la rubrique « Configuration d’instruments MIDI externes » à la page 262. Options de création de pistes audio dans la zone de dialogue Nouvelles pistes  Gestionnaire : ce menu local vous permet de sélectionner le gestionnaire du matériel audio, à utiliser pour les nouvelles pistes. Si vous n’avez qu’un seul appareil de reproduction musicale, ce menu ne s’affiche pas. 206 Chapitre 9 Utilisation des pistes  Format : sélectionnez Mono ou Stéréo dans le menu local pour créer plusieurs pistes audio mono ou stéréo.  Entrée : choisissez l’entrée ou la paire d’entrées souhaitée.  Case Ordre croissant : cochez cette case pour assigner les entrées par ordre croissant (de l’entrée inférieure à l’entrée supérieure) à chaque piste, si plusieurs pistes sont créées. Cette option reste sans effet si une seule piste est créée. Si vous créez davantage de pistes que d’entrées (par exemple, si vous créez 8 pistes et utilisez 4 appareils en entrée), les pistes 1 et 5 sont assignées à l’entrée 1, les pistes 2 et 6, à l’entrée 2, les pistes 3 et 7, à l’entrée 3, les pistes 4 et 8, à l’entrée 4.  Sortie : sélectionnez la sortie ou la paire de sorties souhaitée.  Cases Monitoring de l’entrée et Activation pour l’enregistrement : cochez ces cases pour activer les boutons du monitoring de l’entrée et d’activation pour l’enregistrement. Ces boutons sont pratiques si vous souhaitez commencer à enregistrer immédiatement après avoir créé les pistes, par exemple. Options de création de pistes d’instruments logiciels dans la zone de dialogue Nouvelles pistes  Case Multitimbral : cochez cette case pour créer jusqu’à 16 pistes en utilisant les réglages de canaux MIDI par ordre croissant (en commençant par le canal MIDI 1 pour la première piste, le canal MIDI 2 pour la seconde et ainsi de suite).  Ces pistes sont indépendantes de la première : elles peuvent notamment être automatisées individuellement et comporter différentes régions. Toutefois, elles sont toutes associées au même canal d’instrument (qui les acheminent) dans la table de mixage.  Pour que cette option présente un intérêt, l’instrument logiciel inséré dans le canal d’instrument doit donc être multitimbral (capable de jouer divers sons sur des canaux MIDI différents). Aucun des instruments Logic Express fournis n’est multitimbral.  Sortie : sélectionnez la sortie ou la paire de sorties souhaitée. Chapitre 9 Utilisation des pistes 207 Transfert d’un réglage de bande de canal vers une nouvelle piste Vous pouvez créer une piste utilisant l’assignation à la même bande de canal et les mêmes réglages que la piste sélectionnée. De cette manière, vous pouvez créer facilement et rapidement la copie d’une piste et d’une bande de canal existantes, sans avoir à recopier les données dans la nouvelle piste. Pour transférer l’assignation du canal à une nouvelle piste : 1 Sélectionnez la piste source (celle dont la bande de canal et les réglages correspondent à ce que vous souhaitez dupliquer). 2 Effectuez l’une des opérations suivantes :  Dans la zone Arrangement, sélectionnez Piste > Nouvelle avec les même réglages.  Cliquez sur le bouton Dupliquer la piste, situé au-dessus de la liste des pistes dans la zone Arrangement. Logic Express crée, directement sous la piste source, la nouvelle piste qui utilise les mêmes réglages et assignations de canaux. Les données éventuellement présentes sur la piste ne sont pas dupliquées. Si vous souhaitez copier une piste, y compris ses données, mais non sa bande de canal, consultez la rubrique « Copie de pistes et déplacement de régions » à la page 209. Π Conseil : vous pouvez double-cliquer sur l’espace vide situé en dessous de l’en-tête de piste de la dernière piste, afin de créer une nouvelle piste. Elle sera du même type que la piste sélectionnée. Création de pistes par l’ajout de boucles Apple Loops Vous pouvez aussi créer des pistes en faisant glisser des boucles Apple Loops directement depuis le navigateur de boucles jusque dans une zone vide de la fenêtre Arrangement. Une piste ainsi que la bande de canal correspondante sont automatiquement créées et une boucle Apple Loops se charge. Pour en savoir plus sur l’ajout de boucles Apple Loops, consultez la rubrique « Recherche de boucles Apple Loops dans le navigateur de boucles » à la page 290. Création de pistes par l’ajout de fichiers audio Vous pouvez aussi créer des pistes en faisant glisser des fichiers audio depuis le navigateur multimédia jusque dans une zone vide de l’arrangement. Une piste ainsi que la bande de canal correspondante sont automatiquement créées et une région (de la longueur totale du fichier audio) s’ajoute à la nouvelle piste de l’arrangement. Le fichier audio est également ajouté automatiquement dans le chutier audio (de même que la région correspondante). 208 Chapitre 9 Utilisation des pistes Commandes de création de pistes Les commandes et méthodes présentées dans cette rubrique permettent uniquement de créer des pistes. La bande de canal active sert de cible pour la nouvelle piste. Création d’une piste avec la même assignation de canal Dans certains cas, il est préférable de disposer de plusieurs copies d’une même piste utilisant toutes le même canal dans la table de mixage. Par exemple : vous cherchez à créer plusieurs pistes pour un même instrument logiciel, tel que l’EXS24 mkII, avec une batterie chargée en mémoire. Chaque piste peut contenir des régions MIDI qui déclenchent des sons de batterie distincts (grosse caisse, caisse claire, cymbale charleston, etc.). Le fait de disposer d’une piste particulière pour chaque son permet de jouer en solo ou couper certains sons de la batterie. Π Conseil : utilisez une version de l’EXS24 mkII prévoyant des sorties différentes si vous voulez traiter individuellement les sons de la batterie avec des effets distincts. Pour créer une piste avec la même assignation d’instrument ou de bande de canal : 1 Sélectionnez la piste à copier. 2 Effectuez l’une des opérations suivantes :  Choisissez la commande Piste > Nouvelle piste avec le même instrument/bande de canal (raccourci clavier par défaut : Contrôle + Retour) pour créer une piste sous la piste sélectionnée.  Utilisez le raccourci clavier « Ajouter la piste à la liste » pour créer une nouvelle piste en bas de la liste des pistes. Création d’une piste avec l’assignation de canal suivante La commande Piste > « Nouvelle avec le canal MIDI suivant » (raccourci clavier par défaut : Maj + Contrôle + Retour) crée un piste sous la piste sélectionnée et lui assigne le canal MIDI ou instrumental suivant. Si le canal MIDI de la piste sélectionnée correspond au canal 16, le premier canal est réutilisé. Cette commande n’est pas disponible si des pistes audio (ou des pistes sans paramètre de canal MIDI, comme les pistes assignées aux canaux auxiliaires) sont sélectionnées. Création de pistes avec le canal MIDI/la bande de canal suivant(e) La commande Piste > Nouvelle avec l’instrument/bande de canal suivant(e) permet de créer une nouvelle piste, ou une nouvelle piste et une nouvelle bande de canal. La commande se comporte différemment en fonction du type de piste sélectionné :  Si la piste sélectionnée est une piste d’instrument logiciel ou audio : la commande crée une nouvelle piste sous la piste sélectionnée, et lui assigne la bande de canal suivante. Si aucune bande de canal n’existe, elle est automatiquement créée. Chapitre 9 Utilisation des pistes 209  Si la piste sélectionnée est une piste MIDI : l’utilisation de cette commande revient à sélectionner Piste > Nouvelle avec le canal MIDI suivant : une nouvelle piste est créée et assignée au canal MIDI suivant. Copie de pistes et déplacement de régions Maintenez la touche Option enfoncée tout en déplaçant verticalement une piste (en faisant glisser le numéro de la piste) afin de créer une copie de la piste à l’emplacement voulu. Toutes les régions sélectionnées sur la piste source sont déplacées vers la nouvelle piste. Remarque : si vous maintenez la touche Option enfoncée avant de cliquer sur le numéro de piste, aucune autre région de la piste n’est sélectionnée. Si aucune région n’est sélectionnée au préalable, une piste vide (assignée au même canal que la piste initiale) est alors créée à l’emplacement voulu. Si la fonction Lecture en boucle est activée, toutes les régions du cycle sont déplacées de l’ancienne piste vers la nouvelle. Le résultat sonore reste le même : la nouvelle piste étant une copie, elle hérite du réglage de la sortie relative à la bande de canal de la piste source. Ainsi, une seule bande de canal est utilisée pour plusieurs pistes. Vous pouvez donc jouer certaines parties en double piste pour les renforcer. En outre, cela facilite et accélère certaines tâches telles que la création de voix à l’unisson (c’est-à-dire différant d’une octave entre deux pistes) pour les pistes d’instruments logiciels ou MIDI. Pour ce faire, en maintenant la touche Option enfoncée, faites glisser les régions de la piste de destination pour les répliquer/restaurer sur la piste source. Remarque : si vous modifiez le volume (ou d’autres paramètres) de la bande du canal, indépendamment de la piste choisie, toutes les pistes dirigées vers cette bande sont affectées par les changements. Création de pistes pour les régions superposées La fonction Piste > « Nouvelle pour les régions superposées » crée des pistes pour les régions totalement ou partiellement superposées. Les régions sont alors réparties entre les pistes créées. Le nombre de nouvelles pistes est égal au nombre de superpositions. Toutes les pistes sont dotées de la même assignation de canal que la piste d’origine. Comme présenté précédemment, une seule bande de canal est utilisée pour toutes les pistes. 210 Chapitre 9 Utilisation des pistes Création de pistes pour les régions sélectionnées La fonction Piste > « Nouvelle pour les régions sélectionnées » crée une piste destinée aux régions sélectionnées dans la piste initiale. Les régions sélectionnées sont déplacées vers la nouvelle piste, disparaissant ainsi de la piste source. Toutes les nouvelles pistes utilisent la même assignation de canal que la piste d’origine. Si vous utilisez cette commande alors que plusieurs régions sont sélectionnées entre diverses pistes, une piste est créée pour chaque piste source. Par exemple :  Deux régions sont sélectionnées sur la piste A, une région sur la piste B et quatre régions sur la piste C.  Suite à l’utilisation de la commande relative aux régions sélectionnées, les deux régions de la piste A sont déplacées vers la nouvelle piste « copie de A », la région de la piste B est déplacée vers « copie de B » et les quatre régions de la piste C vers « copie de C ».  Si vous souhaitez créer des pistes distinctes pour les deux régions de la piste A (désormais situées sur la copie de A), sélectionnez simplement la copie de A : l’ensemble des régions de cette piste sont alors automatiquement sélectionnées et vous pouvez à nouveau exécuter la commande. Suppression de pistes Si vous supprimez une piste, la bande de canal associée est également supprimée et ne figure plus dans la table de mixage (à moins qu’elle soit assignée à une piste en cours d’utilisation). Pour supprimer une piste, effectuez l’une des opérations suivantes : m Sélectionnez la piste, puis choisissez Piste > Supprimer. Π Conseil : si aucune région n’est sélectionnée dans la zone Arrangement, vous pouvez supprimer la piste sélectionnée en appuyant sur la touche Retour arrière. m Supprimez la piste en la faisant glisser vers la gauche, en dehors de la liste. Pour supprimer toutes les pistes ne comportant aucune région : m Dans la zone Arrangement, sélectionnez Piste > « Supprimer les pistes inutilisées ». Chapitre 9 Utilisation des pistes 211 Sélection de pistes Vous pouvez sélectionner une piste en cliquant sur son nom ou son icône dans la liste des pistes. Cette opération sélectionne toutes les régions de la piste (ou celles qui figurent dans la boucle définie, si le mode Lecture en boucle est activé). Π Conseil : si vous cliquez sur une piste en maintenant la touche Option enfoncée, cette piste est sélectionnée sans que la sélection des régions déjà établie soit perturbée (pour la piste choisie ou les autres). Vous pouvez également utiliser les deux raccourcis clavier suivants pour sélectionner la piste située au-dessus ou en dessous de la piste active dans la liste des pistes :  Sélection de la piste suivante (touche affectée par défaut : flèche vers le haut)  Sélection de la piste précédente (touche affectée par défaut : flèche vers le bas) Réorganisation des pistes Il est possible de changer l’ordre des pistes dans la liste afin, par exemple, de regrouper visuellement des pistes en relation (les parties issues de la rubrique des cordes ou celles des percussions, notamment). Pour changer la place qu’occupe une piste dans la liste : m Passez le pointeur de la souris sur le numéro de la piste. Lorsque le pointeur représente une main, cliquez sur le numéro et faites-le glisser verticalement dans la liste des pistes. Relâchez le bouton de la souris une fois la piste placée à l’endroit souhaité. Le cas échéant, les pistes suivantes se décalent vers le bas. Vous pouvez également réorganiser les pistes à l’aide des commandes suivantes figurant dans le menu Piste > « Trier les pistes par » :  Canal MIDI  Canal audio  Canal de sortie  Nom d’instrument  Nom de piste 212 Chapitre 9 Utilisation des pistes Attribution de noms à des pistes Dans la zone de dialogue Configuration de piste, vous pouvez déterminer lequel des noms suivants s’affiche dans l’en-tête de piste :  Nom de piste : cette option permet d’entrer manuellement le nom d’une piste dans la liste des pistes.  Nom du réglage de bande de canal  Nom du réglage d’instrument logiciel  Nom de bande de canal  Numéro et type de bande de canal  Nom de piste automatique : cette option (par défaut) nomme la piste judicieusement, selon les actions utilisateur et l’ordre suivants :  Si vous saisissez le nom d’une piste manuellement, c’est ce nom qui s’affiche.  Si vous avez chargé un réglage de bande de canal ou un instrument logiciel, le nom de ce réglage ou instrument est celui affiché.  Si vous n’avez effectué aucune des actions ci-dessus, c’est alors le nom de la bande de canal qui est affiché. Pour indiquer le nom des pistes que vous souhaitez visualiser : 1 Ouvrez la zone de dialogue Configuration de piste en effectuant l’une des méthodes ci-dessous :  Dans la zone Arrangement, sélectionnez Présentation > « Configurer l’en-tête de piste ».  Cliquez sur une en-tête dans la liste des pistes tout en maintenant la touche Contrôle enfoncée, puis sélectionnez « Configurer l’en-tête de piste » dans le menu local. 2 Sélectionnez l’option souhaitée du nom de piste dans le premier menu local. 3 Cochez la case du second menu local pour visualiser deux possibilités pour le nom de la piste, puis choisissez l’option qui vous convient. L’option choisie dans le premier menu local s’affiche à gauche si les deux noms sont repris (séparés par un trait). Vous pouvez déplacer le trait de séparation en faisant glisser sa marque correspondante au-dessus de la liste des pistes. Chapitre 9 Utilisation des pistes 213 Pour créer le nom d’une piste : m Sélectionnez Piste > « Créer le nom d’une piste », puis tapez le nom dans le champ de texte qui s’affiche. m Si le nom de la piste est déjà visible dans l’en-tête de la piste : double-cliquez sur le nom de la bande de canal repris dans la liste des pistes, puis tapez le nom dans le champ de texte qui s’affiche. Le nouveau nom de la piste remplace celui de la bande de canal. Il est utilisé a posteriori comme nom par défaut pour les nouvelles régions enregistrées. Le nom de la bande de canal (vers laquelle la piste sélectionnée est associée) figure également dans la zone Paramètre de piste de l’Inspecteur. Vous pouvez renommer la bande de canal en cliquant sur son nom. Pour supprimer le nom d’une piste, effectuez l’une des opérations suivantes : m Sélectionnez Piste > « Supprimer le nom de piste ». m Double-cliquez sur le nom de la piste pour ouvrir sa zone de texte et appuyez sur Retour arrière pour supprimer le nom. Le nom de la bande de canal de la piste (audio ou instrumentale) est alors utilisé comme nom par défaut dans la liste des pistes (et pour les nouvelles régions enregistrées). Important : l’option NomAuto doit être sélectionnée dans l’en-tête de configuration de la piste pour que la fonction fonctionne. Nom de bande de canal 214 Chapitre 9 Utilisation des pistes Assignation de pistes aux canaux En général, vous serez amené à créer des pistes pour enregistrer ou lire toute nouvelle région. Les bandes de canaux correspondantes sont alors automatiquement créées dans la table de mixage. Dans certains cas toutefois, vous pourriez être amené à réassigner une piste existante à une autre bande de canal. Par exemple, vous pouvez réassigner la sortie d’une piste d’instruments logiciels vers une autre bande de canal instrumentale. Les régions MIDI de la piste sont alors lues via le module d’instruments logiciels de la seconde bande de canal. Pour réassigner une piste à une bande de canal spécifique : m Cliquez, en maintenant la touche Contrôle enfoncée, sur le nom ou l’icône de la piste concernée et choisissez la destination de la piste dans le menu hiérarchisé Réassignation piste/objet.  Si vous souhaitez utiliser une piste pour l’enregistrement ou la lecture d’une région audio, sélectionnez Audio > « Bande de canal de piste audio » comme destination de la piste.  Si vous souhaitez utiliser une piste pour l’enregistrement ou la lecture d’une région MIDI (via un instrument logiciel), sélectionnez Audio > « Bande de canal instrumental » comme destination de la piste. Chapitre 9 Utilisation des pistes 215  Si vous souhaitez utiliser une piste pour l’enregistrement ou la lecture d’une région MIDI (via un générateur de sons MIDI), sélectionnez Instr. MIDI > « Bande de canal du modèle/nom d’instrument » comme destination de la piste. Pour réassigner de manière globale plusieurs pistes partageant une même bande de canal de destination : m Maintenez la touche Option enfoncée tout en réassignant une bande de canal de piste, puis confirmez l’opération en cliquant sur le bouton « Réassigner toutes les pistes » dans la zone de dialogue. La nouvelle destination de piste (bande de canal réassignée) est alors utilisée par toutes les pistes partageant la même destination de départ dans le projet actif (y compris les pistes incluses dans des dossiers). Par exemple :  Les pistes 1 à 4 sont assignées au canal instrumental 6.  Tout en maintenant enfoncée la touche Option, réassignez l’une de ces pistes au canal d’instrument 15.  Les pistes 1 à 4 sont alors réassignées au canal instrumental 15. Assignation de pistes aux objets d’environnement Il n’est pas nécessaire, à proprement parlé, que les pistes soient redirigées vers une bande de canal audio ou instrumental puisque vous pouvez assigner tout objet d’environnement en tant que destination de piste. Les données de piste peuvent, en théorie, être envoyées vers un curseur ou directement vers un port MIDI, entre autres. Les objets d’environnement sont des représentations logicielles d’éléments particuliers pour le traitement des données. Parmi les divers objets Environnement, figurent les arpégiateurs, les potentiomètres, les curseurs, les mémoriseurs d’accord, les séparateurs de canaux, etc. Ces différents objets peuvent être connectés entre eux, à l’aide de câbles virtuels. Le résultat final du câblage de plusieurs objets est le traitement et la manipulation en temps réel de données MIDI (et de certaines données audio). Cela peut aller d’une tâche aussi simple que le contrôle du volume d’un synthétiseur MIDI à l’aide d’un curseur jusqu’à une tâche aussi complexe que l’utilisation d’un générateur de rythmes ou d’un séquenceur pas à pas, lequel existe en tant que machine virtuelle dans l’environnement. Cette machine peut être activée dès qu’elle est requise. (Pour en savoir plus, consultez la rubrique chapitre 38, « Utilisation de l’Environnement » à la page 941.) Évidemment, les signaux audio ne seraient pas compris par un module de son MIDI ; il est donc inutile d’acheminer une piste contenant des régions audio à une bande de canal instrumental, et inversement. 216 Chapitre 9 Utilisation des pistes Destinations particulières Outre les bandes de canaux normales, il existe deux autres destinations de sortie possibles pour les pistes :  Aucune sortie : les pistes ainsi sans assignation n’envoient aucune donnée. Cette option permet notamment de stocker des données (par exemple, SysEx) que vous ne souhaitez pas envoyer via Logic Express.  Dossier : vous pouvez utiliser ce réglage pour que la piste joue une région de dossier particulière (voir « Utilisation des dossiers » à la page 381). Les régions normales ne sont pas jouées sur une piste configurée pour la lecture de dossier. Zoom sur des pistes particulières Il est possible de zoomer sur chaque piste de la zone Arrangement, avec ou sans les outils Zoom généraux (et l’outil de zoom de forme d’onde) de la fenêtre. Un réglage de zoom par défaut pour les pistes est sélectionné automatiquement à la première ouverture de la fenêtre. Cela permet d’obtenir un bon compromis entre visibilité du texte et des régions, et espace de travail dans la zone Arrangement. Pour effectuer un zoom avant ou arrière sur une piste : 1 Placez le pointeur de la souris sur le coin inférieur gauche de la piste. Le pointeur prend alors la forme de l’index d’une main. 2 Cliquez puis faites glisser cet index pour effectuer un zoom avant ou arrière sur la piste. Le facteur zoom sur la piste, comparé au niveau de zoom général de la fenêtre, s’affiche dans une bulle d’aide si vous maintenez le bouton de la souris enfoncé. Π Conseil : vous pouvez zoomer simultanément sur toutes les pistes audio ou MIDI de votre projet en appuyant sur la touche Commande tout en zoomant. Si vous appuyez sur Maj pendant que vous zoomez, toutes les pistes s’affichent de nouveau avec le niveau de zoom par défaut. Chapitre 9 Utilisation des pistes 217 Zoom automatique sur la piste sélectionnée Vous pouvez utiliser le réglage Présentation > « Zoom automatique sur piste » (également accessible via son raccourci clavier) pour augmenter automatiquement la taille de la piste actuellement sélectionnée. Utilisez la technique décrite précédemment pour définir le niveau de zoom souhaité pour la piste. Toute piste sélectionnée ultérieurement sera automatiquement affichée avec ce niveau de zoom. Zoom sur les pistes à l’aide de raccourcis clavier Vous pouvez assigner, puis utiliser, les raccourcis clavier suivants pour zoomer sur les pistes :  « Zoom avant sur une piste » et « Zoom arrière sur une piste » : permet d’augmenter ou de diminuer d’une unité le facteur de zoom sur la piste sélectionnée.  « Permuter le niveau de zoom » : permet de passer du niveau de zoom de la piste à celui de la fenêtre pour l’affichage de la piste sélectionnée, ce qui peut s’avérer utile pour effectuer un zoom avant sur une piste en vue de modifier ses données d’automation. Une fois la modification terminée, utilisez le raccourci clavier « Permuter le niveau de zoom » pour revenir au niveau de zoom initial.  « Réinitialiser le niveau de zoom d’une piste » : rétablit le niveau de zoom de la fenêtre pour la piste sélectionnée.  « Réinitialiser le niveau de zoom de chaque piste » : rétablit le niveau de zoom de la fenêtre pour toutes les pistes zoomées. Assignation d’icônes à des pistes Logic Express offre des icônes de haute résolution (128 x 128 pixels ou moins) pour représenter les pistes, qui sont redimensionnables et peuvent être définies par l’utilisateur. Pour assigner une icône à une piste : m Cliquez sur une icône de piste dans l’en-tête ou dans la zone Paramètres de piste et maintenez le bouton de la souris enfoncé, puis choisissez l’icône souhaitée dans le menu. 218 Chapitre 9 Utilisation des pistes Remarque : la case Icônes de piste doit être cochée dans la zone de dialogue « Configuration de l’en-tête de piste » pour que les icônes soient visibles. Cochez la case Autoriser les grandes icônes pour afficher des icônes de piste de grande taille. Les grandes icônes sont automatiquement redimensionnées et repositionnées lorsque vous zoomez sur une piste. Création de vos propres icônes Vous pouvez créer vos propres icônes de piste. Les icônes crées par l’utilisateur sont enregistrées dans le répertoire suivant : ~/Bibliothèque/Application Support/Logic/ Images/Icons. Ces icônes doivent présenter les attributs suivants :  Taille de 128 x 128 pixels  Canal alpha pour la transparence  Enregistrement au format portable network graphics (extension .png)  Nom de fichier débutant par un numéro à trois chiffres Remarque : si ce numéro est identique à celui d’une des icônes Logic Express fournies, l’icône figurant dans le dossier utilisateur est prioritaire. Vous pouvez, en outre, remplacer directement les icônes Logic Express fournies et figurant dans le répertoire /Contents/Resources/Images du paquet Logic Express. Pour ouvrir le paquet Logic Express : m Cliquez avec le bouton droit de la souris sur l’icône Logic Express dans le Finder et sélectionnez l’élément « Afficher le contenu du paquet » dans le menu local. Désactivation du son des pistes Le bouton Muet d’une piste permet d’en arrêter la lecture. Dans la fenêtre « Configuration de l’en-tête de piste », vous déterminez si les boutons Muet sont affichés ou masqués. Les sons des pistes et des bandes de canaux peuvent être désactivés indépendamment, en utilisant les boutons Muet (M) respectifs dans l’en-tête de piste ou la bande de canal correspondante (Arrangement ou Table de mixage). Chapitre 9 Utilisation des pistes 219 Le comportement de ces boutons est défini par le réglage « Muet/Solo pour piste » choisi dans l’onglet Logic Express > Préférences > Audio > Général :  Rapide (bandes de canaux distantes) : lorsque vous cliquez sur le bouton Muet d’une bande de canal, l’état du bouton de piste associé se modifie en conséquence.  Non intensive (réaction lente) : utile si vous préférez limiter l’utilisation des ressources de traitement ; les boutons Muet associés aux pistes sont alors dissociés des bandes de canaux correspondantes. Remarque : les états Muet des différentes pistes acheminées vers la même bande de canal sont liés : si vous coupez le son de la bande de canal, toutes les pistes associées seront muettes. Désactivation du son quand les boutons Muet sont masqués Même si les boutons Muet sont masqués (par exemple pour économiser de l’espace), vous pouvez toujours couper le son d’une piste en cliquant à gauche de son numéro. En effet, si vous déplacez votre souris sur la gauche de la liste des pistes, en regard du numéro de la piste concernée, le pointeur prend la forme d’une main et, d’un clic rapide, vous pouvez rendre couper le son de la piste (ou le rétablir, si elle était déjà muette). Les pistes muettes sont signalées par une puce en regard de leur nom. Vous pouvez également utiliser le raccourci clavier Muet/Son pour la piste (par défaut : Contrôle + M) pour couper le son d’une piste. Désactivation du son de plusieurs pistes Si vous cliquez sur un bouton Muet tout en maintenant la touche Commande enfoncée, tous les boutons Muet ayant le même état (son activé ou désactivé) que le bouton sur lequel vous avez cliqué changent également d’état. Par exemple : si vous cliquez sur un bouton Muet activé, non seulement le son de cette piste est coupé, mais aussi celui de toutes les autres pistes pour lesquelles le son était activé jusqu’alors. Il est également possible d’utiliser le raccourci clavier Muet pour toutes les pistes du dossier. 220 Chapitre 9 Utilisation des pistes Désactivation du son de plusieurs pistes utilisant la même bande de canal de destination Si vous coupez le son d’une piste tout en maintenant les touches Commande et Option enfoncées, toutes les pistes assignées à la même bande de canal de destination (y compris celles incluses dans des dossiers) voient leur son désactivé. Vous pouvez, par ailleurs, utiliser le raccourci clavier « Muet/Son pour toutes les pistes utilisant le même instrument ». Il est également possible de cliquer sur le bouton Muet d’une piste et, en maintenant le bouton de la souris enfoncé, de déplacer la souris verticalement. Tous les boutons Muet des pistes ainsi sélectionnés passent au même état. Écoute en solo de pistes Les pistes (ainsi que les dossiers) MIDI et audio incluent des boutons Solo. Écouter une piste en solo permet d’isoler sa lecture et de couper par là même le son des autres pistes. Dans la fenêtre « Configuration de l’en-tête de piste », vous pouvez masquer ou afficher les boutons Solo des pistes. Dans la pratique, il peut s’avérer utile en musique d’écouter plusieurs pistes à part (les parties de basse ou de batterie, par exemple) pour faciliter l’adaptation avec d’autres morceaux. Connexion des boutons Solo d’une piste et Solo d’une bande de canal Les états Solo sur les pistes et les bandes de canaux peuvent fonctionner indépendamment, en utilisant les boutons S respectifs dans l’en-tête de piste ou la bande de canal correspondante (de l’arrangement ou de la table de mixage). Le comportement de ces boutons est défini par le réglage « Muet/Solo pour la piste » choisi dans l’onglet Logic Express > Préférences > Audio > Général :  Rapide (bandes de canaux distantes) : lorsque vous cliquez sur le bouton Solo d’une bande de canal, l’état du bouton de piste associé se modifie en conséquence.  Non intensive (réaction lente) : choisissez cette option si vous souhaitez économiser les ressources de traitement et rompre le lien entre les boutons Solo associés aux pistes et les bandes de canaux correspondantes. Remarque : les états Solo des différentes pistes acheminées vers une même bande de canal sont liés : si vous activez la lecture solo pour la bande de canal, cela s’applique à toutes les pistes associées. Chapitre 9 Utilisation des pistes 221 Activation de la lecture solo des pistes en mode Non intensive Si la préférence « Muet/Solo de la piste » est définie sur Non intensive (réaction lente), l’activation du bouton Solo d’une piste quelconque active le mode Verrouillage Solo et ajoute toutes les régions de la piste en question au groupe Verrouillage Solo. (Le mode Verrouillage Solo verrouille l’état Solo de toutes les régions sélectionnées. Pour obtenir des informations détaillées à ce sujet, reportez-vous à la section « Verrouillage du mode Solo » à la page 337.) Le bouton Solo pour le transport devient jaune et s’orne d’une icône en forme de cadenas indiquant le mode Verrouillage Solo. En désactivant le bouton Solo d’une piste donnée, vous supprimez du groupe de verrouillage solo toutes les régions de cette piste. De plus, dans le cas où aucun autre bouton Solo n’est actif au niveau piste, cela désactive le mode Verrouillage solo. Si vous désactivez le bouton (Verrouillage) Solo général au niveau du transport, tous les boutons Solo des différentes pistes sont désactivés. Écoute en solo quand le bouton Solo est masqué sur des pistes Même si le bouton Solo est masqué sur des pistes (par exemple pour économiser de l’espace), vous pouvez toujours écouter une piste en solo en cliquant sur le bouton Solo de la barre de transport. Utilisez simplement le bouton Solo situé sur la barre de transport et cliquez sur la piste souhaitée. Écoute en solo de plusieurs pistes Si, alors que le bouton Solo est actif sur le transport, que vous maintenez la touche Maj enfoncée et que cliquez sur le nom des pistes à écouter, vous pouvez jouer les différentes pistes en solo (même si le bouton Solo est masqué au niveau des pistes). Si vous maintenez une touche de modification enfoncée (hormis la touche Contrôle) tout en cliquant sur un bouton Solo dans la liste des pistes, toutes les pistes du niveau d’affichage sélectionné sont lues en solo. Si les pistes étaient déjà en cours de lecture en solo, elles ne le sont plus. Il est également possible de cliquer sur le bouton Solo d’une piste et, en maintenant le bouton de la souris enfoncé, de déplacer la souris verticalement. Tous les boutons Solo des pistes ainsi sélectionnés présentent alors le même état. Activation de l’enregistrement de pistes Vous pouvez utiliser le bouton d’activation pour l’enregistrement d’une piste pour la préparer à l’enregistrement. Pour en savoir plus sur l’activation de pistes pour l’enregistrement, consultez la rubrique chapitre 14, « Enregistrement dans Logic Express » à la page 395. 222 Chapitre 9 Utilisation des pistes Freeze des pistes La fonction Freeze permet de libérer la quasi totalité des ressources de traitement dédiées au calcul pour les modules d’effets et d’instruments logiciels. Vous pouvez effectuer un Freeze chaque piste audio ou piste d’instruments logiciels indépendamment. À propos de la fonction Freeze Cette fonction effectue un bounce déconnecté en interne pour chaque piste « gelée » (faisant l’objet du Freeze). L’ensemble des modules de la piste (dont les modules d’instruments logiciels, le cas échéant, ainsi que toutes les données d’automation qui s’y rapportent) sont alors rendus sous forme de « fichier de Freeze ». Tant qu’une piste fait l’objet d’un Freeze, après avoir appliqué le processus de la fonction, le fichier de Freeze est lu à la place de la piste d’origine (et à la place de ses modules, gourmands en ressources de calcul). La piste d’origine et ses modules sont temporairement désactivés. Ils n’utilisent donc plus les ressources. Π Conseil : la fonction Freeze fonctionne également avec les matériels de traitement numérique des signaux (DSP) tels que les appareils PowerCore, LiquidMix, Duende et UAD, notamment. Vous pouvez ainsi combiner les instruments et effets Logic Express avec ceux fournis par votre matériel DSP, même si la capacité de traitement de votre ordinateur et/ou du matériel DSP est dépassée. La fonction Freeze effectue toujours un bounce sur la totalité du signal d’un canal. Ainsi, si vous utilisez plusieurs pistes pour un même canal audio ou instrumental dans l’arrangement, toutes ces (sous-)pistes font l’objet du Freeze et ne peuvent plus être modifiées séparément. En d’autres termes, la bande de canal est gelée, et non la piste. Critères de Freeze d’une piste Dans la réalité, la fonction Freeze permet d’effectuer les opérations suivantes :  Utilisation d’instruments logiciels ou modules d’effets complémentaires dans des pistes audio ou instrumentales supplémentaires, dans les cas où cela s’avère généralement impossible car la puissance de traitement de votre ordinateur est insuffisante.  Lecture de projets créés sur des ordinateurs dotés d’une puissance de calcul supérieure. La conception de la fonction Freeze permet de parer aux processus gourmands en ressources, lesquels sont généralement repérés de la manière suivante (du plus au moins demandeur) :  Instruments logiciels avec une architecture vocale complexe  Modules avec une structure complexe (réverbérations, banques de filtres ou effets FFT)  Instruments logiciels avec une architecture vocale simple  Échantillonneur logiciel où un filtre est activé  Échantillonneur logiciel où un filtre est désactivé  Modules de structure simple Chapitre 9 Utilisation des pistes 223 Si votre ordinateur est capable de calculer tous les processus actifs en temps réel, il n’est pas nécessaire d’appliquer un Freeze aux pistes. Il est recommandé d’utiliser la fonction Freeze si votre système atteint ses capacités de traitement ou lorsque plusieurs pistes existantes utilisant des modules d’effets ou d’instruments logiciels (consommant énormément de ressources) sont finalisées ou, du moins, semblent ne plus nécessiter aucune modification pour le moment. En d’autres termes, si le mixage est terminé voire final. Tant qu’une piste fait l’objet du Freeze, l’utilisation des ressources qui lui sont allouées se limite à celle d’une piste de lecture audio de haute résolution, sans aucun ajout de module d’effets ; et ce, quel que soit le nombre de modules (ou nécessités de traitement) initialement utilisés sur la piste. Procédure de Freeze d’une piste Le Freeze d’une piste est une opération particulièrement simple. Pour ce faire, il suffit d’activer le bouton Freeze. Sur ce bouton figure une icône représentant un petit cristal de glace (blanc lorsque la fonction est active). Utilisez la fenêtre « Configuration de l’en-tête de piste » pour afficher ou masquer les boutons Freeze sur chaque piste. Si vous maintenez la touche Commande enfoncée pendant que vous cliquez sur un bouton Freeze dans la liste des pistes, toutes les pistes comprenant des données au même niveau d’affichage (ou dossier) sélectionné sont « gelées ». Si leur bouton Freeze était déjà activé, il ne l’est plus. Il est également possible de cliquer sur le bouton Freeze d’une piste et, en maintenant le bouton de la souris enfoncé, de déplacer la souris verticalement. Tous les boutons Freeze des pistes ainsi sélectionnés prennent le même état. Logic Express crée les fichiers de Freeze après avoir reçu la commande Lecture suivante. Vous pouvez ainsi activer les boutons Freeze de plusieurs pistes et effectuer leur rendu sous forme de fichier de Freeze en une fois. Vous pouvez abandonner les processus de Freeze en appuyant sur les touches Commande + point (.). Dans ce cas, la partie des pistes déjà rendue sous forme de fichier de Freeze demeure dans ces fichiers et est utilisée lors de la lecture. Le son des pistes faisant l’objet du Freeze reste désormais coupé. 224 Chapitre 9 Utilisation des pistes Coulisses du processus de Freeze Lors du processus de Freeze, la tête de lecture indique l’avancée du rendu. Une barre de progression libre est, en outre, affichée. Le rendu des fichiers de Freeze s’effectue toujours entre les marques de début et de fin de projet. Il est donc recommandé de vérifier la marque de fin de projet dans la règle Mesure avant de lancer le processus de Freeze. Π Conseil : vous devez régler la marque de fin de projet afin d’inclure les queues de réverbération ou les répétitions inhérentes à l’effet d’écho. Les zones vides (de valeur numérique zéro) à la fin des fichiers de Freeze sont automatiquement supprimées à la fin du processus de Freeze. Le processus de Freeze utilise la totalité des capacités de traitement disponible. Si, par exemple, une piste utilise 40 pour cent des ressources pour le calcul des modules en temps réel, la création de son fichier de Freeze est deux fois et demie plus rapide que sa lecture en temps réel. Si la piste d’origine utilise la totalité de la puissance de traitement, le processus de Freeze s’effectue (quasiment) en temps réel, même si le bounce déconnecté est utilisé. Utilisation de pistes faisant l’objet de Freeze Lorsqu’une piste se voit appliquée la fonction Freeze :  Il est impossible de couper certains fichiers de Freeze et de les réorganiser, ou de les associer à leurs originaux, sur une seule piste ; en effet, vous pouvez utiliser l’un ou l’autre, mais pas les deux.  Il est également impossible d’enregistrer des signaux audio sur les pistes où le Freeze a été appliqué. D’ailleurs, le bouton d’activation de l’enregistrement est masqué si le Freeze est appliqué à la piste.  Vous ne pouvez pas modifier les paramètres des instruments ou des modules (ou les données d’automation correspondantes). Vous pouvez, cependant, toujours modifier les paramètres suivants sur les pistes faisant l’objet du Freeze :  destinations et niveaux d’envoi des effets,  paramètres Panorama,  volume, muet et solo. Cela inclut les données d’automation de ces paramètres. Chapitre 9 Utilisation des pistes 225 À chaque tentative de modification de paramètres « interdits » sur des pistes où le Freeze est appliqué (notamment les paramètres de module rendus sous forme de fichier de Freeze), Logic Express affiche un message d’erreur : Pour dégeler et modifier une piste : 1 Cliquez sur Libération du Freeze pour désactiver le bouton Freeze de la piste. Le fichier de Freeze est alors supprimé. Remarque : la piste utilise désormais la puissance de traitement requise initialement si vous appuyez sur Lecture. 2 Vous pouvez à présent effectuer vos modifications et activer de nouveau le bouton Freeze, si nécessaire. Fichiers Freeze Les fichiers de Freeze temporaires sont enregistrés dans un dossier intitulé « Freeze Files » qui est créé à la racine du répertoire de votre projet. En général, vous n’avez pas besoin d’accéder à ces fichiers directement. Logic Express gère ces fichiers automatiquement en arrière-plan : ils sont créés lors de la phase de Freeze et lus à la place des pistes d’origine (tant qu’elles font l’objet du Freeze), puis supprimés lorsque le bouton Freeze de la piste correspondante est désactivé. Actualisation des fichiers de Freeze La commande Options > Audio > « Actualiser tous les fichiers de Freeze » régénère tous les fichiers de Freeze actuels. Cette commande est utile si des modifications globales affectent également la lecture des pistes faisant l’objet du Freeze (changements de tempo, par exemple). 226 Chapitre 9 Utilisation des pistes Masquage de pistes S’il n’est pas utile que certaines pistes de la zone Arrangement soient visibles (par exemple, lorsque vous travaillez sur des arrangements avec de nombreuses pistes), vous pouvez utiliser la fonction Masquer les pistes. Les pistes masquées continuent d’être lues normalement. Un bouton général Masquer la présentation est situé dans le coin supérieur gauche de la zone Arrangement. Il s’agit du bouton représenté par un H (pour « Hide », « Masquer » en anglais), à droite du bouton Capture. Pour masquer des pistes : 1 Cliquez sur le bouton Masquer la présentation pour activer la fonction de masquage des pistes. De petits boutons Masquer (H) apparaissent alors en regard de chaque piste. 2 Activez les boutons Masquer individuellement pour les pistes appropriées. 3 Cliquez ensuite sur le bouton général Masquer la présentation : toutes les pistes (dont le bouton Masquer a été activé) disparaissent de la fenêtre Arrangement. La lettre H figurant sur le bouton général Masquer la présentation s’affiche en surbrillance, indiquant qu’une ou plusieurs pistes (dont le bouton Masquer est activé) sont masquées. Pour visualiser les pistes masquées : m Réactivez simplement le bouton Masquer la présentation lorsque vous souhaitez voir réapparaître les pistes masquées. Menu et raccourcis clavier pour le masquage Plusieurs éléments de menu et raccourcis clavier se rapportent à la fonction de masquage des pistes. Chapitre 9 Utilisation des pistes 227 Même lorsque le bouton général Masquer la présentation est désactivé, vous pouvez toujours masquer une piste particulière à l’aide de la commande Présentation > « Masquer la piste et sélectionner la suivante » (raccourci clavier par défaut : Contrôle + H). La commande Présentation > « Révéler toutes les pistes » (raccourci clavier par défaut : Maj + Contrôle + H) réinitialise le bouton Masquer de chaque piste ; toutes les pistes sont alors affichées. Remarque : masquer des pistes n’affecte en rien leur lecture. Vous pouvez, en outre, lier ensemble la fonction Masquer de toutes les pistes appartenant à un même groupe en sélectionnant Masquer dans les réglages des propriétés du groupe. (Pour en savoir plus sur les groupes, consultez la rubrique « Utilisation des groupes » à la page 629.) Par ailleurs, il n’existe aucun raccourci clavier permettant de révéler une piste masquée dans l’arrangement puisqu’il est impossible de la sélectionner ; elle est en effet masquée... Protection des pistes Les pistes peuvent être protégées contre toute modification. Dans ce cas, il est impossible :  de modifier les régions existantes (et leur contenu) ;  d’effectuer un enregistrement sur les pistes protégées ;  de créer des régions sur les pistes protégées. Si le bouton de protection ne figure pas dans la liste des pistes, vous pouvez l’activer via la fenêtre « Configuration de l’en-tête de piste ». En cliquant sur les boutons de protection, vous passez du mode verrouillé à la modification libre. Le bouton de protection d’une piste de la liste, activé tout en maintenant la touche Commande enfoncée, permet de protéger toutes les pistes du niveau d’affichage (ou dossier) sélectionné. Si les pistes étaient déjà protégées, elles ne le sont plus. 228 Chapitre 9 Utilisation des pistes Utilisation de la fonction d’activation en série pour les boutons placés au niveau de chaque piste Les boutons qui se trouvent en regard des pistes de l’arrangement (Solo, Muet, Masquer, Protection de piste, Freeze) prennent en charge la fonction d’« activation en série », ce qui revient, sur les tables de mixage matérielles de qualité, à déplacer simultanément plusieurs boutons de bande de canal. Un exemple d’utilisation de l’activation en série dans Logic Express consiste à cliquer sur le bouton Muet d’une piste et, en maintenant le bouton de la souris enfoncé, à déplacer la souris verticalement. Tous les boutons Muet des pistes ainsi sélectionnés passent au même état. Il vous suffit ensuite de faire à nouveau glisser le pointeur de la souris sur les boutons Muet de ces mêmes pistes pour rétablir le son. 10 229 10 Utilisation des instruments et des effets Logic Express est livré avec un vaste éventail d’instruments logiciels et de modules de traitement d’effets insérés dans des bandes de canaux. Vous avez également la possibilité d’utiliser des instruments et des unités d’effets MIDI externes. Ce chapitre couvre toutes les étapes importantes nécessaires à l’utilisation des instruments et des effets dans Logic Express.  Insertion, suppression et contournement de modules  Chargement et retrait de configurations entières de modules dans une bande de canaux  Utilisation de l’en-tête de la fenêtre de module  Sélection et gestion des réglages de modules  Configuration et utilisation d’instruments et d’effets MIDI externes  Configuration et utilisation d’applications et d’instruments ReWire externes La relation entre les pistes et les bandes de canaux de la fenêtre Arrangement est traitée au début du chapitre 9, « Utilisation des pistes » et est également abordée ici. Ce chapitre contient également d’autres informations utiles sur l’acheminement de modules et l’utilisation de modules d’autres fabricants. Pour en savoir plus sur les modules d’instruments et d’effets fournis et sur l’utilisation de tous leurs paramètres, reportez-vous au manuel Instruments et effets de Logic Express 8. 230 Chapitre 10 Utilisation des instruments et des effets Aperçu des bandes de canaux et de la table de mixage Avant d’aborder l’utilisation des modules, il est nécessaire de comprendre certaines fonctions essentielles des bandes de canaux. Pour en savoir plus sur l’ensemble des fonctions de la table de mixage et des bandes de canaux, reportez-vous au chapitre 25, « Mixage » à la page 613. Les bandes de canaux de la table de mixage et d’arrangement concernent les pistes audio et d’instruments (logiciel ou MIDI) affichées dans la fenêtre Arrangement, ainsi que les canaux de sortie et les canaux auxiliaires. Chaque piste de l’arrangement est représentée et contrôlée par une bande de canal. Autrement dit, les pistes d’arrangement sont acheminées vers des bandes de canaux spécifiques :  Les bandes de canaux audio contrôlent les pistes audio.  Les canaux d’instrument contrôlent les pistes d’instrument (les modules d’instruments logiciels sont insérés dans le logement d’instrument des canaux d’instrument).  Les canaux MIDI externes contrôlent les pistes MIDI externes. Les données de ces pistes sont acheminées vers un canal et un port de sortie MIDI, pour le contrôle des claviers et modules internes de son MIDI. Il est possible de représenter et de contrôler l’instrument entier ou les sous-canaux MIDI. Les canaux de la table de mixage sont générés automatiquement lorsque vous créez des pistes audio, des pistes d’instruments ou des pistes MIDI externes dans la fenêtre Arrangement. Chapitre 10 Utilisation des instruments et des effets 231 Les bandes de canaux de l’arrangement affichées en bas de l’Inspecteur représentent la bande de canal audio ou d’instrument de la piste sélectionnée sur la gauche et la destination principale (première) de cette bande de canal sur la droite. La destination peut être :  Une bande de canaux de sortie, qui représente une sortie audio physique (ou paire de sorties) de votre interface audio.  Une bande de canaux auxiliaire (où sont insérés les effets d’envoi). Par exemple, si l’envoi 1 de la bande de canaux gauche est acheminé vers le canal auxiliaire 4, la quatrième bande de canaux auxiliaire sera affichée. Si vous cliquez sur le logement d’envoi 2 sur la bande de canaux gauche (acheminée vers l’auxiliaire 7), cela met à jour le canal de droite afin d’afficher la septième bande de canaux auxiliaire. La sélection d’une sortie particulière dans le logement Sortie de la bande de canaux gauche permet d’afficher la bande de canaux de sortie choisie sur la droite. Si la bande de canaux gauche est simplement acheminée vers un canal de sortie, la bande de canaux de sortie est affichée par défaut. Dans le cadre de votre flux de production créatif, vous effectuerez la plupart des tâches d’insertion de modules, d’acheminement et de configuration de canaux dans la fenêtre Arrangement. Par conséquent, au lieu d’accéder à la table de mixage, vous devez utiliser les bandes de canaux d’arrangement pour toutes les fonctions associées abordées dans ce chapitre. 232 Chapitre 10 Utilisation des instruments et des effets La bande de canaux d’arrangement (de la piste sélectionnée) est un « miroir » de la bande affichée dans la table de mixage. Elle peut être considérée comme une sorte de télécommande pour le canal de la table de mixage. Π Conseil : pour accéder rapidement à la zone Table de mixage, il vous suffit de doublecliquer sur l’icône de n’importe quelle piste dans la liste des pistes de la fenêtre Arrangement. La bande de canaux correspondante (de la piste sur laquelle vous avez cliqué) est alors sélectionnée dans la table de mixage. Avant de continuer, vous devez d’abord comprendre trois notions essentielles sur les bandes de canaux audio ou d’instrument : le format d’entrée du canal, la commande Pan et le curseur Niveau. Réglage du format d’entrée du canal Le format d’entrée du canal détermine l’état mono ou stéréo de ce dernier. Remarque : les canaux MIDI externes et d’instruments logiciels ne possèdent pas de bouton de format. Le format d’entrée choisi a un double impact :  Les modules affichés sur la bande de canaux sont disponibles en :  versions mono vers mono ou mono vers stéréo sur les bandes de canaux mono ;  versions stéréo vers stéréo sur les bandes de canaux stéréo.  La commande Pan détermine la position du signal du canal dans le champ stéréo. Bouton Format Contrôle Pan/Balance Curseur de niveau Menu Réglages des bandes de canaux Logement d’instrument Logement de sortie Logement d’envoi (Send) Logement d’insertion Chapitre 10 Utilisation des instruments et des effets 233  Sur les canaux mono (y compris les canaux de format d’entrée gauche et droit), la commande Pan détermine la position gauche/droite du signal.  Sur les canaux stéréo, la commande Pan détermine la balance entre les signaux des canaux gauche et droit. Pour définir le format d’entrée de la bande de canaux pour la piste audio sélectionnée : m Cliquez sur le bouton situé directement sous le VU-mètre de la bande de canaux de l’arrangement et, tout en le maintenant enfoncé, choisissez le format d’entrée voulu dans le menu. Π Conseil : sur un canal stéréo ou mono, il suffit de cliquer sur le bouton pour passer de mono à stéréo et vice versa.  Mono : le format d’entrée mono est représenté par un cercle. Le VU-mètre ne contient qu’une seule colonne.  Stéréo : le format d’entrée stéréo est représenté par deux cercles entrelacés. Lorsque le format d’entrée stéréo est sélectionné, le VU-mètre se décompose en deux colonnes indépendantes.  Gauche : deux cercles, dont celui de gauche est plein, indiquent un format d’entrée de canal gauche. Lorsque ce format d’entrée est choisi, la bande de canaux lit uniquement le canal gauche d’un fichier audio.  Droit : deux cercles, dont celui de droite est plein, indiquent un format d’entrée de canal droit. Lorsque ce format d’entrée est choisi, la bande de canaux lit uniquement le canal droit d’un fichier audio. Mono Stéréo Gauche Droit 234 Chapitre 10 Utilisation des instruments et des effets Réglage de la balance et du niveau de lecture des canaux La commande Pan et le curseur Niveau permettent de régler la balance et le niveau de lecture d’un canal. Pour régler le Pan (pour les canaux au format d’entrée mono) ou la Balance (pour les canaux au format stéréo), effectuez l’une des opérations suivantes : m Cliquez au centre de la commande Pan et, tout en maintenant le bouton de la souris enfoncé, faites glisser la souris verticalement.  Faites glisser le curseur vers le haut pour déplacer le Pan ou la balance vers le canal droit.  Faites glisser le curseur vers le bas pour déplacer le Pan ou la balance vers le canal gauche. m En maintenant la touche Option enfoncée, cliquez au centre de la commande Pan pour la ramener en position centrale. Pour régler le niveau de lecture, effectuez l’une des opérations suivantes : m Cliquez et faites glisser verticalement la poignée du curseur Niveau. m En maintenant la touche Option enfoncée, cliquez sur la poignée pour la ramener en position centrale (0,0 dB). Traitement des effets mono et stéréo Vous pouvez insérer des instances mono ou stéréo d’effets dans des bandes de canaux. Seules les versions des modules correspondant au format d’entrée des bandes de canaux peuvent être insérées (versions des modules mono vers mono ou mono vers stéréo dans des canaux dont le format d’entrée est mono, par exemple). Pour insérer des modules ne correspondant pas au format des canaux : m Cliquez sur un logement d’insertion de canal tout en maintenant la touche Option enfoncée. Le menu du module affiche alors tous les formats disponibles dans le module, et non uniquement le format correspondant. Tout mixage élévateur ou réducteur s’avérant nécessaire est effectué automatiquement. Insertion, déplacement et retrait de modules Les modules sont, d’une manière générale, divisés en deux catégories :  Les instruments logiciels (qui répondent aux messages des notes MIDI)  Les effets audio (qui ne répondent pas aux messages des notes MIDI) Le format Audio Units offre également deux types de modules supplémentaires :  Les générateurs  Les effets contrôlés par la norme MIDI Chapitre 10 Utilisation des instruments et des effets 235 Comme leur nom l’indique, les modules Générateur Audio Unit génèrent des signaux audio. Toutefois, contrairement aux instruments logiciels, ils n’ont pas besoin d’un message de note MIDI pour être déclenchés. Contrairement aux modules d’effets audio standard, il est impossible de contrôler via MIDI les effets Audio Unit contrôlés par MIDI. Leur utilisation est donc différente. Cas d’emploi des différents types de modules  Les modules d’effet peuvent être installés dans les logements d’insertion de tous les types de bandes de canaux audio (audio, instrument, auxiliaire, sortie).  Les instruments logiciels peuvent uniquement être insérés dans des bandes de canaux d’instrument. Ces bandes de canaux disposent d’un logement Instrument, juste au-dessus du logement Sortie, réservé à l’insertion d’instruments logiciels.  De la même façon, les générateurs Audio Unit ne peuvent être insérés que dans des bandes de canaux d’instrument.  Les effets contrôlés MIDI Audio Unit doivent être insérés dans le logement Instrument des canaux d’instrument. Vous pouvez alors sélectionner le signal audio à traiter via le menu Side Chain du module. Pour insérer un module d’effet : 1 Cliquez sur le logement d’insertion d’une bande de canaux. Le menu Module s’affiche et fait apparaître tous les modules d’effet disponibles, classés sous différentes catégories. 2 Parcourez les différents niveaux du menu et cliquez sur le nom d’un module pour le sélectionner. Cela permet de charger une version de module qui correspond au format d’entrée de bande de canaux choisi. Vous avez également la possibilité de choisir une version mono ou mono vers stéréo du module, par exemple, en cliquant sur l’entrée adéquate. 236 Chapitre 10 Utilisation des instruments et des effets Les effets Logic Express sont affichés sous diverses catégories, telles que Retard et Réverbération, et les effets Audio Unit apparaissent dans les sous-menus correspondants (ces derniers ne s’affichent que si des modules utilisant ces formats sont installés sur votre système). Pour insérer un instrument logiciel, un Générateur Audio Unit ou un effet contrôlé par MIDI : m Cliquez sur le logement Instrument d’une bande de canaux d’instrument et choisissez l’instrument logiciel, le Générateur Audio Unit ou l’effet contrôlé par MIDI (nom et type) voulu dans le menu Module. Π Conseil : pour insérer un instrument en stéréo sur un canal au format stéréo, il suffit de choisir le nom d’un instrument. La fenêtre de module de l’instrument, de l’effet ou du générateur choisi s’ouvre automatiquement. Si vous ne souhaitez pas que la fenêtre de module s’ouvre automatiquement après l’insertion, désactivez la préférence « Ouvrir la fenêtre du module à l’insertion » dans l’onglet Logic Express > Préférences > Audio > Général. Vous pouvez ajuster tous les paramètres de module dans la fenêtre de module. Pour en savoir plus, consultez la rubrique « Ajustement des paramètres de module » à la page 247. Pour retirer un module : m Cliquez sur le logement d’insertion ou d’instrument souhaité et choisissez Aucun module dans le menu. Pour remplacer un module : m Cliquez sur le logement d’insertion et naviguez jusqu’au type de module souhaité. Chapitre 10 Utilisation des instruments et des effets 237 Accès à plusieurs sorties d’instrument Logic Express peut gérer les multiples sorties de l’EXS24 mkII, d’Ultrabeat et de tous les instruments Audio Unit. Une ou plusieurs options Multi Output peuvent apparaître en plus des versions Mono et Stéréo affichées dans le menu Module d’instrument. Le menu Module fournit des informations complémentaires sur la configuration d’une sortie. Exemples :  Nom d’instrument : sortie multiple (2 x stéréo, 4 x mono)  Nom d’instrument : sortie multiple (4 x stéréo) Remarque : tous les instruments (qu’il s’agisse de modules Logic Express ou tiers) n’offrent pas forcément plusieurs sorties. Si un instrument ne propose aucune option Multi-sortie, il n’est tout simplement pas équipé de plusieurs sorties. Pour insérer et configurer un instrument à plusieurs sorties : 1 Choisissez l’instance de sorties multiples voulue dans le menu Module.  Les deux premières sorties d’un instrument à plusieurs sorties voient toujours leurs données lues sous forme d’une paire stéréo par le canal d’instrument dans lequel le module est inséré.  Pour accéder aux autres sorties (3 et 4, 5 et 6, etc.), il faut passer par des bandes de canaux auxiliaires. 238 Chapitre 10 Utilisation des instruments et des effets 2 Dans l’interface de l’instrument, vous devez configurer l’acheminement de sortie pour chaque son ou échantillon. Cette action est généralement effectuée via un menu, qui présente des entrées telles que : principal, 3-4, 5-6, etc. 3 Ouvrez la table de mixage et cliquez sur le bouton + du canal d’instrument dans lequel vous avez inséré l’instrument à sorties multiples (Ultrabeat, par exemple). Remarque : le bouton + n’apparaît que sur les canaux d’instruments à sorties multiples. Chapitre 10 Utilisation des instruments et des effets 239 Une bande de canaux auxiliaire, déjà assignée à l’instrument à plusieurs sorties inséré, s’affiche à droite du canal d’instrument. 4 Cliquez à plusieurs reprises sur le bouton + pour créer d’autres canaux auxiliaires, pour toutes les sorties stéréo ou mono disponibles pour le module d’instrument. Vous devez créer exactement le même nombre de canaux auxiliaires que le nombre de sorties utilisées par l’instrument à plusieurs sorties. Après la création de la première bande de canaux auxiliaire de votre instrument à sorties multiples, un bouton – apparaît à côté du bouton +. Cliquez sur ce bouton – pour supprimer des canaux auxiliaires. Utilisation du Channel EQ Le Channel EQ est un effet d’insertion, semblable à n’importe quel autre. Dans la plupart des situations de mixage, il est utilisé comme premier effet sur un canal, ce qui vous permet de sculpter le son du signal du canal avant d’appliquer d’autres types d’effet. Pour insérer le Channel EQ, effectuez l’une des opérations suivantes : m Sur les bandes de canaux où le logement d’insertion 1 n’est pas utilisé : double-cliquez sur la zone de l’égaliseur dans la partie supérieure de la bande de canaux pour placer le Channel EQ dans le premier logement d’insertion. La zone de l’égaliseur adopte une vue miniature de l’écran Channel EQ. Les vignettes donnent un aperçu des réglages d’égalisation utilisés dans chaque canal. 240 Chapitre 10 Utilisation des instruments et des effets m Sur les bandes de canaux où le logement d’insertion 1 est utilisé : double-cliquez sur la zone de l’égaliseur en maintenant la touche Option enfoncée afin d’insérer le Channel EQ comme premier module et déplacez tous les modules existants du logement 1 de la bande de canaux vers le bas (en redirigeant leurs données d’automatisation en conséquence, si nécessaire). Lorsque vous double-cliquez sur la zone de l’égaliseur des bandes de canaux dont le logement d’insertion 1 est occupé, le Channel EQ est inséré dans le prochain logement disponible (inutilisé). Comme pour les autres modules, vous pouvez insérer le Channel EQ dans n’importe quel autre logement d’insertion. Vous le trouverez dans la rubrique de l’égaliseur du menu Module. Notez que seul le premier (tout en haut) Channel EQ s’affiche sous forme de vignette dans la zone de l’égaliseur. Pour en savoir plus sur les paramètres du Channel EQ, reportez-vous au manuel Instruments et effets de Logic Express 8. Déplacement d’effets et d’instruments Pour déplacer des effets et des instruments d’une bande de canal à une autre, vous pouvez recourir à l’outil Main. Pour déplacer un module vers un autre logement d’insertion ou d’instrument : 1 Ouvrez la table de mixage et sélectionnez l’outil Main. 2 Sélectionnez le nom du module (visible sur une étiquette bleue) dans l’un des logements d’insertion ou d’instrument, puis faites-le glisser vers le logement cible souhaité (qui doit être inutilisé). Au cours de l’opération de glisser/déposer, la destination potentielle s’affiche sous forme de rectangle orange (logement vide) ou de ligne orange (lors du positionnement d’un effet entre deux logements d’insertion, voir ci-après). Pour copier un module dans un autre logement : m Après avoir sélectionné l’outil Main, cliquez sur le nom d’un module tout en maintenant la touche Option enfoncée, puis faites-le glisser d’un logement utilisé vers le logement cible inutilisé de votre choix. Chapitre 10 Utilisation des instruments et des effets 241 Pour permuter deux modules d’effet dans une même bande de canaux : m Après avoir sélectionné l’outil Main, faites glisser le nom d’un module d’effet depuis un logement Insertion utilisé jusque dans le logement cible utilisé de votre choix. Les deux modules échangent alors leurs positions respectives. Prenons l’exemple d’une bande de canaux avec des effets de réverbération, de chorus et de retard insérés respectivement dans les logements 1 à 3 ; si vous faites glisser le module du logement 1 sur le logement 3, l’effet de réverbération se retrouvera dans ce troisième logement, tandis que l’effet de retard sera déplacé vers le logement 1. Bien entendu, tout changement de position des effets modifie le son du canal. Remarque : si vous utilisez l’outil Main pour faire glisser des modules d’une bande de canal vers une autre, le module préalablement présent sur le canal de destination est remplacé, mais il n’est pas permuté. Pour placer un module d’effet entre deux logements d’insertion : 1 Sélectionnez l’outil Main. 2 Cliquez sur le nom de module d’un logement d’insertion utilisé et faites-le glisser entre deux autres logements d’insertion utilisés, puis relâchez le bouton de la souris. L’effet est alors inséré dans un logement créé entre les deux logements utilisés. Les effets situés sous le point d’insertion (le nouveau logement) sont décalés d’une position vers le bas. Remarque : si les 15 logements d’insertion sont utilisés, vous ne pouvez plus insérer aucun module dans le canal, à moins de remplacer un module existant. Utilisation de l’outil Main avec des touches de modification L’outil Main est le deuxième outil par défaut de la table de mixage. Si vous appuyez sur Commande tout en cliquant, vous passez de l’outil Pointeur à l’outil Main, ce qui vous permet de déplacer des modules en les faisant glisser tout en appuyant sur Commande. Pour copier un module, faites-le glisser tout en maintenant les touches Option et Commande enfoncées. Vous pouvez aussi utiliser l’outil Main dans les bandes de canaux de l’arrangement en appuyant sur la touche Commande lorsque le pointeur se trouve au-dessus d’un logement Instrument ou Insertion. 242 Chapitre 10 Utilisation des instruments et des effets Chargement et suppression de configurations entières de bandes de canaux L’onglet Bibliothèque de la zone Média vous permet de charger et d’enregistrer plusieurs modules (avec leur paramétrage) dans une bande de canaux. Vous pouvez faire de même en cliquant sur le bouton Réglages situé en haut d es bandes de canaux. Vous pouvez utiliser cette fonction de différentes façons :  Le réglage et l’enregistrement de configurations complexes comprenant plusieurs effets, sur n’importe quel type de canal.  Le réglage de configurations d’acheminement particulières pour leur utilisation avec des instruments logiciel à plusieurs sorties.  La copie d’une configuration d’acheminement ou d’effet entre projets.  La création rapide de nouveaux modèles de projet. Les réglages des bandes de canaux (fichiers CST) sont propres à chaque type de canal. Autrement dit, les canaux d’instrument bénéficient d’un certain nombre de réglages (ou préréglages) d’instrument, tels que Bright Pop Piano ou Hard Flanging Clav, répartis dans les catégories Instrument, GarageBand et Jam Pack. Les canaux audio offrent des acheminements d’effet optimisés pour des tâches de traitement instrumentales, vocales et autres. De même, les canaux auxiliaires et de sortie disposent de réglages de bandes de canaux destinés à des processus de mastérisation ou de « finalisation » particuliers. Pour charger un réglage de bande de canaux à l’aide du menu Réglages : 1 Cliquez sur le bouton Réglages en haut d’une bande de canaux. Un menu apparaît, dressant la liste de tous les réglages disponibles pour ce type de bande de canaux. 2 Naviguez jusqu’au réglage souhaité et sélectionnez-le en cliquant sur son nom. Chapitre 10 Utilisation des instruments et des effets 243 Pour charger un réglage de bande de canaux à l’aide de l’onglet Bibliothèque : 1 Sélectionnez tout d’abord la bande de canaux que vous souhaitez utiliser (dans la table de mixage ou en sélectionnant une piste d’arrangement). 2 Cliquez sur l’onglet Bibliothèque de la zone Média pour visualiser la Bibliothèque. Si la zone n’est pas visible, cliquez sur le bouton Média de la barre d’outils Arrangement. La Bibliothèque affiche tous les réglages de bandes de canaux disponibles pour la bande de canaux sélectionnée, classés par menus correspondant à des catégories. 3 Parcourez les différents menus, puis cliquez sur le nom du réglage voulu pour insérer tous les modules associés dans la bande de canaux sélectionnée. Pour réinitialiser un réglage de bande de canal : m Choisissez « Réinitialiser la bande de canaux » dans le menu « Réglages des bandes de canaux ». Pour revenir au réglage de bandes de canaux chargé au préalable : m Cliquez sur le bouton Rétablir au cas de l’onglet Bibliothèque. 244 Chapitre 10 Utilisation des instruments et des effets Pour supprimer un réglage d’une bande de canal : m Choisissez « Supprimer le réglage de bande de canal » dans le menu « Réglages des bandes de canaux ». Pour sélectionner le réglage de bande de canaux précédent ou suivant, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Réglage et choisissez la commande « Réglage de bande de canaux précédent » ou « Réglage de bande de canaux suivant ». m Utilisez l’un des raccourcis clavier suivants :  Réglage de bande de canaux suivant  Réglage de bande de canaux précédent  Réglage de bande de canaux ou Programme ou Instrument EXS suivant  Réglage de bande de canaux ou Programme ou instrument EXS précédent Cela permet de charger le réglage de bande de canaux précédent ou suivant dans la liste. Cette fonction est très utile lorsque vous essayez de trouver le bon retard ou son de clavinet, par exemple. Pour copier et coller un réglage de bande de canaux : m Cliquez sur le bouton Réglage et choisissez l’option de menu « Copier réglage de bande de canaux » ou « Coller réglage de bande de canaux », selon le cas. Vous pouvez également utiliser les raccourcis clavier correspondants. Remarque : lorsque vous collez des bandes de canaux (au lieu de les charger), le curseur Niveau, le niveau d’envoi du panorama et toutes les destinations d’acheminement sont également définis en fonction du réglage de bande de canaux présent dans le Presse-papiers. Pour enregistrer un réglage de bande de canaux : 1 Cliquez sur le bouton Réglage et choisissez « Enregistrer réglage de bande de canaux sous » (ou utilisez le raccourci clavier correspondant). 2 Dans la zone de dialogue « Enregistrer réglage de bande de canaux sous », sélectionnez le sous-dossier adéquat (si cela s’avère utile) et tapez un nom pour ce réglage de bande de canaux. Étant donné qu’il existe plusieurs catégories de bandes de canaux, le dossier « Channel Strip Settings » est subdivisé en plusieurs sous-dossiers propres à chaque type de canal. Cette hiérarchie de sous-dossiers est reproduite dans le menu Réglages pour chaque type de bande de canaux : Chapitre 10 Utilisation des instruments et des effets 245 Il est déconseillé d’essayer de modifier la structure du dossier « Channel Strip Settings ». Vous pouvez en revanche, si vous le souhaitez, créer un dossier dans lequel vous pourrez enregistrer. Si aucun dossier n’est sélectionné, le réglage de bande de canaux enregistré est affiché directement dans le menu « Réglages des bandes de canaux », sous les fonctions. Vous pouvez modifier à distance les réglages de bande de canaux en envoyant des messages de changement de programme MIDI. Cela vous permet de sélectionner vos sons favoris (constitués d’un réglage de bande de canaux complet pouvant contenir un instrument logiciel et des modules d’effets) en appuyant sur un bouton de votre clavier MIDI. Cette fonction, appelée « Performances de bande de canaux », est conçue pour une utilisation en direct de Logic Express. Important : seuls les messages de changement de programme envoyés sur le canal MIDI 1 permettent de changer d’option « Performances de bande de canaux ». Tous les messages de changement de programme envoyés sur les autres canaux MIDI sont transférés vers les instruments Audio Units, le cas échéant. Les performances de bande de canaux peuvent être utilisées pour tous les types de bande de canaux audio. Elles sont enregistrées dans le sous-dossier Performances (dans ~/Bibliothèque/Application Support/Logic/Channel Strip Settings/). Les noms des performances commencent par le numéro du changement de programme correspondant (tels que : 001Piano, 045FlangeGuitar, 111ArcoCelloHall). Il existe 128 performances (correspondant aux 128 événements de changement de programme disponibles). Pour créer un réglage de performance : 1 Configurez une bande de canaux que vous souhaitez avoir à disposition en tant que performance (en ouvrant un réglage de bande de canaux à partir de la bibliothèque d’origine et en l’adaptant à vos besoins, par exemple). 2 Cliquez sur le bouton Réglage, puis choisissez Enregistrer comme performance. 3 Dans la zone de dialogue qui s’affiche, tapez le nom d’une performance, choisissez un numéro de changement de programme et cliquez sur OK. 4 Envoyez le numéro de changement de programme à partir de votre contrôleur MIDI. Lorsqu’une bande de canaux reçoit un message de changement de programme (sur le canal MIDI 1) correspondant à un numéro de performance assigné, elle charge cette performance. 246 Chapitre 10 Utilisation des instruments et des effets Remarque : si la valeur de changement de programme envoyée n’est pas assignée, la bande de canaux ignore le message et le réglage de performance de la bande de canaux actuellement chargé reste en place. Tous les réglages de performance enregistrés apparaissent dans le dossier Performances du menu « Réglages des bandes de canaux ». Utilisation de la fenêtre de module Toutes les manipulations pratiques de modules s’effectuent dans la fenêtre de module, qui permet d’accéder à tous les paramètres des modules. Chaque occurrence d’un module dispose de sa propre fenêtre, chacune peut donc avoir ses propres réglages. La fenêtre de module s’ouvre automatiquement lorsqu’un module est inséré. Ce comportement peut être modifié en désactivant la case à cocher « Ouvrir la fenêtre du module à l’insertion » dans l’onglet Logic Express > Préférences > Audio > Général. Pour fermer une fenêtre de module : m Cliquez sur l’icône X en haut à gauche de la fenêtre de module. Chapitre 10 Utilisation des instruments et des effets 247 Remarque : le fait de fermer la fenêtre ne désactive pas le module. Pour ouvrir une fenêtre de module fermée : m Double-cliquez sur un logement d’insertion ou d’instrument assigné (le nom du module est indiqué sur le logement). Pour afficher ou masquer toutes les fenêtres de module ouvertes : m Utilisez le raccourci clavier « Afficher/Masquer toutes les fenêtres de module » (par défaut : V). Ajustement des paramètres de module Cette rubrique aborde brièvement l’interaction avec les éléments de paramétrage communs que vous trouverez dans les fenêtres de module Logic Express. Pour obtenir des détails complets sur les paramètres de chaque module, reportez-vous au manuel Instruments et effets de Logic Express 8. Pour passer d’un bouton à l’autre dans la fenêtre de module : m Cliquez sur le bouton. Il passe à l’option suivante ou précédente ou est activé ou désactivé. Pour ajuster le curseur d’un paramètre : m Cliquez n’importe où sur le curseur, puis maintenez enfoncé le bouton de la souris et faites glisser vers le haut, vers le bas, vers la gauche ou vers la droite. m Cliquez n’importe où dans la plage de valeurs du curseur tout en maintenant la touche Commande enfoncée. La valeur définie correspond à la valeur sur laquelle vous avez cliqué. 248 Chapitre 10 Utilisation des instruments et des effets Pour ajuster les potentiomètres rotatifs : m Cliquez au centre du potentiomètre rotatif et, tout en maintenant le bouton de la souris enfoncé, faites glisser la souris vers le haut et vers le bas. m Cliquez n’importe où sur le cercle entourant le potentiomètre tout en maintenant la touche Commande enfoncée. La valeur définie correspond à la valeur sur laquelle vous avez cliqué. Pour ajuster les champs numériques, effectuez l’une des opérations suivantes : m Cliquez sur la valeur numérique tout en maintenant le bouton de la souris enfoncé, puis faites-le glisser vers le haut ou vers le bas. m Cliquez (ou double-cliquez) dans le champ et tapez des valeurs numériques à l’aide du clavier. m Si des flèches vers le haut et vers le bas se trouvent à côté de ces panneaux, cliquez dessus pour augmenter ou diminuer la valeur d’une unité. m Si le panneau numérique ouvre un menu local de valeurs, choisissez la valeur souhaitée. Pour rétablir la valeur par défaut (ou centrée) de n’importe quel paramètre : m Cliquez dessus en maintenant la touche Option enfoncée. Pour affiner les ajustements de paramètres : m Maintenant la touche Maj enfoncée avant de cliquer sur une commande et de la faire glisser. Vous pouvez également vous servir de la molette de la souris ou du clavier pour ajuster les paramètres des modules Logic Express. Pour ajuster les paramètres de module avec la molette de la souris : 1 Sélectionnez le paramètre de module Logic Express souhaité en cliquant dessus. 2 Faites tourner la molette de la souris. Π Conseil : vous pouvez également utiliser le trackpad d’un MacBook ou d’un PowerBook au lieu de la molette de la souris. Chapitre 10 Utilisation des instruments et des effets 249 Pour ajuster les paramètres d’un module à l’aide du clavier : m Sélectionnez le paramètre de module Logic Express souhaité, puis procédez de l’une des manières suivantes :  Appuyez sur la touche plus pour augmenter la valeur du paramètre.  Appuyez sur la touche moins pour réduire la valeur du paramètre. Fonctions communes de la fenêtre de module La zone d’e Appuyez sur n-tête située en haut de la fenêtre de module est commune à tous les modules. Elle contient un certain nombre de fonctions importantes pour l’utilisation des modules. Pour masquer ou afficher l’en-tête de la fenêtre de module : m Cliquez sur l’icône située en haut à droite de la fenêtre de module. Liaison de la fenêtre de module Le bouton situé à l’extrême gauche de la fenêtre (avec une chaîne représentée dessus) est le bouton Lien. Lorsque le bouton Lien est activé  Une seule fenêtre de module est utilisée pour afficher tous les modules ouverts. Chaque fois que vous ouvrez un nouveau module, la fenêtre est actualisée pour prendre en compte le module que vous venez de choisir.  La sélection d’une piste d’arrangement différente actualise la fenêtre de module ouverte, de façon à afficher le numéro de logement correspondant à la piste ou à la bande de canaux récemment sélectionnée. Par exemple :  Une instance ES1 est chargée (dans le logement Instrument) sur la piste 1, assignée à la bande de canaux d’instrument 1.  Une instance EXS24 mkII est chargée dur la piste 11, assignée à la bande canal d’instrument 2.  Lorsque vous basculerez entre les pistes 1 et 11, la fenêtre de module sera automatiquement actualisée pour afficher respectivement l’ES 1 ou l’EXS24 mkII. 250 Chapitre 10 Utilisation des instruments et des effets Lorsque le bouton Lien est désactivé Vous pouvez ouvrir plusieurs fenêtres de module simultanément, sans qu’elles ne soient actualisées pour refléter les pistes ou les modules que vous sélectionnez. Toutes les fenêtres de module ouvertes continueront bien sûr à afficher toutes les mises à jour et modifications apportées aux paramètres. Il est pratique de désactiver le bouton Lien lorsque vous souhaitez comparer les réglages de deux modules ou ajuster en même temps les paramètres de plusieurs fenêtres de module ouvertes. Contournement de modules Pour désactiver un module, sans pour autant le supprimer ou le retirer d’un canal, vous avez la possibilité de le contourner. Les modules contournés n’utilisent pas de ressources système. Pour contourner un module, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Contournement à gauche de l’en-tête de la fenêtre de module. m Tout en maintenant la touche Option enfoncée, cliquez sur le logement d’insertion ou d’instrument approprié sur la bande de canaux voulue (dans la table de mixage ou dans l’Inspecteur). Le logement d’insertion du module contourné passe du bleu au gris, indiquant que le module est actuellement contourné. Utilisation des fonctions de réglages Tous les réglages actuels des paramètres d’un module sont stockés avec le fichier du projet et sont automatiquement rappelés lors du prochain chargement. Vous pouvez également enregistrer et rappeler toutes les modifications apportées aux paramètres de module. Ces paramètres sont stockés et rappelés sous forme de réglages individuels (ou préréglages, si vous préférez) via la zone Réglages. Chapitre 10 Utilisation des instruments et des effets 251 La zone Réglages se trouve à droite du bouton Contournement.  Boutons Réglage suivant et Réglage précédent : cliquez sur ces boutons pour charger le réglage de module suivant ou précédent.  Champ Réglages : affiche le nom du réglage de module actuel. Cliquez sur ce champ pour accéder au menu Réglages.  Bouton Comparer : cliquez sur ce bouton pour comparer un réglage de module modifié avec le réglage enregistré avec le projet.  Boutons Copier et Coller : cliquez sur ces boutons pour copier ou coller un réglage de module. Pour charger un réglage : 1 Ouvrez le menu Réglages (de la fenêtre de module, et non du menu « Réglages des bandes de canaux ») en cliquant sur le champ Réglages. 2 Effectuez l’une des opérations suivantes :  Accédez au réglage souhaité depuis le menu ou les sous-menus de catégorie, puis sélectionnez-le.  Choisissez la commande Charger Réglages. Lorsque cette commande est utilisée, une zone de sélection de fichier s’ouvre. Seuls les réglages correspondant aux types de modules compatibles s’affichent. Chaque module possède son propre jeu de paramètres, et donc son propre format de fichier. Remarque : vous pouvez également sélectionner les réglages de module dans l’onglet Bibliothèque de la zone Média de la fenêtre Arrangement. Reportez-vous à la rubrique « Utilisation de la bibliothèque pour sélectionner les réglages de module » à la page 256. 252 Chapitre 10 Utilisation des instruments et des effets Pour choisir le réglage suivant ou précédent, effectuez l’une des opérations suivantes : m Dans l’en-tête de la fenêtre de module, cliquez sur la flèche gauche pour choisir le réglage précédent, ou sur la flèche droite pour choisir le suivant. m Utilisez les raccourcis clavier suivants :  Réglage de module suivant  Réglage de module précédent  Programme ou instrument EXS suivant  Programme ou instrument EXS précédent  Réglage de bande de canaux ou Programme ou Instrument EXS suivant  Réglage de bande de canaux ou Programme ou instrument EXS précédent Pour remplacer un réglage, effectuez l’une des opérations suivantes : m Naviguez jusqu’au menu des réglages de module et choisissez le réglage que vous souhaitez utiliser. m Sélectionnez la commande Charger Réglages et choisissez le réglage voulu dans la zone de sélection de fichier. Remplacement de modules compatibles avec les réglages Lorsque vous remplacez un module par un autre module compatible avec les réglages, le nouveau module utilise automatiquement les réglages du module remplacé. Par exemple : lorsque vous remplacez un instrument GarageBand reposant sur le module ES2 par l’ES2 lui-même, ce dernier utilise le même réglage que l’instrument GarageBand ES2 remplacé. Il en va de même pour la plupart des instruments Garage- Band reposant sur ESW, à deux exceptions près : Métamorphose hybride et Hybride de base. Pour comparer les paramètres de module modifiés avec les réglages d’origine : 1 Ajustez les paramètres de module souhaités. 2 Cliquez sur le bouton Comparer pour passer des réglages de paramètres chargés à l’origine (avec le projet) à ceux qui ont été modifiés. Cette fonction vous permet d’auditionner la lecture de vos pistes audio ou instrument sur deux variations d’un même module. Si vous décidez de conserver la version remaniée, vous pouvez l’enregistrer en tant que nouveau réglage de module via le menu Réglages. Le bouton Comparer permet de comparer le réglage modifié au réglage de référence qui a été sauvegardé lors du dernier enregistrement du projet (même si vous avez enregistré le réglage depuis la dernière ouverture du projet). Cela signifie que, pour modifier rapidement le réglage de référence, il suffit d’enregistrer le projet. Chapitre 10 Utilisation des instruments et des effets 253 Pour rétablir le réglage par défaut d’un module : m Dans le menu Réglages, choisissez Réinitialiser le réglage. Pour copier les paramètres de module actuels : m Cliquez sur le bouton Copier dans l’en-tête de la fenêtre de module (ou choisissez Copier le réglage dans le menu Réglages). Cela permet de copier tous les réglages de paramètre dans le Presse-papiers des réglages de module, qui est indépendant du Presse-papiers global de Logic Express. Pour coller les paramètres de module copiés : m Cliquez sur le bouton Coller dans l’en-tête de la fenêtre de module (ou choisissez Coller le réglage dans le menu Réglages). Remarque : cela ne fonctionne qu’avec des modules du même type (deux instances de Compressor, par exemple). Certains modules, tels que l’ES2 et certains instruments GarageBand basés sur ES2 partagent un certain nombre de paramètres, ce qui vous permet de copier et coller librement les réglages de paramètre d’un module à l’autre (voir « Changement du contenu de la fenêtre de module » à la page 254). Pour enregistrer un réglage, effectuez l’une des opérations suivantes dans le menu Réglages : m Choisissez Enregistrer le réglage : les valeurs actuelles des paramètres de module sont enregistrées comme réglage. Cette action écrase le réglage existant. m Choisissez Enregistrer le réglage sous : cette option permet de nommer et d’enregistrer un réglage en indiquant l’emplacement du dossier. Vous pouvez également, si vous le souhaitez, créer un dossier dans la zone de dialogue Enregistrer sous. Remarque : l’emplacement du dossier (existant ou nouvellement créé) doit se trouver dans le dossier du module associé. Par exemple, vous pourriez enregistrer un réglage appelé Euro Lead dans le sous-dossier Lead Synths du dossier ES2. Pour créer un réglage par défaut : m Enregistrez un réglage appelé « #default » dans le dossier Réglages de n’importe quel type de module. Ce réglage sera chargé automatiquement à l’ouverture de ce type de module. Le réglage « #default » constitue également un bon point de départ pour créer de nouveaux réglages de module ou une bonne position de repli lorsque vous faites des essais. Pour supprimer un réglage : m Choisissez Supprimer le réglage dans le menu Réglages. 254 Chapitre 10 Utilisation des instruments et des effets Changement du contenu de la fenêtre de module Vous pouvez réassigner n’importe quelle fenêtre de module ouverte (de deux façons différentes) via les menus « Afficher la bande de canaux » et Afficher l’insertion :  Cliquez sur le menu « Afficher la bande de canaux » pour que la fenêtre de module bascule entre tous les canaux qui utilisent le même module. Par exemple, si vous avez inséré l’ES2 sur les pistes 1 et 6, vous pouvez passer de l’une de ces bandes de canaux à l’autre et ajuster les paramètres de chaque instance ES2 respectivement.  Cliquez sur le menu Afficher l’insertion pour basculer entre les logements de module du canal sélectionné. Par exemple, si un canal particulier utilise un égaliseur et un module ES2, vous pouvez passer de l’un à l’autre. Changement du mode de présentation de la fenêtre de module Les paramètres de module peuvent être affichés sous deux formes : la présentation Contrôles et la présentation Éditeur. La présentation Éditeur affiche l’interface graphique du module, s’il en comprend une. La présentation Contrôles affiche toutes les fonctions du module sous forme d’ensembles de curseurs horizontaux, avec des champs numériques à gauche de chaque paramètre. Ces champs servent aussi bien à l’affichage qu’à la saisie des valeurs. Pour passer d’un mode de présentation à l’autre : m Choisissez l’option Contrôles ou Éditeur dans le menu Présentation de l’en-tête de module. Présentation Contrôles Présentation Éditeur Chapitre 10 Utilisation des instruments et des effets 255 Modules avec entrée latérale (Side Chain) Tous les modules qui gèrent les entrées latérales comportent un menu supplémentaire Side Chain à droite de l’en-tête de la fenêtre de module. Cela vous permet d’acheminer n’importe quel canal audio, d’entrée ou auxiliaire dans le module, via une entrée latérale. Vous pouvez également acheminer un canal d’instrument sous forme de signal Side Chain en suivant ces étapes : 1 Créez un envoi (Send) vers un canal auxiliaire (par exemple « Aux 3 ») sur le canal d’instrument (« Instrument 5 », par exemple). 2 Sur le canal audio que vous souhaitez traiter, choisissez le canal auxiliaire sélectionné (Aux 3) dans le menu Side Chain du module. Une fois l’entrée latérale choisie, le module traite l’audio du canal dans lequel il est inséré, en tenant compte des impulsions de déclenchement fournies par l’entrée latérale. Les crêtes du signal arrivant sur l’entrée latérale (le signal d’instrument envoyé), associées au paramètre Seuil du module, conditionnent le déclenchement du module. Quelques exemples d’utilisation d’entrée latérale (Side Chain)  Un son de nappe de niveau quasi-constant est envoyé à travers une porte de bruit, elle-même déclenchée par le signal d’une piste de batterie arrivant sur son entrée latérale. Vous obtenez un son de nappe « découpé » en rythme par les crêtes du signal provenant de la piste de batterie.  Une porte de bruit insérée dans le canal d’une guitare basse est déclenchée par la piste de grosse caisse via l’entrée latérale. Cette astuce permet de resserrer le timing de la guitare basse, qui suit alors le signal de la grosse caisse.  Les entrées latérales peuvent également être utilisées pour mélanger une musique et une voix off. Pour cela, le mixage doit être acheminé à travers un compresseur qui reçoit par ailleurs sur son entrée latérale la piste de la voix off. Dans ce type de configuration, le niveau de la musique baisse lorsque le narrateur parle et remonte lorsqu’il ne parle plus. Cet effet est également appelé atténuation (ou Ducking). Veuillez noter que pour que cette configuration puisse fonctionner, il faut désactiver la fonction de compensation automatique de gain ou « Auto Gain » (si celle-ci s’applique au module de compression). 256 Chapitre 10 Utilisation des instruments et des effets Masquage et affichage des paramètres étendus Certains modules de Logic Express peuvent disposer de paramètres supplémentaires qui n’apparaissent pas dans la présentation Éditeur (l’interface graphique du module). Leur présence est signalée par un triangle d’affichage qui apparaît en bas à gauche de la fenêtre de module. Si aucun triangle d’affichage n’est visible, cela signifie que le module de possède pas de paramètres supplémentaires. Pour masquer ou faire apparaître les paramètres supplémentaires : m Cliquez sur le triangle d’affichage situé en bas de la fenêtre de module. Utilisation de la bibliothèque pour sélectionner les réglages de module Au lieu d’utiliser le menu Réglages de l’en-tête de la fenêtre de module, vous pouvez aussi utiliser l’onglet Bibliothèque de la zone Média. Pour charger un réglage de module à partir de la Bibliothèque : 1 Si la zone Média n’est pas visible, cliquez sur le bouton Média dans la barre d’outils de la fenêtre Arrangement, puis cliquez sur l’onglet Bibliothèque. 2 Sélectionnez la piste d’arrangement qui est acheminée vers la bande de canaux dont vous souhaitez ajuster les réglages. Chapitre 10 Utilisation des instruments et des effets 257 3 Cliquez sur le logement d’insertion ou d’instrument du module souhaité dans la bande de canaux de la zone Arrangement. La Bibliothèque affiche tous les réglages disponibles pour le type de module choisi, classés par menus de catégories. Par exemple, pour le module Compressor : Drum Compressors, Instrument Compressors, Vocal Compressors. 4 Cliquez sur le menu de catégorie approprié, puis cliquez sur le nom du réglage voulu afin de modifier le réglage du module sélectionné. Remarque : vous pouvez cliquer sur le bouton Rétablir pour revenir au réglage de module précédent. 5 Le cas échéant, cliquez sur d’autres logements d’insertion ou d’instrument pour mettre à jour l’onglet Bibliothèque et ainsi afficher tous les réglages associés au type de module sélectionné. 6 Si vous cliquez sur un logement d’insertion ou d’instrument non utilisé, le menu du module est affiché normalement. Choisissez un module et l’onglet Bibliothèque est actualisé pour refléter votre sélection. Dossier Bibliothèque et structure de menus Chaque type de module possède un sous-dossier spécifique (portant le nom du module en question) qui est créé automatiquement dans le dossier Plug-in Settings. D’autres sous-dossiers, destinés aux catégories, peuvent être créés à l’intérieur de ces sous-dossiers. Ces structures de dossier sont reproduites dans l’onglet Bibliothèque (et dans le menu Réglages) pour chaque module. Les dossiers Plug-In Settings se trouvent dans les emplacements suivants :  ~/Bibliothèque/Application Support/Logic : contient les réglages de module définis ou modifiés par l’utilisateur.  /Bibliothèque/Application Support/Logic : les réglages d’origine sont toujours stockés dans ce répertoire. Les réglages de module sont identifiés par l’extension de fichier .pst. Le cadre blanc indique que la Bibliothèque est active. 258 Chapitre 10 Utilisation des instruments et des effets À propos des acheminements d’effets Il existe deux moyens d’envoyer des données audio dans les effets : via une insertion ou via un envoi auxiliaire. Effets d’insertion Lorsqu’un module est inséré directement dans un canal, on parle d’effet d’insertion. Le signal est traité intégralement ou, autrement dit, 100 % du signal traverse l’effet. Ce comportement intégral est idéal pour les égaliseurs et les effets dynamiques, tels que les compresseurs. Si vous disposez d’une puissance de calcul suffisante, vous pouvez utiliser jusqu’à 15 effets d’insertion sur chaque bande de canaux. Par défaut, deux logements d’insertion seulement sont affichés sur les bandes de canaux. Un logement d’insertion supplémentaire vierge est automatiquement créé, dès que tous les logements d’insertion actuellement affichés sont utilisés, jusqu’au maximum utilisé. Autrement dit, si vous insérez un module d’effet dans le logement d’insertion 2, un troisième logement est automatiquement affiché. De même, si vous insérez un module dans le logement 3, un quatrième est affiché et ainsi de suite. Effets d’envoi Lorsque vous utilisez un effet d’envoi, une quantité contrôlée du signal est envoyée à l’effet en question. Cette méthode est généralement employée pour des effets qui seront appliqués à plusieurs signaux en même temps. Les effets d’envoi sont également appelés effets bus, envois ou retours de bus, envois ou retours auxiliaires, ou tout simplement envois ou retours. Dans Logic Express, les effets d’envoi sont placés dans un logement Insertion d’un canal auxiliaire. Les signaux des différents canaux que vous souhaitez traiter sont envoyés vers ce canal auxiliaire par le biais d’un bus. La quantité de signal est contrôlée par un potentiomètre d’envoi (Send) sur chaque canal. Le signal audio est alors traité par l’effet inséré dans le canal auxiliaire, puis mélangé à la sortie stéréo. Cette méthode est indéniablement plus efficace que l’insertion directe dans les pistes. En effet, au lieu d’insérer le même effet directement dans plusieurs canaux, elle permet de traiter plusieurs canaux avec un seul effet inséré et donc d’économiser beaucoup de puissance de calcul (et de temps). Un autre avantage est que vous pouvez passer rapidement de la version sèche à la version mouillée (et inversement) de tous les canaux qui sont envoyés à un canal auxiliaire, en contournant simplement l’effet sur ce dernier. Chapitre 10 Utilisation des instruments et des effets 259 De même, vous pouvez complètement modifier la configuration des effets pour plusieurs canaux envoyés en choisissant différents effets pour le canal auxiliaire. Il est toujours préférable d’insérer les effets très gourmands en puissance de calcul, tels que la réverbération, dans un canal auxiliaire. Il en va de même pour les effets Chorus, Flanger et Delay s’ils doivent être utilisés sur plusieurs pistes. Toutefois, dans certains cas, il peut être judicieux d’un point de vue musical de placer un effet tel qu’un retard ou un chorus directement dans le logement d’insertion d’un canal. Cela vous permet en effet d’utiliser des couleurs et des réglages précis sur les différents éléments de votre mixage. La règle d’or est que vous devez utiliser ce qui convient le mieux à votre mixage. Logic Express n’impose aucune restriction sur l’endroit où peuvent être insérés les effets. Pour envoyer un signal de canal à un canal auxiliaire : 1 Cliquez sur un logement d’envoi (d’un canal audio, par exemple) et sélectionnez un bus dans le menu. 2 Faites glisser le potentiomètre d’envoi sur la quantité de signal que vous souhaitez envoyer au canal auxiliaire. Lorsque vous faites cela, la valeur (quantité d’envoi) s’affiche dans le logement d’envoi. Lorsqu’elle est définie sur 100 %, la quantité d’envoi achemine l’intégralité du signal depuis le canal audio ou d’instrument vers le canal auxiliaire cible (reportez-vous aux informations Pré et Post ci-après). 260 Chapitre 10 Utilisation des instruments et des effets 3 Insérez les modules d’effet voulus et réglez le niveau, la balance et la sortie du canal auxiliaire cible. Π Conseil : il est plus facile d’effectuer cette action dans les bandes de canaux de l’arrangement de l’Inspecteur : la bande de canaux gauche correspond à la source (le canal audio dans l’exemple) et la bande de canaux droite correspond à la destination (le canal auxiliaire) de cette source. Si vous travaillez dans la table de mixage, vous pouvez double-cliquer sur un logement d’envoi pour accéder directement au canal auxiliaire alloué. Pour supprimer un envoi : m Cliquez sur un logement d’envoi actif, puis sélectionnez Pas d’envoi dans le menu. Pour contourner un envoi : m Cliquez sur le logement d’envoi tout en appuyant sur la touche Option. L’arrière-plan de ce dernier devient grisé. Pour normaliser (réinitialiser) le niveau d’envoi : m Cliquez sur le potentiomètre d’envoi tout en appuyant sur la touche Option. Le niveau d’envoi est alors ramené à 0 dB. Effets d’envoi auxiliaires Post, Post-pan et Pré-fader Les effets d’envoi peuvent être positionnés avant (Pré) ou après (Post) le curseur de niveau des bandes de canaux (source). Un niveau de signal Post-fader, acheminé vers un effet d’envoi, évolue en même temps que les mouvements du curseur de volume. Si vous utilisez l’effet d’envoi pour acheminer un signal depuis le canal vers une réverbération insérée sur un canal auxiliaire, cela signifie que la relation entre le signal initial et le signal d’effet reste constante. Lorsque vous baissez au maximum le curseur de volume du canal, la réverbération disparaît également. Ce réglage est généralement le plus utile, c’est pourquoi il est défini par défaut dans Logic Express. Envoi Pré-fader Envoi Post-balance Envoi Post-fader Chapitre 10 Utilisation des instruments et des effets 261 Si un effet d’envoi est réglé en mode Pré-fader, le niveau du signal acheminé vers l’effet d’envoi reste constant, quels que soient les mouvements du curseur de volume sur le canal source. Le signal est toujours envoyé au canal auxiliaire sélectionné, même si le curseur de volume du canal source est entièrement abaissé. Les envois Pré-fader sont principalement utilisés pour les tâches de contrôle : contrôle du casque dans un studio ou contrôle du foldback sur scène. Les envois Pré-fader sont également utiles lorsque vous souhaitez entendre le signal d’effet de façon isolée (sans le signal d’origine). L’égaliseur continue d’affecter les envois en mode Pré-fader (pré-fader, post-égaliseur). Si vous optez pour le mode Post-pan, le signal est non seulement en post-fader, mais aussi en post-pan. Cela signifie que la balance du signal d’envoi sur l’auxiliaire (qui doit être stéréo ou multicanal) correspondra à la position Pan/Balance de la bande de canal. Pour sélectionner l’une de ces options dans Logic Express : m Cliquez sur un logement d’envoi utilisé, puis choisissez Post-pan, Post ou Pré en haut du menu. Acheminement d’envois en parallèle et en série Lorsque plusieurs effets sont insérés dans une bande de canaux, on dit qu’ils sont acheminés en série. Ce terme fait référence à la nature séquentielle de la chaîne d’effets, selon laquelle les données de sortie d’un effet sont insérées dans les données d’entrée de l’effet suivant, et ainsi de suite. Lorsqu’une bande de canaux est acheminée vers plusieurs canaux auxiliaires par le biais d’envois, alors que des effets de réverbération, de chorus et de retard sont assignés respectivement aux canaux 1, 2 et 3, on parle d’acheminement en parallèle. Cela signifie que les données de sortie de la bande de canaux sont divisées et acheminées vers trois effets distincts, un pour chaque bande de canaux auxiliaire. Ces trois signaux indépendants sont renvoyés depuis leurs canaux auxiliaires respectifs, puis réunis en un flux de sortie depuis la bande de canaux. Vous pouvez également diriger le signal audio depuis les bandes de canaux auxiliaires vers des canaux de sortie individuels (ou d’autres canaux auxiliaires), indépendamment ou en association avec la sortie mixte de bandes de canaux. D’autres possibilités vous sont offertes si vous combinez des acheminements en série et des acheminements en parallèle pour des canaux individuels. 262 Chapitre 10 Utilisation des instruments et des effets Pourquoi acheminer une bande de canaux vers plusieurs canaux auxiliaires, eux-mêmes renvoyés vers le canal, vers des sorties ou vers d’autres canaux auxiliaires ? Pour résumer, les résultats sonores de chaque approche, simple ou combinée, peuvent être différents. À vous de jouer : explorez, testez ! Utilisation des instruments Cette rubrique traite de l’utilisation des instruments logiciels et des générateurs de son MIDI externes. Les pistes des instruments logiciels et celles des instruments MIDI externes sont traitées de manière presque identique. Les régions MIDI des pistes acheminées vers l’un ou l’autre type de canal (instrument logiciel ou MIDI externe) peuvent être utilisées de manière interchangeable. Vous pouvez également réassigner complètement une piste acheminée vers un synthétiseur MIDI externe vers une piste utilisant des instruments logiciels, ou encore copier les données d’une piste MIDI externe vers une piste d’instrument logiciel, afin d’obtenir une lecture superposée du morceau sur les deux instruments. Les instruments logiciels utilisent des bandes de canaux d’instrument, tandis que les instruments MIDI utilisent des bandes de canaux MIDI externes. Les instruments ReWired utilisent quant à eux des bandes de canaux auxiliaires. Pour en savoir plus sur la configuration et l’utilisation des instruments ReWired, consultez la rubrique « Utilisation des applications ReWire » à la page 275. Π Conseil : bon nombre des tâches de configuration et d’acheminement décrites dans cette rubrique peuvent être effectuées une seule fois et enregistrées comme modèle. Ce qui signifie que, la prochaine fois que vous chargerez le modèle, toutes ces tâches préliminaires ne seront pas nécessaires et vous pourrez ainsi vous consacrer pleinement à la création musicale. Pour en savoir plus, reportez-vous à la rubrique « Enregistrement d’un projet en tant que modèle » à la page 166. Configuration d’instruments MIDI externes La configuration et l’utilisation des modules internes et claviers MIDI externes peuvent s’effectuer de plusieurs façons dans Logic Express. Pour illustrer cela, nous prendrons quelques exemples concrets. Suivez les étapes décrites ci-dessous. Pour créer un instrument MIDI externe dans la fenêtre Arrangement : 1 Cliquez sur le bouton Nouvelles pistes (le signe plus au-dessus de la liste des pistes) de la fenêtre Arrangement. 2 Choisissez l’option MIDI externe et cliquez sur le bouton Créer. Chapitre 10 Utilisation des instruments et des effets 263 Remarque : la case Ouvrir la bibliothèque de la zone de dialogue Nouvelles pistes est cochée par défaut. Ne changez rien car l’onglet Bibliothèque (qui s’ouvre automatiquement) vous facilitera grandement la tâche. Une nouvelle piste est créée dans la liste et assignée au Périphérique GM 1. Chaque fois que vous créez une nouvelle piste MIDI externe dans un projet, Logic Express génère automatiquement un nouvel objet Multi Instrument MIDI externe. Ce dernier est inséré dans la couche Instr. MIDI de la fenêtre Environnement. Choisissez Fenêtre > Environnement pour visualiser cet objet (pour plus de détails, consultez le chapitre 38, « Utilisation de l’Environnement » à la page 941). Une autre tâche effectuée en arrière-plan est la création automatique des bandes de canaux de la table de mixage pour tous les sous-canaux Multi Instrument. Cliquez sur le bouton Table de mixage au bas de la fenêtre Arrangement et cliquez sur le bouton Tous dans la barre des menus de la table de mixage. Vous verrez apparaître 16 bandes de canaux assignées aux Périphériques GM 1 à 16 (plus quelques autres pour les canaux audio). À droite de la zone Arrangement se trouve l’onglet Bibliothèque. Il affiche la liste de vos ports et autres objets MIDI. Parmi les éléments affichés figure le Périphérique GM. 264 Chapitre 10 Utilisation des instruments et des effets 3 Cliquez sur Périphérique GM dans la colonne gauche de l’onglet Bibliothèque et vous verrez s’afficher 16 entrées dans la colonne de droite : 1 (Grand Piano), 2 (Polysynth), etc. 4 Cliquez sur le triangle d’affichage situé à gauche de l’entrée Périphérique GM 1 dans l’Inspecteur (si la zone Paramètre de piste n’est pas déjà ouverte). Si l’Inspecteur n’est pas visible, appuyez sur le bouton Inspecteur dans la barre d’outils Arrangement. Deux paramètres sont particulièrement importants ici : Port et Canal (voir « Réglages des paramètres de canaux MIDI externes » à la page 269). 5 Cliquez sur Tous, à côté du paramètre Port. Tous les ports de sortie de votre interface MIDI sont présentés dans une liste. Exemples : Port 1 (Unitor 8), Port 2 (Unitor 8), MIDI1 (Réseau mLan). Si vous choisissez un port spécifique, par exemple le Port 1 (Unitor 8), l’objet Multi Instrument Périphérique GM sera acheminé vers ce port MIDI en particulier. Cette liste de ports est identique à la liste de la colonne gauche de l’onglet Bibliothèque. Chapitre 10 Utilisation des instruments et des effets 265 6 Vous remarquerez que le paramètre Canal est défini sur 1. Créez plusieurs nouvelles pistes MIDI externes en suivant les étapes 1 et 2. Vous remarquerez que ces nouvelles pistes sont appelées Périphérique GM 2, Périphérique GM 3, Périphérique GM 4, etc. Cliquez sur chacune de ces pistes dans la liste des pistes et observez bien le paramètre Canal dans la zone Paramètre de piste de l’Inspecteur. Chacune de ces pistes est acheminée vers un sous-canal de l’objet Multi Instrument Périphérique GM. La sélection de chaque piste est reflétée par les 16 entrées de sous-canaux affichées dans la colonne droite de l’onglet Bibliothèque. Il est important de noter que Logic Express n’a pas créé de nouvel objet Multi Instrument pour chaque nouvelle piste MIDI externe. Au lieu de cela, il a assigné chaque piste à des sous-canaux de l’objet Multi Instrument Périphérique GM. Vous pouvez créer jusqu’à 16 pistes, chacune pouvant être assignée à un sous-canal d’un objet Multi Instrument. Mais alors, que se passe-t-il si vous avez besoin de canaux supplémentaires pour d’autres modules internes et synthétiseurs MIDI externes ? Plusieurs options s’offrent à vous. Le plus simple est d’utiliser l’onglet Bibliothèque pour réassigner les pistes nouvellement créées vers des ports et des canaux MIDI particuliers. Pour réassigner des pistes à des canaux à l’aide de l’onglet Bibliothèque : 1 Créez plusieurs pistes MIDI externes dans la fenêtre Arrangement, en suivant les étapes 2 et 3 de l’exemple ci-dessus. 2 Cliquez sur une piste, puis sur un Port et sur une entrée de sous-canal dans l’onglet Bibliothèque.  Si vous choisissez un sous-canal du Périphérique GM, vous devez réassigner la piste sélectionnée à ce sous-canal.  Si vous choisissez le sous-canal d’un autre Port MIDI, la piste sera réassignée en conséquence (Unitor 8 Port 5, sous-canal 4 par exemple). Observez le nouvel objet Multi Instrument (Unitor 8, Port 5) dans la fenêtre Environnement. Remarque : la première fois que vous effectuez cette opération pour chaque port ou sous-canal, un nouvel objet Multi Instrument est créé dans l’Environnement (ainsi que les canaux correspondants dans la Table de mixage). Une fois que des objets ont été créés pour tous les ports, la réaffectation des pistes vers des ports ou des canaux n’entraîne pas la création de nouveaux objets. Outre l’onglet Bibliothèque, vous avez également la possibilité d’utiliser la fenêtre Environnement pour créer des objets Multi Instrument. 266 Chapitre 10 Utilisation des instruments et des effets Pour créer un instrument MIDI externe dans la fenêtre Environnement : 1 Ouvrez la fenêtre Environnement en choisissant Fenêtre > Environnement (ou en utilisant le raccourci clavier correspondant, par défaut : Commande + 8). 2 La fenêtre devrait s’ouvrir par défaut sur la couche Instr. MIDI, sinon, cliquez sur la flèche vers le bas située à gauche du bouton Lien et choisissez l’entrée Instr. MIDI. 3 Cliquez sur le menu Nouveau et examinez les options disponibles. Il s’agit de tous les objets d’environnement que vous pouvez créer. Pour l’instant, choisissez Multi Instrument. 4 Le nouvel objet Multi Instrument créé est appelé « (Multi Instr.) ». Vous pourrez le renommer par la suite (en général d’après le nom de votre synthétiseur, JV5080, Microwave, etc.).  Vous noterez la présence de lignes diagonales qui barrent chacune des 16 cases de sous-canal.  Notez également que les paramètres Port et Canal s’affichent à gauche de la fenêtre Environnement. 5 Cliquez sur le menu Port et choisissez une nouvelle sortie MIDI pour l’objet Multi Instr. Assurez-vous qu’il s’agit un port différent de celui utilisé par l’objet Périphérique GM. 6 La dernière étape consiste à activer chaque sous-canal. Pour cela, il suffit de cliquer sur la case de chaque sous-canal. La ligne diagonale disparaît dès que la case est cochée. 7 Cliquez sur le bouton Table de mixage au bas de la fenêtre Arrangement et vous verrez apparaître 16 nouvelles bandes de canaux (Multi Instr.). Π Conseil : dès qu’un objet a été créé dans la fenêtre Environnement (à l’aide de l’une des méthodes décrites précédemment), vous pouvez cliquer sur les noms de piste de la liste en maintenant la touche Contrôle enfoncée. Choisissez le port et le sous-canal voulus dans le menu « Réassigner l’objet de piste » pour réassigner rapidement les pistes. Chapitre 10 Utilisation des instruments et des effets 267 Réglage des paramètres de canaux pour les instruments Lorsque vous sélectionnez une piste qui est déjà assignée à une bande de canal MIDI ou d’instrument logiciel, la zone Paramètres de piste de l’Inspecteur affiche les paramètres décrits dans cette rubrique. Toute modification apportée à ces paramètres affecte l’ensemble de la bande de canal, ainsi que toutes les pistes acheminées vers cette bande. Cette distinction est importante car certains paramètres, tels que la transposition, sont disponibles à la fois en tant que paramètre de canal et que paramètre de région. Pour remettre cela en contexte, imaginez un projet composé de 6 pistes acheminées vers le module EXS24 mkII (avec un kit de batterie chargé) sur le canal d’instrument 1. Vous voudriez transposer la rubrique de la caisse claire (jouée par des régions de la piste 2) de deux demi-tons. Cela va déclencher un échantillon de caisse claire différent.  Si vous utilisez le paramètre Transposition de la zone Paramètre de région pour toutes les régions de la piste 2, tout se déroulera comme prévu.  Si vous utilisez le paramètre Transposition de la zone de paramètres Piste (canal), l’intégralité du kit de batterie EXS24 mkII (canal Instrument 1) sera affecté. Toutes les régions des 6 pistes seront alors lues par d’autres échantillons de batterie. Paramètres communs à tous les instruments Les paramètres suivants sont disponibles à la fois pour les bandes de canaux d’instruments MIDI et d’instruments logiciels. Icône L’icône utilisée par l’instrument peut être modifiée pour répondre à vos envies ou à vos besoins. Il suffit pour cela de cliquer sur l’icône et d’en choisir une autre dans le menu. Une icône par défaut est utilisée lors de l’insertion de tous les instruments Logic Express internes, vous pouvez ainsi reconnaître instantanément une piste EXS24 mkII ou ES1. 268 Chapitre 10 Utilisation des instruments et des effets Transposition Le paramètre Transposition vous permet de définir le nombre de demi-tons selon lequel tous les événements de note seront transposés à la sortie. Les valeurs négatives effectuent une transposition vers le bas. Vélocité Le paramètre Vélocité vous permet d’augmenter ou de diminuer les vélocités de note activée de tous les événements de note, d’une valeur comprise entre –99 et 99. Lim Les deux valeurs de note du paramètre Lim définissent une plage de tonalités. Toutes les notes non comprises dans cette gamme ne sont pas prises en compte par l’instrument. VLim Les deux valeurs du paramètre VLim définissent l’étendue des valeurs de vélocité. Toutes les notes dont la valeur Vélocité n’est pas comprise dans cette plage ne sont pas jouées par l’instrument. Retard Le paramètre Retard a pour effet de retarder ou d’avancer l’envoi de tous les événements MIDI d’une valeur comprise entre –99 et 99. Il vous permet de compenser les différences de temps de réponse entre vos divers équipements MIDI ou de créer des décalages entre les canaux. Si vous cherchez à créer des effets de retard rythmique, utilisez plutôt l’option Retard de la zone Paramètres de région, qui autorise des temps de retard supérieurs sans avoir d’impact sur la synchronisation de la lecture du canal (toutes les régions de la piste ou d’autres pistes acheminées vers le même canal). Aucune transposition Activez le paramètre Aucune transposition pour protéger toutes les régions MIDI (sur n’importe quelle piste acheminée vers ce canal) contre la transposition. En d’autres termes, le paramètre Transposition de la zone Paramètres de région est ignoré. Cela s’avère très utile pour les instruments assignés à des échantillons de batterie ou d’autres échantillons multitimbraux, car une transposition modifierait les sons (et pas seulement la tonalité) de ces instruments. Aucune réinitialisation Activez le paramètre Aucune réinitialisation pour qu’aucun message de réinitialisation ne soit envoyé à ce canal. Cela peut être utile si des contrôleurs sont utilisés dans un but autre que musical, tel que l’automatisation de la table de mixage. L’onglet Logic Express > Préférences > MIDI > Messages de réinitialisation détermine quels messages de réinitialisation sont envoyés, mais ces messages ne sont pas envoyés aux instruments définis sur Aucune réinitialisation. Chapitre 10 Utilisation des instruments et des effets 269 Style À chaque fois qu’une région MIDI est créée sur l’une des pistes acheminées vers un canal donné, le style de portée défini dans le menu local Style lui est assigné. Si vous sélectionnez le paramètre Auto, Logic Express utilise un style approprié en fonction de la tessiture des notes de la région. Π Conseil : vous pouvez modifier à tout moment le style de portée d’une région MIDI dans la case Paramètre d’affichage de l’Éditeur de partition. Réglage des paramètres de canaux des instruments logiciels Les paramètres suivants sont propres aux bandes de canaux d’instrument. Canal MIDI Ce paramètre définit le canal MIDI utilisé par l’instrument logiciel. Valeur en Ce paramètre permet de changer l’affichage des bandes de canaux (compteurs et autres paramètres) pour afficher des valeurs en décibels (dB) et des valeurs numériques (Num). L’affichage par défaut est en décibels. Réglages des paramètres de canaux MIDI externes Les paramètres suivants sont propres aux bandes de canaux MIDI externes. Connexion du canal MIDI et du port Le paramètre Port définit la sortie MIDI physique vers laquelle les données sont envoyées. Votre module interne de son MIDI est connecté à cette prise de sortie MIDI. Le canal MIDI est défini à l’aide du paramètre Canal. Celui-ci définit le canal utilisé pour la sortie MIDI par la piste d’instrument, ce qui permet à votre instrument « réel » de recevoir les données. 270 Chapitre 10 Utilisation des instruments et des effets Réglage du canal MIDI : multi-instruments Vous pouvez également changer le canal MIDI d’une partition d’instrument MIDI externe en choisissant un autre sous-canal du multi-instrument actuel. Un sous-canal correspond à l’une des rubriques ou l’un des 16 canaux MIDI pouvant être lus par un objet multi-instrument. Bien entendu, le synthétiseur MIDI externe (représenté par l’objet multi-instrument) doit être capable de jouer sur plusieurs canaux MIDI pour que la sélection de sous-canaux soit utile. Vous ne pouvez pas réellement modifier le canal de réception d’un sous-canal dans le synthétiseur multitimbral. Cela n’est possible que sur quelques modèles (et, de toute façon, ce n’est pas particulièrement utile si vous utilisez Logic Express). Si le canal MIDI est réglé sur Tous, vous pouvez modifier les paramètres de tout l’objet multi-instrument. Une fonction fort utile pour remplacer de manière globale le port MIDI (Port A, B, etc.), par exemple. Programme, Volume et Panoramique Les paramètres Programme, Volume et Pan transmettent respectivement les informations de changement de programme, de contrôleur de volume (CC n° 7) et de contrôleur de panoramique (CC n° 10). Si la case correspondante n’est pas cochée, la valeur par défaut du périphérique MIDI est utilisée. Un changement de programme (préréglage ou numéro de sonorité dans votre module interne MIDI) peut être sélectionné sur la droite, via un menu local. Lorsqu’il s’agit de sous-canaux multi-instruments, les sons peuvent être sélectionnés par leur nom dans un menu local. Vous pouvez également double-cliquer sur le nom de la piste (Périphérique GM 1, par exemple). Cela permet de lancer la fenêtre Multi Instrument. Chapitre 10 Utilisation des instruments et des effets 271 Il suffit de cliquer sur le nom du son (sonorité) que vous souhaitez utiliser. Cliquez sur le bouton de fermeture situé en haut à gauche pour fermer la fenêtre ou appuyez sur Commande + W. Pour en savoir plus sur cette fenêtre, notamment sur la personnalisation des noms de sonorités, reportez-vous à la rubrique « Utilisation de la fenêtre Multi Instrument » à la page 973. À droite du numéro de programme se trouve un paramètre supplémentaire utilisé pour la Sélection de banque. Si votre source de sons reçoit des messages Sélection de banque (contrôleur MIDI n° 0 ou n° 32, consultez le manuel de votre synthétiseur pour plus de détails sur le format), vous pouvez basculer entre les différentes banques contenant chacune un maximum de 128 sons. Pour en savoir plus sur les autres paramètres d’instrument, reportez-vous à la rubrique « Instruments standard » à la page 968. Ajout de réglages de changement de programme, de volume et de panoramique à une région MIDI La commande MIDI > Insérer les réglages MIDI d’instruments sous forme d’événements vous permet d’insérer les réglages de changement de programme, de volume et de panoramique (depuis la zone Paramètres de piste de l’Inspecteur) sous la forme d’événements MIDI proprement dits, dans une ou plusieurs régions MIDI sélectionnées. Les événements sont placés un quart de note avant le début des régions MIDI concernées. Seuls les réglages activés (cochés) dans la ou les zones Paramètres de piste peuvent être ajoutés comme événements. S’il existe déjà des événements du même type dans la ou les régions, ils sont écrasés. Les valeurs des paramètres Programme, Volume et Pan ne sont pas actualisées chaque fois que de tels événements Control Change sont lus. Ces paramètres sont les valeurs initiales, lorsque vous chargez un projet ou choisissez la commande MIDI > « Insérer les réglages MIDI d’instruments sous forme d’événements » (avant de commencer à enregistrer les données d’automatisation de la table de mixage). Traitement d’instruments MIDI externes à l’aide d’effets Vous pouvez acheminer des générateurs de son MIDI externes via la table de mixage de Logic Express, afin de les traiter à l’aide d’effets Logic Express. Vous devez pour cela utiliser le module External Instrument. L’idéal serait d’utiliser une interface audio à plusieurs entrées et sorties pour éviter de brancher/débrancher constamment les périphériques. Pour traiter des instruments MIDI externes avec des effets : 1 Connectez la sortie (ou paire de sorties) de votre module interne MIDI à une entrée (paire d’entrées) de votre interface audio. 272 Chapitre 10 Utilisation des instruments et des effets Remarque : Il peut s’agir aussi bien de connexions analogiques que numériques si votre interface audio et l’unité d’effets sont équipées de l’une ou de l’autre, ou bien des deux. 2 Créez un canal d’instrument. 3 Cliquez sur le logement Instrument et choisissez External Instrument dans le menu local. 4 Choisissez la destination MIDI dans le menu de la fenêtre de module External Instrument. Le menu MIDI Destination affiche tous les sous-canaux des objets multi-instrument de l’Environnement. 5 Choisissez l’entrée (de votre interface audio) à laquelle le générateur de son MIDI est connecté dans le menu local Entrée. 6 Ajustez le volume d’entrée, si nécessaire. 7 Insérez les effets voulus dans les logements d’insertion du canal. Étant donné que la piste est acheminée vers un canal d’instrument (qui est destiné à un module de son MIDI externe), elle se comporte comme une piste d’instrument logiciel standard, ce qui signifie que vous pouvez y enregistrer et y lire des régions MIDI. Cela présente les avantages suivants :  Vous pouvez tirer profit des sons et du moteur de synthèse de votre module interne MIDI, sans surcharger l’unité centrale de votre Macintosh (sauf par les effets utilisés sur le canal).  Vous pouvez, bien entendu, utiliser des effets d’insertion, mais pouvez également utiliser des effets d’envoi (Send) en acheminant le canal Instrument vers des canaux auxiliaires.  Vous pouvez effectuer un bounce en temps réel des parties d’instrument MIDI externe, avec ou sans les effets, dans un fichier audio. Cela permet de créer un mixage, avec tous les périphériques et pistes internes et externes, en une seule étape. Remarque : vous n’avez pas la possibilité d’utiliser la fonction Freeze sur de telles pistes, ni d’effectuer un bounce hors ligne. Chapitre 10 Utilisation des instruments et des effets 273 Lecture des instruments logiciels Contrairement aux modules d’effet, les modules d’instrument logiciel répondent à des messages de note MIDI. Le signal de sortie d’un instrument logiciel est inséré dans l’entrée (logement Instrument) de la bande de canaux de l’instrument, où il peut alors être traité via des modules d’effets insérés ou envoyés vers des bus. Logic Express peut gérer jusqu’à 255 canaux d’instrument distincts. Le nombre d’instruments logiciels que vous pouvez exécuter simultanément dépend de la quantité de ressources de traitement disponible sur l’ordinateur. Après l’insertion d’un module d’instrument, le canal d’instrument peut être piloté par une région MIDI enregistrée ou une entrée MIDI directe qui, autrement dit, contrôle votre clavier MIDI ! Activation du mode Live des instruments logiciels Lorsque vous sélectionnez une piste d’instrument (logiciel), celle-ci ne passe pas immédiatement en mode Live ou Performances. Vous devez envoyer un événement MIDI pour activer le mode Live ; il faut toutefois environ 100 millisecondes pour que l’opération prenne effet, ce qui suffit à anéantir la synchronisation de la note lue en premier. S’il est nécessaire que la première note lue soit parfaitement synchronisée, vous devez envoyer des événements MIDI silencieux à l’avance ; par exemple, appuyez sur la pédale Sustain ou faites bouger légèrement la roulette de modulation de hauteur. Ainsi, le mode Live sera activé. Nécessité du mode Live Les instruments en mode Live doivent le rester tant que le moteur audio tourne (lorsque Logic Express est en mode de lecture ou d’enregistrement). En effet, si vous désactivez le mode Live pour une piste d’instrument logiciel, cela risque de créer un blanc (ou un bruit) dans le flux audio. Évidemment, cela n’est pas acceptable. Les instruments logiciels en mode Live (prêts pour la lecture) requièrent beaucoup plus de ressources que ceux qui se contentent de lire des régions existantes. Si le mode Live était automatiquement activé dès que l’on sélectionnait une piste d’instrument logiciel, le passage d’une piste à une autre ne ferait qu’aggraver le problème et risquerait même d’entraîner des surcharges sur le processeur. 274 Chapitre 10 Utilisation des instruments et des effets Le bouton Enregistrer des pistes d’instrument logiciel sélectionnées permet de savoir en temps réel l’état d’un instrument : Économies de puissance de calcul pour les instruments logiciels La fonction Bounce permet d’enregistrer une piste d’instrument entière sous la forme d’un fichier audio. Ce fichier audio qui a fait l’objet d’un bounce peut ensuite être utilisé (comme une région audio) sur une piste audio standard, ce qui vous permet de libérer des ressources du processeurs pour d’autres pistes d’instrument logiciel. Pour en savoir plus, reportez-vous à la rubrique chapitre 27, « Bounce de votre projet » à la page 673. Vous pouvez également utiliser la fonction Freeze pour récupérer la sortie d’une piste d’instrument logiciel, là aussi en économisant de la puissance de calcul. Pour en savoir plus, reportez-vous à la rubrique « Freeze des pistes » à la page 222. Accord des instruments logiciels Le paramètre Fichier > Projet Réglages > Accord > « Tonalité de l’instrument logiciel » contrôle à distance le paramètre d’accord principal de tous les instruments logiciels (l’ES1 ou l’EXS24 mkII, par exemple) par pas de ± 50 centièmes. La valeur par défaut est le La de concert à 440 Hz. Faites simplement glisser le curseur jusqu’à la valeur voulue. Les valeurs de centième et de Hz sont actualisées en fonction de la position du curseur. Remarque : certains instruments Audio Unit ne reconnaissent pas cette commande à distance. Aucun Hermode Tuning Logic Express permet d’accorder simultanément tous les instruments logiciels selon différents tempéraments, notamment l’Hermode Tuning (reportez-vous à la rubrique « Définition d’Hermode Tuning » à la page 1042). Il se peut toutefois que vous souhaitiez soustraire certains instruments logiciels de cet accord global. Instrument en mode Live Instrument sélectionné, pas encore en mode Live Chapitre 10 Utilisation des instruments et des effets 275 Lorsque l’option Fichier > Réglages projet > Accord > Hermode Tuning est activée, une case à cocher Pas d’HMT est visible dans les zones Paramètres de l’Inspecteur de tous les canaux d’instrument. Il suffit de cocher cette case pour éviter que l’instrument logiciel sélectionné ne suive le tempérament Hermode Tuning global. Les pistes d’instrument logiciel dont la case Pas d’HMT est cochée sont jouées selon un tempérament égal. Cette fonction est idéale pour une batterie EXS que vous ne voulez pas accorder comme vos rubriques d’instrument logiciel mélodiques, par exemple. Utilisation des applications ReWire Logic Express fait office d’hôte pour les applications ReWire, telles que Ableton Live et Propellerhead Reason. Important : commencez par lancer Logic Express, puis démarrez votre ou vos applications ReWire. Lorsque ces applications sont exécutées en même temps que Logic Express, les informations audio synchronisées sont acheminées vers des bandes de canaux auxiliaires dans la table de mixage de Logic Express, où elles peuvent alors être associées à d’autres pistes, recevoir des effets et un bounce dans de nouveaux fichiers audio. En principe, la sortie de ces programmes ReWired est traitée à peu près comme les données audio Logic Express internes. La synchronisation est automatique, vous n’avez donc pas grand-chose à faire à part, si vous le souhaitez, configurer les canaux auxiliaires. Une fois que les sorties des applications ReWired sont acheminées dans Logic Express, vous pouvez aussi directement jouer, enregistrer et lire les instruments logiciels disponibles dans ces programmes. Propellerhead Reason, par exemple, est l’équivalent logiciel d’un rack de synthétiseurs et d’échantillonneurs. Vous pouvez directement lire chaque synthétiseur dans le rack de Reason et enregistrer ces rubriques sous forme de régions MIDI sur les pistes Logic Express, comme vous le feriez avec les instruments internes ou externes MIDI de Logic Express. 276 Chapitre 10 Utilisation des instruments et des effets Pour accéder à un instrument ReWired : 1 Créez une piste MIDI externe dans la fenêtre Arrangement. 2 Double-cliquez sur le nom de l’application ReWire dans l’onglet Bibliothèque (Reason ou Ableton Live, par exemple). L’application ReWired s’ouvre et une liste de tous les instruments ReWire disponibles s’affiche dans la Bibliothèque. 3 Cliquez sur la piste d’instrument souhaitée dans la Bibliothèque. Pour configurer manuellement un canal auxiliaire pour l’utilisation de ReWire : 1 Cliquez sur le bouton Table de mixage au bas de la fenêtre Arrangement. Dans la fenêtre Table de mixage, choisissez Options > Créer des bandes de canaux auxiliaires. 2 Créez autant de bandes de canaux auxiliaires que nécessaire, avec les réglages Format, Entrée et Sortie appropriés. Pour cet exemple, créez une bande de canal stéréo acheminée vers les Entrée/Sortie 1-2. 3 Choisissez le canal ReWire voulu dans le menu Entrée de la bande de canaux auxiliaires. Différentes entrées Canal RW sont disponibles dans le menu Canal. Elles peuvent être assignées individuellement pour permettre à chaque canal ReWired d’être acheminé vers un canal auxiliaire particulier dans la table de mixage de Logic Express. Cela offre des options de traitement et de mixage plus vastes. Définition du comportement des applications ReWire Dans Logic Express > Préférences > Audio > Périphériques, vous pouvez choisir parmi les modes suivants lorsque vous utilisez des applications ReWired :  Mode Lecture (Charge CPU inférieure) : utilisez ce mode lorsque vous diffusez des canaux via ReWire. Ce réglage nécessite moins de puissance de calcul de la part de l’unité centrale. Il est conseillé de l’utiliser lors de la lecture de pistes dans les applications ReWired.  Mode Live (Charge CPU élevée) : utilisez ce mode lorsque vous souhaitez jouer un instrument ReWire (un instrument exécuté dans une application ReWired externe) en temps réel. Ce réglage nécessite davantage de ressources CPU mais réduit le temps de latence, ce qui garantit que l’instrument ReWired peut être joué. Chapitre 10 Utilisation des instruments et des effets 277 Utilisation d’effets audio externes Vous pouvez utiliser des unités d’effets audio externes de la même façon que vous utilisez les effets internes de Logic Express. Vous devez pour cela utiliser le module E/S, associé à une interface audio dotée de plusieurs entrées et sorties. Pour intégrer et utiliser une unité d’effets externes dans Logic Express : 1 Connectez une sortie (ou paire de sorties) de votre interface audio à l’entrée (paire d’entrées) de votre unité d’effets. 2 Connectez la sortie (ou paire de sorties) de votre unité d’effets à une entrée (paire d’entrées) de votre interface audio. Remarque : il peut s’agir aussi bien de connexions analogiques que numériques si votre interface audio et l’unité d’effets sont équipées de l’une ou de l’autre, ou bien des deux. 3 Cliquez sur un logement d’insertion du canal que vous souhaitez traiter avec l’unité d’effets externes, puis choisissez Utilitaire > E/S. 4 Dans la fenêtre du module E/S, sélectionnez l’entrée et la sortie (affichées sous forme de numéros) auxquelles votre unité d’effets est connectée. 5 Ajustez le volume d’entrée ou de sortie si nécessaire. Dès que la lecture commence, le signal du canal audio est traité par l’unité d’effets externes. Astuces concernant l’utilisation des effets externes Certaines interfaces audio disposent de leur propre logiciel d’acheminement, que vous pouvez être amené à utiliser pour configurer les entrées et les sorties choisies pour ce type d’utilisation. Consultez la documentation fournie par le fabricant de votre interface audio. La plupart des unités d’effets matérielles sont contrôlées par MIDI. Si c’est le cas de votre unité d’effets, vous pouvez connecter ses câbles d’entrée et de sortie MIDI à votre interface MIDI. Vous pouvez ainsi choisir des préréglages d’effets et éventuellement contrôler, enregistrer et automatiser à distance les paramètres de l’unité d’effets depuis Logic Express. 278 Chapitre 10 Utilisation des instruments et des effets Utilisation de modules provenant d’autres fabricants Logic Express peut servir d’hôte pour des modules d’instrument et d’effets Audio Unit (compatibles, autorisés et correctement installés) provenant d’autres fabricants. Important : Logic Express ne peut pas faire office d’hôte pour les modules au format VST ou RTAS. Toutefois, certains utilitaires tels que VST to Audio Unit Adapter (http://www.fxpansion.com, en anglais) permettent d’ajuster les versions Mac OS X des modules VST pour créer des modules Audio Unit virtuels. Une fois ajustés, la plupart de ces modules ont un comportement et une utilisation identiques à celles des modules Audio Units. Chargement de préréglages De nombreux modules de fabricants tiers utilisent un format de stockage propriétaire pour leurs préréglages (l’équivalent des réglages de module Logic Express). Dans la majorité des cas, il existe un menu Préréglage (ou d’appellation similaire) distinct dans l’interface du module. Une fois ces préréglages chargés, vous pouvez les enregistrer en tant que réglages Logic Express. Dans tous les cas, les options globales Comparer, Copier et Coller de l’en-tête de la fenêtre de module fonctionnent de la même manière qu’avec les modules natifs de Logic Express. Utilisation d’Audio Units (AU) Manager Logic ExpressLogic utilise l’outil de validation AU d’Apple pour s’assurer que seuls des modules conformes aux spécifications Audio Unit sont utilisés dans Logic Express. Cela permet de réduire les problèmes qui pourraient être causés par des modules Audio Unit tiers. Le processus de validation se lance automatiquement lorsque :  vous ouvrez Logic Express pour la première fois ;  une version mise à jour de Logic Express est installée ;  vous installez de nouveaux modules Audio Unit ou mettez à jour les modules existants. Les résultats de l’analyse de validation (de tous les modules Audio Unit et VST « ajustés ») sont présentés dans Audio Units Manager. Chapitre 10 Utilisation des instruments et des effets 279 Pour ouvrir Audio Units Manager : m Choisissez Logic Express > Préférences > Audio Units Manager dans la barre de menus principale (ou utilisez le raccourci clavier Lancer Audio Units Manager). Les résultats du test sont affichés dans la colonne Compatibilité. Important : la première chose à faire, c’est de se rendre sur le site Web du fabricant pour télécharger les versions mises à jour des modules Audio Units qui n’ont pas été validés. Activation manuelle de modules Les modules Audio Unit qui n’ont pas satisfait aux critères du test de validation peuvent être activés manuellement en cochant les cases correspondantes dans la colonne Logic. Toutefois, sachez que ces modules peuvent être à l’origine de problèmes. Si vous rencontrez des difficultés avec des modules activés manuellement, cliquez sur le bouton « Désactiver les modules Audio Units disfonctionnant ». Avertissement : l’utilisation de modules n’ayant pas passé l’étape de validation peut avoir un impact négatif sur les prochains résultats de tests effectués sur d’autres modules. Ces modules peuvent également empêcher Logic Express de démarrer, fermer ce dernier de façon inattendue ou même provoquer des pertes de données (d’où une destruction des fichiers de projet). 280 Chapitre 10 Utilisation des instruments et des effets Désactivation de modules Le gestionnaire Audio Units Manager vous permet de désactiver les modules Audio Units que vous ne souhaitez pas utiliser dans Logic Express, même si leur test de validation a été concluant. Pour désactiver n’importe quel module, il suffit de désélectionner la case à cocher correspondante dans la colonne Logic. Pour enregistrer votre sélection de modules Audio Units, cliquez sur Terminer. Cliquez sur le bouton « Réinitialiser et revérifier la sélection » pour relancer l’analyse d’une sélection de modules, après l’installation de nouveaux modules ou programmes de mise à jour ou bien suite au déplacement de composants dans le Finder, alors que Logic Express ou Audio Units Manager est ouvert. Si ces modules sont validés, ils seront automatiquement activés. Remarque : si vous appuyez sur les touches Contrôle + Maj lors de l’ouverture de Logic Express, le mode sans échec Audio Units est utilisé : seuls les modules validés sont disponibles ; les modules activés manuellement et non validés ne le sont pas. 11 281 11 Ajout de données préenregistrées Les données préenregistrées jouent un rôle important dans la production audio actuelle. La combinaison de boucles audio existantes avec d’autres fichiers permet de créer rapidement la structure de base d’un morceau. L’application Logic Express est fournie avec un ensemble important de boucles audio, offrant un point de départ idéal pour bon nombre de vos projets. Ce chapitre explique comment ajouter des données préenregistrées dans Logic Express, notamment des fichiers audio et MIDI, des boucles Apple Loops et d’autres formats de boucle courants. Formats de fichiers pris en charge Logic Express vous permet d’accéder à tout enregistrement audio stocké de façon numérique (fichier audio) sur vos disques durs, aux formats de fichiers Macintosh les plus fréquents et sous plusieurs autres formats. Les fichiers audio importés dans un projet Logic Express peuvent se présenter sous n’importe quelle profondeur de bits et n’importe quelle fréquence d’échantillonnage prises en charge. Logic Express prend en charge les profondeurs de bits égales à 16, 20 et 24 bits, ainsi que les fréquences d’échantillonnage de 44,1, 48, 88,2, 96, 176,4 et 192 kHz. Logic Express peut utiliser la fréquence d’échantillonnage des fichiers ou effectuer une conversion en temps réel de cette fréquence (reportez-vous à la rubrique « Réglage du tempo d’un projet » à la page 157). Outre les fichiers audio, Logic Express peut également importer des données de projet et des données MIDI. Vous pouvez ajouter les types de fichier multimédia préenregistré ci-dessous à un projet Logic Express :  Fichiers WAV (y compris Broadcast Wave), AIFF et SDII (Sound Designer II)  CAF  Fichiers MP3  Fichiers Apple Lossless 282 Chapitre 11 Ajout de données préenregistrées  Fichiers AAC (MPEG-4)  Fichiers Apple Loops (types d’instruments audio et logiciels)  Données audio ReCycle (REX, RCY) Logic Express peut également importer des fichiers SMF (Standard MIDI Files, type 0 et 1), GarageBand, OMF Interchange, AAF, OpenTL et XML. Toutefois, ces types de fichiers sont généralement utilisés pour échanger des projets et ne sont donc pas traités dans le cadre de ce chapitre. Pour obtenir des détails complets sur l’importation de ces types de fichiers, reportez-vous au chapitre 29, « Échange de projets et de fichiers » à la page 699. À propos des types de données préenregistrées pris en charge par Logic Express La rubrique suivante décrit tous les types de fichiers multimédia pris en charge par Logic Express. Fichiers WAVE et AIFF Les fichiers audio aux formats WAV (Wave) et AIFF (Audio Interchange File Format) sont très similaires. Ils peuvent être stockés avec des profondeurs de bits différentes (Logic Express prend en charge des profondeurs de 16 et 24 bits), en mono ou en stéréo et avec des fréquences d’échantillonnage pouvant atteindre 192 kHz. Logic Express prend également en charge les fichiers Broadcast Wave, capables de contenir des informations d’horodatage. Les fichiers qui fournissent de telles données sont identifiables grâce au symbole représentant une horloge, affiché dans la fenêtre du chutier audio, en regard du nom de la région audio. L’extension des fichiers Broadcast Wave est .wav, ce qui leur permet d’être lus par toute application prenant en charge le format de fichier Wave standard. Dans ces programmes, les informations supplémentaires du fichier Broadcast Wave sont ignorées. Fichiers Core Audio Format Les fichiers Core Audio Format (CAF) sont des conteneurs prenant en charge les formats PCM entiers et à virgule flottante, les formats A-law et u-law ainsi qu’un certain nombre d’autres formats tels que AAC et ALAC (Apple Lossless Audio Codec). Il est possible de bénéficier de tailles de fichier illimitées, à des fréquences d’échantillonnage et des profondeurs de bits élevées. Sound Designer Les fichiers audio Sound Designer I et II (SDII) ont une structure semblable à celle des fichiers AIFF et peuvent contenir les informations d’horodatage associées aux régions. L’utilisation de fichiers au format Sound Designer facilite le transfert entre logiciels Logic Express et Digidesign Pro Tools. Chapitre 11 Ajout de données préenregistrées 283 MP3, Apple Lossless et AAC Les fichiers MP3 et AAC contiennent des informations audio compressées. Ils sont généralement beaucoup plus petits que leurs équivalents aux formats WAV, AIFF ou SDII. Cette diminution de la taille des fichiers est due à des techniques d’encodage différentes qui « se débarrassent » de certaines données audio. Par conséquent, la qualité sonore des fichiers MP3 et AAC n’est pas aussi bonne que celle de leurs homologues WAV, AIFF ou SDII, en fonction du matériel audio source. Les fichiers Apple Lossless contiennent également des informations audio compressées. Comme leur nom l’indique, la compression utilisée (ALAC) ne rejette aucune donnée audio (en anglais, « lossless » signifie « sans perte »), contrairement aux fichiers MP3. Le son du fichier audio compressé est identique à celui de l’enregistrement original. Apple Loops Les boucles Apple Loops sont des fichiers audio contenant des informations d’identification supplémentaires, telles que la date et l’heure, la catégorie, l’ambiance, la clé, le tempo, etc. Ils peuvent également contenir un certain nombre de marqueurs provisoires qui les divisent en courtes tranches temporelles. L’avantage indéniable des fichiers audio Apple Loops vient de leur capacité à s’adapter automatiquement à la clé et au tempo d’un projet Logic Express. Un second type de fichier Apple Loops est également pris en charge par Logic Express. Ces fichiers contiennent des informations de note MIDI qui ont pour effet de déclencher une phrase musicale ou riff. Lorsque ces types de boucles Apple Loops sont ajoutés à un fichier audio, le motif est lu tel quel. En revanche, lorsqu’ils sont ajoutés à une piste instrumentale dans Logic Express, les informations de note MIDI peuvent être modifiées, comme avec n’importe quelle région MIDI. ReCycle Les fichiers ReCycle (REX, RCY) sont générés par le logiciel ReCycle de Propellerhead. Ils sont semblables aux fichiers audio Apple Loops dans la mesure où ils contiennent un certain nombre de tranches et où ils s’adaptent au tempo du projet. Une fois ces fichiers importés, un petit dossier contenant plusieurs régions (une correspondant à chaque tranche) est créé. Toutes ces régions peuvent être traitées comme n’importe quelle région audio. Les fichiers ReCycle, contrairement aux fichiers Apple Loop, ne suivent pas la clé du projet. Fichiers SMF Le format SMF (Standard MIDI Files) est, comme son nom l’indique, un format de fichier standard utilisé par les séquenceurs MIDI. Les fichiers dotés de ce format peuvent être lus et enregistrés dans Logic Expresset peuvent contenir des données de type notes, paroles, contrôleur et SysEx. Celles-ci sont ajoutés aux pistes d’instruments MIDI ou logiciels dans Logic Express. 284 Chapitre 11 Ajout de données préenregistrées Accès aux fichiers multimédia depuis le navigateur Pour pouvoir ajouter vos fichiers (audio ou autres) à vos projets, vous devez d’abord les localiser. Le navigateur constitue l’interface principale pour la navigation, l’aperçu et la recherche de données préenregistrées. Remarque : bien que tous les types de données pris en charge soient accessibles de puis le navigateur général, le navigateur de boucles est plus adapté pour traiter les boucles Apple Loops. Pour en savoir plus sur son utilisation, reportez-vous à la rubrique « Recherche de boucles Apple Loops dans le navigateur de boucles » à la page 290. Pour accéder au navigateur depuis la fenêtre Arrangement : m Cliquez sur le bouton Média dans la barre d’outils Arrangement, puis sur l’onglet Navigateur (ou utilisez le raccourci clavier Afficher/Masquer le navigateur de fichiers). Pour ouvrir le navigateur dans une nouvelle fenêtre : m Cliquez sur Fenêtre > Navigateur de fichiers (ou utilisez le raccourci clavier Ouvrir le navigateur de fichiers). Utilisation du navigateur Le navigateur est disponible sous deux formes : la présentation Liste et la présentation Navigateur.  La présentation Liste affiche les dossiers et leur contenu sous forme de liste. Pour accéder au contenu d’un dossier, double-cliquez sur ce dernier.  La présentation Navigateur expose le contenu d’un dossier dans des cadres supplémentaires, à droite du dossier sélectionné. Il vous suffit de cliquer sur un dossier pour accéder à son contenu. Présentation Présentation Liste Navigateur Chapitre 11 Ajout de données préenregistrées 285 Pour passer de la présentation Liste à la présentation Navigateur : m Cliquez sur le bouton Navigateur pour accéder à la présentation Navigateur et sur le bouton Liste pour accéder à la présentation Liste. L’utilisation du navigateur est semblable à celle du Finder sous Mac OS X. La méthode de navigation est la même pour tous les types de fichiers et elle est facilitée par les boutons de signet, le menu Chemin et les boutons de navigation Précédent et Suivant. Pour parcourir le navigateur à l’aide des boutons de signet : m Cliquez sur l’un des boutons de signet : Ordinateur, Départ ou Projet.  Ordinateur : affiche tous les volumes (disques durs, CD ou DVD) figurant dans l’ordinateur ou y étant associés.  Départ : affiche tous les dossiers présents dans le dossier de départ.  Projet : affiche le contenu du dossier de votre projet. Pour parcourir le navigateur à l’aide du menu Chemin : 1 Cliquez sur le menu Chemin pour afficher le chemin d’accès au dossier ou fichier actif. 2 Cliquez sur l’une des entrées du menu Chemin pour revenir au dossier sur lequel vous avez cliqué. Bouton Bouton Liste Navigateur 286 Chapitre 11 Ajout de données préenregistrées Pour passer aux éléments précédents ou suivants de l’historique de navigation : m Cliquez sur le bouton Précédent ou Suivant. Recherche de fichiers dans le Navigateur L’onglet Navigateur possède un outil de recherche très complet et rapide. Il vous permet de trouver tout type de fichier pris en charge par Logic Express, sur le disque local ou sur des périphériques de stockage connectés au réseau. Pour effectuer une recherche de base dans le navigateur : 1 Cliquez sur le menu Chemin (seul ou associé aux boutons de signet) pour déterminer l’étendue de la recherche : un dossier spécifique, l’intégralité du disque dur, le volume root de l’utilisateur, l’ordinateur, etc. Si vous limitez la recherche à un dossier ou un volume spécifique, les résultats s’affichent plus rapidement. 2 Saisissez le terme à rechercher dans le champ Rechercher, puis appuyez sur la touche Retour. Par exemple, si vous tapez 80s après avoir choisi Macintosh HD dans le menu Chemin, un certain nombre de fichiers Apple Loops s’affichent dans la zone de présentation. Pour trier les résultats de la recherche : m Cliquez sur le titre d’une des colonnes pour trier la liste de fichiers par nom, par date ou par taille. Π Conseil : vous pouvez redimensionner les colonnes en faisant glisser la ligne verticale située entre deux titres de colonne. Pour effacer un terme de recherche : m Cliquez sur la petite croix à droite du champ Rechercher. Chapitre 11 Ajout de données préenregistrées 287 Pour afficher les termes récemment recherchés : 1 Cliquez sur l’icône représentant une loupe à gauche du champ Rechercher. 2 Sélectionnez l’un des termes de recherche dans le menu pour afficher les résultats associés. Pour effacer tous les termes récemment recherchés : m Cliquez sur l’icône représentant une loupe à gauche du champ Rechercher, puis sélectionnez « Effacer les recherches récentes » dans le menu. Pour effectuer une recherche avancée : 1 Cliquez sur le menu Chemin (seul ou associé aux boutons Ordinateur, Départ et Projet) pour déterminer l’objet de la recherche. 2 Cliquez sur le signe Plus (+) à droite de la zone de saisie Rechercher. La zone de recherche se développe alors. Les menus disponibles dans la zone de recherche élargie permettent d’affiner (ou de limiter) votre recherche en fonction de types ou de formats de fichiers spécifiques, d’une date, de la taille et d’autres critères. Par défaut, le menu Concordance indique que tous les critères spécifiés pour la recherche avancée doivent être respectés pour afficher les fichiers correspondants. Vous pouvez définir le menu Concordance sur la valeur Quelconque pour afficher tous les fichiers répondant à l’un des critères spécifiés. 288 Chapitre 11 Ajout de données préenregistrées 3 Cliquez sur le menu Type de fichier et sélectionnez l’option Format. Vous pouvez constater que le menu de droite s’actualise (la mention AIFF y est affichée) pour refléter la sélection du menu de gauche. 4 Cliquez sur le signe Plus (+) à droite du menu AIFF. Des menus de critères de recherche complémentaires apparaissent en dessous. 5 Cliquez sur le menu Type de fichier à la deuxième ligne de ces critères de recherche, puis sélectionnez l’option Durée. Le champ de droite et le menu actualisé affichent la valeur 30,0 sec. 6 Mettez en surbrillance la valeur 30,0, puis saisissez 8. 7 Cliquez maintenant sur le champ Rechercher, entrez le terme souhaité, puis appuyez sur Retour. Une liste beaucoup plus courte de fichiers AIFF, chacun d’une durée de 8 secondes, ainsi qu’un nom contenant le terme recherché, s’affiche. Pour supprimer une seule ligne de critère avancé : m Cliquez sur le signe Moins (–) en regard de la ligne. Cette fonction est pratique lorsque votre recherche est trop précise et que vous n’obtenez aucun résultat. Remarque : la ligne est masquée et désactivée (plutôt que définitivement supprimée). Pour la rétablir, cliquez sur le signe Plus (+) à droite de la ligne. Pour revenir à une recherche simple, si plusieurs lignes de critères avancés sont affichées : m Cliquez sur le signe Moins (–) à droite de la zone de saisie Rechercher. Toutes les lignes de critères avancés sont masquées. Pour restaurer toutes les lignes de critères de recherche avancés : m Cliquez sur le signe Plus (+) à droite de la zone de saisie Rechercher. Chapitre 11 Ajout de données préenregistrées 289 Informations complémentaires sur les recherches conditionnelles Comme vous vous en doutez sûrement ; rechercher un fichier au sein du navigateur peut s’avérer beaucoup plus rapide que parcourir ce dernier pour accéder au fichier en question. Vous pouvez définir jusqu’à dix lignes de critères avancés pour affiner vos recherches. Les lignes de recherche proposent les critères suivants. Premier menu Deuxième menu Menus/champs supplémentaires Commentaire contient, ne contient pas, est, n’est pas, commence par, se termine par Champ de saisie Type de fichier est, n’est pas Menu dans lequel vous avez le choix entre Audio, Séquence et Projet. Format est, n’est pas Menu proposant les options suivantes : AIFF, Apple Loop, WAV (BWF), Apple Lossless, AAC, MP3, CAF, Sound Designer I, Sound Designer II, Projet Logic, Fichier MIDI, ReCycle, Fichier OMF, Fichier AAF, Fichier OpenTL, Fichier XML, Song Notator SL Notez que les recherches de fichiers au format AIFF n’incluent pas les boucles Apple Loops. Durée est, n’est pas, est inférieur à, est supérieur à  Champ de saisie numérique  Menu supplémentaire dans lequel vous pouvez choisir entre secondes, minutes et heures. Date de modification est, n’est pas, après, avant Champ de saisie Nom contient, ne contient pas, est, n’est pas, commence par, se termine par Champ de saisie Fréquence d’échantillonnage est, n’est pas, est inférieur à, est supérieur à Menu proposant les options suivantes : 44,1 kHz, 48 kHz, 88,2 kHz, 96 kHz, 176,4 kHz, 192 kHz. Taille est, n’est pas, est inférieur à, est supérieur à  Champ de saisie  Menu supplémentaire, proposant les unités octets, kilo-octets, méga-octets, giga-octets et téra-octets. Profondeur de bits est, n’est pas, est inférieur à, est supérieur à Menu proposant les valeurs 8 bits, 16 bits et 24 bits. 290 Chapitre 11 Ajout de données préenregistrées Recherche de boucles Apple Loops dans le navigateur de boucles Le navigateur de boucles affiche uniquement les fichiers au format Apple Loop. Vous pouvez effectuer une recherche de boucles Apple Loops à l’aide de mots-clés décrivant certains aspects tels que leur genre, un instrument, leur ambiance ou tout autre descripteur. Vous pouvez également parcourir le navigateur de boucles pour y rechercher les fichiers Apple Loop. Par rapport aux boucles audio standard, les boucles Apple Loops présentent un avantage significatif : elles peuvent contenir des informations complémentaires utilisées par Logic Express à différentes fins, notamment pour les changements automatiques de tonalité et de durée, l’indexation et la recherche. Les boucles Apple Loops peuvent comprendre deux types de données importantes : les balises de métadonnées et les marqueurs transitoires. Logic Express utilise des balises de métadonnées pour faciliter la localisation de fichiers lorsque vous utilisez les fonctionnalités de recherche du navigateur de boucles. Les marqueurs transitoires indiquent l’emplacement des battements dans le fichier. Logic Express combine ces informations aux balises de métadonnées afin d’adapter le tempo et la clé du fichier avec ceux du projet, dans le but de garantir une qualité de lecture optimale. Cette fonctionnalité vous permet de lire plusieurs boucles Apple Loops simultanément et de faire en sorte que leur qualité sonore soit bonne, même s’ils ont une clé et un tempo différents. Pour accéder au navigateur de boucles depuis la fenêtre Arrangement : m Cliquez sur le bouton Média dans la barre d’outils Arrangement, puis sur l’onglet Boucle (ou utilisez le raccourci clavier Afficher/Masquer le navigateur de boucles). Pour ouvrir le navigateur de boucles dans une nouvelle fenêtre : m Cliquez sur Fenêtre > Navigateur de boucles (ou utilisez le raccourci clavier correspondant). Chapitre 11 Ajout de données préenregistrées 291 Boucles Apple Loops vertes et bleues Le navigateur de boucles contient deux types de boucles Apple Loops : celles présentant une icône d’onde sonore bleue et celles caractérisées par une icône illustrant une note verte. Ces deux types de boucles contiennent des données audio et peuvent inclure des informations complémentaires concernant l’étirement temporel, la transposition, l’indexation et la recherche. Les boucles Apple Loops vertes et bleues peuvent être ajoutées à des pistes audio existantes ou bien directement à une piste ou une zone Arrangement vide. Dans la zone Arrangement, elles apparaissent comme des régions audio classiques mais sont facilement identifiables grâce au symbole Apple Loops situé en haut à droite. Elles diffèrent des régions audio standard dans le sens où elles suivent la clé et le tempo du projet. Vous pouvez faire glisser les boucles Apple Loops bleues (audio) directement vers une fenêtre Arrangement vide (ne contenant aucune piste) ou vers une zone vide en dessous de pistes existantes. Une piste audio et la bande de canal correspondante sont automatiquement créées et la région Apple Loops (d’une durée égale à la durée complète du fichier) est placée sur la piste. En outre, le fichier Apple Loops est ajouté au chutier Audio et une région correspondante est automatiquement créée. Boucles Apple Loops vertes et bleues dans le navigateur de boucles Symbole de boucle Apple Loops stéréo Symbole de boucle Apple Loops mono 292 Chapitre 11 Ajout de données préenregistrées Les boucles Apple Loops vertes sont appelées SIAL (Software Instrument Apple Loops). Elles diffèrent des boucles Apple Loops bleues (audio) car elles contiennent également une région MIDI et des réglages d’effet et d’instrument logiciel. Lorsque les boucles SIAL sont placées sur des pistes instrumentales, la région affichée dans la zone Arrangement peut être modifiée comme vous le feriez pour toute autre région MIDI, ce qui inclut l’édition de notes individuelles. Si vous faites glisser une boucle SIAL sur une piste instrumentale vierge (dont la bande de canal est vide), les réglages d’effet et d’instrument correspondants sont automatiquement insérés. Vous pouvez également faire glisser les boucles SIAL directement dans une fenêtre Arrangement vide (sans aucune piste) ou dans une zone vide en dessous des pistes existantes. Une piste instrumentale et sa bande de canal correspondante sont automatiquement créées et la boucle Apple Loops est chargée (l’instrument est inséré dans le canal instrumental, avec les effets éventuels, et la région Apple Loops est placée sur la piste). Lorsque vous placez des boucles SIAL sur des pistes audio, elles sont importées sous la forme de régions audio (et se comportent comme des boucles Apple Loops bleues). La charge de traitement est réduite si vous ajoutez des boucles Apple Loops vertes aux pistes audio. Remarque : les boucles Apple Loops bleues ne sont pas reproduites si vous les placez sur des pistes instrumentales. Réglages préalables à la recherche ou à la navigation dans les boucles Apple Loops Si des milliers de boucles sont installées sur vos disques durs, la recherche d’une boucle Apple Loops spécifique peut s’avérer quelque peu fastidieuse. Heureusement, diverses options vous permettent de restreindre vos résultats de recherche ou de navigation selon un certain nombre de critères-clefs. Ces options peuvent être combinées les unes aux autres et influer directement les résultats des fonctions de navigation et de recherche proposées dans le navigateur de boucles. Boucle Apple Loops verte placée sur une piste d’instrument logiciel Chapitre 11 Ajout de données préenregistrées 293 Pour limiter l’affichage des boucles à un Jam Pack spécifique ou à une autre catégorie : m Sélectionnez le réglage souhaité dans le menu Présentation. Vous avez le choix entre les options suivantes :  Tout afficher : cette option par défaut permet d’afficher toutes les boucles Apple Loops présentes sur votre système. Elle s’avère pratique si vous ne parvenez pas à localiser une boucle qui est effectivement installée et indexée pour votre système mais dont vous ne connaissez pas le Jam Pack.  Mes boucles : sélectionnez cette option pour afficher toutes les boucles Apple Loops figurant dans le dossier ~/Bibliothèque/Audio/Apple Loops/User Loops/Single Files (~ correspond au nom de l’utilisateur).  Boucles partagées sur mon Mac : choisissez cette option pour afficher toutes les boucles Apple Loops figurant dans les dossiers /Bibliothèque/Audio/Apple Loops/ User Loops/SingleFiles. Ce réglage n’est visible que si des boucles Apple Loops sont partagées avec l’application GarageBand sur votre système.  GarageBand : sélectionnez cette option pour afficher toutes les boucles Apple Loops installées avec GarageBand.  Jam Pack x : cette option permet d’afficher toutes les boucles Apple Loops d’un Jam Pack spécifique. Les Jam Packs sont des collections Apple Loops spécifiques à un genre ou un instrument, créées par des professionnels et disponibles auprès d’Apple.  Fournisseur X : cette valeur entraîne l’affichage de toutes les boucles Apple Loops d’un fournisseur tiers donné.  Autres : cette option permet d’afficher toutes les boucles que vous avez ajoutées manuellement à la bibliothèque de boucles en les faisant glisser dans le navigateur de boucles. Pour limiter l’affichage du navigateur de boucles à une gamme spécifique : m Cliquez sur le menu local Gamme et sélectionnez l’une des options suivantes : Quelconque, Mineure, Majeure, Aucune, Valable pour les deux. L’utilisation de ces options limite la recherche de boucles Apple Loops au type de gamme sélectionné, au sein de la catégorie choisie. Par exemple, si les catégories Country, Acoustique et Détendu ont été sélectionnées, vous obtenez une vingtaine de fichiers correspondant à vos sélections. Sélectionner le réglage Gamme mineure réduirait cette liste à dix boucles Apple Loops, d’où une écoute et une sélection du matériel approprié plus rapides. Pour limiter l’affichage du navigateur de boucles à une articulation de temps spécifique : m Sélectionnez la signature temporelle souhaitée dans le menu local Signature. 294 Chapitre 11 Ajout de données préenregistrées Navigation pour rechercher des boucles Apple Loops Il existe trois présentations de navigation disponibles dans le navigateur de boucles. Il s’agit des présentationsColonne, Musique et Effets sonores. Pour passer d’un mode de navigation à l’autre : m Cliquez sur un des boutons de présentation situés en haut à droite du navigateur de boucles. Le bouton de gauche active la présentation Colonne, le bouton du milieu active la présentation Musique et le troisième bouton active la présentation Effets sonores. La présentation Musique affiche une matrice de 54 boutons, chacun correspondant à une catégorie musicale. La présentation Effets sonores inclut des boutons de catégorie liés aux effets (par exemple, Explosions, Bruitage ou Personnes). Présentation Musique Présentation Effets sonores Chapitre 11 Ajout de données préenregistrées 295 La présentation Colonne offre un menu standard de fichiers en colonnes Mac OS X, classé de façon hiérarchique selon les critères de recherche Tous, Par genre, Par instrument, Par ambiance et Signets. Pour rechercher des boucles Apple Loops dans la présentation Colonne : 1 Cliquez sur l’un des dossiers de catégorie affiché dans la colonne de gauche de la zone de présentation des dossiers. Dans cet exemple, l’option Par genre est sélectionnée. 2 Dans la deuxième colonne, cliquez sur Électronique. 3 Dans la troisième colonne, cliquez sur Battements. La valeur entre guillemets indique le nombre de fichiers correspondant à cette souscatégorie (à savoir, Battements). Les fichiers sont répertoriés dans la liste figurant au dessous. Colonnes Catégorie 296 Chapitre 11 Ajout de données préenregistrées Pour rechercher des boucles Apple Loops dans les présentations Musique et Effets sonores : 1 Cliquez sur l’un des boutons de catégorie. La liste de fichiers affiche toutes les boucles Apple Loops qui appartiennent à la catégorie indiquée. Le nombre de fichiers obtenus est indiqué au bas du navigateur de boucles. 2 Cliquez sur un autre bouton de catégorie. La liste des fichiers se met à jour pour afficher toutes les boucles Apple Loops correspondant aux deux catégories. 3 Ainsi de suite en cliquant sur un autre bouton de catégorie, vous pouvez ainsi affiner davantage le regroupement. Le nombre de fichiers répondant aux trois critères (Guitares, Acoustique et Country) diminue encore. Remarque : si vous cliquez à nouveau sur le bouton d’une catégorie, cette dernière est désélectionnée. Comme vous pouvez le voir dans cet exemple, l’utilisation de plusieurs boutons de catégories permet de restreindre facilement le nombre de boucles Apple Loops répertoriées dans la liste de fichiers. Il devient alors beaucoup plus facile de localiser une boucle Apple Loops caractérisée par une touche particulière ou une ambiance donnée. Pour réinitialiser toutes les sélections de catégorie : m Cliquez sur le bouton Réinitialiser pour désélectionner tous les boutons activés des catégories précédemment choisies. Vous pouvez remplacer une catégorie affichée via le menu contextuel qui s’affiche lorsque vous cliquez sur le bouton d’une catégorie tout en maintenant la touche Contrôle enfoncée (ou que vous cliquez dessus avec le bouton droit de la souris). Pour personnaliser la présentation Musique ou Effets sonores : m Cliquez sur le bouton d’une catégorie tout en maintenant la touche Contrôle enfoncée (ou cliquez dessus avec le bouton droit de la souris), puis choisissez l’une des options suivantes :  Genre : ce sous-menu offre des catégories musicales telles queRock/Blues et Électronique. Chapitre 11 Ajout de données préenregistrées 297  Instruments : les réglages Basse, Effets, Chant, Textures et Jingles sont, entre autres, proposés.  Descripteurs : les éléments de ce sous-menu ajustent l’ambiance des boucles Apple Loops et incluent notamment les options Sombre, Détendu, Groove, etc. Écoute de boucles Apple Loops dans le navigateur de boucles Quelle que soit la méthode de navigation (ou de recherche) utilisée pour rechercher des boucles Apple Loops, vous pouvez écouter un extrait des résultats répertoriés dans le navigateur de boucles. Pour écouter des boucles Apple Loops : 1 Cliquez sur l’un des noms de fichier dans la liste des résultats de recherche. La lecture du fichier commence automatiquement en boucle. 2 Cliquez sur un autre nom de fichier pour lancer la lecture du fichier en question. La boucle Apple Loops en cours de lecture s’arrête. Vous ne pouvez écouter qu’une seule boucle Apple Loops à la fois. Pour régler le volume de lecture : m Faites glisser le curseur au bas de la zone de présentation des fichiers. Pour régler la clé de lecture : m Cliquez sur le menu « Lecture dans » à droite du curseur du volume et au bas de la zone de présentation des fichiers, puis sélectionnez la clé souhaitée. La clé du projet est sélectionnée par défaut, mais vous pouvez également écouter la boucle dans sa clé d’origine ou dans toute autre clé comprise entre do et si. Pour arrêter la lecture : m Cliquez sur l’icône représentant un haut-parleur à gauche du nom de la boucle Apple Loops sélectionnée. Tri de boucles Apple Loops dans le navigateur de boucles Vous pouvez trier les résultats de votre recherche manuelle ou selon des critères, dans le navigateur de boucles :  Cliquez sur le titre d’une des colonnes pour trier la liste des résultats par : Nom, Concordance, Tempo, Clé, etc. 298 Chapitre 11 Ajout de données préenregistrées  Cliquez sur la flèche dans l’un des titres de colonne sélectionnés pour trier la liste par ordre croissant ou décroissant alphabétique, en fonction du pourcentage de correspondance, du tempo, de la clé, du rythme ou selon l’ordre de votre choix. Π Conseil : vous pouvez librement permuter les colonnes en cliquant sur le nom d’une colonne tout en le faisant glisser vers la gauche ou la droite. Les colonnes se redimensionnent en cliquant sur la ligne verticale qui sépare deux colonnes et en la faisant glisser. Création d’une collection de boucles Apple Loops favorites La colonne Fav (Favoris) dispose d’une case à cocher pour chaque boucle affichée. Il vous suffit de cocher cette case pour ajouter la boucle à la catégorie Favoris. Cette fonction est idéale pour compiler une collection des boucles Apple Loops que vous utilisez régulièrement. Si vous produisez de la musique disco, vous serez sûrement amené à créer des projets commençant souvent par des extraits de batterie en boucle. En toute logique, lors de la création de votre arrangement, vous allez élaborer un rythme simple à quatre temps (la grosse caisse sur chaque temps, le charleston en triple ou quadruple croches, la caisse claire ou un clap tous les deux ou quatre temps), puis utiliser ces boucles comme base de votre groove. De telles boucles peuvent facilement être remplacées ou ajoutées à mesure que votre projet évolue, mais l’utilisation de ces boucles, définies comme favoris, peut constituer un bon point de départ pour bon nombre de vos morceaux. Recherche de boucles Apple Loops Le champ Rechercher permet de trouver des boucles Apple Loops à partir de leur nom ou d’une partie de ce nom. Il fonctionne conjointement avec les options traitées à la rubrique « Réglages préalables à la recherche ou à la navigation dans les boucles Apple Loops » à la page 292. Pour rechercher une boucle Apple Loop : m Entrez le terme souhaité dans la zone de saisie Rechercher, puis appuyez sur la touche Retour. Menu Rechercher Bouton Annuler Chapitre 11 Ajout de données préenregistrées 299 Le terme recherché peut être alphabétique ou numérique. Tous les fichiers qui contiennent le terme recherché s’affichent dans la liste de fichiers. Le bouton Annuler situé sur la droite (qui apparaît dès que vous tapez du texte) permet d’effacer le texte saisi. Il permet également d’effacer l’historique de recherche. Le menu Rechercher situé à gauche (la loupe) conserve un historique des termes récemment recherchés. Cliquez sur ce menu pour sélectionner un terme recherché auparavant. Ajout et suppression de fichiers audio Vous pouvez ajouter des données audio directement dans la zone Arrangement ou dans le chutier Audio à l’aide de l’une des méthodes décrites dans cette rubrique.  Le chutier Audio fait office de point de référence central pour tous les fichiers audio ajoutés au projet, qu’ils soient utilisés dans la zone Arrangement ou non. Cela est utile pour conserver toutes les prises associées au projet dans un seul emplacement, même si, en fin de compte, elles ne sont pas toutes utilisées dans la production finale.  Lorsque vous ajoutez des fichiers Audio à la zone Arrangement, elles sont automatiquement ajoutées au chutier Audio et apparaissent en tant que régions audio dans votre arrangement. La durée par défaut de ces régions est égale à celle du fichier audio entier. Vous pouvez redimensionner, couper et déplacer ces régions à votre guise dans la zone Arrangement. Toutes les méthodes décrites dans cette rubrique peuvent être utilisées pour importer les types de fichiers suivants : WAV, AIFF, CAF, MP3, SDII, AAC, Apple Lossless et Apple Loop. Les boucles Apple Loops disposent de fonctions spéciales une fois ajoutées à votre arrangement. Pour en savoir plus, reportez-vous à la rubrique « Boucles Apple Loops vertes et bleues » à la page 291. Les fichiers ReCycle sont traités différemment. Pour en savoir plus, reportez-vous à la rubrique « Ajout de fichiers ReCycle à votre projet » à la page 307. Ajout de fichiers audio à votre arrangement Vous pouvez faire appel à l’une des méthodes ci-après pour ajouter des fichiers audio directement dans votre arrangement :  Vous pouvez cliquer n’importe où sur une piste audio Arrangement à l’aide de l’outil Crayon, tout en appuyant sur la touche Maj.  Vous pouvez utiliser la commande « Importer un fichier audio ». 300 Chapitre 11 Ajout de données préenregistrées  Vous pouvez simplement localiser les fichiers souhaités (par le parcours de disque ou la recherche de leur nom) dans le navigateur, le chutier Audio ou le navigateur de boucles (ou encore dans le Finder Mac OS X), puis les faire glisser dans la zone Arrangement. Double-cliquez sur le nom d’un fichier dans le navigateur pour ajouter le fichier au niveau de la tête de lecture, sur la piste d’arrangement sélectionnée. Pour ajouter des fichiers audio à votre arrangement à l’aide de l’outil Crayon : 1 Sélectionnez l’outil Crayon dans la zone Arrangement. 2 Tout en appuyant sur la touche Maj, cliquez sur une piste audio à l’endroit souhaité de la zone Arrangement. 3 Accédez au fichier que vous souhaitez insérer et sélectionnez-le dans la zone de dialogue Ouvrir un fichier. 4 Cliquez sur le bouton Lecture pour écouter un aperçu du fichier audio sélectionné. L’intitulé du bouton Lecture se renomme en Arrêt. Cliquez dessus pour interrompre la lecture. 5 Cliquez sur le bouton Ouvrir pour ajouter le fichier à la piste sélectionnée, à l’endroit où vous avez cliqué dans la zone Arrangement. Pour ajouter des fichiers audio à votre arrangement à l’aide de la commande « Importer un fichier audio » : 1 Sélectionnez une piste audio dans la zone Arrangement. 2 Cliquez sur Fichier > « Importer un fichier audio » (ou utilisez le raccourci clavier pour importer un fichier audio). 3 Accédez au fichier que vous souhaitez insérer et sélectionnez-le dans la zone de dialogue Ouvrir un fichier. 4 Cliquez sur le bouton Lecture pour écouter un aperçu du fichier audio sélectionné. L’intitulé du bouton Lecture se renomme en Arrêt. Cliquez dessus pour interrompre la lecture. 5 Cliquez sur le bouton Ouvrir pour ajouter le fichier à la piste sélectionnée, au niveau de la tête de lecture, dans la zone Arrangement. Pour ajouter un fichier audio à votre arrangement en le faisant glisser : m Faites glisser le fichier souhaité directement sur une piste audio de la zone Arrangement, depuis le navigateur, le navigateur de boucles ou le Finder. Vous pouvez faire glisser des fichiers audio sur tous les types de pistes mais la lecture n’est possible que sur les pistes audio. Chapitre 11 Ajout de données préenregistrées 301 Avec création automatique de piste et de canal Vous pouvez faire glisser des fichiers audio directement vers une fenêtre Arrangement vide (ne contenant aucune piste) ou vers une zone vide en dessous des pistes existantes. Une piste audio et la bande de canal correspondante sont automatiquement créées et une région audio (d’une durée égale à la durée totale du fichier) est placée sur la piste. En outre, le fichier est ajouté au chutier Audio et la région correspondante est automatiquement créée. Pour ajouter plusieurs fichiers audio à votre arrangement en les faisant glisser : 1 Dans le chutier Audio, le Finder ou le navigateur, cliquez sur des fichiers audio adjacents tout en maintenant la touche Maj enfoncée ou sur des fichiers non contigus tout en maintenant la touche Commande enfoncée. 2 Faites-les glisser à l’endroit souhaité dans la zone Arrangement, puis relâchez le bouton de la souris. Remarque : si vous ajoutez des fichiers depuis le chutier Audio, vous pouvez également utiliser l’option de menu Fichier audio > Ajouter le fichier dans la zone Arrangement. La position de la tête de lecture détermine l’endroit où la première région audio est créée. 3 Sélectionnez l’une des options ci-dessous, disponibles dans la zone de dialogue « Ajouter les fichiers sélectionnés dans la zone Arrangement ».  Créer des pistes : crée de nouvelles pistes (et les bandes de canaux audio correspondantes) pour chaque fichier que vous avez fait glisser.  Utiliser des pistes : place de façon séquentielle les fichiers que vous avez fait glisser (sous la forme de régions) sur les pistes existantes, en commençant par la piste sélectionnée. Par exemple, si vous faites glisser trois fichiers audio dans la zone Arrangement (où la piste 4 est sélectionnée), le premier fichier est placé sur la piste 4 et les deux fichiers suivants respectivement sur les pistes 5 et 6.  Placer tous les fichiers sur une piste : cette option permet simplement de placer de façon séquentielle tous les fichiers (l’un après l’autre) sur la piste à mesure que vous les faites glisser.  Copier les noms des fichiers audio sur le nom des pistes : renomme les pistes d’après le nom des fichiers. Cette option est disponible uniquement lorsqu’elle est associée aux fonctions Créer des pistes et Utiliser des pistes. 302 Chapitre 11 Ajout de données préenregistrées  Créer des régions audio : ajoute les fichiers dans la zone Arrangement et crée une région audio pour chacun d’eux. Une valeur numérique est ajoutée à chaque région audio de la zone Arrangement et une région est créée pour chaque fichier présent dans le chutier Audio. Par exemple, une région appelée folk-04 engendre une nouvelle région intitulée folk-04.1. La région d’origine est conservée dans le chutier Audio (et, si vous l’utilisez, dans la zone Arrangement). Ajout et suppression de fichiers audio du projet Le chutier Audio fait office de point de référence central pour tous les fichiers audio ajoutés au projet, qu’ils soient utilisés dans la zone Arrangement ou non. Cela est utile pour conserver toutes les prises associées au projet dans un seul emplacement, même si, en fin de compte, elles ne sont pas toutes utilisées dans la production finale. Toutes les méthodes d’ajout de fichiers audio décrites ci-dessus placent automatiquement les fichiers dans le chutier Audio. Dans le cas de méthodes qui ajoutent des fichiers directement dans la zone Arrangement, une région associée à chaque fichier est automatiquement créée dans le chutier Audio. Le chutier Audio propose également des fonctions vous permettant d’ajouter des fichiers à votre projet (dans le chutier Audio) et depuis le chutier Audio dans la zone Arrangement. Pour utiliser le navigateur ou le Finder afin d’ajouter des fichiers audio à votre projet : 1 Cliquez sur des fichiers adjacents du Finder ou du navigateur tout en appuyant sur la touche Maj ou cliquez sur des fichiers non adjacents tout en appuyant sur Commande. 2 Faites-les glisser dans le chutier Audio et relâchez le bouton de la souris. Remarque : si vous ajoutez des fichiers depuis le navigateur, vous pouvez également utiliser l’option de menu « Ajouter les fichiers audio sélectionnés dans le chutier ». Chapitre 11 Ajout de données préenregistrées 303 Pour utiliser le chutier Audio afin d’ajouter des fichiers à votre projet : 1 Cliquez sur Fichier audio > Ajouter un fichier audio (ou utilisez le raccourci clavier de l’option). La zone de sélection des fichiers du chutier Audio s’ouvre. 2 Accédez à un fichier audio et sélectionnez-le. Vous pouvez l’écouter en cliquant sur le bouton Lecture. 3 Cliquez sur le bouton Ajouter. Le fichier s’affiche en dessous, dans la zone de présentation des fichiers. 4 Accédez à un autre fichier audio, sélectionnez-le, puis cliquez sur le bouton Ajouter. 5 Répétez la procédure jusqu’à ce que tous les fichiers souhaités figurent dans la zone de présentation des fichiers. 6 Si vous ajoutez un fichier par erreur, sélectionnez-le dans la zone de présentation des fichiers, puis cliquez sur le bouton Supprimer. Remarque : vous pouvez également ajouter tous les fichiers d’un dossier ; pour cela, sélectionnez le dossier en question et cliquez sur le bouton Tout ajouter. Si vous vous trompez de dossier et en ajoutez les fichiers, appuyez sur le bouton Tout supprimer pour retirer les fichiers de la liste. Cette opération ne supprime pas les fichiers du disque dur. 7 Cliquez sur Terminé pour ajouter les fichiers sélectionnés au chutier Audio. Remarque : les fichiers qui ont déjà été ajoutés au chutier Audio apparaissent en grisé et ne peuvent pas être sélectionnés. Cela permet d’écarter toute risque de confusion et de duplication. 304 Chapitre 11 Ajout de données préenregistrées Pour supprimer un ou plusieurs fichiers du projet : 1 Sélectionnez le nom des fichiers dans le chutier Audio. 2 Appuyez sur la touche Retour arrière. Les fichiers sont ainsi supprimés du projet, mais pas du disque dur. La seule façon de supprimer définitivement un fichier audio d’un projet réside dans le chutier Audio. La suppression d’une région audio dans la zone Arrangement (grâce à l’outil Gomme ou en appuyant sur la touche Arrière) ne supprime pas cette région du projet, elle supprime simplement la référence au fichier audio. Avertissement : soyez très prudent lorsque vous utilisez la commande Fichier audio > Supprimer le/des fichier(s) (ou le raccourci clavier de la commande, par défaut Contrôle + Retour arrière). Cette option supprime non seulement le ou les fichiers sélectionnés du projet, mais aussi du disque dur. Les fichiers audio supprimés sont déplacés dans la Corbeille, où ils sont conservés jusqu’à ce que vous la vidiez. Chapitre 11 Ajout de données préenregistrées 305 Remarque relative à l’importation des fichiers audio compressés Logic Express vous permet de lire directement les formats de fichiers audio suivants :  AAC  Format de compression : MPEG4 AAC  Fréquences d’échantillonnage : 8 kHz ; 11,025 kHz ; 12 kHz ; 16 kHz ; 22,05 kHz ; 24 kHz ; 32 kHz ; 44,1 kHz ; 48 kHz ; 64 kHz ; 88,2 kHz ou 96 kHz  MP3  Fichiers à 44,1 kHz  Fichiers stéréo encodés à 48 kbps ou plus, fichiers mono encodés à 32 kbps ou plus  Fichiers encodés d’iTunes/Logic  Fichiers Apple Lossless Ces fichiers ne sont pas convertis automatiquement lorsqu’ils sont importés dans Logic Express. Le fichier audio compressé est ajouté à la zone Arrangement et une région incluant le fichier audio complet est créée. Vous pouvez modifier cette région de la même façon qu’une région audio classique de la zone Arrangement : vous pouvez ainsi la couper, la lire en boucle, la renommer, etc. Remarque : il n’est pas possible d’assigner des fondus à des fichiers audio compressés, ni de les modifier définitivement. Les régions audio qui pointent vers des fichiers audio compressés sont signalées par le symbole suivant : Vous pouvez convertir des fichiers audio au format AAC, MP3 et Apple Lossless en effectuant l’une des opérations suivantes : m Sélectionnez les régions audio pointant vers le fichier audio souhaité de la zone Arrangement, puis cliquez sur Audio > Convertir les régions en nouveaux fichiers audio, dans le menu local de la zone Arrangement (ou utilisez le raccourci clavier correspondant, par défaut Option + Commande + F). La partie du fichier audio couverte par la région audio est convertie en un nouveau fichier audio. m Sélectionnez les fichiers audio dans le chutier Audio, puis cliquez sur Fichier audio > « Copier/Convertir un ou des fichiers » dans le menu local du chutier Audio (ou utilisez le raccourci clavier correspondant). Symbole Fichier audio compressé 306 Chapitre 11 Ajout de données préenregistrées Important : les fichiers audio compressés protégés par le système DRM (Digital Rights Management) ne s’ouvrent pas dans Logic Express. La musique achetée sur l’iTunes Store est généralement protégée par le système DRM. Création de vues d’ensemble Lorsque vous ajoutez un fichier audio à votre projet, Logic Express crée automatiquement une vue d’ensemble de celui-ci. Il s’agit d’un fichier graphique utilisé pour afficher la forme d’onde. Le calcul des données de la vue d’ensemble associée au fichier audio est affiché dans une fenêtre. Ce calcul est effectué en arrière-plan, ce qui vous permet de continuer à utiliser Logic Express. L’activation de l’option « Calcul plus rapide lors de la vue d’ensemble » permet d’accélérer considérablement le processus de calcul mais ralentit les autres processus (sans toutefois bloquer totalement les opérations qu’effectue l’utilisateur). Logic Express mémorise l’état de l’option « Calcul de vue d’ensemble plus rapide » d’un projet à l’autre. Vous pouvez actualiser manuellement la vue d’ensemble des fichiers sélectionnés en cliquant sur Options > Audio > Actualiser la ou les vues d’ensemble si jamais vous avez remplacé des enregistrements (et utilisé des régions) ou si vous avez apporté des modifications à l’aide d’un éditeur d’échantillons externe. Vue d’ensemble de la forme d’onde Chapitre 11 Ajout de données préenregistrées 307 Ajout de fichiers ReCycle à votre projet ReCycle est le nom d’une application éditée par Propellerhead, qui sert principalement d’outil de production et d’édition des boucles (fichiers audio dont la lecture se fait en boucle). Les formats de fichiers spécifiques utilisés par ReCycle peuvent être importés et utilisés directement dans Logic Express ou bien être convertis en boucles Apple Loops. Remarque : vous devez installer REX Shared Library (© Propellerhead Software) pour pouvoir utiliser les fichiers ReCycle avec Logic Express. Pour en savoir plus sur les fichiers ReCycle, consultez le site web de Propellerhead. Logic Express peut importer les formats de fichiers ReCycle suivants :  Ancien fichier ReCycle : ce type de fichier possède l’extension .rcy et l’abréviation qui lui est associée est RCSO.  Ancien fichier d’exportation ReCycle : ce type de fichier possède l’extension .rex et l’abréviation qui lui est associée est REX.  Fichier ReCycle 2.0 : ce type de fichier possède l’extension .rx2 et l’abréviation qui lui est associée est REX2. Pour importer un fichier ReCycle dans la zone Arrangement : 1 Sélectionnez le fichier ReCycle à importer en effectuant l’une des opérations suivantes :  Cliquez sur Fichier > Importer un fichier audio, puis sélectionnez un fichier ReCycle au lieu d’un fichier AIFF, SDII, MP3 ou WAV.  Tout en appuyant sur la touche Maj, cliquez sur une piste audio à l’aide de l’outil Crayon et sélectionnez un fichier ReCycle.  Faites glisser un fichier ReCycle depuis le Finder vers une piste audio. 2 Sélectionnez les réglages souhaités dans la zone de dialogue « Importer un fichier ReCycle », puis cliquez sur OK.  Ne pas corriger : importe le fichier tel quel. Toutes les tranches du fichier se chevauchent pour s’adapter au tempo de Logic Express.  Ajouter des pistes : répartit les tranches sur plusieurs pistes audio, ce qui vous permet d’ajuster la position de ces tranches ou de les supprimer librement. Le champ « Nombre de pistes audio supplémentaires » détermine le nombre de pistes utilisées pour la répartition des tranches. Ces pistes viennent s’ajouter à la piste d’origine à laquelle le fichier ReCycle a été ajouté. 308 Chapitre 11 Ajout de données préenregistrées  Fondu enchaîné : toutes les tranches du fichier sont importées dans la même piste et un fondu enchaîné leur est automatiquement appliqué. La durée du fondu enchaîné est déterminée par la valeur (en millisecondes) affichée dans le champ Durée du fondu.  Rendu sous forme de fichier unique : cette fonction écrit toutes les tranches ReCycle dans un fichier audio unique. Le tempo du projet Logic Express est utilisé dans le processus de rendu.  Rendu sous forme d’Apple Loop : importe le fichier ReCycle en tant que boucle Apple Loop. Si vous n’importez pas le fichier ReCycle en tant que boucle Apple Loops ou fichier audio, Logic Express crée un dossier de fichiers ReCycle sur une piste audio. Ce dossier contient des tranches du fichier ReCycle aux emplacements appropriés (tranches que vous pouvez afficher sous forme de régions miniatures dans le dossier). Chacune de ces tranches fait référence au même fichier audio, disponible dans le Chutier. Remarque : si vous déplacez le dossier de fichiers ReCycle vers une autre piste audio, la destination de la bande de canal audio (de la piste présente dans le dossier) reste la même. Vous devez ouvrir le dossier et modifier manuellement la destination de la bande de canal audio pour écouter les données audio ReCycle. Pour convertir un fichier ReCycle en boucle Apple Loop, effectuez une des opérations suivantes : m Utilisez l’option « Rendu sous forme d’Apple Loop » dans la zone de dialogue « Importer un fichier ReCycle ». m Choisissez « Conversion des fichiers/dossiers ReCycle sélectionnés en boucles Apple Loops » dans le menu Outil du Navigateur. Cette option vous permet de choisir un ou plusieurs dossiers dans le navigateur et d’effectuer une conversion par lot de tous les fichiers ReCycle qu’ils contiennent. Tranches ReCycle Dossier ReCycle Chapitre 11 Ajout de données préenregistrées 309 Transfert de données Audio entre Logic Express et ReCycle Vous pouvez transférer les données de Logic Express à ReCycle, et inversement, sans avoir recours à aucune zone de sélection de fichiers. Pour copier des régions audio dans le Presse-papiers en vue de les utiliser dans ReCycle : 1 Sélectionnez une région audio dans la zone Arrangement. 2 Cliquez sur Audio > « Copier en tant que boucle ReCycle » dans le menu Arrangement. Les données de la région audio sélectionnée sont copiées dans le Presse-papiers. 3 Utilisez la commande « Coller en tant que nouveau document » de ReCycle pour créer un document ReCycle (contenant les données audio sélectionnées dans la zone Arrangement). Remarque : la taille de la région audio transférée est limitée à 10 Mo, ce qui devrait être suffisant pour la plupart des boucles ReCycle (à titre d’exemple, une boucle stéréo de huit mesures en 4/4 à 70 bpm occupe environ 5 Mo). Pour coller les boucles ReCycle depuis ReCycle dans la zone Arrangement : 1 Utilisez la commande Copier la boucle ReCycle. Cette fonction permet de copier dans le Presse-papiers la boucle en cours d’édition dans ReCycle. 2 Cliquez sur Audio > « Coller la boucle ReCycle » dans le menu Arrangement pour coller cette boucle dans la zone Arrangement. Le même résultat s’obtient avec les options d’importation de fichier ReCycle. Ajout de fichiers d’un projet et de fichiers MIDI Vous pouvez également ajouter des fichiers d’un projet et des fichiers MIDI (tels que des fichiers OMF Interchange, AAF, OpenTL et XML) à votre arrangement. Toutefois, ces types de fichiers sont généralement utilisés pour échanger des projets et ne sont donc pas traités dans le cadre de ce chapitre. Pour obtenir des détails complets sur l’importation de ces types de fichiers, reportez-vous au chapitre 29, « Échange de projets et de fichiers » à la page 699. 12 311 12 Présentation des régions Lorsque des fichiers audio ou MIDI sont ajoutés à, ou enregistrés dans, la zone Arrangement, ils sont affichés sous forme de régions. Ce chapitre décrit les similarités et les différences entre les régions audio et MIDI et fournit des informations détaillées sur la gestion de ces régions. Pour plus de détails sur l’utilisation des régions pour la création de morceaux, consultez le chapitre 13, « Création de votre arrangement » à la page 327. Qu’est-ce qu’une région ? La gestion des données audio et MIDI est fort similaire dans la zone Arrangement, et se fait au moyen de blocs rectangulaires appelés « régions ». Ces blocs sont des représentations graphiques des données. Les régions audio représentent les données audio ; les régions MIDI représentent les données MIDI. 312 Chapitre 12 Présentation des régions Régions audio et fichiers audio Les régions audio se réfèrent simplement (par pointage) à un fichier audio sous-jacent. Elles servent de marqueurs de lecture (points de début et de fin) qui peuvent être de la longueur du fichier audio tout entier ou ne durer que quelques secondes et donc ne lire qu’une petite partie du fichier audio, partie délimitée par les marqueurs de début et de fin de la région. Tout fichier audio utilisé dans Logic Express (ajouté au projet et donc au chutier Audio) est automatiquement lié à au moins une région audio réglée par défaut sur la longueur du fichier audio tout entier. Les régions audio contiennent un point de référence temporel appelé point d’ancrage. Lorsque vous déplacez une région audio, ce n’est pas le point de départ qui s’affiche dans la bulle d’aide (comme pour les régions MIDI), mais le point d’ancrage. Vous êtes libre de créer autant de régions audio que nécessaire. Pour vous convaincre de l’utilité des régions, imaginez une piste de batterie stéréo couvrant toute la durée de votre projet. Le batteur a parfaitement joué le deuxième refrain, mais s’est montré un peu brouillon le reste du temps. Logic Express vous permet de créer une région audio pointant sur le deuxième refrain du fichier audio (le morceau de batterie), puis d’utiliser cette prise parfaite à différents endroits du projet. Pour ce faire, la région audio (pointée sur le 2e refrain dans le fichier audio de la piste de batterie) doit être créée et copiée dans chacun des emplacements du refrain dans la zone Arrangement. L’un des gros avantages des régions audio sur les fichiers audio réside dans le fait qu’elles n’utilisent que très peu de mémoire, alors que plusieurs copies d’une même rubrique du fichier audio prendraient beaucoup de place sur le disque dur. Région audio 1 Fichier audio Région audio 2 Région audio 3 Chapitre 12 Présentation des régions 313 Il est bien sûr possible de modifier, copier, déplacer et gérer directement les fichiers audio via l’Éditeur des échantillons et le chutier Audio. Pour en savoir plus, reportezvous au chapitre 24, « Gestion de fichiers audio » à la page 601. Régions et événements MIDI Les régions MIDI contiennent des événements de données MIDI. Elles ne sont pas liées à des informations stockées dans des fichiers internes. Les régions MIDI peuvent être enregistrées sous forme de fichiers individuels, mais aussi (et c’est généralement le cas) stockées avec le projet Logic. Les événements de données MIDI stockés dans des régions MIDI peuvent comprendre des informations sur les notes, les contrôleurs, le système, etc. Ils correspondent aux prestations MIDI que vous avez enregistrées ou importées dans Logic Express. Ces prestations sont généralement créées à l’aide d’un clavier MIDI, mais elles peuvent également l’être au moyen de contrôleurs MIDI, de guitares MIDI, du clavier ou de la souris de votre ordinateur. Les événements de données peuvent être affectés sous forme de groupe en traitant la région MIDI dans laquelle ils se trouvent. Ce type traitement, qui se fait via la zone Paramètre de région de l’Inspecteur, couvre la transposition, la quantification, les retards de synchronisation, etc. Vous pouvez aussi modifier les événements d’une région MIDI un à un. Pour cela, ouvrez la région dans l’un des Éditeurs MIDI disponibles dans Logic Express. Ces Éditeurs vous permettent de modifier avec précision la position, la durée et la tonalité des événements de notes MIDI. Les autres types d’événement MIDI sont modifiables de différentes façons. Pour saisir des données MIDI dans ces Éditeurs, vous pouvez aussi vous servir de votre clavier MIDI, de la souris ou du clavier de l’ordinateur. 314 Chapitre 12 Présentation des régions Régions « dossier » Un dossier est une région pouvant contenir d’autres régions, tout comme un dossier du Finder peut contenir d’autres dossiers ou fichiers. Il est possible de visualiser un dossier comme un projet au sein d’un projet. Un dossier peut contenir autant de pistes avec régions que nécessaire. Le dossier est placé sur une piste affectée à un dossier dans la liste des pistes plutôt que sur une piste d’instrument ou une piste audio. Les régions « dossiers » ressemblent aux régions MIDI, mais présentent une icône de dossier devant le nom du dossier. Une fois ouvert, un dossier est similaire à la zone Arrangement et à la liste des pistes d’un projet. Régions clonées et alias Il est possible de créer des alias pour les régions MIDI et les régions de type dossier. L’alias d’une région MIDI ou « dossier » ressemble à un alias du Finder. Il a l’aspect d’une région, mais ne contient en fait aucune donnée. Il s’agit simplement d’une référence aux données de la région originale (un reflet virtuel de cette dernière). L’alias est facilement reconnaissable car son nom est écrit en italique. Si les données de la région originale (source) sont modifiées, cela a une incidence immédiate sur tous les alias de cette région. Chaque alias dispose cependant de paramètres de région qui lui sont propres. Chapitre 12 Présentation des régions 315 Il est possible de créer des clones de région audio (en faisant glisser les régions tout en maintenant les touches Option + Maj enfoncées). Même s’ils sont comparables aux alias de régions MIDI, les clones présentent une différence majeure. En effet, si vous modifiez le point de départ ou de fin de n’importe quelle région clonée, toutes les autres régions clonées sont affectées à l’identique. Les modifications apportées à la région source n’ont cependant pas d’incidence sur les clones. Vous pouvez, naturellement, créer des copies de région audio indépendantes (en faisant glisser les régions tout en maintenant la touche Option enfoncée) qui pourront être modifiées sans que cela n’altère les autres copies de la région source. Pour en savoir plus, veuillez vous reporter au chapitre 13, « Création de votre arrangement » à la page 327. Comparatif des régions MIDI et audio L’aperçu suivant résume les principales différences existant entre les régions audio et les régions MIDI. Quelques remarques, en bas du tableau, apportent un éclairage sur les points les plus importants. Fonctionnalité Régions MIDI Régions audio Composées de données discrètes Oui Non. Les régions audio font simplement référence aux parties des fichiers audio. Possibilité de les nommer Oui Oui Option Boucle disponible Oui Oui Paramètre Quantifier disponible Oui Non, mais la position des régions peut être quantifiée à l’aide de la liste des événements (lorsque vous êtes en affichage Arrangement). Vous pouvez aussi quantifier les fichiers audio de manière destructive dans l’Éditeur des échantillons. Paramètre Transposition disponible Oui Non, mais vous pouvez utiliser les fonctions Time Machine et Changement de tonalité (dans l’Éditeur des échantillons et dans Arrangement). Les boucles Apple Loops audio sont transposables. Paramètre Vélocité disponible Oui Non Paramètre Dynamiques disponible Oui Non Paramètre Temps de maintien disponible Oui Non Paramètre Retard disponible Oui Oui Positionnement libre possible Oui Oui 316 Chapitre 12 Présentation des régions Naturellement, certains paramètres de lecture de l’Inspecteur (tels que Transposition) pouvant s’appliquer aux événements MIDI n’ont aucun effet sur les signaux audio. Pour la plupart d’entre eux, des opérations équivalentes sont disponibles par modification destructive dans l’Éditeur des échantillons. Les fonctions fondamentales (comme la position et la durée librement définissables, la possibilité de créer des arrangements complexes à l’aide de dossiers et la possibilité de nommer, désactiver le son ou mettre en solo) sont généralement disponibles pour tous les types de régions (MIDI, audio, dossiers ou copies de ces derniers, ainsi que les régions alias ou clonées). Modification de l’angle gauche ou droit Oui Oui. Cela influe sur la région audio, mais pas sur la position des formes d’onde audio par rapport à l’axe temporel du séquenceur. Coupe possible avec l’outil Ciseaux Oui Oui, une nouvelle région audio est alors créée. Composantes possibles des alias Oui Oui, bien qu’elles soient appelées régions (audio) clonées pour les différencier des régions (MIDI) alias. Possibilité de faire glisser l’angle gauche pour masquer des données au début Non Oui Présence d’un point de référence musical variable Non Oui, il s’agit d’un point d’ancrage variable. Il affecte toutes les régions issues d’un fichier audio donné, et peut modifier la position de l’audio par rapport à l’axe temporel du séquenceur. Désactivation possible via la fonction Silence Oui Oui Placement possible dans des dossiers Oui Oui Mise en solo possible Oui Oui Fonctionnalité Régions MIDI Régions audio Chapitre 12 Présentation des régions 317 Gestion des régions dans le chutier Audio et l’Éditeur des échantillons Le chutier Audio vous permet de gérer vos régions et d’apporter des modifications brutes à la (ou aux) région(s) associée(s) à un fichier audio. L’affichage graphique du chutier Audio est optimisé en vue d’une organisation simple et rapide des fichiers audio et des régions. La meilleure résolution pour le positionnement des marqueurs de début et de fin des régions, ou du point d’ancrage, est limitée à 256 opérations dans le chutier Audio. Cela est généralement suffisant, notamment si la fonction « Chercher les passages à zéro » est activée. Il peut arriver, cependant, que vous deviez effectuer des réglages très précis, jusqu’au niveau du simple mot. Les boucles de batterie en offrent un bon exemple. L’Éditeur des échantillons convient parfaitement à ce travail de précision. Pour ouvrir l’Éditeur des échantillons pour une région donnée : m Double-cliquez sur la région dans le chutier Audio ou dans la zone Arrangement. L’Éditeur des échantillons s’ouvre et la région est entièrement sélectionnée. Gestion des régions dans le chutier Audio Le chutier Audio répertorie tous les fichiers audio et les régions qui ont été ajoutés à votre projet ou enregistrés dans ce dernier. Cette rubrique décrit les différentes options de gestion des régions disponibles dans l’onglet et la fenêtre Chutier Audio. Les options et les opérations relatives aux fichiers audio disponibles dans le chutier Audio sont seulement abordées dans cette rubrique. Pour en savoir plus, reportez-vous au chapitre 24, « Gestion de fichiers audio » à la page 601. 318 Chapitre 12 Présentation des régions Quel chutier Audio utiliser ? L’onglet Chutier Audio est idéal pour ajouter rapidement des fichiers à la zone Arrangement, car il ne recouvre pas votre espace de travail. Une barre représentant la durée totale du fichier apparaît pour chaque fichier audio. La zone colorée située à l’intérieur de cette barre illustre la durée de la région. Vous ne pouvez pas redimensionner ou déplacer des régions d’un fichier audio dans l’onglet Chutier. Pour effectuer ce type de tâches, accédez à la fenêtre Chutier. Dans la fenêtre Chutier, que vous pouvez redimensionner à votre guise, les fichiers audio sont représentés par des formes d’ondes. Les régions situées dans les fichiers audio sont mises en surbrillance. Les autres informations relatives aux fichiers, telles que l’intégralité du chemin, s’affichent dans la fenêtre Chutier. On y trouve également le menu Options, où figure la commande Éliminateur de silence. En bref, l’onglet Chutier est le mieux adapté aux tâches telles que l’ajout de fichiers audio et de régions lors de la création de votre arrangement. La fenêtre Chutier, quant à elle, est votre outil numéro un pour gérer fichiers audio et régions. Onglet Chutier Fenêtre Chutier Chapitre 12 Présentation des régions 319 Pour ouvrir l’onglet Chutier : m Cliquez sur l’onglet Chutier dans la zone Média de la fenêtre Arrangement. Pour ouvrir le Chutier : m Choisissez Fenêtre > Chutier (ou utilisez le raccourci clavier correspondant, par défaut : Commande + 9). Pour afficher une région associée à un fichier audio : m Cliquez sur le triangle d’affichage qui se trouve à côté du nom du fichier audio. Toutes les régions sont répertoriées sous le nom du fichier audio dont elles sont issues.  Les régions utilisées dans la zone Arrangement sont signalées par une barre colorée, à droite de leur nom. La couleur utilisée est celle de la région Arrangement. La durée de la région (rubrique colorée) est proportionnelle à la barre du fichier audio.  Les régions inutilisées dans la zone Arrangement sont grises. Pour voir toutes les régions du Chutier, choisissez l’une des possibilités suivantes : m Choisissez Présentation > Afficher toutes les régions (ou utilisez le raccourci clavier correspondant). m Appuyez sur la touche Option tout en cliquant sur le triangle d’affichage situé à côté du fichier audio. Cela affiche instantanément toutes les régions de l’ensemble des fichiers audio présents dans le Chutier. Si vous choisissez Présentation > « Masquer toutes les régions » (à l’aide du raccourci clavier correspondant) ou que vous cliquez une deuxième fois sur le triangle d’affichage d’un fichier audio tout en maintenant la touche Option enfoncée, toutes les régions seront masquées. Pour trier les régions d’un fichier audio : m Sélectionnez le fichier audio souhaité, puis Présentation > Régions classées par.  Point de début : les régions sont classées selon leur position dans le temps au sein du fichier audio.  Durée : les régions sont classées selon leurs durées respectives.  Nom : les régions sont classées par ordre alphabétique. Il s’agit du réglage par défaut. Pour modifier l’affichage de la durée des régions dans la fenêtre Chutier : m Choisissez l’un des réglages suivants dans le menu Présentation > Afficher la durée :  Aucun : la durée n’est pas affichée.  Min : Sec: Ms: affiche la durée absolue de la région en heures, minutes, secondes et millisecondes.  Échantillons : affiche le nombre de mots échantillonnés de la région. 320 Chapitre 12 Présentation des régions  Temps SMPTE : affiche la durée SMPTE qui, à la différence de la durée absolue, utilise des images et des bits à la place des millisecondes.  Mesures/battements : la région est affichée en unités musicales : mesures : battements : divisions : ticks. Si les réglages de tempo, de signature temporelle ou de division sont modifiés, l’affichage est automatiquement recalculé. Pour savoir combien de fois une région est utilisée dans votre arrangement : m Activez le réglage Présentation > Afficher le compteur d’utilisation des régions. Création et suppression de régions Lorsque vous ajoutez un fichier audio à votre projet, Logic Express crée automatiquement une région englobant toute la durée du fichier. Vous pouvez créer autant de régions que vous le souhaitez à partir du même fichier audio. Il n’existe aucune limitation de durée pour les régions, pourvu qu’elles ne dépassent pas la durée du fichier audio source. La création de plusieurs régions à partir du même fichier audio est un atout pour nombre de tâches, par exemple l’utilisation de différentes portions d’une prise vocale couvrant toute la durée du projet. Vous pouvez créer des régions dans le chutier Audio, l’Éditeur des échantillons et la zone Arrangement. Cette rubrique concerne les options du chutier Audio et de l’Éditeur des échantillons. Remarque : pour tout savoir sur les options de modification des régions dans la fenêtre Arrangement, reportez-vous au chapitre 13, « Création de votre arrangement » à la page 327. Pour créer une région à partir d’un fichier audio dans le chutier Audio, vous pouvez : m Sélectionner le fichier audio voulu, puis Fichier audio > Ajouter une région (ou utiliser le raccourci clavier Ajouter une région, à savoir, par défaut : Contrôle + R). m Choisir Édition > Copier (Commande + C) dans la barre de menus principale, puis Édition > Coller (Commande + V). La nouvelle région apparaît sous les régions existantes dans la liste. Chaque région reçoit une extension numérique unique. Par exemple, si organ.wav est le fichier audio d’origine, la région créée automatiquement s’appelle simplement « orgue » et les nouvelles régions « orgue.1 », « orgue.2 », etc. Pour créer une région à partir d’un fichier audio dans l’Éditeur des échantillons : m Choisissez Édition > Créer une région (Commande + R). La nouvelle région apparaît dans la liste du chutier Audio. Chapitre 12 Présentation des régions 321 Pour supprimer une région du chutier Audio, effectuez l’une des opérations suivantes : m Sélectionnez une ou plusieurs régions et appuyez sur la touche de retour arrière. La suppression d’une région ne provoque pas la suppression du fichier audio dont elle est issue. Pour supprimer un fichier audio du projet en cours : 1 Sélectionnez le nom du fichier audio (et non d’une région) dans le chutier Audio. 2 Choisissez Fichier audio > Supprimer les fichiers (ou utilisez le raccourci clavier correspondant). Les fichiers sont ainsi supprimés du projet, mais pas du disque dur. Écoute des régions dans le chutier Audio Les modes de lecture abordés ci-dessous ne s’appliquent qu’aux régions du chutier Audio (lorsque la fenêtre est au premier plan) et n’ont aucune incidence sur la lecture du projet. Pour lire une région en entier : 1 Dans la liste, mettez le nom de la région en surbrillance. 2 Cliquez sur le bouton des haut-parleurs en bas du chutier Audio (ou appuyez sur la barre d’espace) pour lancer la lecture. Cliquez à nouveau sur ce bouton (ou appuyez à nouveau sur la barre d’espace) pour arrêter la lecture. Remarque : le canal Pré-écoute de l’environnement est utilisé pour le contrôle dans l’Éditeur des échantillons. Vous pouvez accéder au canal Pré-écoute dans la table de mixage de l’environnement, figurant à droite du numéro de bande de canaux audio le plus élevé. Avertissement : les régions supprimées figurant dans la zone Arrangement sont également effacées. Soyez donc prudent lorsque vous supprimez une région (ou le fichier audio d’origine). La fonction Annuler est toujours disponible au cas où vous supprimeriez la mauvaise région par mégarde. 322 Chapitre 12 Présentation des régions Pour lire la région en boucle : m Cliquez sur le bouton de lecture en boucle (signalé par une flèche circulaire) en bas du chutier Audio. Pour interrompre la lecture, cliquez à nouveau sur ce bouton. Pour lire une région depuis une position particulière dans la fenêtre Chutier Audio : m Cliquez sur la région souhaitée dans l’écran des régions en maintenant le bouton enfoncé ou servez-vous de la souris. Une icône « haut-parleur » remplace le pointeur de la souris. La lecture commence au point sur lequel vous cliquez. Cela vous permet de ne lire que certaines rubriques. La lecture s’arrête dès que vous relâchez le bouton de la souris. Remarque : seule la fenêtre Chutier Audio permet cette opération. Redimensionnement d’une région Vous pouvez redimensionner des régions dans la fenêtre Chutier Audio, l’Éditeur des échantillons et la fenêtre Arrangement. Cette rubrique concerne les options du chutier Audio et de l’Éditeur des échantillons. Remarque : pour tout savoir sur les options de modification des régions dans la fenêtre Arrangement, reportez-vous au chapitre 13, « Création de votre arrangement » à la page 327. Pour redimensionner une région dans la fenêtre Chutier Audio, choisissez l’une des possibilités suivantes : m Cliquez sur le tiers inférieur de la limite gauche ou droite de la région en maintenant le bouton enfoncé et faites glisser le pointeur dans la direction souhaitée. Chapitre 12 Présentation des régions 323 Pour redimensionner une région avec précision : m Faites glisser les points de début et de fin de la région dans l’Éditeur des échantillons, et non dans le chutier Audio, lorsque la précision est de mise. Assurez-vous que Édition > « Chercher les passages à zéro » est désactivé pour l’Éditeur des échantillons (voir ci-dessous). Les petits marqueurs situés tout en bas des formes d’ondes de l’Éditeur des échantillons offrent un accès direct aux limites de la région. Rétablissement des modifications sur les passages à zéro Si Édition > « Chercher les passages à zéro » est activé, les ajustements des positions de début et de fin d’une région se calent sur le point le plus proche de l’endroit où la forme d’onde passe par l’axe zéro. En d’autres termes, il existe sur un échantillon (une boucle de batterie, par exemple) des points de passage dont le niveau est très proche de celui d’autres points de l’échantillon. Si deux points très proches sont utilisés comme point de début et de fin de l’échantillon, la boucle sera lue sans qu’aucun glitch (saut) ne soit audible dans l’audio. Lorsque vous réglez le point de début, la zone qui le précède est analysée en vue d’identifier un point de passage sans heurt. Lorsque vous choisissez le point de fin, la zone qui suit la région est analysée aux mêmes fins. Pour caler les modifications audio sur les passages à zéro : 1 Cliquez sur la barre de titre du chutier Audio ou de l’Éditeur des échantillons pour mettre la fenêtre au premier plan. 2 Activez Édition > « Chercher les passages à zéro » (ou utilisez le raccourci clavier correspondant). Remarque : l’option « Chercher les passages à zéro » peut être définie indépendamment pour l’Éditeur des échantillons et pour le chutier Audio. Marqueurs de région 324 Chapitre 12 Présentation des régions Déplacement d’une région au sein d’un fichier audio La fenêtre Chutier vous permet également de déplacer l’intégralité d’une région au sein d’un fichier audio. Pour déplacer la zone de la région au sein du fichier audio : 1 Placez le curseur au-dessus du centre de la région. 2 Lorsque le curseur se transforme en flèche à deux pointes, faites glisser la région vers la gauche ou vers la droite. Remarque : pour modifier les limites de la région sans déplacer le point d’ancrage (voir rubrique suivante), maintenez la touche Option enfoncée pendant l’opération. Cela vaut aussi bien lorsque vous déplacez le point de début ou de fin, que la région tout entière. Modification du point d’ancrage de la région audio Le point d’ancrage est le point de référence temporelle d’une région audio. Lorsque vous déplacez une région audio, ce n’est pas le point de départ qui s’affiche dans la bulle d’aide (comme pour les régions MIDI), mais le point d’ancrage. Dans bon nombre de cas, le point d’ancrage doit être placé sur les crêtes d’amplitude plutôt qu’au début de la phase d’attaque sonore. L’enregistrement des cuivres, qui peuvent mettre un certain temps avant d’atteindre une crête, en est un bon exemple. Le positionnement du point d’ancrage sur ces crêtes oblige la région à se caler sur la grille de votre arrangement en utilisant le point d’ancrage comme pivot. Les réglages de zoom flexibles vous permettent d’obtenir toute la précision voulue, au bit près, avec le facteur d’agrandissement le plus élevé. Autre exemple : pour garantir une synchronisation parfaite entre une boucle de batterie d’une seule mesure et des régions MIDI, le point d’ancrage doit être assigné à un point musicalement caractéristique. Si la boucle s’ouvre sur une crête de niveau important (un coup de grosse caisse, par exemple), placez le point d’ancrage à l’endroit où le volume de ce battement est représenté par une crête précise. Lorsque vous enregistrez de l’audio ou ajoutez un fichier audio, le point d’ancrage et le point de début des régions se trouvent toujours au début du fichier audio. Si vous déplacez le point de début, le point d’ancrage bouge également, car il ne peut pas précéder la position de départ de la région. Curseur en flèche à deux pointes Chapitre 12 Présentation des régions 325 Il est possible de modifier le point d’ancrage d’une région dans la fenêtre Chutier et dans l’Éditeur des échantillons. Le point d’ancrage est représenté par un indicateur noir (orange dans l’Éditeur des échantillons) situé sous la forme d’onde de la région. Pour déplacer le point d’ancrage dans l’Éditeur des échantillons ou dans la fenêtre Chutier : m Sélectionnez le petit indicateur situé sous la région, puis placez le point d’ancrage à l’endroit souhaité. Les changements apportés au point d’ancrage modifient la position relative de la région audio dans le projet. Étant donné que le point de début de la région est la position par défaut du point d’ancrage, vous devez aussi faire attention lorsque vous déplacez ce point de début. Protection du point d’ancrage lors du déplacement du point de fin Si vous déplacez le point de début ou de fin d’une région au-delà du point d’ancrage, ce dernier est également déplacé. Cette situation n’est généralement pas souhaitable ! Pour que le point d’ancrage reste en place, maintenez la touche Option enfoncée alors que vous déplacez le marqueur de fin. Remarque : le point d’ancrage ne pouvant jamais se trouver à gauche (avant) du point de début de la région, il se déplace si vous faites glisser ce point de début au-delà (vers la droite), même si vous appuyez sur la touche Option. Mise à jour des positions dans la zone Arrangement Lorsque vous modifiez le point d’ancrage dans l’Éditeur des échantillons, vous pouvez utiliser la fonction « Compenser la position de la région » pour être sûr qu’une région audio donnée demeure au même endroit dans l’arrangement. Pour activer ou désactiver la fonction « Compenser la position de la région » : 1 Cliquez sur la barre de titre de l’Éditeur des échantillons, afin de vous assurer que ce dernier est au premier plan. 2 Choisissez Édition > Compenser la position de la région. Point Point d’ancrage d’ancrage 326 Chapitre 12 Présentation des régions  Si l’option « Compenser la position de la région » est activée, le déplacement du point d’ancrage n’a aucun impact sur ce que vous entendez. Le déplacement du point d’ancrage dans l’Éditeur des échantillons conduit au même résultat que si vous faites glisser le point de début de la région dans la zone Arrangement.  Si l’option « Compenser la position de la région » n’est pas activée, le déplacement du point d’ancrage change la position des régions audio dans la zone Arrangement. La région se décale par rapport à l’axe temporel, tandis que le point d’ancrage demeure lié à la même valeur de mesure et est signalé par une ligne en pointillés. Protection des régions Pour éviter toute modification accidentelle des points de début et de fin ou du point d’ancrage d’une région, vous pouvez verrouiller la région dans la fenêtre Chutier. Pour protéger la position des points de début, de fin et d’ancrage d’une région : m Dans la fenêtre Chutier, cliquez sur l’icône représentant un cadenas située à côté de la région pour la verrouiller. Cliquez à nouveau sur cette icône pour la déverrouiller. Si une région est verrouillée, vous pouvez la lire, mais pas la modifier. L’onglet Chutier affiche l’état des régions audio verrouillées (dans la colonne située entre les colonnes Nom du fichier/de la région et Infos), mais ne vous permet pas de verrouiller ou de déverrouiller des régions. Région protégée Région non protégée Avertissement : attention à ne pas confondre cette fonction avec la protection contre la suppression : une région protégée (verrouillée) peut toujours être supprimée ! 13 327 13 Création de votre arrangement Après avoir ajouté vos régions audio et MIDI dans la zone Arrangement, vous pouvez les modifier et les réorganiser afin de créer un arrangement global, ou morceau. La zone Arrangement offre une vue d’ensemble de la structure de votre morceau : elle indique à quel moment la lecture des séquences audio et MIDI débute, ainsi que la durée de ces dernières. Vous définissez quand et comment les régions sont lues en les déplaçant, les coupant, les copiant, les redimensionnant et les regroupant dans la zone Arrangement. Les régions sont placées horizontalement sur les rangées de pistes allant d’une extrémité à l’autre de la zone Arrangement. Leurs positions sur ces rangées déterminent à quel moment elles sont lues et celles-ci sont alignées avec la règle Mesure (et Temps) située sur la partie supérieure de la fenêtre. Les rangées de pistes sont empilées verticalement, créant ainsi une grille de rangées ainsi que des positions de mesure ou de temps particulières. Pour afficher la grille de la zone Arrangement : m Activez le réglage Grille dans le menu Présentation de la zone Arrangement. Il se peut que vous souhaitiez augmenter le contraste de la grille en modifiant la couleur d’arrière-plan de la zone Arrangement. Zone Arrangement avec grille Zone Arrangement sans grille 328 Chapitre 13 Création de votre arrangement Pour modifier la couleur d’arrière-plan de la zone Arrangement : 1 Ouvrez les préférences d’affichage en effectuant l’une des opérations suivantes :  Choisissez Logic Express > Préférences > Affichage (ou utilisez le raccourci clavier Ouvrir les préférences d’affichage).  Cliquez sur le bouton Préférences dans la barre d’outils Arrangement et choisissez Affichage dans le menu. 2 Cliquez sur l’onglet Arrangement dans la fenêtre Préférences. 3 Choisissez Lumineux dans le menu Couleur d’arrière-plan. 4 Vous pouvez également choisir Personnalisé dans le menu et cliquer sur le champ Couleur situé à droite. 5 Dans la fenêtre Couleurs qui s’affiche : utilisez la souris pour déplacer la roulette de la palette de couleur, ainsi que les curseurs de contraste et d’opacité afin de créer une couleur personnalisée. Chapitre 13 Création de votre arrangement 329 6 Cliquez sur le bouton de fermeture en haut à gauche pour quitter la fenêtre Couleurs et assigner la couleur d’arrière-plan personnalisée de votre zone Arrangement. La plupart des techniques d’arrangement et d’édition fonctionnent de la même façon pour les séquences audio et MIDI. Les boucles Apple Loops procèdent également d’une manière similaire. Lorsque le traitement diffère, les variations sont signalées dans les rubriques appropriées de ce chapitre. Toutes les opérations mentionnées au pluriel (par exemple, régions) s’appliquent à une ou plusieurs région(s) sélectionnée(s). Accélération et simplification de la modification des régions Cette rubrique fournit des informations sur des options qui accélèrent et simplifient la modification des régions, vous permettant ainsi de vous concentrer sur les aspects musicaux de votre arrangement. Alignement des régions modifiées sur des positions temporelles Vous êtes amené à déplacer et à redimensionner les régions dans la zone Arrangement car vous souhaitez que celles-ci commencent et se terminent au niveau d’un point spécifique dans le temps. Par exemple : dans un projet de musique, il se peut que vous souhaitiez aligner les points de départ des régions aux mesures et aux battements. Logic Express offre une fonction Alignement permettant d’aligner automatiquement les points de départ et de fin des régions sur une valeur de grille sélectionnée lorsque vous les déplacez ou les redimensionnez. Π Conseil : activez l’élément de menu Présentation > Grille de façon à voir comment les éléments de menu Alignement alignent automatiquement les régions sur des positions spécifiques de la grille. Pour aligner des régions sur une grille : m Choisissez l’une des valeurs suivantes dans le menu Alignement situé en haut de la zone Arrangement : 330 Chapitre 13 Création de votre arrangement  Intelligent : les opérations d’édition s’aligneront sur la mesure, le battement, le battement secondaire, etc. le plus proche, en fonction de la valeur de division et du niveau de zoom en cours de la règle Mesure.  Mesure : les opérations d’édition alignent les éléments sur la mesure la plus proche.  Battement : les opérations d’édition s’alignent sur le battement le plus proche d’une mesure.  Division : les opérations d’édition s’aligneront sur la valeur de division la plus proche (il s’agit de la signature affichée dans la règle Transport et Mesure).  Ticks : les opérations d’édition s’alignent sur le tick d’horloge le plus proche (1/3 840e d’un battement).  Images : les opérations d’édition s’alignent sur l’image SMPTE la plus proche.  QI (Quarts d’image) : les opérations d’édition s’aligneront sur le quart d’image SMPTE le plus proche.  Échantillons : les opérations d’édition s’aligneront sur l’échantillon le plus proche. Remarque : la modification précise de l’échantillon est directement liée au niveau de zoom. Si le niveau de zoom est insuffisant, il est impossible de modifier précisément l’échantillon. Utilisez le curseur Zoom situé en bas de la fenêtre Arrangement et tirez parti des raccourcis clavier Enregistrer et Récupérer le réglage de zoom pour accélérer votre processus. La fonctionnalité Alignement est relative, ce qui signifie que l’opération d’édition sera alignée sur les mesures, battements les plus proches, etc.—tout en conservant la même distance entre la région et sa position d’origine. Par exemple, si une région est placée sur la position 1.2.1.16 et que vous la déplacez vers la mesure 2 (avec le menu Alignement défini sur Mesure), elle va automatiquement s’aligner sur la position 2.2.1.16, plutôt que sur la position 2.1.1.1 (le point de départ de la mesure 2). Vous pouvez remplacer les alignements relatifs avec l’option « Aligner sur la valeur absolue ». Pour aligner sur une position absolue (pas relative) : m Choisissez l’option Aligner sur la valeur absolue du menu Alignement. Une coche apparaît à gauche de ce nom de fonction lorsque cette dernière est activée. Cette fonction fait également appel à la division de grille d’alignement sélectionnée. En d’autres termes, si l’option Mesure est sélectionnée dans le menu Alignement et que l’option Aligner sur la valeur absolue est activée, une région déplacée (depuis la position 1.2.1.16) vers la mesure 2 sera alignée sur la position 2.1.1.1 (le point de départ de la mesure 2), plutôt que sur sa position relative (2.2.1.16). Le réglage du menu Magnétisme s’applique aux opérations d’édition suivantes :  Déplacement et copie des régions  Redimensionnement des régions  Coupe des régions Chapitre 13 Création de votre arrangement 331  Déplacement, ajout et redimensionnement de marqueurs  Définition de limites de cycle Annulation de la grille d’alignement Vous pouvez remplacer temporairement la grille d’alignement, permettant des éditions et des ajustements plus fins. Pour annuler la grille d’alignement : m Appuyez sur Contrôle tout en effectuant l’opération d’édition.  La valeur de division choisie dans la catégorie Transport (par exemple, 1/16) définit l’échelle de la grille d’édition à des niveaux de zoom inférieurs (affichage macroscopique ou étendu).  Si le niveau de zoom est supérieur (affichage microscopique ou gros plan), une mise à l’échelle selon un certain facteur est effectuée lorsque vous procédez à une modification en maintenant la touche Contrôle enfoncée. m Maintenez les touches Contrôle et Maj enfoncées lors de l’opération d’édition :  Des ticks s’affichent dans la grille d’édition si la modification est effectuée à des niveaux de zoom inférieurs (affichage macroscopique ou étendu).  La grille d’édition affiche des échantillons si la modification s’effectue à des niveaux de zoom supérieurs (affichage microscopique ou gros plan). Remarques relatives à la relation entre le niveau de zoom et le réglage de menu Alignement Lorsque le niveau de zoom est très élevé (microscopique), au point que la valeur d’alignement choisie entraîne des modifications ou des déplacements importants, cette valeur est temporairement réduite et le mode d’alignement intelligent est utilisé à la place. Lorsque le niveau de zoom est extrêmement bas (macroscopique) et qu’une valeur d’alignement correcte (telle que Division ou Images) est choisie, des mouvements de souris normaux engendrent des unités de grille plus importantes. Dans ce cas, modifiez le niveau de zoom ou maintenez la touche Contrôle enfoncée afin de sélectionner la valeur d’alignement choisie. L’utilisation des touches Contrôle + Maj permet d’interrompre la relation 1:1 existant entre les mouvements du curseur de la souris et de la région (ou l’outil d’édition). Cela signifie que vous devrez peut-être déplacer le curseur de la souris sur une assez longue distance (horizontalement) afin que la région (ou l’outil d’édition) se déplace d’un pixel. Consultez la bulle d’aide pour obtenir des affichages numériques exacts. Supposons que vous souhaitiez réduire une région dans une mesure 4/4 afin que le 4 soit joué, mais pas le « 4 et » de la dernière mesure. 332 Chapitre 13 Création de votre arrangement Pour réduire une région d’une valeur de division lorsque l’alignement est défini sur Battement : 1 Agrandissez l’affichage de façon à voir les notes noires dans la règle Mesure. 2 Saisissez la partie inférieure droite d’une région et déplacez le curseur de la souris vers la gauche, jusqu’à ce que la région soit réduite d’une note noire. 3 Appuyez sur la touche Contrôle et déplacez lentement le curseur de la souris vers la droite, jusqu’à ce que la région possède une division supplémentaire. Lors de cette opération, la bulle d’aide indique la position de départ de la séquence, le numéro de la piste et la longueur actuelle de la région en mesures, battements et ticks. Les trois numéros de droite doivent être les suivants : 3 1 0. Utilisation des modes Déplacer Logic Express propose plusieurs modes Déplacer, qui permettent de définir le comportement des régions lorsque vous les modifiez. Vous pouvez définir le mode Déplacer dans le menu Déplacer, situé dans la zone Arrangement ainsi que dans plusieurs autres fenêtres d’éditeurs. Remarque : les options du menu Déplacer présentées dans cette rubrique font référence à des régions. Les comportements décrits ci-après (pour les régions) sont identiques pour les événements glissés dans les fenêtres des éditeurs. Le menu Déplacer de la fenêtre Arrangement et celui de chaque fenêtre d’éditeur sont réglés indépendamment. Pour modifier le mode Déplacer : m Choisissez un des réglages suivants dans le menu Déplacer :  Superposer : il s’agit du mode par défaut, qui vous permet de faire glisser une région sur une autre. Les limites de la région d’origine sont conservées.  Ne pas superposer : vous pouvez l’utiliser lorsque vous ne souhaitez pas que les régions soient superposées. Dans ce mode, la longueur de la première région (celle qui est placée précédemment sur la piste) sera réduite afin d’éviter toute superposition.  Fondu X : dans ce mode, Logic Express crée automatiquement un fondu enchaîné des deux régions lorsqu’elles se trouvent dans une position de superposition. Remarque : cette option ne s’applique pas aux régions MIDI ou Apple Loop. Chapitre 13 Création de votre arrangement 333  Organiser G et Organiser D : choisissez cette option pour aligner automatiquement des régions (respectivement sur la gauche ou la droite) lorsque vous les déplacez, les redimensionnez ou les supprimez.  Lorsque vous utilisez l’option Organiser D (ou Organiser G), le déplacement d’une région vers la droite (ou la gauche) permet d’aligner le point de fin de la région au point de départ de la région suivante, tout en veillant à ce qu’aucun blanc ne soit présent entre les deux régions.  Les positions des régions glissées les unes sur les autres sont interverties.  Lors de la suppression des régions, les régions restantes (situées à gauche ou à droite de la région supprimée) sont déplacées vers la gauche ou la droite, en fonction de la longueur de la région supprimée.  Si une région est agrandie ou réduite lorsqu’une des options Aléatoire est activée, les autres régions de la piste seront déplacées pour s’adapter à la nouvelle longueur.  Dans le mode Organiser G, la partie droite de la région est agrandie ou raccourcie, et les régions situées à droite de la région modifiée sont déplacées.  Dans le mode Organiser D, la partie gauche de la région est agrandie ou raccourcie, et les régions situées à gauche de la région modifiée sont déplacées. Les régions précédant celle modifiée peuvent uniquement être déplacées au niveau du point de départ du projet. Si suite à l’étirement d’une région, les régions précédentes sont positionnées sur le point de départ du projet et que l’espace disponible est insuffisant, la région modifiée va se superposer au contenu existant. Remarque : une seule région audio peut être lue à la fois par l’intermédiaire de la bande de canal d’une piste. Lorsque deux régions audio se chevauchent sur une piste, la dernière région est prioritaire. Scrub de votre arrangement Le scrub vous permet d’entendre les signaux audio et MIDI des régions situées au niveau de la tête de lecture, ce qui vous aide à localiser un événement sonore particulier. Vous pouvez ainsi facilement vous concentrer sur une percussion de grosse claire ou de caisse claire particulière, par exemple, avant de couper une région audio. Remarque : avant de pouvoir effectuer un scrub MIDI, vous devez activer l’option Fichier > Réglages projet > MIDI > Général > Scrub avec audio dans l’arrangement. Pour effectuer un scrub de votre projet : 1 Définissez un niveau de zoom fournissant un affichage optimal de la rubrique sur laquelle vous souhaitez effectuer le scrub (il peut s’avérer utile d’activer l’option Présentation > Contenu de la région). 2 Activez le bouton Pause dans le Transport. 334 Chapitre 13 Création de votre arrangement 3 Faites glisser la tête de lecture sur la règle Arrangement ou Mesure et déplacez-la vers les éléments du projet que vous souhaitez écouter, à la vitesse à laquelle vous souhaitez effectuer le scrub de la rubrique (ou utilisez les raccourcis clavier Scrub arrière et Scrub avant). La lecture des données audio et MIDI est parfaitement synchronisée lors du scrub. Remarque : le scrub est automatiquement activé lorsque vous divisez des régions (avec l’outil Ciseaux) dans la zone Arrangement, ce qui permet d’identifier plus facilement la position de coupe. Scrub de régions particulières La liste suivante définit la relation qui existe entre le scrub et la sélection de la région :  Si vous n’avez sélectionné aucune région, le scrub est effectué sur toutes les régions.  Si vous sélectionnez une région audio spécifique, le scrub est effectué uniquement sur cette dernière.  Si vous étirez ou sélectionnez à l’aide de la touche Maj des régions audio sur différentes pistes, le scrub sera effectué uniquement sur les régions audio sélectionnées.  Le scrub est toujours effectué sur les régions MIDI (logicielles ou externes) qu’elles soient sélectionnées ou non (dans la mesure où le réglage de projet Scrub avec audio dans l’Arrangement est activé).  Les états Silence ou Solo (reportez-vous à la rubrique suivante) de l’ensemble des pistes et des régions ont une incidence sur ce que vous entendez lors du scrub ; par conséquent, vous pouvez les utiliser pour effectuer un scrub des parties audio isolées (ou avec des pistes d’instrument MIDI externes ou logicielles spécifiques). Scrub contrôlé MIDI La fonction Scrub par valeur MIDI (-2-) (disponible dans l’éditeur des assignations du contrôleur ; reportez-vous au manuel Logic Express 8 : Prise en charge des surfaces de contrôle) permet d’activer le scrub via la commande MIDI externe. Vous pouvez assigner n’importe quel numéro de contrôleur MIDI à cette fonction. Un scrub avant est appliqué aux données supérieures à 64 octets tandis qu’un scrub arrière est appliqué à celles inférieures à 64 octets. Chapitre 13 Création de votre arrangement 335 Désactivation du son des régions Généralement, lors de l’arrangement, vous souhaitez tester des idées musicales en rendant certaines régions silencieuses. Pour rendre silencieuse ou pour activer le son d’une ou de plusieurs séquences sélectionnées, procédez selon l’une des méthodes suivantes : m Sélectionnez l’outil Silence, puis cliquez sur les régions de votre choix à l’aide de cet outil. m Sélectionnez les régions de votre choix à l’aide de l’outil Pointeur, puis utilisez le raccourci clavier « Rendre silencieux/activer le son des notes/régions/dossiers sélectionnés » (par défaut : M). Les régions silencieuses sont représentées par un point précédant le nom de la région. Lorsque vous cliquez avec l’outil Silence sur des régions silencieuses ou sélectionnez ces régions, puis utilisez le raccourci clavier « Rendre silencieux/activer le son des notes/régions/dossiers sélectionnés », cet état est inversé (activation du son). Activation de la lecture solo des régions Le mode Solo vous permet d’écouter séparément une ou plusieurs régions sélectionnées. Il est ainsi plus facile d’identifier des éléments particuliers devant être modifiés. Pour activer la lecture solo d’une région avec l’outil Solo : 1 Sélectionnez l’outil Solo. 2 Cliquez sur la région de votre choix et maintenez-la enfoncée à l’aide de l’outil Solo. La région (affichée en jaune) est écoutée séparément du point de données, jusqu’à ce que relâchiez le bouton de la souris, ce qui mettra fin à la lecture en mode Solo. Silence, outil Outil Solo 336 Chapitre 13 Création de votre arrangement Pour activer la lecture solo de plusieurs régions à l’aide de l’outil Solo : 1 Étirez ou sélectionnez à l’aide de la touche Maj les régions de votre choix. 2 Cliquez sur l’une des régions sélectionnées avec l’outil Solo et maintenez le bouton de la souris enfoncé. Pour procéder au scrub avec l’outil Solo : 1 Sélectionnez l’outil Solo, puis faites glisser le curseur de la souris horizontalement. 2 Relâchez le bouton de la souris pour mettre fin au scrub en mode Solo. Pour activer la lecture solo d’une ou de plusieurs régions à l’aide du mode Solo : 1 Cliquez sur le bouton Solo dans le Transport (ou utilisez le raccourci clavier Mode Solo, par défaut : S). Lorsque la fonction Solo est activée, la règle Mesure s’affiche en jaune, ce qui indique que le mode Solo est activé. 2 Étirez ou sélectionnez à l’aide de la touche Maj les régions pour lesquelles vous souhaitez activer la lecture solo à l’aide de l’outil Pointeur. Les régions sélectionnées sont entourées de jaune. Cliquez à nouveau sur le bouton Définir le Transport en mode Solo (ou utilisez le raccourci clavier Mode Solo) afin de désactiver le mode Solo, puis écoutez à nouveau l’ensemble des régions. Bouton Solo Chapitre 13 Création de votre arrangement 337 Verrouillage du mode Solo Il se peut que vous souhaitiez verrouiller le statut Solo de plusieurs régions. Par exemple, cela s’avère particulièrement utile lorsque vous souhaitez modifier les paramètres de lecture d’une région, tout en écoutant un groupe spécifique de pistes en mode Solo. Pour conserver le statut Solo de plusieurs régions sélectionnées (ce qui est possible en mode Lecture) : 1 Sélectionnez plusieurs régions à l’aide de l’outil Pointeur. 2 Cliquez sur le bouton Solo sur le transport tout en maintenant la touche Option enfoncée (ou utilisez le raccourci clavier Régler le verrouillage du mode Solo, par défaut : Option + S) pour verrouiller l’état Solo des régions sélectionnées. Le bouton Solo sur le transport affiche une icône en forme de cadenas indiquant le mode Verrouillage Solo. Le raccourci clavier Resélectionner les régions où le mode Solo est verrouillé (par défaut : Maj + Option + S) sélectionne toutes les régions verrouillées en mode solo. Cette commande s’avère très utile si vous souhaitez retirer plusieurs régions de votre sélection verrouillée en mode Solo. Bouton Solo sur le transport 338 Chapitre 13 Création de votre arrangement Attribution d’un nom à une région L’identification des régions par un nom peut faciliter l’arrangement. Cela peut être effectué région par région et vous pouvez également nommer plusieurs régions simultanément. Pour nommer une région à l’aide de l’outil Texte : 1 Sélectionnez l’outil Texte. 2 Cliquez sur une région à l’aide de l’outil Texte. Une zone de saisie de texte s’affiche. 3 Entrez le nom de votre choix et appuyez sur Retour, ou cliquez sur une autre région ou sur l’arrière-plan de la zone Arrangement pour quitter la zone de saisie de texte. Pour nommer une région à l’aide de la zone Paramètres de région : 1 Cliquez sur la ligne supérieure de la zone Paramètres de région dans l’Inspecteur. Cette ligne affiche le nom de la région sélectionnée. Un champ de saisie de texte s’affiche, vous permettant de modifier le nom de la région. 2 Entrez le nom de votre choix. 3 Appuyez sur Retour, ou cliquez n’importe où en-dehors de la zone de saisie de texte pour quitter le mode de saisie de texte. Outil Texte Chapitre 13 Création de votre arrangement 339 Pour attribuer le même nom à plusieurs régions : 1 Sélectionnez un groupe de régions (en l’étirant ou cliquant dessus tout en maintenant la touche Maj enfoncée) à l’aide de l’outil Pointeur. 2 Effectuez l’une des opérations suivantes :  Sélectionnez l’outil Texte, puis cliquez sur une des régions sélectionnées à l’aide de l’outil Texte.  Cliquez sur la ligne supérieure de la zone Paramètres de région (affichant « x sélectionnés » : « x » représente le nombre de régions sélectionnées). Une zone de saisie de texte s’affiche. 3 Entrez le nom de votre choix et appuyez sur Retour, ou cliquez sur une autre région ou sur l’arrière-plan de la zone Arrangement pour quitter la zone de saisie de texte. Le même nom est assigné à l’ensemble des régions. Pour assigner un nom à plusieurs régions en incrémentant les numéros : m Procédez comme indiqué ci-dessus, mais le nom doit se terminer par un nombre. Exemple : ligne de basse 1. Le même nom est attribué à l’ensemble des régions sélectionnées, avec une incrémentation des numéros (ligne de basse 1, ligne de basse 2, ligne de basse 3, etc.). Puisque la numérotation des régions suit les positions temporelles des régions du projet, lorsque la région de la mesure 8 est renommée en « ligne de basse 1 » (lorsque sept régions sont sélectionnées dans les mesures précédentes), chaque région est numérotée séquentiellement de la mesure 1 à la mesure 8 en « ligne de basse 1 », « ligne de basse 2 », etc. Si vous souhaitez que toutes les régions se terminent par le même numéro : m Effectuez la même procédure, mais appuyez sur Espace après le numéro. Cela s’avère utile pour identifier les prises ayant été effectuées à une date spécifique (par exemple, ligne de basse 030806). Vous pouvez attribuer aux régions le nom de la piste sur laquelle elles figurent. Pour affecter aux régions le nom de leur piste parent : 1 Sélectionnez le nom de la piste dans la liste de pistes. Toutes les régions de la piste sont automatiquement sélectionnées. 2 Choisissez Région > Noms de piste des régions (ou utilisez le raccourci clavier Noms de piste des régions, par défaut : Maj + Option + N) dans la zone Arrangement. Le nom de la piste est assigné à l’ensemble des régions sélectionnées. 340 Chapitre 13 Création de votre arrangement Assignation de couleurs aux régions Les couleurs permettent d’identifier les rubriques de votre arrangement ainsi que des types de piste particuliers. Les régions récemment enregistrées ou ajoutées adoptent initialement la couleur des bandes de canaux de la piste. Par défaut :  Les bandes de canaux de la piste audio sont bleues.  Les bandes de canaux de l’instrument logiciel sont vertes.  Les bandes de canaux ReWire et MIDI externes sont rouges.  Les bandes de canaux Auxiliaire, Entrée et Sortie sont jaunes. Pour modifier la couleur d’une ou de plusieurs régions : 1 Sélectionnez les régions de votre choix (en les étirant ou leur cliquant dessus tout en maintenant la touche Maj enfoncée, par exemple). 2 Effectuez l’une des opérations suivantes :  Cliquez sur le bouton Couleurs dans la barre d’outils Arrangement.  Choisissez Présentation > Couleurs dans la zone Arrangement (ou utilisez le raccourci clavier correspondant, par défaut : Option + C). 3 Dans la palette de couleurs ouverte, cliquez sur la couleur de votre choix.  Si vous souhaitez créer une couleur personnalisée : double-cliquez sur une couleur de la palette pour ouvrir la fenêtre Couleurs : utilisez la souris pour déplacer les curseurs de la roue de couleur, du contraste et de l’opacité afin de créer une couleur personnalisée. Cliquez sur le bouton OK pour remplacer le carré de couleur dans la palette Couleur, puis quittez la fenêtre Couleurs. Remarque : les couleurs personnalisées sont mémorisées et disponibles pour l’ensemble des projets. Pour assigner des couleurs de bandes de canaux à des régions : 1 Sélectionnez les régions de votre choix. Π Conseil : si toutes les régions se trouvent sur une seule piste, cliquez sur le nom de la piste dans la liste des pistes afin de sélectionner l’ensemble des régions. 2 Choisissez Région > Couleurs de la bande de canal/instrument dans les régions (ou utilisez le raccourci clavier Couleurs de la bande de canal/instrument dans les régions, par défaut Maj + Option + C). Cette opération remplace les couleurs de l’ensemble des régions sélectionnées par les couleurs des bandes de canaux correspondantes. Chapitre 13 Création de votre arrangement 341 Π Conseil : cette fonction s’avère pratique si, après avoir copié ou déplacé des régions d’une piste vers une autre, vous trouvez que la zone Arrangement ressemble à une mosaïque. Utilisation du menu contextuel Vous pouvez accéder à de nombreuses commandes de sélection, d’édition et autres en cliquant à n’importe quel endroit de la zone Arrangement tout en maintenant la touche Contrôle enfoncée ou avec le bouton droit de la souris. Ces commandes vous permettent d’accélérer votre travail. Remarque : la fonctionnalité de clic droit n’est activée que si l’option « Bouton droit de la souris : ouvre le menu contextuel » est sélectionnée dans l’onglet Logic Express > Préférences > Global > Édition. Sélection de régions Vous devez sélectionner une région avant de pouvoir y appliquer toute modification, fonction ou opération. Vous pouvez sélectionner une ou plusieurs régions, y compris des régions présentes sur différentes pistes et de types différents. Lorsqu’une région est sélectionnée, une barre noire s’affiche dans la partie supérieure de la région pour indiquer le statut sélectionné. Logic Express offre diverses méthodes de sélection sophistiquées. Pour plus d’informations, veuillez vous reporter à la rubrique « Techniques de sélection » à la page 189. 342 Chapitre 13 Création de votre arrangement Sélection de parties d’une région Vous pouvez vous servir de l’outil Sélecteur ou de la bande de sélection pour effectuer une sélection à l’intérieur d’une région ou de plusieurs parties de régions existantes. Vous pouvez alors exécuter quasiment toutes les options d’édition disponibles dans la zone Arrangement au sein de la zone sélectionnée, y compris des suppressions, des déplacements, des coupes et des copies. Une fois qu’une opération lui est appliquée, la zone sélectionnée devient une nouvelle région. Utilisation de l’outil Sélecteur L’outil Sélecteur, semblable à un pointeur à croix, vous permet de sélectionner et de modifier des parties d’une ou de plusieurs régions. Pour utiliser l’outil Sélecteur : 1 Sélectionnez l’outil Sélecteur. 2 Cliquez sur l’arrière-plan de la zone Arrangement ou les régions tout en les maintenant enfoncés pour commencer votre sélection, représentée par un rectangle de sélection ombré. 3 Faites glisser le rectangle de sélection afin d’effectuer des sélections—et ce, quelles que soient les limites des régions existantes. 4 Relâchez le bouton de la souris. Seule la zone se trouvant dans le sélecteur est sélectionnée. Pour régler la sélection d’un sélecteur existante : m Maintenez la touche Maj enfoncée pour modifier le rectangle de sélection actuel vers la droite ou vers la gauche, vers le haut ou vers le bas. Outil Sélecteur Chapitre 13 Création de votre arrangement 343 Utilisation de la bande de sélection La bande de sélection est une fine ligne jaune qui peut être affichée en haut de la règle Mesure. Vous pouvez faire glisser le pointeur directement à l’intérieur de cette zone pour créer un rectangle de sélection. Pour activer la bande de sélection : m Cliquez sur l’icône représentant une note à l’extrémité droite de la règle Mesure, puis sélectionnez les réglages Outil Sélecteur dans le menu. Pour effectuer une sélection à l’aide de l’outil Sélecteur : m Cliquez et faites glisser le pointeur à l’intérieur de la bande de sélection pour effectuer une sélection sur toutes les pistes de la zone Arrangement. Pour supprimer la sélection effectuée à l’aide de la bande de sélection : m Cliquez n’importe où en dehors de la bande. Fonctions de sélection communes Vous pouvez utiliser les commandes suivantes lorsque vous vous servez de l’outil Sélecteur ou de la bande de sélection. Pour définir des locators avec une sélection du sélecteur : m Choisissez la fonction Région > Définir des locators par régions (ou utilisez le raccourci clavier correspondant). Cette opération permet de définir les locators sur les limites de la sélection du sélecteur, au lieu de définir la région entière. Pour supprimer l’ensemble des parties des régions situées hors de la sélection du sélecteur : m Utilisez le raccourci clavier Rogner les régions hors de la sélection du sélecteur. Cette commande permet de supprimer toutes les zones non sélectionnées des régions partiellement sélectionnées par le sélecteur. Si la zone que vous avez sélectionnée se trouve entre des valeurs pertinentes du point de vue musical, le rectangle de sélection s’alignera automatiquement sur la position la plus proche s’avérant pertinente pour la musique. Le réglage du menu Alignement détermine la résolution immédiate. Bande de sélection 344 Chapitre 13 Création de votre arrangement Pour définir la meilleure résolution possible dans le mode d’alignement choisi : m Maintenez les touches Contrôle + Maj enfoncées tout en sélectionnant le sélecteur. L’alignement sera effectué sur les ticks ou les échantillons lors de la modification des régions MIDI ou audio, en fonction du niveau de zoom actuel (voir « Annulation de la grille d’alignement » à la page 331). Pour aligner la valeur de division affichée dans le Transport : m Maintenez la touche Contrôle enfoncée tout en sélectionnant le sélecteur. Comme mentionné ci-dessus, le niveau de zoom peut avoir une incidence sur cette opération. Ajout et enregistrement des régions Cela va sans dire que l’ajout et l’enregistrement des régions sont essentiels pour créer un morceau. En fonction des options approfondies relatives à l’importation de régions ou de fichiers disponibles et des techniques d’enregistrement avancées offertes par Logic Express, veuillez vous reportez aux chapitres suivants :  « Ajout de données préenregistrées » à la page 281.  « Enregistrement dans Logic Express » à la page 395. Suppression et restauration des régions Lorsque vous travaillez sur un projet, il se peut que vous souhaitiez retirer une région de votre arrangement. Vous pouvez retirer des régions en les supprimant de la zone Arrangement. Remarque : la suppression des régions audio et MIDI de la zone Arrangement entraîne plusieurs conséquences (voir « Restauration de régions supprimées » à la page 345). Pour supprimer une région de votre arrangement, effectuez une des opérations suivantes : m Cliquez sur la région avec l’outil Gomme. m Sélectionnez la région de votre choix à l’aide de l’outil Pointeur, puis choisissez Édition > Supprimer (ou appuyez sur la touche Retour arrière). Outil Gomme Chapitre 13 Création de votre arrangement 345 Pour supprimer plusieurs régions de votre arrangement : 1 Sélectionnez les régions de votre choix à l’aide de l’outil Pointeur. 2 Effectuez l’une des opérations suivantes :  Cliquez sur l’une des régions sélectionnées à l’aide de l’outil Gomme.  Choisissez Édition > Supprimer (ou appuyez sur la touche Retour arrière). Pour supprimer de votre arrangement toutes les régions pour lesquelles vous avez désactivé le son : 1 Sélectionnez toutes les régions en mode Solo en choisissant Édition > Sélectionner les régions/événements en mode Solo (ou à l’aide du raccourci clavier Sélectionner les régions/événements en mode Solo, par défaut : Maj + M). 2 Effectuez l’une des opérations suivantes :  Cliquez sur l’une des régions à l’aide de l’outil Gomme.  Choisissez Édition > Supprimer (ou appuyez sur la touche Retour arrière). Pour supprimer l’ensemble des régions sélectionnées, et sélectionner automatiquement la région suivante : 1 Sélectionnez la région (ou les régions) que vous souhaitez supprimer. 2 Utilisez les raccourcis clavier Supprimer et Sélectionner la région/événement suivant. Toutes les régions sélectionnées sont supprimées et la région suivante (non supprimée) est automatiquement sélectionnée. Restauration de régions supprimées Bien que similairement utilisées lors de la plupart des opérations d’édition, les régions audio et MIDI sont traitées différemment après avoir été supprimées de la fenêtre Arrangement.  Les régions audio sont uniquement supprimées de l’arrangement, et non du projet. Elles restent dans le chutier audio et peuvent être restaurées depuis cet emplacement, ou à l’aide des fonctions Annuler.  Les régions MIDI sont supprimées. Elles peuvent être restaurées par le biais de la fonction Édition > Annuler l’historique. 346 Chapitre 13 Création de votre arrangement Restauration de régions audio supprimées Lorsque vous supprimez une région audio enregistrée depuis l’ouverture du projet, Logic Express vous demandera si vous souhaitez également supprimer le fichier audio correspondant. Cela évite de perdre inutilement de l’espace disque, pouvant survenir si de mauvaises prises de son ou des enregistrements non souhaités sont conservés. Si l’enregistrement a été effectué à l’avance (fichier préenregistré) et importé dans le projet en cours, cette zone de dialogue ne s’affiche pas. Cela vous permet d’éviter de supprimer accidentellement des enregistrements utiles (pouvant être utilisés dans d’autres projets). Remarque : si vous supprimez un fichier audio préenregistré de votre projet (en appuyant sur la touche Retour arrière dans le chutier Audio), toutes les régions faisant référence à ce fichier sont également supprimées. La seule façon de restaurer le fichier dans le projet consiste à l’ajouter manuellement au chutier audio. Pour restaurer une région audio supprimée, procédez selon l’une des façons suivantes : m Choisissez les options Édition > Annuler l’historique, puis cliquez sur l’opération qui convient. m Ajoutez-la à nouveau manuellement dans la zone Arrangement depuis le chutier audio. Déplacement de régions Vous pouvez déplacer des régions horizontalement sur des pistes, et verticalement entre celles-ci. Vous pouvez également déplacer des régions entre deux fenêtres Arrangement, ainsi qu’entre différents projets. Pour déplacer une ou plusieurs régions : m Sélectionnez les régions de votre choix et faites-les glisser vers une nouvelle position. Les régions déplacées s’alignent automatiquement sur des incréments définis par le réglage du menu Alignement (voir « Alignement des régions modifiées sur des positions temporelles » à la page 329). Si elle sont déplacées sur d’autres régions, le réglage du menu Déplacer a une incidence sur leur comportement. Chapitre 13 Création de votre arrangement 347 Pour déplacer précisément des régions (annulant le réglage de menu Alignement) : m Maintenez la touche Contrôle enfoncée tout en faisant glisser les régions, pour les déplacer division par division (en 16e par exemple). m Maintenez les touches Contrôle et Maj enfoncées tout en faisant glisser les régions pour les déplacer d’un tick ou d’un échantillon (notez que la résolution maximale dépend du zoom). Déplacement de régions d’un projet dans un autre Si vous déplacez une région d’un projet pour la placer dans la zone Arrangement d’un autre projet, la région est automatiquement copiée, tout comme Mac OS X copie automatiquement des fichiers lorsqu’ils sont déplacés entre des disques durs. Limitation des mouvements des régions Vous pouvez limiter le déplacement initial des régions de façon à ce qu’il s’effectue uniquement selon l’axe horizontal ou vertical. Pour ce faire, activez la case à cocher Logic Express > Préférences > Global > Édition > Limiter le déplacement à une direction dans l’arrangement. Si le premier mouvement effectué après la capture d’une région est vers la gauche ou vers la droite, vous ne pouvez la déplacer que dans le plan horizontal. Si vous souhaitez en fait la déplacer d’une piste vers une autre, relâchez le bouton de la souris, resélectionnez la région et faites-la glisser vers le haut ou vers le bas. Remarque : vous pouvez annuler cette préférence de limitation de direction en appuyant sur la touche Maj lors du déplacement de régions. 348 Chapitre 13 Création de votre arrangement Modification numérique de la position de lecture des régions Vous pouvez modifier numériquement la position de lecture (et la durée) d’une région. Cette opération peut être effectuée dans la liste des événements, configurée de manière à afficher des régions au niveau de l’arrangement (voir « Modification du niveau d’affichage de la Liste des événements » à la page 494). Pour déplacer des régions en ajustant les positions dans la liste des événements : 1 Ouvrez la liste des événements en procédant selon l’une des façons suivantes :  Choisissez Fenêtre > Liste des événements.  Cliquez sur le bouton Listes dans la barre d’outils Arrangement, puis cliquez sur l’onglet Liste des événements.  Choisissez Options > Ouvrir les événements flottants (ou utilisez le raccourci clavier Ouvrir les événements flottants). Une nouvelle fenêtre Liste des événements d’une seule ligne apparaît alors, présentée selon le niveau Arrangement défini. 2 Cliquez sur le bouton Hiérarchie situé dans le coin supérieur gauche de la liste des événements (non applicable à la fenêtre Événement en premier plan, qui correspond à une liste des événements miniature) pour monter d’un niveau dans la hiérarchie. 3 Modifiez la valeur Position de la région de votre choix. Lorsque vous sélectionnez des régions dans la zone Arrangement, la fenêtre Liste des événements (ou Événement en premier plan) est mise à jour afin de refléter cette sélection. Π Conseil : vous pouvez déplacer instantanément le point de départ d’une région vers le début d’une mesure en saisissant une valeur, puis en appuyant sur la touche Retour. Par exemple, lorsque vous saisissez la valeur 9, la région sélectionnée est déplacée au début de la mesure 9. Lorsque vous saisissez 112, la région est déplacée vers la mesure 112. Lorsque vous saisissez 1 espace 1 espace 2, le région est déplacée vers la mesure 1, le battement 1 et le sous-battement 2. Vous pouvez afficher la position de départ des régions sous forme de valeurs SMPTE dans les fenêtres Liste des événements et Événement en premier plan. Cette opération s’avère particulièrement utile si vous travaillez sur un support vidéo ou un film. Chapitre 13 Création de votre arrangement 349 Pour afficher la position des régions sous forme de valeurs SMPTE, effectuez une des opérations suivantes : m Cliquez sur l’icône de note située à gauche du premier événement de région (ou du seul événement existant dans le cas de la fenêtre Événement en premier plan). L’icône s’affiche à présent sous forme d’horloge, et la durée et la position en unités SMPTE de l’événement sont affichées. m Activez le réglage Présentation > Position et durée de l’événement en unités SMPTE dans la liste des événements (ou utilisez le raccourci clavier correspondant). Cela vous permet de définir les positions SMPTE requises lors de la synchronisation de musique en image. Vous pouvez également afficher et régler les points de fin des régions sous forme de valeurs temporelles SMPTE. Pour ce faire, choisissez Présentation > Durée en tant que position absolue dans la liste des événements. Déplacements de régions vers la position de lecture en cours Vous pouvez utiliser le raccourci clavier Capter l’horloge (Déplacer l’événement vers la position de lecture) pour déplacer la région sélectionnée (ou la première des régions sélectionnées) vers la position de lecture en cours. Si plusieurs régions sont sélectionnées, toutes les régions suivantes sont déplacées. Remarque : si vous utilisez cette commande pour des régions audio, le point d’ancrage de la région est placé au niveau de la position de lecture en cours (voir « Modification du point d’ancrage de la région audio » à la page 324). 350 Chapitre 13 Création de votre arrangement Déplacement de régions audio vers leurs positions d’enregistrement initiales Vous pouvez déplacer une région audio sélectionnée vers sa position d’enregistrement initiale à l’aide des options Audio > Déplacer une région vers sa position d’enregistrement d’origine (ou à l’aide du raccourci clavier Définir des régions sur leur position d’enregistrement). Remarque : cette commande fonctionne uniquement si le fichier audio comporte un horodatage. Les exemples de fichiers horodatés comprennent les fichiers enregistrés dans le projet en cours ainsi que les fichiers Broadcast Wave ou SDII importés. Pour signaler les fichiers horodatés, leur nom est suivi d’un symbole en forme d’horloge dans la fenêtre Chutier Audio (mais pas dans l’onglet Chutier Audio). Décalage de régions Vous pouvez utiliser les raccourcis clavier suivants pour décaler (vers la droite ou la gauche) les régions sélectionnées vers le niveau de grille correspondant :  Décaler vers la droite la position de la région/événement vers l’image SMPTE  Pousser d’une image SMPTE à gauche la région/l’événement  Pousser d’une 1/2 image SMPTE à droite la région/l’événement  Pousser d’une 1/2 image SMPTE à gauche la région/l’événement  Pousser la région/l’événement de 5 images SMPTE à droite  Pousser la région/l’événement de 5 images SMPTE à gauche  Pousser la région/l’événement d’un bit SMPTE à droite  Pousser la région/l’événement d’un bit SMPTE à gauche  Pousser d’un tick à droite la région/l’événement  Pousser d’un tick à gauche la région/l’événement  Pousser d’une mesure à droite la division de la région/l’événement  Pousser d’une division à gauche la région/l’événement  Pousser d’un battement à droite la région/l’événement  Pousser d’un battement à gauche la région/l’événement Fichier audio horodaté Chapitre 13 Création de votre arrangement 351  Pousser d’une mesure à droite la région/l’événement  Pousser d’une mesure à gauche la région/l’événement  Pousser la région/l’événement à droite, d’après la valeur de déplacement  Pousser la région/l’événement à gauche, d’après la valeur de déplacement Les régions sélectionnées sont décalées d’un incrément vers la droite (+1) ou vers la gauche (–1), l’unité utilisée étant celle mentionnée dans le nom de la commande concernée. Décalage de la position de lecture des régions Le paramètre Retard de la zone Paramètres de région de l’Inspecteur vous permet de décaler la position de lecture des régions sur une piste. Les valeurs positives correspondent à un retard (style de lecture ralenti ou déplacement), et les valeurs engendrent un pré-retard (lançant ou accélérant la musique). La valeur Retard s’affiche en millisecondes ou sous forme de valeurs de note, en fonction du paramètre Présentation > Retard. Vous pouvez également utiliser le raccourci clavier « Retard en ms » pour modifier l’affichage. Pour retarder ou avancer toutes les régions sélectionnées sur une piste : m Définissez le paramètre Retard de la zone Paramètres de région sur la valeur de votre choix. Le paramètre Retard de l’Inspecteur est principalement utilisé à des fins de créations musicales, tels que le décalage rythmique de parties musicales (régions). Il peut également être utilisé pour corriger des problèmes temporels pouvant survenir pour de nombreuses raisons. En voici quelques exemples :  La phase d’attaque du son est trop lente. Un bon musicien compensera immédiatement ce problème en jouant les notes assez tôt. Avec des sons très lents, vous pouvez avoir besoin d’un pré-retard de plus de 100 ms pour les effacer.  Le générateur de sons réagit trop lentement aux messages de notes entrantes. Les générateurs de sons multitimbraux plus anciens utilisent généralement des dizaines de millisecondes avant d’émettre une voix.  Le retard d’émission n’est pas constant car il dépend de l’ordre des notes reçues par le générateur de sons MIDI externe. Vous devez par ailleurs essayer de pré-retarder dynamiquement des pistes importantes de la taille d’un tick : cela peut être très utile pour la synchronisation ! 352 Chapitre 13 Création de votre arrangement Déplacement de régions vers une piste La commande Région > Déplacer les régions sélectionnées vers la piste en cours (également disponible sous forme de raccourci clavier, par défaut : Maj + Commande + T) déplace toutes les régions sélectionnées (des différentes pistes) vers la piste sélectionnée. Les positions temporelles de l’ensemble des régions sont conservées. Redimensionnement des régions Vous pouvez réduire ou allonger la durée d’une région en la faisant glisser vers son point de départ ou de fin, ce qui permet de déterminer quelle partie de la source (fichier audio ou événements MIDI) est diffusée dans votre projet. Les données des régions ne sont jamais supprimées lorsque la durée de ces dernières est réduite ; la lecture s’arrête simplement à la fin de la région. Pour redimensionner une région : 1 Sélectionnez l’outil Pointeur ou Crayon, puis placez le curseur sur le coin inférieur gauche ou droit. Le curseur se transforme en pointeur Redimensionner. 2 Cliquez sur le coin et faites-le glisser vers la gauche ou la droite. Remarque : si la fonction Dessin hyper ou l’automatisation est activée, vous devrez capturer les parties gauche ou droite de la zone de titre de la région. Pour redimensionner simultanément deux régions adjacentes (à l’aide du pointeur Jonction) : 1 Sélectionnez l’outil Pointeur ou Crayon, puis placez le curseur sur la partie supérieure gauche ou droite des deux régions adjacentes. Le curseur se transforme en pointeur Jonction. Remarque : si les deux régions sont séparées par un blanc, l’outil Boucle s’affiche lorsque le pointeur de la souris se déplace sur la partie supérieure droite de la première région. Chapitre 13 Création de votre arrangement 353 2 Cliquez, puis faites glisser le pointeur vers la gauche ou vers la droite. Les deux régions sont redimensionnées en conséquence, sans blanc intermédiaire. Remarque : vous ne pouvez pas étendre une région audio de sorte qu’elle soit plus longue que le fichier audio sous-jacent lorsque vous exécutez l’une des opérations de redimensionnement présentées ci-dessus. Réglage du point de départ des régions audio Le réglage du point de départ d’une région audio peut également entraîner le déplacement du point d’ancrage de la région, ce qui affecte son point de référence temporel. La lecture peut alors s’effectuer de manière non synchronisée par rapport à d’autres pistes. Il est préférable et plus simple de déplacer la région entière vers la droite, si vous souhaitez que la lecture démarre ultérieurement. Si vous souhaitez en fait couper la première portion de la région, plusieurs options, telles que les suivantes, sont disponibles :  Sélection du sélecteur et mise en mode Silence.  Coupe, désactivation du son ou suppression.  Création d’une région et redimensionnement dans la fenêtre Chutier audio.  Utilisation de l’Éditeur des échantillons pour redimensionner et remplacer la région Arrangement. Pour redimensionner une région audio de la zone Arrangement depuis l’Éditeur des échantillons : m Modifiez directement les marqueurs de début et de fin (dans la ligne Région située en bas de la fenêtre Éditeur des échantillons) ; cela affecte immédiatement la taille de la région Arrangement correspondante. Pour redimensionner et remplacer une région audio Arrangement depuis l’Éditeur des échantillons : 1 Sélectionnez la portion du fichier audio de votre choix dans l’Éditeur des échantillons en la faisant directement glisser dans l’affichage de la forme d’onde. 2 Choisissez Édition > Sélection → Région (ou utilisez le raccourci clavier correspondant). 354 Chapitre 13 Création de votre arrangement Cela vous permet de définir un passage audio en tant que sélection, puis de le convertir en région, à la place de la région sélectionnée à l’origine. Vous pouvez également effectuer cette opération dans l’ordre contraire… Pour redimensionner la sélection de l’Éditeur des échantillons depuis l’arrangement : 1 Sélectionnez la région de votre choix dans l’arrangement (probablement d’une durée différente de la sélection de l’Éditeur des échantillons en cours). 2 Cliquez sur le titre Éditeur des échantillons pour vous assurer que les touches de l’Éditeur des échantillons sont activées. 3 Choisissez Édition > Région → Sélection (ou utilisez le raccourci clavier correspondant). Réglage de la grille sur des passages par zéro Si la fonction Audio > Chercher les passages à zéro est activée, les ajustements de durée apportés aux points de départ et de fin des régions audio entraîneront un alignement sur le point de passage à zéro le plus proche de la forme d’onde. Par contre, principal inconvénient, les points de départ ou de fin modifiés n’atterrissent jamais exactement sur la grille musicale sélectionnée. Si cela engendre un problème, vous pouvez simplement désactiver le paramètre Audio > Rechercher des passages par zéro. L’activation du paramètre Rechercher des passages par zéro permet principalement d’éviter tout bruit au niveau des points de départ et de fin de la région. Ajustement du point de départ ou de fin des régions MIDI Vous pouvez déplacer l’extrémité gauche d’une région MIDI au-delà du premier événement de celle-ci de façon à masquer les événements figurant au début de cette région ; toutefois, la lecture de ces événements masqués est poursuivie. Pour réellement supprimer les informations présentes depuis le début d’une région MIDI, vous devez couper cette région et désactiver le son, ou supprimer le nouveau segment du début (nouvelle région MIDI). La fonction de masquage s’avère utile lorsque vous souhaitez déclencher des événements du contrôleur MIDI (tels que la phase de maintien ou sustain) avant le début du morceau musical, mais que vous ne voulez pas utiliser une région MIDI ne correspondant pas à la grille Arrangement en cours (basée sur des mesures), étant donné que cela pourrait compliquer considérablement l’arrangement. Options d’utilisation des notes lors de la modification des longueurs des régions MIDI Le paramètre Durée du clip présent dans les paramètres de région étendus (uniquement visibles si le paramètre Présentation > Paramètres de région étendus est activé dans la zone Arrangement) détermine si : Chapitre 13 Création de votre arrangement 355  La sonorité des notes s’arrête brusquement lorsque la région se termine (actif ).  Les notes doivent être lues au niveau de leur point de fin normal (inactif : par défaut), quel que soit le point où la région se termine. Cette fonction doit vous permettre de modifier la longueur des dernières notes d’une région directement dans la zone Arrangement, en ajustant la durée de la région MIDI. La durée du clip n’a aucune incidence sur les régions du dossier. Ajustement de régions pour qu’elles aient la même longueur Vous pouvez redéfinir la longueur de plusieurs régions sur la même valeur absolue, de façon à ce qu’elles aient la même longueur, même si elles étaient initialement de taille différente. Pour attribuer à la même longueur absolue à l’ensemble des régions sélectionnées : m Maintenez les touches Option + Maj enfoncées lors de la modification de la longueur à l’aide de l’outil Pointeur. Réglage des points de départ et de fin sur la position de la tête de lecture Vous pouvez déplacer le point de départ ou de fin d’une région sélectionnée vers la position de tête de lecture en cours à l’aide des raccourcis clavier suivants :  Définir le début de la région/événement sur la position de tête de lecture  Définir la fin de la région/événement sur la position de tête de lecture Remarque : le point d’ancrage est également déplacé lors de l’utilisation de l’option Définir une région/événement sur la position de tête de lecture sur une région audio. Réglage des longueur des régions pour les ajuster à la taille d’autres régions Il se peut que vous souhaitiez réduire ou agrandir la longueur de l’ensemble des régions d’une piste, ou entre des locators, en vous assurant qu’elles sont jointes les unes aux autres sans présence de blancs. Pour réduire la longueur des régions se superposant sur une piste : 1 Sélectionnez les régions se superposant sur une piste, ou sélectionnez l’ensemble des régions en cliquant sur le nom de la piste dans la liste des pistes. 2 Choisissez Région > Supprimer les superpositions (ou utilisez le raccourci clavier Supprimer les superpositions). Cette fonction recherche toutes les superpositions des régions sélectionnées dans une piste. Lorsqu’une superposition est détectée, la longueur de la région la plus récente (dans le temps) est réduite, supprimant ainsi la superposition. Vous pouvez « lier » la ou les régions sélectionnées, afin qu’elles se terminent avec exactitude au niveau du point de départ de la région suivante sur la piste. 356 Chapitre 13 Création de votre arrangement Pour lier des régions (supprimer les blancs entre les régions) : 1 Sélectionnez les régions à lier. 2 Choisissez Région > Lier les régions par modification de la longueur (ou utilisez le raccourci clavier correspondant). La longueur des régions sélectionnées augmente, ce qui leur permet de se terminer exactement au niveau du point de départ de la région suivante sur la piste. Vous pouvez restreindre la modification de la longueur à l’ensemble des régions sélectionnées dans les limites du locator. Pour lier les régions sélectionnées entre des locators : 1 Définissez les positions des locators droits et gauches en procédant selon l’une des façons suivantes :  Faites glisser la position du locator de la gauche vers la droite d’un côté à l’autre de la portion souhaitée de la règle Mesure.  Définissez la valeur de votre choix dans les champs Locator du transport. 2 Sélectionnez les régions de votre choix dans les limites du locator. Π Conseil : vous pouvez rapidement sélectionner l’ensemble des régions dans les locators en choisissant Édition > Sélectionner entre les locators (ou à l’aide du raccourci clavier correspondant, par défaut : Maj + I). Chapitre 13 Création de votre arrangement 357 3 Choisissez Région > Lier les régions dans les locators (ou utilisez le raccourci clavier correspondant). Cette fonction rallonge l’ensemble des régions sélectionnées (dans les limites des locators), permettant ainsi d’effacer les blancs entre eux. La dernière région de chaque piste (dans les limites des locators) n’est pas concernée. Étirement temporel du contenu d’une région lors de la modification de la longueur Lors d’une utilisation normale, la position des événements dans les régions MIDI n’est pas concernée par les modifications apportées à la longueur de la région. De la même façon, les modifications apportées aux longueurs des régions audio ont pour seule incidence le démarrage et l’arrêt de la lecture au niveau de positions de morceau particulières. Cependant, vous pouvez étendre ou compresser le contenu des régions lors de la modification de leur longueur. Pour étendre ou compresser la position des événements dans une région MIDI : m Tout en maintenant la touche Option enfoncée, faites glisser la fin d’une région MIDI. Les événements de la région sont proportionnellement étendus ou compressés, selon le niveau avec lequel la longueur de la région MIDI est modifiée. Vous pouvez lire une région MIDI rythmique en demi-temps en doublant sa longueur initiale ou en double-temps en réduisant de moitié sa longueur initiale. Pour étendre ou compresser des régions audio : m Tout en maintenant la touche Option enfoncée, faites glisser la fin d’une région audio. Cela étend ou compresse les données audio proportionnellement au facteur de modification de la longueur de la région et remplace la région d’origine par un nouveau fichier audio PCM (au format du fichier d’origine, ou AIFF, si le format d’origine n’était pas PCM). Remarque : le réglage en cours du menu Alignement a une incidence sur les modifications de longueur. Vous pouvez ralentir de moitié la lecture d’une région audio en étendant deux fois sa longueur d’origine, ou la rendre deux fois plus rapide en compressant de moitié sa longueur d’origine. Impressions Great for Darth Vader ou Munchkin. Vous pouvez sélectionner l’algorithme d’étirement temporel/de compression utilisé pour cette fonction dans le menu Audio de la zone Arrangement > Algorithme de la machine de temps. Vous trouverez des informations détaillées sur chaque algorithme dans la rubrique « Utilisation de Time and Pitch Machine » à la page 573. 358 Chapitre 13 Création de votre arrangement Compression ou étirement temporel de plusieurs régions Les touches de modification affectent le mode d’étirement temporel ou de compression dans le cas où plusieurs régions sont sélectionnées. Le tableau suivant présente toutes les options de modification et leur effet (le cas échéant) lorsque plusieurs longueurs de régions sont modifiées : Opérations de modification de longueur propres à une région MIDI Les fonctions suivantes s’appliquent uniquement aux régions MIDI. Pour arrondir le point de départ d’une région MIDI à une mesure : m Utilisez la commande MIDI > Positionner le point de départ d’une région sur une mesure (ou le raccourci clavier correspondant) pour arrondir le point de départ de la région MIDI sélectionnée à la valeur la plus proche. Ajustement de la longueur des régions MIDI au contenu La commande MIDI > Définir des tailles de régions optimales Arrondies à la mesure (ou le raccourci clavier correspondant, par défaut : Contrôle + B) permet de réduire ou d’augmenter la longueur d’une région MIDI sélectionnée, de façon à ce qu’elle soit juste assez longue pour contenir les événements (ou régions, s’il s’agit d’un dossier). Les limites de la région sont arrondies à la mesure la proche. Maintenez la touche Option enfoncée lors de l’utilisation de cette fonction afin d’arrondir les limites de la région à la valeur de dénominateur la plus proche (ou utilisez le raccourci clavier Définir des tailles de régions optimales arrondies par dénominateur). Option de modification Résultat Aucune Changement de longueur absolue identique, pas de correction temporelle Maj Position de fin absolue identique, pas de correction temporelle Option Changement de longueur absolue identique, avec correction temporelle Option + Maj Longueur de région absolue identique, avec correction temporelle Contrôle Peut être utilisée après un clic pour effectuer des modifications de longueur avec une meilleure résolution. Toutefois, elle ne peut pas être employée conjointement avec la touche Option. Pas de correction temporelle Chapitre 13 Création de votre arrangement 359 Coupe, copie et collage des régions Vous pouvez sélectionner, retirer ou répliquer une ou plusieurs régions d’une partie d’un arrangement à une autre. Vous pouvez en fait utiliser les commandes Couper, Copier et Coller entre les arrangements de deux projets, si vous le souhaitez. Pour couper une région : m Sélectionnez la région, puis choisissez Édition > Couper (ou utilisez le raccourci clavier Couper, par défaut : Commande + X). La région est supprimée de l’arrangement et est placée dans le Presse-papiers. Pour copier une région (méthode 1) : m Tout en maintenant la touche Option enfoncée, faites glisser la région vers la position de l’arrangement de votre choix. Si la fonction Dessin hyper ou l’automatisation est activée, vous devrez capturer la zone de nom de la région afin de la copier. Pour copier une région (méthode 2) : 1 Sélectionnez la région, puis choisissez Édition > Copier (ou utilisez le raccourci clavier Copier, par défaut : Commande + C). La région sélectionnée est copiée dans le Presse-papiers. 2 Définissez la position de tête de lecture de votre choix en cliquant sur la règle Mesure. 3 Choisissez Édition > Coller (Commande + V) pour coller le contenu du Presse-papiers dans l’arrangement. Le collage s’effectue sur la piste sélectionnée, au niveau de la tête de lecture. Si plusieurs régions sont sélectionnées, leurs positions de piste et de temps correspondantes sont conservées. Pour coller une région au même niveau que la région copiée : m Sélectionnez la piste dans laquelle vous souhaitez coller la région, puis choisissez Édition > Coller à la position d’origine (ou utilisez le raccourci clavier Coller à la position d’origine). Logic Express insère la région copiée dans la piste sélectionnée, à la même position que la région source. Cela s’avère utile si vous souhaitez copier une région au même emplacement sur une autre piste, afin de traiter ou d’épaissir indépendamment cette partie, par exemple. Cette fonction s’avère également très utile lors la création de parties d’instruments logicielles et/ou MIDI à couches. 360 Chapitre 13 Création de votre arrangement Informations relatives aux régions copiées Les régions copiées correspondent à de réelles répliques indépendantes des régions d’origine. Les modifications apportées à une région parent n’ont aucune incidence sur les copies enfants. Si vous souhaitez utiliser ce type de comportement, dans lequel des modifications apportées à la région parent ont une incidence sur les régions enfants, utilisez la fonction Boucle (voir « Mise en boucle de régions » à la page 371) ou créez des régions clonées ou alias (voir « Répétition des régions » à la page 365). Lorsque vous copiez une région audio, une nouvelle région est automatiquement créée dans le chutier Audio. Cette nouvelle région possède le nom de la région d’origine et un numéro séquentiel est ajouté. Par exemple, boucle d’enfer.1 correspond au nom de la copie d’une région, si la région d’origine s’intitule boucle d’enfer. Sa deuxième copie sera intitulée boucle d’enfer.2, sa troisième boucle d’enfer.3, etc. Ajout ou suppression de passages de morceaux Vous pouvez à de nombreuses reprises être amené à supprimer un passage entier d’un arrangement—un refrain ou un couplet, qui comprend les régions de l’ensemble des pistes entre les mesures 16 et 20, par exemple. L’ensemble des régions existantes, des changements de mesure ou de tempo et des symboles de sonorisation globaux (à partir de la mesure 21) sont décalés de 4 mesures vers la gauche, ce qui supprime le blanc laissé par l’opération de coupe. Vous pouvez également insérer un blanc dans votre arrangement pour créer plusieurs mesures vides utilisables en tant que phrase musicale transitoire, ou bien encore pour libérer de l’espace pour un autre refrain ou couplet, voire même pour un pont. Tout comme lors de la coupe, tous les changements de tempos existants et autres sont déplacés en conséquence (vers la droite par le nombre de mesures insérées). Vous pouvez, bien entendu, simplement utiliser les commandes standard Couper, Copier et Coller du menu Édition afin de supprimer une rubrique de votre arrangement, telle qu’un refrain, ou de la réutiliser dans un autre emplacement. Chapitre 13 Création de votre arrangement 361 Vous pouvez également limiter les modifications à quelques régions sélectionnées. Si vous choisissez cela, plutôt que de déplacer toutes les régions d’une rubrique de morceau, vous devez décider si des changements de mesure, de tempo et des symboles de sonorisation globaux doivent également être modifiés ou non. Cette opération s’effectue dans la zone de dialogue affichée ci-dessous. Appuyez sur la touche Retour si vous ne souhaitez pas déplacer les changements de tempo et les symboles de sonorisation globaux. Le changement global mentionné ci-dessus est effectué sur l’ensemble des régions. Ces fonctions sont par ailleurs limitées aux pistes contenant les régions sélectionnées (ou du moins à celles situées entre les points du locator). Utilisation des boutons d’édition de la rubrique Arrangement La barre d’outils Arrangement comporte un certain nombre de boutons d’édition de rubrique pouvant être utilisés pour effectuer certaines des opérations décrites ci-dessous. Lorsque vous utilisez ces boutons, vous affectez toutes les régions situées entre les locators, que ces régions soient sélectionnées ou non dans cette zone. Si vous souhaitez vous limiter aux seules régions sélectionnées entre les locators, vous ne devez pas utiliser les boutons de la barre d’outils Arrangement. Une fois votre sélection de régions effectuée, utilisez la commande de menu Région > Couper/Insérer la durée (ou utilisez le raccourci clavier correspondant). Pour insérer un blanc dans l’arrangement à l’aide des locators (durée du cycle) : 1 Définissez les positions des locators droits et gauches en procédant selon l’une des façons suivantes :  Faites glisser la position du locator de la gauche vers la droite d’un côté à l’autre de la portion souhaitée de la règle Mesure.  Définissez les valeurs de votre choix dans les champs du locator du transport. 2 Sélectionnez les régions à déplacer selon la durée de leur cycle. Si vous n’avez rien sélectionné (ou que vous avez cliqué sur le bouton Insérer un silence dans une barre d’outils Arrangement personnalisée), toutes les régions situées entre les locators sont affectées. 3 Choisissez Région > Couper/Insérer la durée > Insérer un silence entre des locators (ou utilisez le raccourci clavier correspondant). 362 Chapitre 13 Création de votre arrangement  Pour les régions sélectionnées dépassant la durée du cycle : cette opération les coupe au niveau du locator gauche et déplace la deuxième région (venant d’être créée suite à la coupe) vers le locator droit, créant ainsi un blanc entre les régions.  Pour les régions sélectionnées entièrement situées entre les locators : les régions commençant au niveau du locator gauche commencent à présent au niveau du locator droit.  Pour combiner des régions partiellement et entièrement sélectionnées situées dans les locators : la rubrique concernée sera coupée et déplacée vers le locator droit. Vous pouvez également supprimer l’espace vide présent entre les régions sélectionnées, créant ainsi une continuité entre les régions. Pour supprimer les blancs entre les régions : 1 Sélectionnez les régions de votre choix. 2 Choisissez Région > Lier les régions par changement de position (ou utilisez le raccourci clavier Lier les régions par changement de position). La première région reste inchangée et toutes les régions suivantes sont déplacées vers la gauche. Remarque : vous pouvez utiliser cette fonction pour accélérer la lecture des enregistrements de mots prononcés ayant été traités avec un silence de bande (en supprimant les blancs entre les mots). Chapitre 13 Création de votre arrangement 363 Pour supprimer une rubrique de votre arrangement à l’aide des locators : 1 Définissez les locators afin qu’ils s’étendent sur la rubrique que vous souhaitez supprimer (par exemple, mesures 5 à 8). 2 Pour couper toutes les régions situées entre les locators : cliquez sur le bouton Couper la rubrique dans la barre d’outils Arrangement, ou utilisez l’option Région > Couper/ Insérer la durée > Ciseler : couper la rubrique entre les locators (ou utilisez le raccourci clavier correspondant). 3 Pour couper les régions sélectionnées situées entre les locators : Choisissez Région > Couper/Insérer la durée > Ciseler : couper la rubrique entre les locators (ou utilisez le raccourci clavier correspondant). Toutes les régions couvrant la zone de lecture en boucle (par exemple, une région de 16 mesures commençant à la mesure 1 et se terminant au début de la mesure 17) sont coupées. La rubrique située entre les locators (mesures 5 à 8) est supprimée de l’ensemble des régions sélectionnées (celle-ci est copiée dans le Presse-papiers puis supprimée de l’arrangement). Toutes les régions situées à droite du locator droit sont déplacées vers la gauche, et ce de la longueur de la lecture (4 mesures). Les régions récemment créées à la suite de l’opération sont également concernées. Utilisons la région de 16 mesures, prise en exemple. Celle-ci est coupée en deux régions :  L’une s’étend de la mesure 1 à la mesure 4.  L’autre correspond maintenant à une région de 8 mesures, s’étendant de la mesure 5 au début de la mesure 13. Π Conseil : la commande Ciseler s’avère idéale lorsque vous souhaitez supprimer une rubrique entière de votre arrangement, telle qu’un refrain. 364 Chapitre 13 Création de votre arrangement Pour insérer une rubrique de coupe dans votre arrangement : 1 Procédez comme indiqué ci-dessus. 2 Définissez la tête de lecture sur la position au niveau de laquelle vous souhaitez insérer la rubrique coupée. 3 Cliquez sur le bouton Insérer une rubrique dans la barre d’outils Arrangement (afin que toutes les pistes soient concernées, quelle que soit la sélection), ou choisissez Région > Couper/Insérer la durée > Scission : insérer une rubrique ciselée sur la tête de lecture. Toutes les régions sélectionnées sont coupées au niveau du locator gauche et un passage d’une durée de cycle est inséré. Les régions présentes dans le Presse-papiers sont ensuite collées au niveau de la tête de lecture. Π Conseil : la commande Scission convient tout à fait si vous souhaitez insérer une partie (par exemple, un refrain) sur un autre point de votre arrangement. Pour vous assurer que toutes les pistes sont modifiées, y compris le tempo, les modifications des signatures temporelles et les marqueurs, veuillez tout sélectionner à l’avance (à l’aide des combinaisons de touches Commande + A ou Maj + I). Pour répéter une rubrique de votre arrangement à l’aide des locators : 1 Définissez les locators afin qu’ils s’étendent sur la rubrique que vous souhaitez répéter (par exemple, mesures 5 à 8). 2 Sélectionnez les régions que vous souhaitez répéter. Si aucune sélection n’est effectuée (ou si vous utilisez le bouton Répéter la rubrique dans la barre d’outils Arrangement), toutes les régions situées entre les locators seront concernées. Chapitre 13 Création de votre arrangement 365 3 Choisissez Région > Couper/Insérer la durée > Ciseler : répéter la rubrique entre les locators (ou utilisez le raccourci clavier correspondant). Les parties de toutes les régions intégralement ou partiellement comprises entre les locators seront copiées, puis collées au niveau du locator droit. Répétition des régions Logic Express offre un certain nombre de solutions permettant de répéter une région au moyen de boucles, d’alias et de clones. Ces options accélèrent et facilitent le processus d’arrangement. Utilisation des alias des régions MIDI Un alias présent dans Logic Express ressemble à un alias situé dans le Finder. Il a l’aspect d’une région, mais ne contient en fait aucune donnée. Il s’agit simplement d’une référence aux données de la région originale (un reflet virtuel de cette dernière). Relation entre les régions Parent et Alias Si les données de la région d’origine sont modifiées, ce changement a une incidence immédiate sur les alias de la région. Voici des exemples d’utilisation des alias :  Si un riff ou une phrase se reproduit dans un arrangement, l’utilisation d’alias est plus rapide que la création de copies de la région d’origine.  Si une partie n’est pas complètement satisfaisante, il suffit de modifier la version d’origine et la correction s’appliquera automatiquement à l’ensemble de l’arrangement. Cependant, si vous souhaitez modifier un détail situé sur un point de l’arrangement (par exemple, un couplet dont la tonalité a changé), vous pouvez transformer cet alias particulier en région indépendante (une copie de la région). Les alias possèdent un niveau d’indépendance par rapport à leur région parent :  Les alias possèdent leur propre jeu de paramètres de région. 366 Chapitre 13 Création de votre arrangement  Les alias peuvent être nommés individuellement. Les noms des régions Alias figurent en italique. Si vous attribuez un nom à une région Alias, le nom de sa région parent apparaît sous le nom de l’alias (dans la mesure où le niveau de zoom est approprié). Les changements apportés à la région parent seront reflétés dans toutes les régions Alias. Remarque : il est impossible de modifier les alias des régions MIDI. Si vous double-cliquez sur un alias, Logic Express part du principe que vous souhaitez modifier la région d’origine ou transformer l’alias en région réelle. Une zone de dialogue vous demande si vous souhaitez créer ou modifier une copie réelle, ou si vous souhaitez modifier la version d’origine. Création d’alias de région MIDI Les alias peuvent être créés pour des dossiers et des régions MIDI. Le terme « région » se réfère uniquement aux dossiers et aux régions MIDI de cette rubrique. Remarque : seules les régions audio clonées (ou copies de régions indépendantes) peuvent être créées pour les régions audio (voir « Clonage de régions audio » à la page 368). Pour créer un alias, procédez selon l’une des façons suivantes : m Faites glisser la région tout en maintenant les touches Option + Maj enfoncées vers la position de votre choix pour l’alias. m Sélectionnez la piste sur laquelle vous souhaitez créer l’alias, placez la tête de lecture, sélectionnez la région à partir de laquelle vous souhaitez créer l’alias, puis choisissez MIDI > Alias > Créer (ou utilisez le raccourci clavier Créer alias). L’alias s’affiche sur la piste sélectionnée et commence au niveau de la tête de lecture. Si plusieurs régions sont sélectionnées, leurs positions de piste et de temps correspondantes sont conservées. La piste sélectionnée correspond à la piste de destination de la première région de la ligne temporelle. Vous pouvez également utiliser la commande Répéter les régions (reportez-vous à la rubrique « Création de plusieurs copies de régions » à la page 370). Réassignation d’alias de région MIDI Vous pouvez assigner une nouvelle région d’origine à un alias existant. Cela s’avère très pratique pour des tâches d’arrangement qui ont une structure correcte, mais dont la partie musicale est inappropriée. Vous pouvez copier une région à l’endroit qui convient d’une nouvelle piste, créer un alias, passer en mode « Silence » la région existante et lancer la lecture, ou utiliser la méthode ci-dessous, bien plus simple : Chapitre 13 Création de votre arrangement 367 Pour réassigner un alias : 1 Sélectionnez l’alias et la nouvelle région d’origine souhaitée. 2 Choisissez MIDI > Alias > Réassigner (ou utilisez le raccourci clavier Réassigner les alias). Recherche d’une région d’origine ou d’un alias Si vous ne vous rappelez pas de l’emplacement de la région d’origine d’un certain alias, vous pouvez le rechercher. Pour rechercher et sélectionner la région d’origine d’un alias : m Sélectionnez l’alias, puis choisissez MIDI > Alias > Sélectionner la région d’origine (ou utilisez le raccourci clavier Rechercher la région d’origine d’un alias). Pour rechercher des alias créés à partir d’une région : m Choisissez MIDI > Alias > Sélectionner tous les alias de la région (ou utilisez le raccourci clavier correspondant, par défaut : Maj + A). Tous les alias existants seront trouvés et sélectionnés. Sélection et suppression d’alias orphelins Si vous supprimez une région source dont un ou plusieurs alias sont dérivés, Logic Express affichera le message d’erreur suivant :  Annuler : cliquez sur ce bouton pour annuler la procédure de suppression.  Convertir : cliquez sur ce bouton pour transformer toutes les régions MIDI alias en copies réelles.  Conserver : cliquez sur ce bouton pour supprimer la région parent et conserver toutes les régions alias (orphelines). Même si les alias orphelins n’ont pas d’utilité réelle, Logic Express ne les supprime pas automatiquement étant donné que vous pouvez choisir de les réassigner ultérieurement à de nouvelles régions d’origine. Si le fichier de votre projet contient plusieurs alias non souhaités, vous pouvez rapidement effectuer un tri en sélectionnant et en supprimant les alias orphelins. Pour sélectionner tous les alias orphelins : m Choisissez MIDI > Alias > Sélectionner tous les alias orphelins (ou utilisez le raccourci clavier Sélectionner tous les alias orphelins). 368 Chapitre 13 Création de votre arrangement Pour supprimer tous les alias orphelins : m Choisissez MIDI > Alias > Supprimer tous les alias orphelins (ou utilisez le raccourci clavier Supprimer tous les alias orphelins). Conversion d’un alias en région réelle Vous pouvez utiliser MIDI > Alias > Convertir en copie de région (ou le raccourci clavier Convertir l’alias en une copie de région) pour créer une région réelle à partir d’un alias ; son contenu sera identique à celui de la région d’origine référencée par l’alias, mais ses paramètres de lecture correspondront à ceux de l’alias. Étant donné qu’il s’agit d’une région réelle, vous pouvez librement la modifier (ou modifier la région parent d’origine, sans pour autant affecter la nouvelle région réelle). Remarque : vous pouvez également double-cliquer sur un alias pour créer une zone de dialogue vous demandant si vous souhaitez créer ou modifier une copie réelle, ou encore modifier la région d’origine. Clonage de régions audio Vous pouvez créer une autre version d’une région audio dans la zone Arrangement— en l’occurrence, une région clonée—comparable à un alias de région MIDI. Pour créer une région clonée : m Maintenez les touches Option + Maj enfoncées tout en faisant glisser une région audio. Lorsque vous réglez les points de départ ou de fin d’une de ces régions clonées, toutes les autres seront réglées de la même manière. Pour rendre plusieurs régions clonées indépendantes les unes des autres : m Sélectionnez les régions (clonées) de votre choix et choisissez Audio > Convertir les régions en nouvelles régions (ou utilisez le raccourci clavier correspondant, par défaut : Option + Commande + R) dans la zone Arrangement. Il se peut que les points de départ et de fin des régions clonées devenues indépendantes de cette manière soient modifiés, sans que cela affecte pour autant les autres régions clonées. Chapitre 13 Création de votre arrangement 369 Pour convertir plusieurs régions sélectionnées en fichiers audio : 1 Choisissez Audio > Convertir les régions en nouveaux fichiers audio (ou utilisez le raccourci clavier correspondant, par défaut : Option + Commande + F). 370 Chapitre 13 Création de votre arrangement 2 Dans la zone de dialogue : définissez la fréquence d’échantillonnage, la profondeur de bits, le format de fichier, la conversion stéréo et le type de tramage aléatoire pour les fichiers de destination. Les nouveaux fichiers audio sont créés dans le même dossier que votre fichier audio d’origine. Les fichiers sont également ajoutés au chutier audio et toutes les références relatives à ces nouvelles régions d’arrangement sont modifiées—et ce, afin de correspondre aux fichiers récemment créés. Il est alors possible de modifier indépendamment ces fichiers récemment créés, ce qui vous permet de procéder à des inversions, des étirements temporels et à bien d’autres opérations, sans affecter les autres régions basées sur le même fichier d’origine. Création de plusieurs copies de régions Vous pouvez créer plusieurs copies des régions audio et MIDI à l’aide de la commande Répéter les régions. Pour créer plusieurs copies d’une région : 1 Sélectionnez la région pour laquelle vous souhaitez créer plusieurs copies. 2 Choisissez Région > Répéter les régions dans le menu de la zone Arrangement (ou utilisez le raccourci clavier Répéter les régions/événements). 3 Définissez les paramètres suivants dans la fenêtre Répéter les régions/événements :  Nombre de copies : il s’agit de la zone dans laquelle vous entrez le nombre de copies (hormis la région d’origine).  Ajustement : choisissez si vous souhaitez que la copie commence à la fin de la région d’origine (réglage : Aucun) ou si vous préférez que le point de départ soit quantifié (sur les mesures, battements, ticks, etc.).  Comme : Copier/Alias ou clones : vous définissez si les répétitions sont des copies, des alias (régions MIDI) ou des clones (régions audio) de la région d’origine. Chapitre 13 Création de votre arrangement 371 Mise en boucle de régions La fonction Boucle vous permet de répéter automatiquement une région, sans avoir à la copier. Une région mise en boucle se répétera jusqu’à ce qu’elle rencontre une autre région sur la même piste, sinon le projet se termine. La boucle s’arrête également au niveau du marqueur de fin d’un dossier, si la région mise en boucle se situe dans un dossier (voir « Utilisation des dossiers » à la page 381). Les répétitions de boucles sont affichées sous forme de segments étendus de la région d’origine. Chaque segment possède la même longueur que la région d’origine, et sera modifié si la longueur de la région d’origine change. Π Conseil : si vous souhaitez créer des structures polyrythmiques, faites des tests en vous fondant sur la durée de la région d’origine. Pour mettre en boucle une région à l’aide du paramètre Boucle : 1 Sélectionnez la région dans la zone Arrangement. 2 Cliquez (activez) sur l’option Boucle dans la zone Paramètres de région de l’Inspecteur (ou utilisez le raccourci clavier Activer/Désactiver la boucle, par défaut : L). La région est mise en boucle jusqu’à ce que cette dernière rencontre une autre région sur la même piste (sinon le projet ou le dossier se termine). Pour désactiver le paramètre Boucle : m Cliquez sur l’option Boucle dans la zone Paramètres de région (ou utilisez le raccourci clavier Activer/Désactiver la boucle, par défaut : L). Boucles de région 372 Chapitre 13 Création de votre arrangement Pour mettre en boucle une région à l’aide de la souris : 1 Déplacez le curseur jusqu’à la fin de la région que vous souhaitez mettre en boucle. Le curseur se transforme en flèche circulaire (l’outil d’édition de la durée de la boucle) lorsqu’il est placé sur la zone supérieure de la région. 2 Cliquez sur l’extrémité de la région tout en la maintenant enfoncée, puis faites-la glisser vers la droite, selon vos besoins, afin de définir la longueur de la région mise en boucle. Les répétitions de boucles s’affichent sous la forme de segments (de la même longueur que la région d’origine) dans la région mise en boucle globale. Le paramètre Boucle de la zone Paramètres de région est automatiquement activé. Remarque : la désactivation du paramètre Boucle permet de redéfinir la longueur de la boucle créée manuellement. Lorsque le paramètre Boucle est utilisé la fois suivante, la région est répétée jusqu’à ce que cette dernière rencontre une autre région sur la même piste, sinon le projet (ou dossier) se termine. Le curseur se transforme uniquement en flèche circulaire (et active les fonctions d’édition de la longueur de la boucle) lorsque la piste est suffisamment élevée. Utilisez une des options de zoom pour la redimensionner. Si vous souhaitez sélectionner la région mise en boucle (par exemple, pour la déplacer), cliquez sur la moitié inférieure de la zone mise en boucle, ou cliquez tout en maintenant la touche Maj enfoncée sur la zone de boucle supérieure. Remarque : la plupart des autres outils peuvent également être utilisés pour définir la durée de la boucle (ils prennent la forme de la flèche circulaire lorsqu’ils se trouvent sur la partie supérieure droite des régions). Cependant, vous devez utiliser l’outil Pointeur car, si vous cliquez sur un point erroné dans une région à l’aide de l’outil Gomme, la région sera supprimée, et la boucle que vous souhaitiez créer ne sera pas définie. Les répétitions de boucles sont simplement des pointeurs sur la région d’origine. Elles ne peuvent pas être transposées et ne possèdent aucun paramètre de lecture dans la zone Paramètres de région, affichée dans l’Inspecteur. Seules les régions réelles (ou les copies) offrent des paramètres de lecture et peuvent être transposées. Si vous souhaitez utiliser différents paramètres de lecture pour chaque répétition de boucle, vous devez les transformer en copies réelles. Chapitre 13 Création de votre arrangement 373 Pour convertir une boucle existante en copie réelle : 1 Sélectionnez la région d’origine. 2 Choisissez Région > Boucles > Convertir en copies réelles (ou utilisez le raccourci clavier correspondant, par défaut : K). Les nouvelles régions remplaceront les segments des répétitions de boucles. Les copies réelles possèdent un avantage majeur : elles peuvent être redimensionnées indépendamment. Cela s’avère utile lorsque vous souhaitez redimensionner quelques copies de boucles parmi des centaines d’entre elles réparties sur toute la chanson. Pour convertir une boucle en alias ou en clones : 1 Sélectionnez la région d’origine. 2 Choisissez Région > Boucles > Convertir en alias (ou utilisez le raccourci clavier correspondant). Les répétitions de boucles des régions MIDI sont converties en alias. Les répétitions de boucles des régions sont converties en régions audio clonées. De cette manière, la modification de la longueur de la région d’origine a une incidence sur les régions aliasées et clonées. Division, démixage et fusion de régions À de nombreuses reprises, il est possible d’utiliser certaines portions de régions, contrairement à certaines autres. Cette rubrique s’intéresse aux fonctions vous permettant de disperser des régions et de réutiliser des portions d’entre elles (ou des régions entières) pour créer des régions nouvelles et combinées. Π Conseil : n’oubliez pas d’utiliser l’outil Sélecteur (voir « Sélection de parties d’une région » à la page 342) pour effectuer des tâches d’édition de régions similaires. Division de régions Vous pouvez diviser une ou plusieurs régions sélectionnées à l’aide de l’outil Ciseaux. Pour diviser une ou plusieurs régions : 1 Sélectionnez vos régions. 2 Sélectionnez l’outil Ciseaux. 3 Cliquez tout en maintenant les régions de votre choix enfoncées. La bulle d’aide affiche la position de division actuelle. 374 Chapitre 13 Création de votre arrangement 4 Relâchez le bouton de la souris. Toutes les régions sélectionnées sont coupées au niveau de la position affichée dans la bulle d’aide. Lorsque vous sélectionnez un point de coupe à l’aide de l’outil Ciseaux, vous pouvez vous déplacer vers l’avant ou vers l’arrière division par division. La grille est basée sur le réglage du menu Alignement. Pour créer de meilleures divisions de résolution (remplaçant la valeur d’alignement actuelle) : m Maintenez la touche Contrôle enfoncée après avoir sélectionné à l’aide de l’outil Ciseaux la région à diviser en valeur de division (1/16e, 1/32e, etc., comme indiqué dans le transport). m Maintenez les touches Contrôle + Maj enfoncées afin de diviser plus précisément les régions (ticks ou échantillons). Les segments récemment créés d’une région audio sont nommés à partir de la région d’origine, et un numéro séquentiel est ajouté à la fin du nom. Les régions MIDI divisées possèdent le nom de la région d’origine, et ne possèdent pas de numéro séquentiel. Chaque région MIDI issue d’une division est indépendante et contient des données. Pour diviser une région en plusieurs parties de même longueur : m Maintenez la touche Option enfoncée tout en coupant une région à l’aide de l’outil Ciseaux. Un symbole « + » s’affiche en regard de l’outil Ciseaux et la bulle d’aide affiche le message Diviser plusieurs. La région sélectionnée est découpée en plusieurs parties, chacune d’entre elles ayant la même longueur que le premier segment. Par exemple : pour diviser une région de 16 mesures en huit régions de 2 mesures, coupez la région au début de la mesure 3, tout en maintenant la touche Option enfoncée. Chapitre 13 Création de votre arrangement 375 Pour diviser des régions au niveau du locator : 1 Définissez les positions des locators droits et gauches. 2 Sélectionnez les régions que vous souhaitez diviser entre les limites du locator. 3 Choisissez Région > Séparer/Démixer > Séparer les régions selon les locators (ou utilisez le raccourci clavier correspondant). Toutes les régions sélectionnées situées partiellement ou entièrement entre les locators sont coupées au niveau des locators droit et gauche. Toutes les régions créées entre les positions du locator suite à l’opération de séparation sont ensuite automatiquement sélectionnées. Π Conseil : vous pouvez obtenir le même résultat en définissant un cycle à l’aide de la souris dans la règle Mesure, tout en maintenant la touche Commande enfoncée. Pour diviser des régions au niveau de la tête de lecture : 1 Sélectionnez les régions que vous souhaitez diviser. 2 Choisissez Région > Séparer/Démixer > Séparer les régions au niveau de la tête de lecture (ou utilisez le raccourci clavier correspondant). Toutes les régions sélectionnées sont exactement divisées au niveau de la tête de lecture. Π Conseil : pour couper au niveau de la mesure la plus proche, utilisez le raccourci clavier Scinder les régions/événements à la position arrondie de la tête de lecture. 376 Chapitre 13 Création de votre arrangement Gestion des notes superposées dans les régions MIDI divisées Si des notes d’une région MIDI divisée sont superposées sur d’autres notes de plus d’une note 1/16 (double-croche), la zone de dialogue suivante s’affiche :  Conserver : cliquez ici pour laisser toutes les notes telles quelles. Comme prévu, la région MIDI est coupée, mais vous pouvez terminer avec des notes dans la moitié gauche (région la plus ancienne) plus longues que la région MIDI les contenant. Ces notes vont être lues normalement, à moins que l’option Durée du clip ne soit activée (voir « Options d’utilisation des notes lors de la modification des longueurs des régions MIDI » à la page 354).  Diminuer : raccourcit (diminue) toutes les notes superposées, afin qu’elles se terminent à l’endroit où la région MIDI d’origine a été divisée.  Séparer : divise les notes superposées dans les deux régions MIDI ; deux notes sont créées, possédant les mêmes tonalités et vitesses que celles d’origine, ainsi que la même longueur totale que la note d’origine. Passages à zéro lors de la division de régions audio Le paramètre Audio > Chercher les passages à zéro situé dans le menu Arrangement local n’a aucune incidence lors de la division de régions audio, effectuée au moyen d’une des méthodes mentionnées ci-dessus. Lorsque l’option Audio > Chercher les passages à zéro est activée, celle-ci s’applique uniquement aux modifications des points de départ et de fin d’une région, et non aux opérations de division. Si vous souhaitez diviser automatiquement un fichier audio en plusieurs régions, utilisez la fonction Éliminer le silence. Division de régions audio à l’aide la fonction Éliminer le silence La fonction Audio > Éliminer le silence située dans le menu Arrangement ouvre une fenêtre qui vous permet de partitionner un enregistrement audio en différentes régions audio. Cette division est basée sur une analyse des degrés d’amplitude au sein du fichier audio. Vous trouverez une description détaillée de cette fonction dans le chapitre suivant : chapitre 22, « Suppression des passages silencieux dans les régions audio » à la page 589. Chapitre 13 Création de votre arrangement 377 Fusion de régions Vous pouvez fusionner deux régions sélectionnées ou plus (du même type—audio ou MIDI) en une seule région. Cette option facilite la gestion des régions et consiste également en un outil de création. Pour fusionner plusieurs régions à l’aide de l’outil Colle : 1 Sélectionnez l’outil Colle. 2 Cliquez sur les régions que vous souhaitez fusionner (si nécessaire, appuyez sur la touche Maj pendant la sélection). Pour fusionner deux régions ou plus à l’aide de la commande Fusionner les régions : 1 Sélectionnez les régions que vous souhaitez fusionner à l’aide de l’outil Pointeur. 2 Choisissez Région > Fusionner > Régions (ou utilisez le raccourci clavier correspondant). Toutes les régions sélectionnées sont fusionnées (ainsi que celles présentes sur des pistes différentes) en une seule région. Pour créer plusieurs fichiers de fusion, chacun figurant sur sa propre piste : 1 Sélectionnez les régions que vous souhaitez fusionner sur chaque piste à l’aide de l’outil Pointeur. Pour ce faire, il peut être utile de cliquer en maintenant la touche Maj enfoncée, de faire appel à la méthode de sélection par étirement ou d’utiliser la combinaison de touches Commande + A. Outil Colle 378 Chapitre 13 Création de votre arrangement 2 Choisissez Région > Fusionner > Régions par pistes (ou utilisez le raccourci clavier correspondant). Les régions sélectionnées sont regroupées en une seule région par piste. Par exemple, les pistes 1 à 4 possèdent des régions que vous souhaitez fusionner. Sélectionnez vos régions dans chaque rangée de pistes et appuyez sur Maj + J. Quatre régions fusionnées seront créées, une pour chaque piste. Événements survenant lorsque des régions MIDI sont fusionnées Lorsque vous fusionnez des régions MIDI :  Tous les événements de chaque région MIDI conservent leurs positions temporelles d’origine.  La nouvelle région MIDI (fusionnée) possède les mêmes nom et piste que la première région MIDI d’origine (sur la ligne temporelle).  Les paramètres de région Transposition, Vitesse et Dynamiques—s’ils ne sont pas identiques dans l’ensemble des régions sélectionnées—sont normalisés avant la fusion. Cela signifie que toutes les valeurs de paramètres sont créées sous forme de données modifiées pour chaque région avant la fusion. Les paramètres de la région MIDI récemment créée (fusionnée) sont tous définis sur des valeurs neutres (par défaut).  Si un des paramètres de région (par exemple, la valeur Transposition) est défini à l’identique dans l’ensemble des régions sélectionnées, cette valeur est conservée dans la zone Paramètres de région de la région fusionnée, et les événements conservent leurs valeurs d’origine. Remarque : veuillez noter que, au besoin, les canaux d’événements MIDI individuels sont remplacés par le canal MIDI de la bande de canal Instrument de la piste actuelle. Fusion de régions audio La fusion des régions audio est une opération non destructrice étant donné que Logic Express crée toujours un fichier pour les données audio fusionnées (parfois appelé mixage). Ce nouveau fichier audio est stocké (dans le dossier du projet) sur votre disque dur et est automatiquement ajouté au chutier audio. La région fusionnée remplace les régions d’origine. Chapitre 13 Création de votre arrangement 379 Aucune fusion Si plusieurs régions (mono ou stéréo) ayant été coupées d’une région à l’aide de l’outil Ciseaux sont présentes sur la même piste, aucune fusion n’est effectuée. Dans ce cas, une seule région est créée sur la zone entière. Vous obtenez le résultat escompté, sans avoir à utiliser d’espace disque supplémentaire. Remarque : Logic Express est en mesure de reconnaître des régions associées, même si des blancs existent entre elles. Le fait que la position relative des régions dans l’arrangement corresponde à la position relative des régions dans le fichier audio sous-jacent représente un facteur déterminant. Aucune fusion n’a lieu lorsque vous essayez de fusionner deux régions sur des pistes s’étendant d’une extrémité à l’autre, car les deux fichiers de fusion seraient identiques aux fichiers audio d’origine (dans les zones utilisées pour les régions). Fusion authentique à l’aide de l’option Clipscan Si vous combinez des données audio (dans les régions) à partir de deux pistes ou plus, les niveaux de volume et balance des pistes individuelles permettront de définir les paramètres de volume et de balance dans le nouveau fichier audio. Si vous souhaitez combiner les deux extrémités d’un fichier audio stéréo (un canal mono sur chacune des deux pistes), définissez en premier lieu les contrôles de balance des extrémités mono du composant sur les extrêmes gauche et droit. Suite à l’analyse de l’écrêtage numérique et à la fusion, Logic Express remplace les régions sélectionnées auparavant par une région contenant le fichier audio fusionné intégral. Vous pouvez utiliser la fonction Édition > Annuler (Commande + Z) pour restaurer les régions audio d’origine, si nécessaire. Si vous effectuez cette opération, vous devrez indiquer si vous souhaitez conserver ou supprimer le fichier audio fusion tout juste créé. Si vous décidez de le conserver, il restera dans le chutier audio et pourra ensuite être utilisé et traité. Au cours d’une fusion, la fonction Analyse de l’écrêtage avec résolution de 32 Bits permet de s’assurer que le niveau le plus élevé possible est conservé, sans écrêtage. Fusion de régions audio sur une piste Si plusieurs régions audio superposées sont sélectionnées sur une seule piste, aucune fusion n’est effectuée. Vous êtes invité à créer un fichier audio, possédant le nom de la première région de la piste. Les régions sélectionnées sont ensuite fusionnées, sans modification du volume et sans analyse de l’écrêtage. S’il existe des rubriques vides entre deux régions, celles-ci sont ajoutées au nouveau fichier audio—sous forme de passages silencieux. 380 Chapitre 13 Création de votre arrangement Fondus audio dans une fusion numérique La fonction Fusion numérique prend en charge les fondus entre les régions sélectionnées. Les paramètres de fondu sont définis dans l’onglet des préférences audio générales, auquel vous accédez en sélectionnant Logic Express > Préférences > Audio > Général (ou en utilisant le raccourci clavier Options de fondu enchaîné audio pour la fusion ). Il existe deux équilibreurs :  Durée du fondu enchaîné [en ms] : il s’agit de la durée du fondu enchaîné. Pour désactiver celui-ci, définissez cette valeur sur zéro.  Courbe de fondu enchaîné : pour obtenir un fondu enchaîné linéaire, définissez cette valeur sur zéro. Les autres valeurs (positives ou négatives) créent plusieurs fondus exponentiels. Les fondus sortants et entrants sont toujours symétriques afin d’éviter toute déviation dans le niveau. Les valeurs prédéfinies sont les suivantes : Durée = 0 ms, Courbe = 0 (linéaire). Démixage des régions MIDI Vous pouvez séparer des régions MIDI (ou des formats de fichiers MIDI standards 1 ou 0) selon les canaux d’événements ou la tonalité des notes. Pour séparer des régions MIDI selon des canaux d’événements : 1 Sélectionnez les régions MIDI de votre choix. 2 Choisissez Région > Séparer/Démixer > Démixer par canal d’événement (ou utilisez le raccourci clavier correspondant). Logic Express recherche les événements de régions MIDI sélectionnés à l’aide de différents canaux MIDI.  Une région MIDI séparée, contenant tous les événements similaires, est créée pour chaque canal MIDI détecté.  Chacune de ces régions est créée sur une piste à l’aide d’un canal d’instrument similaire au canal MIDI.  S’il n’existe aucune piste, de nouvelles pistes sont créées pour chaque canal. Chapitre 13 Création de votre arrangement 381 Pour séparer des régions MIDI selon les tonalités des notes : 1 Sélectionnez les régions MIDI de votre choix. 2 Choisissez Région > Séparer/Démixer > Démixer par hauteur de note (ou utilisez le raccourci clavier correspondant). Logic Express recherche les notes des régions MIDI sélectionnées à l’aide de différents numéros de notes.  Une région MIDI différente de la même durée est créée pour chaque numéro de note trouvé.  Les pistes sont créées pour ces régions MIDI, et la même bande de canal que la région MIDI d’origine leur est assignée. Cette fonction s’avère particulièrement utile pour séparer les éléments de batterie ayant été enregistrés dans Logic Express à partir d’une boîte à rythmes—dans laquelle toutes les notes se trouvent sur le même canal MIDI. Chaque région de note peut alors être assignée à un autre bande de canal et il est possible de supprimer certaines d’entre elles afin d’atténuer la rythmique des sons de batterie d’origine. Utilisation des dossiers Un dossier est une région pouvant contenir d’autres régions, tout comme un dossier du Finder peut contenir d’autres dossiers ou fichiers. En principe, vous pouvez modifier des dossiers de la même manière que des régions MIDI. Afin de mieux comprendre ce qu’est un dossier, celui-ci peut être considéré comme un arrangement dans un arrangement. Un dossier peut contenir autant de pistes avec régions que nécessaire. Un dossier fermé ressemble à une région MIDI, mais est placé sur une piste assignée à un dossier de la liste des pistes, plutôt qu’à une bande de canal. Une fois ouverts, les dossiers sont semblables à la zone Arrangement et à la liste des pistes d’un projet. 382 Chapitre 13 Création de votre arrangement Toutes les régions du dossier sont envoyées vers les bandes de canaux définies dans la liste des pistes du dossier et jouées par celles-ci comme elles le seraient au niveau supérieur de la fenêtre Arrangement. Remarque : si vous faites glisser un dossier vers une piste définie sur une bande de canal d’instrument, son contenu (toutes les régions MIDI du dossier) sont lues par cet instrument. Cela s’applique uniquement si le dossier contient des pistes d’un instrument ou d’un type d’instrument donné, telle qu’une batterie ou un bruit de corde générique. Cela permet d’écouter rapidement un arrangement de cordes, par exemple si certaines des sources de bruit souhaitées ne sont pas disponibles. Exemple : un dossier « rubrique des cuivres » peut contenir des pistes de trompette, de saxophone et de trombone, ou bien encore 14 pistes de batterie, que vous souhaitez peut-être utiliser comme une seule région de rythmique de sons de batterie. De la même manière, votre projet entier, comprenant toutes les pistes et régions, peut correspondre à un dossier, s’affichant sous la forme d’une barre de couleur grise dans un arrangement. Ainsi, vous pouvez arranger plusieurs projets pour un concert. Mais les dossiers ne se limitent pas à cela. Vous pouvez utiliser des dossiers pour représenter par exemple des refrains et des couplets d’un morceau. Tout comme dans le Finder, vous pouvez insérer autant de dossiers que vous le souhaitez dans d’autres dossiers, au sein desquels vous pouvez créer davantage de dossiers (par exemple, pour les groupes d’instruments au sein des différents éléments d’un morceau). Le nombre de niveaux pouvant être créés est illimité. Il est également possible de stocker différents arrangements d’un projet dans différents dossiers, ce qui vous permet de les intervertir rapidement. Compression et décompression de dossiers Vous pouvez compresser des régions sélectionnées dans un dossier, ou encore créer un dossier vide et y ajouter des régions. Pour compresser des régions sélectionnées dans un dossier : 1 Sélectionnez les régions de votre choix. 2 Choisissez Région > Dossier > Compresser le dossier (ou utilisez le raccourci clavier correspondant, par défaut : Commande + F). Toutes les régions sélectionnées sont placées dans un dossier. Logic Express crée une piste et y place la région de dossiers. Si une piste dossier existante est sélectionnée, Logic Express copie les régions dans ce dossier. Si aucune région n’est sélectionnée, Logic Express crée un dossier vide. Il ne contient aucune région—uniquement les pistes assignées à l’ensemble des bandes de canaux du niveau actuel. Chapitre 13 Création de votre arrangement 383 Pour décompresser un dossier : 1 Sélectionnez le dossier. 2 Choisissez l’une des commandes suivantes :  Choisissez la commande Région > Dossier > Décompresser le dossier. La fenêtre Arrangement se mettra à jour afin d’afficher le contenu (les pistes et les régions) du dossier.  Choisissez Région > Dossier > Décompresser les dossiers (Créer de nouvelles pistes) ou utilisez le raccourci clavier correspondant. Logic Express crée des pistes situées au même niveau que le dossier (sous la piste dossier précédente).  Choisissez Région > Dossier > Décompresser les dossiers (Utiliser les pistes existantes). Les régions contenues dans le dossier sont placées sur les pistes assignées aux bandes de canaux appropriées. Ouverture et fermeture des dossiers Après avoir compressé un dossier, vous allez généralement l’ouvrir, puis le fermer pour modifier des données, à mesure que vous développez votre arrangement. Vous pouvez facilement le différencier dans ou hors de l’affichage du dossier dans la fenêtre Arrangement :  Une fois dans la partie supérieure du niveau Arrangement (hors du dossier), le dossier est visible sur une piste, la barre de titre de la fenêtre Arrangement affiche le nom du projet et le bouton Hiérarchie est grisé.  Lorsque vous vous trouvez dans un dossier, la piste du dossier n’est pas visible. La barre de titre Arrangement affiche le nom du projet, suivi du nom du dossier (Sans titre : Dossier Refrain, par exemple) et le bouton Hiérarchie ne s’affiche pas en grisé. Pour ajouter un dossier, procédez selon l’une des façons suivantes : m Double-cliquez sur la région du dossier. m Sélectionnez le dossier que vous souhaitez ajouter, puis utilisez le raccourci clavier Aller dans Dossier ou Région. Vous devez vous assurer que le dossier est sélectionné avant d’utiliser la commande. Si une région MIDI est sélectionnée, l’éditeur de la liste des événements (affichant le contenu de la région MIDI) s’ouvre. Lorsque vous double-cliquez sur le nom de la piste du dossier dans la liste des dossiers, la table de mixage s’ouvre. 384 Chapitre 13 Création de votre arrangement Pour quitter un dossier, procédez selon l’une des façons suivantes : m Double-cliquez sur l’arrière-plan de la zone Arrangement (du dossier) (ou utilisez le raccourci clavier Sortir du Dossier ou Région ). m Cliquez sur le bouton Hiérarchie situé au niveau de l’extrémité gauche de la barre de menu de la fenêtre Arrangement. La bulle d’aide affiche Quitter le dossier. Vous avancez alors d’un niveau dans la hiérarchie et le contenu de la fenêtre Arrangement (affichant le dossier fermé) est visible. Ajout et suppression de régions Vous pouvez facilement ajouter ou supprimer des régions dans un dossier existant. Ces opérations sont assez courantes car vous êtes généralement amené à ajouter et à supprimer des éléments lorsque vous travaillez sur un arrangement. Pour déplacer des régions vers un dossier : m Au niveau supérieur de la hiérarchie Arrangement (hors du dossier) : faites glisser les régions de votre choix dans le dossier, à l’emplacement souhaité. Si le dossier ne contient pas déjà de piste utilisant la même bande de canal que la région source, Logic Express en crée une. Si c’est le cas, ce canal sera ensuite utilisé. Lorsque vous entrez dans le dossier, les régions déplacées s’affichent en position de retrait. Chapitre 13 Création de votre arrangement 385 Pour extraire des régions individuelles des dossiers : 1 Ouvrez une deuxième fenêtre Arrangement à partir du menu Fenêtre ou utilisez le raccourci clavier par défaut : Commande + 1. 2 Entrez le nom du dossier pour lequel vous souhaitez retirer la région dans une des deux zones Arrangement. 3 Faites glisser la région du dossier vers l’autre zone Arrangement. Vous pouvez également couper une région d’un dossier, à l’aide de la commande Édition > Couper. La région est transférée vers le Presse-papiers. Vous pouvez alors copier la région vers l’emplacement de la zone Arrangement de votre choix à l’aide de la commande Édition > Coller. Création d’un dossier d’alias Vous pouvez créer une copie d’un dossier contenant des alias et des clones des régions du dossier d’origine. Grâce à cela, dans ce dossier, vous pouvez (par exemple) rendre des régions silencieuses et modifier les paramètres des programmes, instruments ou de lecture, si nécessaire. Vous disposez ainsi d’un deuxième dossier de mixage ; n’oubliez pas que le son des dossiers peut être désactivé et que ces derniers peuvent être lus en mode solo, comme c’est le cas pour les autres régions, ce qui vous permet de passer rapidement d’une version d’un arrangement à une autre. Pour créer un dossier d’alias : 1 Sélectionnez un dossier. 2 Choisissez MIDI > Alias > Créer mais copier dans Dossier. Création de fondus et de fondus enchaînés dans des régions audio Vous serez souvent amené à créer des fondus entrants et des fondus sortants dans des régions audio, ou à utiliser des fondus afin de créer des enchaînements en douceur entre deux régions audio adjacentes (ou superposées) sur une piste. Ce dernier type de fondu, le fondu enchaîné, peut être créé automatiquement par Logic Express sur des régions audio superposées. Pour activer la fonction de fondu enchaîné automatique : m Choisissez le paramètre X-Fade dans le menu Déplacer (voir « Utilisation des modes Déplacer » à la page 332). Les autres types de fondus—fondus entrants et fondus sortants—, ainsi que les fondus enchaînés, peuvent être créés manuellement à l’aide de l’outil Fondu enchaîné, ou des paramètres de fondu situés dans la zone Paramètres de région de l’Inspecteur. Π Conseil : il est conseillé d’utiliser ces deux méthodes, car chacune d’entre elles présente des avantages. Lorsqu’elles sont combinées, les méthodes de création et de modification de fondus sont simplifiées et plus rapides. Vous pouvez régler simultanément les paramètres de fondu de l’ensemble des régions audio sélectionnées. Remarque : ces paramètres de fondu ne modifient pas le fichier audio d’origine, contrairement aux fonctions de fondu disponibles dans l’Éditeur des échantillons. Création de fondus à l’aide de l’outil Fondu Un fondu entrant survient au début d’une région et un fondu sortant survient à la fin de cette région. Les fondus sont uniquement visibles si vous utilisez un zoom avant assez puissant pour voir la forme d’onde dans la région audio. Important : vous ne pouvez pas créer de fondus sur des fichiers Apple Loops représentés comme des régions dans la fenêtre Arrangement. Les paramètres sont affichés dans l’Inspecteur lorsqu’une région Apple Loops est sélectionnée. Pour créer un fondu entrant ou un fondu sortant : 1 Sélectionnez l’outil Fondu enchaîné. 2 Cliquez sur le point de départ ou de fin d’une région audio et faites-le glisser. Un fondu entrant ou sortant est créé. La longueur de la zone de glissement du fondu détermine la durée de ce dernier. Par conséquent, plus la zone est longue, plus la durée du fondu l’est également et vice versa. Chapitre 13 Création de votre arrangement 387 Pour créer un fondu enchaîné entre deux fichiers : m Faites glisser le pointeur sur le point de fin d’une région audio ou sur le point de départ de la région suivante à l’aide de l’outil Fondu enchaîné. Cela fonctionne, même si les deux rubriques ne sont pas directement jointes. Pour supprimer un fondu : m Tout en maintenant la touche Option enfoncée, cliquez sur une zone de fondu à l’aide l’outil Fondu enchaîné. Pour modifier un fondu existant : m Faites glisser sur le point de départ ou de fin d’une région à l’aide de l’outil Fondu enchaîné. La forme de courbe (voir ci-dessous) du fondu précédent est utilisée. Pour régler la forme de courbe du fondu : m Maintenez les touches Contrôle et Maj enfoncées tout en utilisant l’outil Fondu enchaîné. Dans l’exemple ci-dessous, une Courbe positive est affichée pour le fondu entrant et le fondu sortant. Dans l’exemple ci-dessous, une Courbe négative est affichée pour le fondu entrant, et un fondu linéaire (aucune courbe) est affichée pour le fondu sortant. 388 Chapitre 13 Création de votre arrangement Création et modification des fondus dans la zone Paramètres de région Vous pouvez également créer et modifier des fondus dans la zone Paramètres de région. Pour créer un fondu ou un fondu enchaîné : 1 Sélectionnez les régions de votre choix. 2 Définissez la valeur souhaitée pour les paramètres de fondu entrant ou de fondu sortant dans l’Inspecteur. Utilisez la souris comme curseur, ou double-cliquez puis entrez la valeur souhaitée. Cela fait, un fondu est créé à une extrémité ou l’autre des régions sélectionnées. Remarque : la valeur du fondu détermine la durée de ce dernier. Ainsi, une valeur plus importante entraîne une plus longue durée de fondu et une valeur faible entraîne un fondu rapide. Pour supprimer un fondu : m Définissez le paramètre Fondu entrant ou Fondu sortant sur 0. Pour modifier un fondu existant : m Modifiez la valeur du fondu entrant ou sortant. Pour régler la forme de courbe du fondu : m Modifiez la valeur Courbe dans la zone Paramètres de région. La courbe de fondu est immédiatement modifiée dans la région. Modification du type de fondu Si vous cliquez sur le menu Type de fondu (la flèche vers le haut/bas en regard du paramètre Fondu dans l’Inspecteur), quatre options s’affichent :  Sortant (par défaut) : crée un fondu sortant standard lorsque vous utilisez l’outil ou le paramètre Fondu.  X : crée un fondu enchaîné entre la région sélectionnée et la région suivante lorsque vous utilisez l’outil ou le paramètre Fondu. Chapitre 13 Création de votre arrangement 389  EqP : crée un fondu à puissance égale. Cela limite les baisses de volume entre les régions audio, créant ainsi un fondu enchaîné plus régulier entre les régions dont le niveau peut légèrement varier.  X S : crée un fondu à courbe en S. Comme son nom l’indique, cette courbe de fondu est en forme de S. Remarque : ces trois dernières options peuvent uniquement être appliquées à deux régions consécutives. Notez également que les paramètres de fondu entrant (et de courbe correspondants) deviennent redondants lorsque l’une des options X, EqP ou X S est choisie. Suppression de fichiers de fondu La commande Options > Audio > Supprimer l’ensemble du fichier de fondu permet de supprimer le fichier de fondu. Toutes les informations sont conservées lors de cette opération, car Logic Express crée automatiquement un fichier de fondu lors du prochain démarrage d’une séquence de lecture. Ce fichier de fondu est basé sur les paramètres de fondu de chaque région audio. Fondu de boucles Apple Loops Les boucles Apple Loops ne prennent pas en charge les fondus. De cette manière, vous ne pouvez pas leur assigner un fondu directement. Puisque vous ne pouvez pas appliquer de fondus à une boucle Apple Loops, aucun paramètre de fondu ne s’affiche dans la zone Paramètres de région lorsqu’une boucle Apple Loops est sélectionnée. Si vous souhaitez obtenir un effet de fondu, vous devez exporter la boucle Apple Loops (choisissez Fichier > Exporter > Région Audio sous dans la barre de menus principale). Importez ce fichier dans la zone Arrangement et appliquez-y le fondu. Définition des paramètres de région Les paramètres affichés dans la zone Paramètres de région de l’Inspecteur dépendent du type de région sélectionné dans la zone Arrangement. Il existe des paramètres :  Disponibles pour les régions audio et MIDI.  Uniquement disponibles pour les régions audio.  Uniquement disponibles pour les régions MIDI. Remarque : les paramètres de région MIDI s’appliquent également aux dossiers et ont une incidence globale sur l’ensemble des régions MIDI qu’ils contiennent. 390 Chapitre 13 Création de votre arrangement Paramètres généraux des régions audio et MIDI Seuls deux paramètres généraux sont disponibles lorsque vous sélectionnez une région audio ou MIDI. Boucle La lecture de l’ensemble des types de régions est répétée en continu si vous cochez la case Boucle, ou à l’aide de l’outil Boucle (voir « Mise en boucle de régions » à la page 371). Retard La lecture de tous les types de régions peut être retardée ou avancée (il peut s’agir d’une valeur positive ou négative) d’un certain nombre de ticks ou selon une variable de format musical. Exemples : 1/96, 1/16, 1/192, etc. (pour en savoir plus, reportez-vous à la rubrique « Décalage de la position de lecture des régions » à la page 351). La zone Paramètres de région possède également des comportements par défaut : MIDI Thru : paramètres par défaut des régions MIDI Si aucune région n’est sélectionnée, la ligne supérieure de la zone Paramètres de région affiche MIDI Thru. Toute entrée MIDI active (en mode arrêt, ainsi qu’au cours de l’enregistrement ou de la lecture) sera lue au moyen des réglages sélectionnés dans cette rubrique. Lorsque vous enregistrez une nouvelle région MIDI, les réglages effectués dans la zone Paramètres MIDI Thru sont répercutés dans la nouvelle zone Paramètres de région MIDI. La zone Paramètres MIDI Thru peut être considérée comme une zone de paramètres par défaut modifiable. Vous pouvez régler les paramètres MIDI Thru dans le cas où aucune région n’est sélectionnée. Cliquez sur l’arrière-plan de la fenêtre Arrangement pour désélectionner toutes les régions. Remarque : le raccourci clavier Définir des paramètres de piste & MIDI Thru par région/ dossier vous permet de définir les paramètres MIDI de manière à ce qu’ils soient identiques à ceux d’une région MIDI sélectionnée. Lors de cette opération, la piste de la région est également sélectionnée. Modification de plusieurs régions simultanément Si plusieurs régions sont sélectionnées, leur nombre s’affiche, à la place d’un nom de région. Si vous modifiez un paramètre de région, toutes les régions sélectionnées seront modifiées. Si un paramètre donné est défini différemment dans les régions individuelles, le symbole * s’affiche dans le champ Paramètre. Vous pouvez modifier ce paramètre pour l’ensemble des régions sélectionnées et le différentiel de niveau sera conservé (modification relative). Si vous souhaitez définir la même valeur pour l’ensemble des régions sélectionnées, maintenez la touche Option enfoncée tout en modifiant la valeur (modification absolue). Chapitre 13 Création de votre arrangement 391 Paramètres de région audio Les paramètres de région audio varient en fonction du type de région audio sélectionné, qui est en fait subdivisé en deux catégories : les boucles Apple Loops et les régions audio standard. Les paramètres de fondu sont uniquement disponibles lorsque des régions audio standard sont sélectionnées. Lorsque des boucles Apple Loops (vertes ou bleues) sont ajoutées aux pistes audio, les paramètres Suivre le tempo et Transposition s’affichent. Suivre le tempo Ce paramètre (activé par défaut) permet aux boucles Apple Loops de suivre le tempo du projet. Transposition Ce paramètre permet d’augmenter ou de diminuer la tonalité de la région audio Apple Loops selon le niveau choisi. Paramètres de région MIDI Si vous sélectionnez une région MIDI (sur une piste MIDI logicielle ou externe), la zone Paramètres de région affiche les paramètres spécifiques de région MIDI suivants. Ces paramètres s’affichent également lorsqu’un instrument logiciel Apple Loops vert est ajouté à une piste dirigée vers un canal d’instrument (l’instrument Apple Loops est chargé dans le logement Instrument de la bande de canal). Quantifier La durée de tous les événements de note de la région MIDI est corrigée en fonction du format de grille (paramètre Quantifier) choisi dans le menu. L’ensemble des détails relatifs aux fonctions de quantification disponibles dans Logic Express se situent dans la rubrique chapitre 19, « Quantification d’événements MIDI » à la page 513. Zone de paramètres de région MIDI 392 Chapitre 13 Création de votre arrangement Transposition Tous les événements de note de la région MIDI sont transposés vers le haut ou vers le bas selon le niveau sélectionné pendant la lecture. Les dossiers entiers peuvent également être transposés instantanément de cette manière. Si plusieurs régions MIDI individuelles du dossier ont déjà été transposées, les différences relatives entre elles sont conservées. Si vous souhaitez transposer des octaves, cliquez sur les flèches situées à droite du paramètre Transposition. Un menu local s’affiche et vous permet d’effectuer des transpositions d’octaves directes. Pour éviter toute apparition de notes de batterie et ainsi leur transposition, la zone Paramètres d’un canal d’instrument possède la case à cocher Aucun réglage de transposition. Si vous activez cette option, le paramètre de transposition est ignoré dans toutes les régions MIDI lues par cette bande de canal d’instrument (y compris les boucles Apple Loops vertes ajoutées aux pistes dirigées vers les canaux d’instruments). Vélocité Toutes les notes de la région MIDI concernée sont décalées de la valeur sélectionnée. Les valeurs positives permettent d’augmenter la vélocité d’origine enregistrée, tandis que les valeurs négatives la diminuent, bien qu’il soit impossible d’outrepasser les limites définies par le standard MIDI (0–127). Si vous sélectionnez un décalage de vélocité dépassant les valeurs minimales et maximales autorisées pour une note particulière, cette note sera lue avec l’amplitude la plus extrême possible. Par exemple, lorsque vous définissez un réglage de +20, une note dotée d’une vélocité de 120 sera lue à une vitesse de 127. Dynamiques Ce paramètre permet également de modifier les valeurs de vélocité des notes, mais au lieu d’ajouter ou de soustraire une valeur fixe, les différences entre les notes douces et les notes fortes (la dynamique) augmentent ou diminuent. Cela s’applique également au compresseur ou à l’expanseur. Les valeurs supérieures à 100 % permettent d’augmenter la dynamique, ce qui accentue la différence entre les notes douces et fortes. En revanche, les valeurs inférieures à 100 % diminuent la dynamique, réduisant ainsi la différence entre les notes fortes et douces. Le réglage Fixe permet de transmettre toutes les notes avec une valeur de vélocité égale à 64. Utilisé conjointement avec le paramètre Vélocité (voir ci-dessus), il permet de définir n’importe quelle valeur de vitesse fixe. Chapitre 13 Création de votre arrangement 393 Temps de maintien Le terme « temps de maintien » est issu de la technologie utilisée dans les synthétiseurs analogiques et fait référence à la durée s’écoulant entre la pression et le relâchement d’une touche. Ce paramètre a une incidence sur la durée ou la longueur de la note absolue. Celui-ci ne doit pas être confondu avec la valeur de note musicale, faisant en temps normal référence à la durée écoulée avant la note suivante. Suite à l’utilisation de ce paramètre, les notes de la région sont davantage staccato ou legato. La plage de paramètres est liée aux longueurs des notes d’origine. Le réglage Fixe permet d’émettre des notes staccato extrêmes. Les valeurs inférieures à 100 % permettent de diminuer les longueurs des notes. Les valeurs supérieures à 100 % permettent d’augmenter la longueur des notes. Le réglage « legato » crée un effet legato intégral sur toutes les notes, quelle que soit leur longueur d’origine, ce qui permet d’éliminer les blancs présents entre les notes de la région concernée. Utilisé dans un dossier, ce réglage aura une incidence sur toutes les notes de l’ensemble des régions MIDI de ce dossier. Réglage des paramètres de région MIDI Vous pouvez normaliser les réglages des paramètres de région MIDI de l’ensemble des régions MIDI sélectionnées et des dossiers à l’aide de la commande MIDI > Paramètres de région > Normaliser les paramètres de région. Cela signifie que tous les réglages sont créés sous forme de données et les paramètres de lecture recouvrent leurs valeurs normales. L’effet sonore reste le même. Le paramètre Boucle et les paramètres de région MIDI étendus ne sont pas modifiés. L’utilisation de cette fonction revient à « rendre permanentes ces valeurs de paramètres de région MIDI/instrument ». Dans la plupart des cas, le recours à cette fonction est déconseillé, car vous disposerez d’une flexibilité plus importante si vous ne modifiez pas les données d’origine. Vous pourrez également modifier comme bon vous semble les régions MIDI, et ce grâce aux nombreuses opportunités offertes. Normaliser et canaux MIDI Tout comme la fonction Fusionner et l’outil Colle, la fonction Normaliser confère une utilisation intelligente car elle permet de traiter les numéros de canaux MIDI stockés. Si tous les événements stockés possèdent le même numéro de canal MIDI, le canal utilisé correspondra alors au canal de l’instrument assigné à la piste en cours. Si les événements se situent sur des canaux différents, Logic Express vous demandera si vous souhaitez ou non convertir les canaux d’événements. Les options Normaliser suivantes sont également disponibles dans le menu MIDI > Paramètres de région :  Normaliser sans canal : ne modifie pas le numéro de canal stocké.  Normaliser sans canal & retard : ne modifie pas les paramètres de retard et de numéro de canal stockés. 394 Chapitre 13 Création de votre arrangement Si le réglage de canal de l’instrument de lecture est défini sur Tout ou si utilisez un type d’objet d’environnement totalement différent (par exemple, un séparateur de canaux utilisé en tant que Lecture A), la fonction Normaliser habituelle n’a également aucune incidence sur les numéros de canaux MIDI enregistrés. Remarque : si vous modifiez des régions MIDI affichées sous forme de notation dans un style de portée polyphonique, il est conseillé d’utiliser la fonction Normaliser sans canal, car le canal d’événement est utilisé pour assigner des notes aux voix polyphoniques individuelles dans l’éditeur de partition. 14 395 14 Enregistrement dans Logic Express Ce chapitre décrit tous les aspects des enregistrements audio et MIDI dans Logic Express. Vous allez apprendre à configurer Logic Express pour vos enregistrements audio et MIDI, ainsi qu’à utiliser les diverses fonctions de gestion du flux de production. Parmi ces fonctions figurent notamment les méthodes d’enregistrement cyclique, de prises multiples et Punch. Enregistrement audio Cette rubrique fournit toutes les informations relatives aux enregistrements audio. Étant donné que les méthodes d’enregistrement et la gestion des régions présentent des similitudes pour les données audio et MIDI, la plupart des techniques générales d’enregistrement audio peuvent également s’appliquer aux enregistrements MIDI. Les informations spécifiques aux enregistrements MIDI sont détaillées dans la rubrique « Enregistrement MIDI », à la page 426. Vue d’ensemble de la procédure d’enregistrement Les principales étapes requises pour la création d’un enregistrement audio sont répertoriées ci-après. Pour chaque étape, la vue d’ensemble est suivie d’une description détaillée. Pour créer un enregistrement audio : 1 Vérifiez la configuration de votre système d’enregistrement (voir rubrique suivante) afin de vous assurer que vos données matérielles et logicielles communiquent correctement. 2 Dans la liste des pistes d’arrangement : sélectionnez le nom de la piste audio sur laquelle vous souhaitez effectuer l’enregistrement. La bande de canaux correspondante s’affiche dans l’Inspecteur. 3 Choisissez le format de bande de canaux souhaité. 396 Chapitre 14 Enregistrement dans Logic Express 4 Cliquez sur le logement d’entrée de la bande de canaux tout en maintenant la touche enfoncée, puis choisissez les entrées appropriées de votre interface audio dans le menu local. 5 Cliquez sur le bouton Activer l’enregistrement pour armer la piste. 6 Faites glisser l’équilibreur de niveau du canal activé vers la position souhaitée afin de définir le niveau de contrôle. Remarque : vous devez cocher la case Contrôle logiciel dans les préférences Audio pour pouvoir entendre les données audio entrantes dans Logic Express (que vous soyez en train d’enregistrer ou non). 7 Cliquez sur le bouton Enregistrer dans la zone Transport, puis commencez à jouer ou à chanter. 8 Appuyez sur Arrêt pour arrêter l’enregistrement. Préparation de l’enregistrement Il est recommandé de vérifier la configuration de votre système avant de commencer l’enregistrement. Assurez-vous que toutes les sources sonores que vous souhaitez utiliser dans votre session d’enregistrement (table de mixage, lecteur CD ou micro, par exemple) sont connectées aux entrées audio de votre système et fonctionnent correctement. Vérifiez les réglages matériels importants pour l’enregistrement, tels que le réglage de la mémoire tampon E/S. Pour en savoir plus, reportez-vous à la rubrique « Configuration de votre matériel audio » à la page 103. La qualité et la précision du fichier audio enregistré sont directement liées à la fréquence d’échantillonnage et à la profondeur de bits (ainsi qu’à la qualité des convertisseurs du matériel audio). Tous les fichiers audio sont enregistrés à la fréquence d’échantillonnage du projet. Veillez à ce que la fréquence d’échantillonnage (voir ci-après) soit adaptée à vos besoins. Vous devez également vous assurer d’avoir choisi un type de fichiers approprié (AIFF, WAV, SDII, CAF) dans le menu « Type de fichier enregistré », accessible via Logic Express > Préférences > Audio > Préférences générales. Lorsque vous effectuez un enregistrement audio dans Logic Express, le processus se déroule comme suit :  Un fichier audio est créé sur le disque dur.  Une région audio, qui représente le fichier audio enregistré intégral, est automatiquement créée sur la piste d’arrangement sélectionnée.  Le fichier et la région audio sont également ajoutés automatiquement dans le chutier audio. Le fichier audio s’affiche également dans le navigateur. Chapitre 14 Enregistrement dans Logic Express 397 Définition de la fréquence d’échantillonnage Il est conseillé de définir la fréquence d’échantillonnage lorsque vous démarrez un projet, et d’éviter de la modifier par la suite. Remarque : si l’option « Convertir la fréquence du fichier audio lors de l’importation » est activée, tout fichier audio qui ne correspond pas à la fréquence d’échantillonnage du projet est automatiquement converti lors de l’importation. Pour définir la fréquence d’échantillonnage d’un projet, effectuez l’une des opérations suivantes : m Choisissez Fichier > Réglages du projet > Audio (ou utilisez le raccourci clavier « Ouvrir les réglages du projet audio »), puis choisissez la fréquence d’échantillonnage souhaitée dans le menu correspondant. m Cliquez sur l’écran Fréquence d’échantillonnage dans la barre d’outils Transport, puis choisissez la fréquence voulue dans le menu local. Si l’écran Fréquence d’échantillonnage ne s’affiche pas, c’est probablement parce qu’il a été remplacé par les locators Punch. Désactivez l’option Cycle dans la barre d’outils Transport pour afficher l’écran Fréquence d’échantillonnage. Il se peut également que vous n’ayez pas coché la case Fréquence d’échantillonnage ou Locators Punch dans la zone de dialogue Personnaliser la barre de transport. Importance de la fréquence d’échantillonnage Les données audionumériques sont jouées à une vitesse différente lorsque la fréquence d’échantillonnage n’est pas appropriée. Les données audionumériques doivent être jouées à leur fréquence d’échantillonnage originale ou être converties à une autre fréquence avant d’être jouées à une autre fréquence d’échantillonnage. En d’autres termes, lorsque un fichier créé à partir d’un échantillon de 96 000 temps par seconde (fréquence d’échantillonnage de 96 kHz) est joué à 48 000 échantillons par seconde, il est lu plus lentement (vitesse réduite de moitié). 398 Chapitre 14 Enregistrement dans Logic Express En règle générale, tout bounce créé pour être utilisé dans un projet doit être réglé sur la fréquence d’échantillonnage originale du projet. Il ne sert à rien de créer un bounce à 96 kHz, puis de l’importer et de le convertir à 44,1 kHz. Une fois que vous avez terminé votre projet, effectuez un bounce sur celui-ci à la fréquence d’échantillonnage souhaitée. Conseils relatifs à différentes situations :  Si le fichier de bounce est destiné à un CD audio (dans l’hypothèse où vous n’avez pas besoin de l’envoyer à un studio ou dans une application externe pour qu’il soit masterisé), il n’est pas nécessaire d’utiliser une fréquence supérieure à 44,1 kHz, car il s’agit de la fréquence d’échantillonnage standard pour les CD.  Si vous travaillez dans le secteur du cinéma ou de la télévision, vous devrez probablement utiliser une fréquence d’échantillonnage de 48 kHz pour les fichiers audio.  Si vous enregistrez des morceaux classiques ou jazz (ensembles plus petits) ou que vous archivez des enregistrements datant de plusieurs années, il peut être intéressant d’utiliser une fréquence de 96 kHz ou plus pour l’enregistrement. La lecture à 96 kHz (ou plus) des fichiers audio impose des contraintes de débit bien plus importantes à votre système et utilise beaucoup plus d’espace sur le disque dur. Dans la majorité des cas, il est conseillé d’effectuer l’enregistrement à une fréquence de 44,1 kHz et à une profondeur de 24 bits. Réglage de la profondeur de bits Par défaut, Logic Express enregistre les fichiers audio avec une profondeur de 16 bits. Si vous possédez un matériel audio approprié, les enregistrements à 24 bits constituent une amélioration considérable dans la dynamique disponible. Les fichiers de 24 bits utilisent une fois et demie plus d’espace disque que les fichiers de 16 bits. Si vous devez effectuer un enregistrement à 24 bits : 1 Ouvrez les préférences audio en effectuant l’une des opérations suivantes :  Choisissez Logic Express > Préférences > Audio (ou utilisez le raccourci clavier « Ouvrir les préférences audio »).  Cliquez sur le bouton Préférences dans la barre d’outils Arrangement et choisissez Audio dans le menu. 2 Cliquez sur l’onglet Appareils, puis sur l’onglet Core Audio. 3 Activez l’option Enregistrement 24 bit. Chapitre 14 Enregistrement dans Logic Express 399 Réglage du métronome Si vous souhaitez entendre le métronome (clic) pendant l’enregistrement, vous pouvez configurer cette option dans le menu des réglages du projet Métronome. Pour ouvrir les réglages de projet Métronome, procédez de l’une des manières suivantes : m Choisissez Fichier > Réglages du projet > Métronome (ou utilisez le raccourci clavier « Ouvrir les réglages du projet Métronome »). m Cliquez sur le bouton Réglages dans la barre d’outils Arrangement, puis choisissez Métronome dans le menu local. m Dans le menu Transport, cliquez sur le bouton Métronome tout en maintenant la touche Contrôle enfoncée, puis choisissez Réglages métronome dans le menu local. La fenêtre « Réglages du projet Métronome » contient tous les réglages pour :  Une source audio de métronome d’instrument logiciel appelée KlopfGeist (qui est activée par défaut). Vous pouvez la désactiver via la case à cocher « Instrument de clic logiciel (KlopfGeist) ».  L’objet Clic MIDI de l’Environnement (voir « Objet Clic MIDI » à la page 1004). Vous pouvez préciser à quel port MIDI cet objet est envoyé (Tous par défaut). Pour désactiver la sortie de métronome MIDI, choisissez Désactivé dans le menu local du port MIDI. Vous pouvez utiliser ces sources de clic de manière isolée ou les combiner. 400 Chapitre 14 Enregistrement dans Logic Express KlopfGeist est un instrument logiciel qui se trouve dans le menu Module des logements d’instrument. KlopfGeist est inséré dans le canal d’instrument 128, par défaut. Lorsque la case KlopfGeist est cochée, Logic Express crée automatiquement un canal d’instrument 128 (dans lequel KlopfGeist est inséré). En théorie, tout autre instrument Logic Express ou de tierce partie peut servir de source audio de métronome par le biais du canal d’instrument 128. Pour en savoir plus sur l’instrument KlopfGeist, veuillez vous reporter au manuel Instruments et effets. Pour configurer le métronome en vue de l’enregistrement : 1 Définissez la fréquence à laquelle vous souhaitez entendre le clic du métronome : à chaque mesure, temps ou division, en activant la case à cocher correspondante (Mesure, Temps ou Division). 2 Activez l’option Clic pendant l’enregistrement (elle est déjà active par défaut). Définissez également les options « Seulement durant le décompte » et « Clic pendant la lecture » en fonction de vos besoins. Il est conseillé de laisser l’option Clics polyphoniques activée, car elle permet le chevauchement de clics. 3 Cliquez sur le bouton Enregistrer en haut de la fenêtre Réglages du projet pour ouvrir les réglages du projet d’enregistrement. 4 Activez le bouton radio Décompte (actif par défaut). 5 Choisissez la période de décompte qui précédera l’enregistrement. Ces options sont disponibles dans le menu local.  Aucun : l’enregistrement commence sans décompte.  x mesures : X mesures de décompte.  x/4 : zone permettant de définir le temps de décompte. Ces réglages sont utiles lorsque le décompte (et, par conséquent, l’enregistrement) se situe dans un trait de mesure. Pour plus d’informations sur les réglages du projet Métronome, reportez-vous à la rubrique « Réglages Métronome » à la page 1035. Chapitre 14 Enregistrement dans Logic Express 401 Utilisation du contrôle logiciel La fonction Contrôle logiciel permet de contrôler les données audio entrantes à l’aide des modules d’effets insérés dans un canal audio activé. Les entrées audio doivent être attribuées sur les pistes activées pour l’enregistrement afin de pouvoir utiliser la fonction de contrôle logiciel. Les modules d’effet sont contrôlés mais ne sont pas enregistrés. Cela peut être utile pendant une session d’enregistrement. Par exemple : au cours d’un enregistrement vocal, de nombreux chanteurs préfèrent entendre leurs performances avec un léger réverb, mais la piste est enregistrée de façon « sèche » (sans effet). Pour contrôler une piste avec des modules d’effet lors de l’enregistrement : 1 Cochez la case Logic Express > Préférences > Audio > Appareils > Core Audio > Contrôle logiciel. Remarque : aucun contrôle de quelque nature que ce soit n’aura lieu si cette option est désactivée pour le matériel audio actif. 2 Insérez l’effet souhaité dans le canal audio, armez la piste, puis commencez l’enregistrement. L’effet fera partie du mixage de contrôle mais ne sera pas enregistré. Monitoring automatique d’entrée Si l’option Monitoring automatique d’entrée est activée, vous entendez le signal d’entrée au cours de l’enregistrement (toutefois, avant et près, vous entendez l’audio précédemment enregistré sur la piste alors que le séquenceur était en fonctionnement). Cela vous permet d’évaluer les points de Punch-in et de Punch-out lors de l’enregistrement Punch. Si l’option Monitoring automatique d’entrée est désactivée, vous entendez toujours le signal d’entrée. L’activation de cette option vous permet également d’entendre la source d’entrée lorsque Logic Express est arrêté, ce qui facilite le réglage des niveaux. Pour activer le monitoring automatique d’entrée, effectuez l’une des opérations suivantes : m Choisissez Options > Audio > Monitoring automatique d’entrée dans la barre des menus principale (ou utilisez le raccourci clavier « Basculer Basculer Monitoring d’entrée Auto »). m Dans le menu Transport, cliquez sur le bouton Enregistrer tout en maintenant la touche Contrôle enfoncée, puis activez l’option Monitoring automatique d’entrée dans le menu local. 402 Chapitre 14 Enregistrement dans Logic Express Dans certaines circonstances, l’utilisation du monitoring automatique d’entrée avec les pistes activées pour l’enregistrement peut se révéler problématique :  Le chanteur ne s’entend pas lorsque Logic Express est en mode lecture ou enregistrement. Il n’entend que l’ancien enregistrement. Dans ce cas, désactivez le monitoring automatique d’entrée.  La piste est inaudible, bien que Logic Express ne soit pas en mode enregistrement. Activez le monitoring automatique d’entrée pour entendre l’audio sur la piste. En fonction des circonstances, chacune de ces options peut être utile. En règle générale, le monitoring automatique d’entrée est activé et n’est désactivé que dans des circonstances particulières. Utilisation des boutons de contrôle des entrées Vous pouvez utiliser le bouton Contrôler les entrées pour contrôler les pistes audio qui ne sont pas armées. Activez simplement le bouton Contrôler les entrées sur une piste audio (ou sur une bande de canaux dans la fenêtre Arrangement ou Table de mixage). Cela fonctionne lorsque Logic Express est arrêté ou en cours de lecture. Pour déterminer quel signal (entrée) est contrôlé : m Choisissez l’entrée (ou la paire d’entrées) appropriée dans le menu de logement audio pour la bande de canaux correspondante. Π Conseil : en règle générale, vous pouvez laisser le bouton Contrôler les entrées activé avant, pendant et après l’enregistrement. Lorsque le bouton Contrôler les entrées est activé, l’utilisation des boutons Activer l’enregistrement ou Monitoring automatique d’entrée n’affecte pas le contrôle logiciel. Dans le cadre d’un enregistrement Punch, il est conseillé d’utiliser la fonction Contrôle d’entrée automatique plutôt que le bouton Contrôler les entrées. Chapitre 14 Enregistrement dans Logic Express 403 Problèmes éventuels liés au contrôle des entrées Notez que le contrôle des entrées entraîne toujours un court temps de latence. Le temps de latence dépend entièrement des capacités du matériel audio et du réglage des gestionnaires. Dans certaines configurations, vous obtiendrez de meilleurs résultats si vous n’effectuez pas de contrôle dans Logic Express. Ainsi, vous bénéficierez de la meilleure synchronisation possible. Acheminez le signal que vous souhaitez enregistrer directement sur des écouteurs ou sur l’amplificateur de contrôle afin de contrôler le signal (et sur les entrées de l’interface audio pour l’enregistrement). Vous n’effectuerez pas de surmodulation accidentelle de vos convertisseurs A/N, car les VU-mètres d’entrée de Logic Express affichent un avertissement en cas de surcharge. Réglage du niveau de contrôle Si la préférence Niveau de contrôle indépendant (pour les bandes de canaux où l’enregistrement est activé) du menu Logic Express > Préférences > Audio > Appareils > onglet Core Audio est activée, un niveau de contrôle indépendant est disponible lorsque le canal audio est activé pour l’enregistrement. Une fois que la piste est armée, réglez l’équilibreur au niveau souhaité. Le niveau de lecture initial est rétabli lorsque le bouton d’enregistrement du canal est désactivé. Important : quand une piste est activée pour l’enregistrement, l’équilibreur de niveau s’applique uniquement au niveau de lecture (ou de contrôle), mais pas au niveau d’enregistrement. Les niveaux d’enregistrement doivent être définis de manière externe : sur votre table de mixage ou sur la source sonore d’origine. Soyez prudent lorsque vous réglez les niveaux d’entrée, car un écrêtage de l’audio numérique aura lieu en cas de surcharge. Cet écrêtage entraîne une distorsion métallique particulièrement dure. Si vous souhaitez éviter les styles musicaux lourds, il est donc recommandé de ne pas surcharger les entrées (voir « Comprendre le détecteur d’écrêtage » à la page 620). Réglage du dossier d’enregistrement Avant de procéder à l’enregistrement, il est conseillé de définir une cible (sur votre disque dur) pour les données audio. Remarque : si vous enregistrez votre projet avec ses ressources, Logic Express stocke votre fichier de projet (le « morceau ») dans un dossier de projet. Le dossier de projet contient un dossier « Fichiers audio » automatiquement créé, qui est utilisé comme dossier d’enregistrement par défaut. Si vous préférez enregistrer vos projets sans ressources, reportez-vous à la rubrique qui suit. Vous pouvez définir un dossier d’« enregistrement » différent pour chaque projet. Le dossier d’enregistrement est défini dans les réglages du projet Enregistrement. 404 Chapitre 14 Enregistrement dans Logic Express Pour définir le dossier d’enregistrement : 1 Ouvrez les réglages du projet Enregistrement en procédant de l’une des manières suivantes :  Choisissez Fichier > Réglages du projet > Enregistrement (ou utilisez le raccourci clavier Ouvrir les réglages de projet Enregistrement).  Cliquez sur le bouton Réglages dans la barre d’outils Arrangement, puis choisissez Enregistrement dans le menu local.  Cliquez sur le bouton Enregistrer tout en maintenant la touche Contrôle enfoncée, puis choisissez Réglages d’enregistrement dans le menu local. 2 Cliquez sur le bouton Définir pour ouvrir un sélecteur de fichier, puis parcourez le disque pour accéder au dossier d’enregistrement souhaité. Taille maximale de l’enregistrement Les formats de fichier AIFF et SDII ne peuvent pas prendre en charge les enregistrements de fichier audio supérieurs à 2 Go. Pour les fichiers stéréo de 16 bits à 44,1 kHz, cela équivaut à un temps d’enregistrement d’environ 3 heures et 15 minutes. Le format de fichier WAV ne peut pas prendre en charge les enregistrements de fichier audio supérieurs à 4 Go. Pour les fichiers stéréo de 16 bits à 44,1 kHz, cela équivaut à un temps d’enregistrement d’environ 6 heures et 30 minutes. Si la taille de votre enregistrement est censée dépasser à ces limites, choisissez le type de fichier d’enregistrement CAF. Le format CAF peut prendre en charge les temps d’enregistrement suivants :  environ 13 heures et 30 minutes à une fréquence de 44,1 kHz ;  environ 6 heures à une fréquence de 96 kHz ;  environ 3 heures à une fréquence de 192 kHz. La profondeur de bits et le format de canal (mono ou stéréo) n’ont aucune incidence sur la taille d’enregistrement maximale des fichiers CAF. Vous pouvez définir un type de fichier par défaut dans le menu Type de fichier enregistré, accessible via Logic Express > Préférences > Audio > Préférences générales. Chapitre 14 Enregistrement dans Logic Express 405 Nom des enregistrements audio Le nom de la piste est utilisé comme nom de fichier par défaut pour un enregistrement. Les enregistrements ultérieurs sur cette piste se voient attribuer un suffixe numérique croissant. Ainsi, les enregistrements de « Audio 1 » se voient attribuer les noms « Audio 1_01 », « Audio 1_02 », etc. Si aucun nom n’est attribué à la piste, le nom de la bande de canaux vers laquelle la piste est acheminée est utilisé. Vous pouvez renommer les pistes dans les fenêtres Liste des pistes d’arrangement et Table de mixage (voir « Attribution de noms à des pistes » à la page 212 et « Attribution de nouveaux noms de pistes dans la fenêtre de la table de mixage » à la page 645). Configuration des canaux de piste Si vous souhaitez apporter des ajustements aux bandes de canaux audio, vous pouvez les effectuer directement dans la bande de canaux d’arrangement. Vous pouvez également régler la bande de canaux à l’aide de la fenêtre Table de mixage. Pour en savoir plus, reportez-vous à la rubrique « Réglage des niveaux des bandes de canaux » à la page 618. Création d’enregistrements mono ou stéréo Logic Express permet d’effectuer des enregistrements mono ou stéréo. Pour modifier le format d’enregistrement d’un canal : m Cliquez sur le bouton Format de la bande de canaux tout en maintenant la touche Contrôle enfoncée, puis choisissez le format souhaité dans le menu local. Le symbole figurant sur le bouton indique le statut actuel de la manière suivante : Mono Stéréo Gauche Droit 406 Chapitre 14 Enregistrement dans Logic Express  Mono : le format d’entrée mono est représenté par un cercle. Le VU-mètre ne contient qu’une seule colonne.  Stéréo : le format d’entrée stéréo est représenté par deux cercles entrelacés. Lorsque le format d’entrée stéréo est sélectionné, le VU-mètre se décompose en deux colonnes indépendantes.  Gauche : deux cercles, dont celui de gauche est plein, indiquent un format d’entrée de canal gauche. Si ce format d’entrée est choisi, seul le canal de gauche est lu pour un fichier audio stéréo. Le VU-mètre ne contient qu’une seule colonne.  Droit : deux cercles, dont celui de droite est plein, indiquent un format d’entrée de canal droit. Si ce format de sortie est choisi, seul le canal de droite est lu pour un fichier audio stéréo. Le VU-mètre ne contient qu’une seule colonne. Activation d’une ou plusieurs pistes pour l’enregistrement Les pistes audio doivent être activées pour l’enregistrement (armées) de façon manuelle avant l’enregistrement, tout comme pour les pistes d’un magnétophone. Le bouton Activer l’enregistrement devient rouge pour indiquer le statut armé des pistes. Vous ne pouvez effectuer des enregistrements audio que sur des pistes armées, quel que soit le nom de piste sélectionné dans la liste des pistes d’arrangement. Si plusieurs pistes d’arrangement sont acheminées vers la même bande de canaux (« Audio 1 », par exemple), le nouveau fichier audio sera enregistré dans la piste sélectionnée (acheminée vers « Audio 1 »). Si aucune piste n’est sélectionnée, l’audio sera enregistré dans la première (plus haute) de ces pistes. Un espace est réservé sur le disque dur pour les pistes armées et n’est plus disponible pour les fichiers d’annulation. De ce fait, Logic Express désactive automatiquement les pistes audio lors des modifications apportées dans l’Éditeur des échantillons, ou si le disque dur est presque plein. Important : vous pouvez seulement utiliser le bouton Activer l’enregistrement sur les pistes audio qui possèdent une entrée unique. Il n’est pas possible d’armer simultanément plusieurs pistes qui utilisent la même entrée (sélectionnées dans le logement d’entrée). Pour activer l’enregistrement sur une ou plusieurs pistes audio, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Activer l’enregistrement sur la(les) piste(s) souhaitée(s) dans la liste des pistes. Chapitre 14 Enregistrement dans Logic Express 407 m Cliquez sur le bouton Activer l’enregistrement pour tous les canaux de piste (dans la table de mixage) sur lesquels vous souhaitez effectuer l’enregistrement. m Sélectionnez la ou les piste(s) de votre choix dans la zone Arrangement et utilisez le raccourci clavier « Enregistrer la piste active ». Remarque : si ces boutons ne sont pas visibles dans la liste des pistes, choisissez Présentation > Configurer l’en-tête de piste. Dans la zone de dialogue, cochez la case Activer l’enregistrement. Si cette case est active mais que la coche n’est pas visible, activez le matériel audio correspondant dans Logic Express > Préférences > Audio > Matériel et gestionnaires audio. Pour désarmer une piste sur laquelle l’enregistrement est activé : m Cliquez une deuxième fois sur le bouton (mis en surbrillance) Activer l’enregistrement, soit dans la liste des pistes, soit dans la table de mixage. Pour désarmer toutes les pistes sur lesquelles l’enregistrement est activé : m Cliquez sur le bouton clignotant Activer l’enregistrement de n’importe quel canal de piste activé pour l’enregistrement. Activation simultanée des enregistrements de piste audio et MIDI Vous pouvez être amené à enregistrer simultanément des pistes audio et MIDI, par exemple pour capturer un enregistrement de groupe en direct avec un synthétiseur qui utilise un ou plusieurs instruments logiciels de Logic Express. Vous pouvez enregistrer simultanément plusieurs pistes MIDI et audio (voir « Enregistrement sur plusieurs pistes MIDI » à la page 431). Remarque : vous pouvez seulement utiliser le bouton Activer l’enregistrement sur les pistes audio qui possèdent une entrée unique. Il n’est pas possible d’armer simultanément plusieurs pistes qui utilisent la même entrée (sélectionnées dans le logement d’entrée). Pour activer plusieurs pistes audio et MIDI en vue de l’enregistrement : 1 Cliquez sur le bouton Activer l’enregistrement correspondant aux pistes audio que vous souhaitez utiliser. 2 Cliquez sur les boutons Activer l’enregistrement correspondant aux pistes MIDI. Création d’un enregistrement audio Logic Express met à votre disposition une variété de modes et de méthodes d’enregistrement, adaptés aux diverses situations auxquelles vous pouvez être confronté et à vos multiples tâches. Ces méthodes sont les suivantes :  Enregistrement standard : armez une piste, puis cliquez sur le bouton Enregistrer de la barre de transport. 408 Chapitre 14 Enregistrement dans Logic Express  Enregistrement de prise : semblable à l’enregistrement standard, mais lorsque plusieurs enregistrements d’une même rubrique sont sur une piste unique, ils sont automatiquement compactés dans des « dossiers de prises ».  Enregistrement Punch : vous pouvez utiliser manuellement les méthodes de « punch-in » et de « punch out » à des positions de projet spécifiques, ce qui vous permet d’effectuer des enregistrements sur une région existante.  Enregistrement de remplacement : généralement associé à l’enregistrement Punch, où le nouvel enregistrement remplace l’enregistrement original (ou une partie de celui-ci). Tous les modes d’enregistrement peuvent fonctionner conjointement avec le mode Cycle, ce qui vous permet d’effectuer des enregistrements sur une rubrique continue répétée de votre projet. Enregistrement standard avec un décompte Vous pouvez débuter l’enregistrement à tout moment d’un projet, en réglant la tête de lecture à l’emplacement souhaité. En supposant que les pistes d’enregistrement sont correctement définies (les entrées du matériel audio souhaitées sont connectées, réglées et sélectionnées comme source d’entrée dans le canal) et que la piste est armée : Pour commencer l’enregistrement : m Cliquez sur le bouton Enregistrement dans le menu Transport (ou utilisez le raccourci clavier Enregistrer, par défaut : *). Le décompte x défini dans Fichier > Réglages du projet > Enregistrement est entendu. Toute donnée audio présente au cours du décompte est enregistrée. Pendant l’enregistrement, un indicateur de progression affiche le temps d’enregistrement restant et le temps écoulé. Chapitre 14 Enregistrement dans Logic Express 409 Pour arrêter l’enregistrement : m Cliquez sur le bouton Arrêt dans le menu Transport. Logic Express crée automatiquement une région audio dans la zone Arrangement ainsi qu’une vue d’ensemble du fichier audio. Il s’agit d’un fichier graphique utilisé pour afficher la forme d’onde. Vous pouvez lire le nouvel enregistrement tandis que la vue d’ensemble est en cours de création. Remarque : si vous avez interrompu l’enregistrement (en appuyant sur le bouton Pause), vous pouvez le reprendre en cliquant sur Enregistrement, Pause ou Lecture. L’enregistrement commence au niveau de la position actuelle de la tête de lecture. Commandes d’enregistrement avancées Plusieurs commandes d’enregistrement avancées permettent de rendre le processus d’enregistrement beaucoup plus rapide. Il est conseillé de les utiliser, lorsque cela est possible, au cours de vos sessions d’enregistrement.  Enregistrement : la commande Enregistrement (par défaut) lance l’enregistrement. Si vous l’utilisez en cours d’enregistrement, elle n’a aucun effet et l’enregistrement continue. Vous devez appuyer sur la touche Arrêt pour mettre fin à l’enregistrement (raccourci clavier par défaut : touche astérisque sur le pavé numérique).  Enregistrement/Activation-désactivation de l’enregistrement : si vous utilisez cette commande en cours d’enregistrement, l’enregistrement est temporairement interrompu, mais la lecture continue. Utilisez de nouveau cette commande pour reprendre l’enregistrement à partir de la position actuelle de la tête de lecture.  Enregistrement/Répétition de l’enregistrement : si vous utilisez cette commande en cours d’enregistrement, l’enregistrement en cours est supprimé, la tête de lecture est repositionnée à la position de départ (de l’enregistrement) et un nouvel enregistrement est lancé immédiatement.  Abandonner l’enregistrement et revenir à la dernière position de lecture : ce raccourci clavier abandonne l’enregistrement en cours, supprime les fichiers correspondants du chutier audio et déplace la tête de lecture vers la dernière position de lecture (raccourci clavier par défaut : Command + Point). La différence entre cette commande et la fonction Enregistrement/Répétition de l’enregistrement est qu’elle ne lance pas automatiquement et immédiatement un nouvel enregistrement. Les communications rétroactives sont ainsi autorisées quand Logic Express est arrêté. Vous devez ensuite lancer un nouvel enregistrement (avec n’importe quelle commande d’enregistrement). 410 Chapitre 14 Enregistrement dans Logic Express Configuration du bouton d’enregistrement dans la barre de transport Vous pouvez remplacer la fonction du bouton Enregistrer de la barre de transport en la faisant passer d’Enregistrement (par défaut) à Activation-désactivation de l’enregistrement ou à Répétition de l’enregistrement. Pour configurer le bouton Enregistrer de la barre de transport : m Cliquez sur le bouton Enregistrer tout en maintenant la touche Contrôle enfoncée, puis choisissez l’option souhaitée dans le menu. La commande active est indiquée par une coche. Enregistrement de prises Logic Express met à votre disposition des fonctionnalités avancées de gestion des prises. Une prise est un morceau (tel qu’un solo de guitare) joué et enregistré plusieurs fois. Vous pouvez, par exemple, enregistrer plusieurs versions consécutives d’un solo et choisir ensuite la meilleure « prise ». Les prises sont généralement créées via un enregistrement en mode cyclique, mais elles peuvent également être créées par un simple enregistrement dans les régions existantes. Les prises constituent également la base des tâches de comping qui consistent à compiler les meilleurs enregistrements (tirés de prises différentes) en une seule « super prise ». Cette compilation sera utilisée comme version finale de votre prise. Pour obtenir des informations complètes sur les accompagnements, reportez-vous à la rubrique « Création d’accompagnements » à la page 420. La préparation de l’enregistrement des prises est identique à celle des enregistrements audio. Aucune configuration spécifique n’est requise. Vous pouvez donc lancer l’enregistrement comme vous le feriez pour un enregistrement audio. Reportez-vous à la rubrique « Enregistrement standard avec un décompte » à la page 408. La première prise apparaît sous forme de région audio, de manière habituelle. Une fois qu’un enregistrement est effectué sur une région existante (par exemple quand la deuxième phase d’un enregistrement cyclique prend fin et que la troisième phase commence, ou quand vous arrêtez l’enregistrement manuellement après la première mesure), un dossier de prise est créé.  L’enregistrement entier (toutes les prises) est stocké sous forme de fichier audio unique. Chapitre 14 Enregistrement dans Logic Express 411  Le dossier des prises n’occupe qu’une seule piste (mais peut être ouvert - fonction décrite ultérieurement). Remarque : les dossiers de prises sont uniquement créés lorsque le mode de remplacement est désactivé (valeur par défaut). Fonctionnement de l’enregistrement du dossier des prises Cette rubrique décrit comment les prises sont gérées dans les différents cas d’enregistrements. Enregistrement sur une région Lorsque vous effectuez un enregistrement sur une région existante, un dossier de prises est automatiquement créé. La taille de ce dossier est déterminée par la région la plus longue (la région existante ou la région résultant de l’enregistrement). Au cours de l’enregistrement cyclique :  L’arrêt manuel d’un enregistrement au sein de la première mesure de la répétition d’un cycle (si vous interrompez, par exemple, un enregistrement de quatre mesures à la moitié de la première mesure, au niveau de la quatrième passe d’un enregistrement cyclique) provoque la suppression de cette petite rubrique. Logic Express estime que vous avez suspendu l’enregistrement un peu tard et considère donc l’enregistrement comme « accidentel ».  L’arrêt manuel d’un enregistrement après la première mesure de la répétition d’un cycle (si vous interrompez, par exemple, un enregistrement de quatre mesures à la moitié de la deuxième mesure, au niveau de la quatrième passe d’un enregistrement cyclique) crée automatiquement un « accompagnement » constitué de la dernière prise et de l’avant-dernière. 412 Chapitre 14 Enregistrement dans Logic Express Remarque : les enregistrements de prises durant plus d’une mesure, mais ne couvrant pas la longueur totale du dossier (ou de la région) de prises sont automatiquement « accompagnés ». Enregistrement sur un dossier de prises Lorsque vous effectuez un enregistrement sur un dossier de prises existant, le nouvel enregistrement est ajouté à ce dossier (et sélectionné pour la lecture).  Si le nouvel enregistrement commence plus tôt ou se termine plus tard, le dossier de prises s’étend pour s’adapter à la taille de l’enregistrement.  Si le nouvel enregistrement commence plus tard ou se termine plus tôt, une nouvel accompagnement est créé, composé de la prise ou de l’accompagnement précédent ainsi que du nouvel enregistrement. Enregistrement sur plusieurs dossiers de prises Lorsque vous effectuez un enregistrement sur plusieurs dossiers de prises existants (placés les uns après les autres sur une piste), le nouvel enregistrement est fractionné au début de chaque dossier de prises (après la première prise).  Chaque fraction est alors considérée comme une nouvelle prise dans chaque dossier de prises.  Les dossiers de prises antérieurs sont étendus jusqu’au point de départ du dossier de prises suivant (en cas de blanc entre les dossiers de prises). Ajout d’enregistrements existants aux dossiers de prises Bien qu’il ne s’agisse pas d’une fonction d’enregistrement à proprement parler, vous avez la possibilité de glisser-déposer d’autres enregistrements (régions ou fichiers audio) sur un dossier de prises existant :  Si la région glissée-déposée est de la même longueur que le dossier de prises, elle est ajoutée comme s’il s’agissait d’une nouvelle prise. La nouvelle région est sélectionnée pour la lecture.  Si la région glissée-déposée est plus longue que le dossier de prises, ce dernier est redimensionné. La nouvelle région est sélectionnée pour la lecture.  Si la région glissée-déposée est plus courte que le dossier de prises, un nouvel accompagnement est créé. Ce nouvel accompagnement se compose de la prise ou de l’accompagnement précédent, auquel s’ajoute la nouvelle région. Important : seul un enregistrement peut déclencher la création d’un dossier de prises. Si vous tentez de faire glisser une région vers une autre région initialement importée (et non enregistrée), aucun dossier de prises n’est créé. Vous pouvez toutefois « compacter » un dossier de prises à partir de toute région sélectionnée, qu’elle soit enregistrée ou importée (voir « Compactage d’un dossier des prises » à la page 425). Chapitre 14 Enregistrement dans Logic Express 413 Affichage du contenu du dossier de prises Il se peut que vous ayez besoin d’accéder au contenu du dossier de prises lors de l’enregistrement de prises (par exemple, pour supprimer une prise). Pour ouvrir un dossier de prises, effectuez l’une des opérations suivantes : m Cliquez sur le triangle d’affichage dans l’angle supérieur gauche d’un dossier de prises. m Double-cliquez sur le dossier de prises. Le contenu du dossier de prises est affiché sur des sous-voies temporaires de la piste d’arrangement, en dessous du dossier de prises proprement dit. Par défaut, la prise sélectionnée est la prise terminée la plus récente (ou la prise la plus complète). La prise sélectionnée sera celle entendue pendant la lecture. Pour sélectionner différentes prises lors de l’affichage d’un dossier de prises ouvert : m Cliquez sur l’en-tête de prise souhaité. 414 Chapitre 14 Enregistrement dans Logic Express Pour sélectionner différentes prises lors de l’affichage d’un dossier de prises fermé : m Choisissez une prise dans le menu Prise, puis cliquez sur la flèche dans l’angle supérieur droit du dossier de prises pour ouvrir cette prise. Les données de forme d’onde de la prise sélectionnée s’affichent dans le dossier de prises. Création d’accompagnements en temps réel Au cours de l’enregistrement, vous pouvez marquer les bonnes prises, ce qui vous permet d’obtenir un accompagnement parfait dès la fin de l’enregistrement. Pour marquer une bonne prise lors de l’enregistrement : m Utilisez le raccourci clavier Sélectionner la rubrique précédente pour l’accompagnement en temps réel. Une balise (non-visible) est placée dans la prise active, au niveau où le raccourci clavier a été utilisé. Toutes les données audio précédant l’utilisation du raccourci clavier sont marquées comme une bonne prise, qui sera utilisée dans l’accompagnement final. Enregistrement de prise sur plusieurs pistes L’enregistrement (et l’accompagnement) de prise est également possible lorsque vous enregistrez plusieurs prises. En règle générale, les dossiers de prises sur plusieurs pistes sont modifiés séparément, mais ils peuvent être traités en groupe. Ajoutez simplement plusieurs pistes à un groupe de modifications (utilisez le menu Groupe dans les bandes de canaux correspondantes, puis activez la propriété d’édition de groupe. Voir « Définition des réglages de groupe » à la page 631). Les modifications de prises sont ainsi regroupées et synchronisées entre toutes les pistes impliquées. N’importe quel dossier de prises peut être ouvert et toute modification ou accompagnement effectué dans le dossier ouvert est immédiatement reflété dans tous les autres dossiers de prises au même emplacement (sur les pistes du groupe de modifications). Chapitre 14 Enregistrement dans Logic Express 415 Il est conseillé de regrouper les prises avant l’enregistrement, ou tout au moins avant l’accompagnement. Vous pouvez également regrouper les pistes après en avoir modifié une ou deux. Cela peut être utile lorsque quelques accompagnements du dossier de prises requièrent une attention particulière, mais toutes les modifications ultérieures sont appliquées à toutes les prises du groupe. Remarque : si vous tentez de modifier l’une des pistes éditées (avant le regroupement), Logic Express vous propose de la supprimer du groupe de modifications. Coloration des prises lors de l’enregistrement Les dossiers de prises sélectionnés (ou les régions de prises dans un dossier de prises ouvert) peuvent être colorés séparément, tout comme les régions et les dossiers standard, lorsque Logic Express n’est pas en cours d’enregistrement. Toutefois, si vous êtes en train d’effectuer un enregistrement, changer la couleur du dossier de prises modifie la couleur de la région de prises (en cours d’enregistrement), mais pas du dossier. Enregistrement Punch L’enregistrement Punch consiste à écraser une partie d’une passage précédemment enregistré tandis que Logic Express est en cours d’exécution, afin de corriger une erreur dans un enregistrement autrement correct. Vous effectuez un « punch in » juste avant l’erreur, puis un « punch out » de l’enregistrement, une fois l’erreur corrigée (écrasée par le nouvel enregistrement). Cela vous permet de lire un enregistrement jusqu’à un certain point, d’effectuer un nouvel enregistrement sur une rubrique de l’original, et de continuer la lecture en continu. La possibilité d’entendre la partie que vous souhaitez remplacer (dans le contexte musical précédent) vous permet de mieux maîtriser votre enregistrement Punch. Dans Logic Express, vous disposez de deux méthodes pour effectuer un enregistrement Punch :  Vous pouvez utiliser un raccourci clavier pour lancer l’enregistrement alors que vous êtes en mode lecture. Cette opération est généralement appelée « enregistrement à la volée ».  Vous pouvez utiliser la fonction Autopunch de Logic Express pour lancer et arrêter l’enregistrement à des points de punch-in et de punch-out prédéfinis. Remarque : l’enregistrement Punch s’applique seulement aux pistes activées pour l’enregistrement. 416 Chapitre 14 Enregistrement dans Logic Express Enregistrement à la volée La fonction « Enregistrement à la volée » vous permet de lancer l’enregistrement alors que vous êtes en mode lecture, soit en temps réel soit « à la volée ». Cette fonction est techniquement difficile à exécuter pour les enregistreurs sur disque dur, étant donné le délai inévitable généré lorsque vous passez du mode écriture au mode lecture et inversement (lors de la création de fichier, par exemple). Pour éviter ce délai, vous devez activer le mode « Enregistrement à la volée », afin que Logic Express soit prêt pour l’enregistrement à tout moment. En pratique, l’« enregistrement » se produit en arrière-plan à partir du moment où vous commencez la lecture (lorsque le mode « Enregistrement à la volée » est activé). Pour effectuer un « punch in » dans un passage enregistré à la volée : 1 Passez en mode « Enregistrement à la volée » en effectuant l’une des opérations suivantes :  Dans le menu Transport, cliquez sur le bouton Enregistrer tout en maintenant la touche Contrôle enfoncée, puis activez l’option « Enregistrement à la volée » dans le menu local.  Choisissez Options > Audio > Enregistrement à la volée dans la barre des menus principale (ou utilisez le raccourci clavier « Activer/Désactiver l’enregistrement à la volée »). 2 Commencez la lecture et utilisez le raccourci clavier Activer/désactiver l’enregistrement au niveau où vous souhaitez commencer l’enregistrement. L’enregistrement audio commence immédiatement. Il peut être suspendu à tout moment, en appuyant sur le bouton Arrêt ou en utilisant de nouveau le raccourci clavier Activer/désactiver l’enregistrement. Si vous utilisez cette dernière option, l’enregistrement s’arrête mais la lecture se poursuit. Remarque : vous pouvez également utiliser le raccourci clavier Activer/désactiver l’enregistrement lorsque Logic Express n’est pas en mode « Enregistrement à la volée ». Néanmoins, il existe alors un léger délai lorsque vous basculez entre les modes lecture et enregistrement. Enregistrement Punch pré-programmé Autopunch décrit l’activation et la désactivation automatiques de l’enregistrement à des points prédéfinis. L’avantage de la fonction Autopunch est que vous pouvez vous concentrer sur la lecture plutôt que sur le contrôle de Logic Express. Un autre avantage est que le lancement et l’arrêt de l’enregistrement peuvent être définis de façon beaucoup plus précise que si vous activez et désactivez le mode enregistrement manuellement. La fonction Autopunch peut être utilisée pour les pistes audio, instrumentales ou MIDI. Chapitre 14 Enregistrement dans Logic Express 417 Pour effectuer un enregistrement en mode Autopunch : 1 Activez le bouton Autopunch dans le menu Transport. Les locators droit et gauche d’Autopunch sont utilisés comme points de punch-in et de punch-out. La zone d’enregistrement Autopunch est indiquée par une bande rouge au milieu de la règle Mesure. Si les modes Cycle et Autopunch sont tous deux activés, une paire de locators s’affiche dans la zone Autopunch. Deux bandes s’affichent dans le trait de mesure ; la bande supérieure (verte) représente la zone Cycle et la bande inférieure (rouge) représente la zone Autopunch. Ces bandes peuvent être réglées séparément. 2 Réglez la zone Autopunch en effectuant l’une des opérations suivantes :  Utilisez les champs du locator Autopunch pour régler la zone Autopunch de façon numérique. Notez que le réglage Fréquence d’échantillonnage ou locators Punch de la zone de dialogue « Personnaliser la barre de transport » doit être activé pour que vous puissiez afficher et régler les locators Autopunch (à droite des locators standard).  Autopunch s’affiche graphiquement dans la règle Mesure, tout comme cela se produit pour les cycles. 3 Placez la tête de lecture à n’importe quelle position avant le point de punch-in. 4 Commencez l’enregistrement. 5 Arrêtez l’enregistrement. Une région correspondant exactement à la longueur de la bande Autopunch est créée. Toute entrée audio reçue avant le point de punch-in ou après le point de punch-out est diffusée dans Logic Express de manière habituelle, mais n’est pas enregistrée. Logic Express commence l’enregistrement environ une mesure avant le locator punch-in. Le point de départ de la région peut ainsi être ajusté ultérieurement, ce qui vous permet d’écouter la zone de départ, si vous le souhaitez. 418 Chapitre 14 Enregistrement dans Logic Express Vous pouvez également rétablir le début de l’enregistrement si l’interprète anticipe légèrement la zone d’Autopunch. De tels ajustements dans la zone de départ ne modifient pas la position de l’enregistrement par rapport à l’axe temporel du projet. L’enregistrement commence automatiquement au niveau du locator punch-in, après le décompte, même si la tête de lecture est placée après le locator droit lorsque l’enregistrement commence. Si Autopunch est activé pendant l’enregistrement, le bouton Enregistrer clignote lorsque la tête de lecture se trouve hors de la zone comprise entre les locators de punch in/out. Cela indique qu’aucun enregistrement n’est en cours. Combinaison des enregistrements Cycle et Autopunch Si vous souhaitez améliorer un morceau difficile d’un certain passage, vous pouvez utiliser une combinaison des fonctions Cycle et Autopunch. L’enregistrement en mode Cycle vous permet de vous entraîner autant que vous le souhaitez avant la prise finale. À chaque phase du cycle, seuls les événements ou les données audio compris dans la bande Autopunch sont enregistrés. Vous pouvez ainsi utiliser la rubrique précédente du morceau pour trouver votre rythme. Enregistrement en mode Cycle d’omission Si le mode Cycle d’omission est activé, la zone du cycle est ignorée lors de l’enregistrement. Enregistrement en mode Remplacement En mode Remplacement, les données qui viennent d’être enregistrées sont stockées dans une nouvelle région, comme pour un enregistrement standard. En outre, toute région existante sur la piste cible est coupée au niveau des points de punch-in et de punch-out de l’enregistrement, et les données comprises entre ces points sont supprimées. Pour activer le mode Remplacement : m Activez le bouton Remplacement dans le menu Transport. Chapitre 14 Enregistrement dans Logic Express 419 Combinaison des enregistrements Cycle et Remplacement Lorsque vous effectuez un enregistrement cyclique en mode Remplacement, les régions existantes (ou des parties de ces régions) sont supprimées uniquement lors de la première phase du cycle (du point de punch-in au point de punch-out ou à la fin du cycle). Au début de la deuxième phase du cycle, l’enregistrement se poursuit mais aucune région (ou partie de région) n’est supprimée. Si vous souhaitez remplacer la fin d’une région existante, vous n’avez pas besoin d’arrêter l’enregistrement avant le début de la deuxième phase du cycle : le début de la région existante reste intact. Gestion des enregistrements audio Après avoir effectué un ou plusieurs enregistrements, vous pouvez envisager d’en supprimer, d’en fusionner certains ou de créer un accompagnement à partir de plusieurs prises. Les opérations de ce type sont souvent effectuées immédiatement après l’enregistrement. La modification des régions et les tâches d’arrangement sont traitées dans le chapitre 13, « Création de votre arrangement ». Remarque sur les enregistrements tempo et audio Les enregistrements audio effectués dans un projet donné peuvent suivre le tempo du projet. Pour cela, activez la case Suivre le tempo dans la zone Paramètres de région (pour plus d’informations, reportez-vous à la rubrique « Utilisation de la fonction Suivre le tempo » à la page 598). Remarque : l’option Suivre le tempo n’est pas disponible pour les dossiers de prises. Si vous souhaitez qu’un enregistrement de dossier de prises suive le tempo du projet, vous devez le mettre au même niveau et le fusionner (voir « Mise sur un seul niveau et fusion » à la page 424). Il est impossible d’ajuster automatiquement au tempo du projet les régions audio créées au sein d’un autre projet ou les fichiers audio importés depuis une autre application (la case Suivre le tempo n’est pas affichée dans la zone Paramètres de région). 420 Chapitre 14 Enregistrement dans Logic Express Ces fichiers audio possèdent une fréquence de lecture fixe et peuvent uniquement être adaptés aux nouveaux tempos, via l’une des méthodes suivantes :  Étirement temporel ou compression des fichiers (ou des régions) : les algorithmes de compression/expansion du temps fournis dans Logic Express ne permettent de faire correspondre les données audio aux nouveaux tempos que si les différences de tempo sont relativement faibles. Lorsque vous souhaitez modifier de façon importante le tempo de vos enregistrements, la qualité audio risque d’en souffrir (reportez-vous à la rubrique « Étirement temporel de régions » à la page 598).  Conversion des fichiers audio en fichiers Apple Loop. Ce type de fichier rend plus faciles les tâches de transposition et d’étirement temporel (voir chapitre 28, « Création de boucles Apple Loops » à la page 687). Suppression d’enregistrements audio La suppression d’une région audio est traitée différemment pour les fichiers enregistrés dans la session en cours et pour ceux importés d’une session antérieure. Pour supprimer une région audio que vous avez enregistrée après l’ouverture du projet : m Sélectionnez la région audio, puis appuyez sur la touche Retour. Une zone de dialogue vous demande si vous souhaitez également effacer le fichier audio correspondant. Cela permet d’économiser l’espace sur le disque dur utilisé par les mauvaises prises et les enregistrements non souhaités. Pour supprimer un enregistrement audio effectué avant la session en cours : m Sélectionnez la région audio, puis appuyez sur la touche Retour. Seule la région audio est supprimée de l’arrangement, pas le fichier audio (du chutier audio). Aucune zone de dialogue n’apparaît. Cela vous permet d’éviter de supprimer accidentellement des enregistrements pouvant être utilisés dans d’autres projets. Si vous souhaitez effectivement supprimer le fichier audio correspondant du disque dur, choisissez Fichier audio > Supprimer fichier(s) dans le chutier Audio. Les fichiers audio supprimés restent dans la Corbeille jusqu’à ce que vous la vidiez. Création d’accompagnements L’action de compiler différentes rubriques de différentes prises est appelée « accompagnement » ou « comping ». Logic Express fournit des options spéciales qui simplifient considérablement la méthode d’édition standard, car elles permettent de créer des accompagnements sans avoir à couper ou à rendre silencieuses les pistes et les régions. Chapitre 14 Enregistrement dans Logic Express 421 Les différentes rubriques de prise d’un accompagnement font automatiquement l’objet d’un fondu, en fonction des réglages de fondu enchaîné par défaut. Ces réglages sont définis dans l’onglet des préférences audio générales. Vous pouvez rapidement ouvrir cet onglet à l’aide du raccourci clavier Fondus enchaînés pour la fusion et l’accompagnement de prises. En règle générale, vous devez double-cliquer sur un dossier de prises pour l’ouvrir et le modifier. Vous pouvez également effectuer plusieurs opérations de modification d’accompagnement lorsque le dossier de prises est fermé (voir ci-après). Pour compiler des rubriques de différentes prises, effectuez l’une des opérations suivantes : m Dans un dossier de prises ouvert, sélectionnez les rubriques de prises souhaitées en utilisant la fonction cliquer-déposer avec l’outil Pointeur. Avec la nouvelle fonction d’accompagnement par glissement rapide de Logic Express, le fait de sélectionner une rubrique d’une prise désélectionne automatiquement cette même rubrique dans toutes les autres prises. Une seule prise d’un dossier de prises peut être lue à n’importe quel point temporel. La piste supérieure du dossier de prises s’affiche dans la présentation de forme d’onde composée de toutes les rubriques de prises sélectionnées. Les lignes verticales de la présentation de forme d’onde indiquent les transitions entre les différentes prises. 422 Chapitre 14 Enregistrement dans Logic Express m Dans un dossier de prises fermé, vous pouvez rapidement remplacer une rubrique de prise. Pour cela, cliquez sur la rubrique du dossier tout en maintenant la touche Contrôle enfoncée, puis choisissez une prise différente dans le menu local. Important : avant d’effectuer une modification dans un accompagnement, il est conseillé de l’enregistrer (voir ci-après). Toutes les modifications ultérieures créent automatiquement un nouvel accompagnement. Pour modifier un accompagnement : m Modifiez les bordures des rubriques de prises existantes en cliquant sur les points de début et de fin et en les faisant glisser (l’icône de changement de longueur s’affiche). Lorsque vous étendez une rubrique (en déplaçant le début vers la gauche ou la fin vers la droite), les sélections adjacentes des autres prises sont automatiquement raccourcies. Lorsque vous raccourcissez une rubrique (en déplaçant le début vers la droite ou la fin vers la gauche), les sélections adjacentes des autres prises sont automatiquement étendues. Cela permet de garantir que vous ne créez aucun silence entre les différentes rubriques. Si vous faites glisser une extrémité tout en appuyant sur la touche Maj, la rubrique est raccourcie mais les rubriques adjacentes des différentes prises ne sont pas étendues. Le curseur prend alors la forme de pointeur Redimensionner. Cela vous permet de créer des ruptures (silences entre les différentes rubriques). Π Conseil : vous pouvez écouter vos modifications d’accompagnement en temps réel, en créant un cycle qui s’étend sur la durée du dossier d’accompagnement et en lançant la lecture. Chapitre 14 Enregistrement dans Logic Express 423 Pour déplacer la zone d’accompagnement sélectionnée vers la gauche ou vers la droite : m Cliquez sur la compilation et faites-la glisser (une icône de flèche à double sens s’affiche). Pour déplacer une zone d’accompagnement sélectionnée vers une autre prise : m Cliquez sur la forme d’onde d’une zone non sélectionnée pour déplacer l’accompagnement existant d’une autre prise. Il s’agit d’un moyen rapide pour comparer une zone d’accompagnement sur une prise avec la même zone d’accompagnement sur une autre prise. Pour retirer une sélection d’accompagnement : m Cliquez sur l’accompagnement en appuyant sur la touche Maj. Pour retirer toutes les rubriques d’accompagnement d’une prise : m Cliquez sur l’en-tête de région d’une prise en appuyant sur la touche Maj. Si la prise ne contient aucune sélection d’accompagnement, toutes les zones non sélectionnées des autres prises sont sélectionnées dans la prise sur laquelle vous avez cliqué. Pour retirer une prise entière d’un dossier de prises, effectuez l’une des opérations suivantes : m Sélectionnez la prise en cliquant sur l’en-tête de piste correspondant, puis choisissez Supprimer la prise dans le menu du dossier des prises (ou appuyez sur la touche Retour). m Cliquez sur la prise avec l’outil Gomme. Pour stocker une accompagnement, effectuez l’une des opérations suivantes : m Fermez le dossier de prises en cliquant sur le triangle d’affichage correspondant dans l’angle supérieur gauche. m Choisissez Nouvel accompagnement dans le menu Dossier des prises. L’accompagnement est stocké dans le menu Prises et accompagnement (et reçoit par défaut le nom « Accompagnement nn »). Pour renommer un accompagnement ou une prise : m Choisissez Renommer l’accompagnement ou Renommer la prise (selon que vous sélectionnez un accompagnement ou une prise) dans le menu Prises et accompagnements. Tapez le nom souhaité dans la zone de dialogue qui s’affiche. 424 Chapitre 14 Enregistrement dans Logic Express Gestion des dossiers de prises La rubrique suivante présente un certain nombre de commandes pouvant être exécutées sur les dossiers de prises. Ces commandes n’ont aucun effet sur la lecture mais s’appliquent aux options d’édition. Mise sur un seul niveau et fusion Le menu Dossier des prises, accessible en cliquant sur la flèche dans l’angle supérieur droit du dossier des prises, vous permet de mettre sur un seul niveau et de fusionner les dossiers de prises.  Mettre sur un seul niveau : remplace le dossier des prises par les régions qui représentent les sélections d’accompagnement en cours. Cette option vous permet de déplacer des rubriques distinctes plus près ou plus loin dans le temps.  Mettre sur un seul niveau et fusionner : crée un fichier audio qui remplace le dossier des prises dans l’arrangement. Le nouveau fichier audio a exactement la même taille que le dossier des prises, quelle que soit la position de départ de la première région ou la position de fin de la dernière région). Remarque : il n’est pas possible de fusionner les dossiers de prises comme on fusionne des régions (avec l’outil Colle, par exemple). Si c’était le cas, le nombre de prises et d’accompagnements se multiplierait et les modifications seraient plus difficiles, voire inutilisables. Chapitre 14 Enregistrement dans Logic Express 425 Ouverture de dossiers de prise dans l’Éditeur des échantillons Il est possible d’ouvrir des régions de prise dans l’Éditeur des échantillons, mais elles sont verrouillées. Il est donc impossible de déplacer le point d’ancrage ou de redéfinir les points de début et de fin. De telles opérations rendront impossible le contrôle du temps si elles sont effectuées dans l’Éditeur des échantillons. En revanche, vous pouvez ajuster les modifications des points de début et de fin dans l’arrangement, lorsque vous effectuez un zoom avant. La synchronisation des différentes rubriques peut être ajustée une fois que le dossier des prises a été « mis sur un seul niveau ». Compactage d’un dossier des prises Dans le menu Arrangement, choisissez Région > Dossier > Compacter le dossier des prises afin de créer un dossier de prises pour plusieurs régions sélectionnées. Chaque région apparaît sous forme de prise individuelle dans le dossier de prises généré.  Si les régions sélectionnées se trouvent sur différentes pistes (qui utilisent différentes bandes de canaux), le résultat de lecture risque d’être différent (un dossier de prises utilise une seule bande de canaux). La bande de canal (et la piste) de la piste compactée la plus haute est utilisée pour la lecture du dossier des prises. Si le son est désactivé sur la piste la plus haute, la prochaine piste sur laquelle le son n’est pas désactivé sera utilisée pour la lecture.  Si les régions sélectionnées sont placées l’une après l’autre sur une même piste, le dossier des prises sera attribué par défaut à un accompagnement créé automatiquement. La lecture n’est pas modifiée. Si une seule région est « compactée », elle est sélectionnée en tant que prise et aucun accompagnement n’est créé. Dans les cas où le nouveau dossier de prises chevauche d’autres régions (initialement non sélectionnées, ce qui risque de modifier le résultat de la lecture de ces régions), Logic Express crée une nouvelle piste audio pour le dossier des prises. Décompactage des dossiers de prises Le menu Arrangement propose les deux commandes suivantes :  Région > Dossier > Décompacter le dossier des prises  Région > Dossier > Décompacter le dossier des prises en nouvelles pistes Ces commandes sont également disponibles dans le menu Dossier des prises. Elles n’affectent que ce dossier, pas tous les dossiers de prises sélectionnés. Ces deux commandes remplacent les dossiers de prises sélectionnés (ou tous les dossiers de prises) par de nouvelles pistes audio pour chaque prise et chaque accompagnement. L’ordre des prises et des accompagnements affiché dans le menu du dossier des prises est illustré par l’ordre des pistes. 426 Chapitre 14 Enregistrement dans Logic Express La commande de décompactage utilise la même bande de canal (initiale) pour toutes les nouvelles pistes. Le son est désactivé sur toutes les régions de prises ou d’accompagnement (sauf celle initialement activée), afin de garantir que le résultat de la lecture n’est pas modifié. La commande Nouvelles pistes utilise des bandes de canaux différentes pour chaque nouvelle piste, mais leur attribue automatiquement le réglage de la bande de canaux initiale. Le son n’est désactivé sur aucune prise/aucun accompagnement : tous sont joués simultanément. Encore une fois, cela garantit que le résultat de la lecture n’est pas modifié. Enregistrement MIDI Les régions MIDI sont utilisées sur les instruments (logiciels) et les pistes MIDI externes. Les régions MIDI sont enregistrées en temps réel ou à l’aide de méthodes d’« entrée pas à pas ». Pour enregistrer des régions MIDI dans Logic Express, vous devez effectuer l’une des opérations suivantes :  Connecter un clavier MIDI à votre ordinateur. Pour plus d’informations, veuillez vous reporter à la rubrique « Connexion des modules et des claviers MIDI » à la page 99.  Activer le clavier avec verrouillage des majuscules en appuyant sur la touche Verrouillage majuscules. Pour plus d’informations, reportez-vous à la rubrique « Utilisation du clavier avec verrouillage majuscules » à la page 439.  Vous pouvez également utiliser l’entrée MIDI pas à pas pour « enregistrer » des notes dans Logic Express, une par une. Pour en savoir plus, reportez-vous à la rubrique « Enregistrement MIDI avec entrée pas-à-pas » à la page 433. L’enregistrement MIDI fonctionne de manière similaire à l’enregistrement audio. Quelques différences seulement sont à prendre en compte. Ces différences sont présentées dans les rubriques suivantes. Les informations d’ordre général sur l’enregistrement, telles que les commandes d’enregistrement, la configuration du bouton Enregistrer dans la barre de transport, le réglage des décomptes, etc., sont décrites dans la rubrique « Enregistrement audio », à la page 395. Chapitre 14 Enregistrement dans Logic Express 427 Enregistrement de régions MIDI en temps réel Vous pouvez enregistrer une seule région MIDI ou plusieurs régions de prises MIDI sur une piste. Si vous enregistrez plusieurs régions de prises MIDI, vous pouvez les vérifier après l’enregistrement et les utiliser lorsque cela est approprié. Vous pouvez également assembler une région MIDI composée en utilisant des segments de plusieurs régions MIDI. Vous pouvez aussi enregistrer simultanément plusieurs régions MIDI sur plusieurs pistes MIDI. Pour plus d’informations, reportez-vous à la rubrique « Enregistrement sur plusieurs pistes MIDI » à la page 431. Pour enregistrer une seule région MIDI : 1 Sélectionnez l’instrument ou la piste MIDI externe à utiliser pour l’enregistrement. Remarque : ces types de pistes sont automatiquement activés pour l’enregistrement lorsqu’ils sont sélectionnés. 2 Placez la tête de lecture sur le point où vous souhaitez commencer l’enregistrement. 3 Si vous souhaitez entendre le métronome lors de l’enregistrement, cliquez sur le bouton Métronome de la barre de transport tout en appuyant sur la touche Contrôle, puis activez le réglage Clic pendant l’enregistrement dans le menu. Pour plus d’informations sur l’utilisation du métronome, reportez-vous à la rubrique « Réglage du métronome » à la page 399. 4 Cliquez sur le bouton Enregistrer dans la barre de transport (ou appuyez sur la touche astérisque du pavé numérique, le raccourci clavier par défaut pour l’enregistrement) afin de lancer l’enregistrement. L’enregistrement commence au niveau de la position de la tête de lecture (suivant un décompte, si l’option est activée dans les réglages du projet d’enregistrement) et se termine lorsque vous cliquez sur le bouton d’arrêt ou sur le bouton de lecture. Une région MIDI est créée sur la piste sélectionnée. La région MIDI commence au début de la mesure dans laquelle le premier événement a été enregistré, et se termine à la fin de la mesure dans laquelle le dernier enregistrement a été enregistré. Vous pouvez modifier la piste de l’enregistrement, sans arrêter l’enregistrement : sélectionnez simplement une nouvelle piste avec la souris, ou utilisez le raccourci clavier « Sélectionner la piste précédente » ou « Sélectionner la piste suivante » (touches attribuées par défaut : flèche vers le haut et vers le bas). 428 Chapitre 14 Enregistrement dans Logic Express Pour enregistrer plusieurs prises MIDI en mode Cycle : 1 Ouvrez les réglages du projet Enregistrement en procédant de l’une des manières suivantes :  Choisissez Fichier > Réglages du projet > Enregistrement (ou utilisez le raccourci clavier Ouvrir les réglages du projet Enregistrement, par défaut : Option + Astérisque)  Cliquez sur le bouton Réglages dans la barre d’outils Arrangement, puis choisissez Enregistrement dans le menu. 2 Choisissez « Créer des dossiers de prises » dans le menu Enregistrements superposés (voir « Fonctionnement de l’enregistrement de prises MIDI » à la page 429). 3 Définissez un cycle en le faisant glisser de la gauche vers la droite dans la règle de mesure de l’arrangement (ou utilisez les champs des locators dans le menu Transport). 4 Commencez l’enregistrement. 5 Laissez Logic Express fonctionner. Une fois que vous avez atteint la limite de cycle droite, la tête de lecture se repositionne à la limite de cycle gauche. Logic Express crée un nouveau dossier de prises MIDI. Chapitre 14 Enregistrement dans Logic Express 429 Une nouvelle piste de prise est automatiquement créée dans le dossier des prises pour chaque répétition du cycle. Lors de l’enregistrement, le son est automatiquement désactivé sur chaque piste de prise précédente. Lorsque vous arrêtez l’enregistrement, vous pouvez écouter chacune des prises, en les sélectionnant dans le dossier des prises. Fonctionnement de l’enregistrement de prises MIDI Le fait d’activer l’option « Créer des dossiers de prises » dans le menu Enregistrements superposés a les effets suivants :  L’enregistrement sur une région MIDI existante crée un dossier de prises MIDI.  L’enregistrement sur un dossier de prises MIDI existant ajoute une prise MIDI à ce dossier.  L’enregistrement sur plusieurs régions MIDI existantes fusionne ces régions (par piste) avant de créer le dossier des prises. Toutes les régions MIDI existantes s’affichent comme première prise, tandis que les nouveaux enregistrements s’affichent comme deuxième prise, troisième prise, etc.  L’enregistrement sur plusieurs dossiers de prises MIDI existants met chacun de ces dossiers sur un même niveau, les fusionne par piste, puis crée un nouveau dossier de prises (qui s’étend sur la durée cumulée de tous les dossiers de prises). Toutes les données existant avant l’enregistrement sont affichées comme étant la première prise, alors que les enregistrements suivants apparaissent comme la deuxième prise, la troisième prise, etc. Remarque : toutes les prises qui n’ont pas été lues dans les dossiers de prises (et qui existaient avant l’enregistrement) sont perdues, bien que l’annulation soit impossible. Seul l’enregistrement effectif d’événements MIDI permet de déterminer s’ils se chevauchent. Par exemple : vous effectuez un enregistrement sur les dossiers des prises 1, 2 et 3 existants. Vous ne lisez aucun événement MIDI avant le début, ni après la fin du dossier des prises 2. Votre nouvel enregistrement est donc ajouté au dossier des prises 2, comme étant la prise suivante. Logic Express tolère même des événements Note désactivée au cours de la première mesure du dossier des prises 3, sans fusionner les dossiers des prises (2 et 3). Important : les dossiers des prises MIDI ne disposent pas de la fonctionnalité d’accompagnement pour les dossiers des prises audio. Le menu Dossier des prises MIDI ne propose pas les commandes Nouvel accompagnement et « Mettre sur un seul niveau et fusionner ». Pour en savoir plus sur les autres commandes du menu Dossier des prises MIDI, reportez vous aux rubriques « Compactage d’un dossier des prises » à la page 425 et « Mise sur un seul niveau et fusion » à la page 424. 430 Chapitre 14 Enregistrement dans Logic Express Enregistrement dans une région MIDI ou remplacement d’une région MIDI sélectionnée Vous pouvez intégrer les données récemment enregistrées dans une région MIDI existante (et sélectionnée). Cette option fonctionne à la fois en mode d’enregistrement normal et en mode d’enregistrement cyclique. Pour combiner plusieurs prises d’enregistrement en une seule région MIDI : m Choisissez l’option « Enregistrements superposés : fusionner avec les régions sélectionnées » dans l’onglet Fichier > Réglages du projet > Enregistrement. Pour remplacer des événements dans l’enregistrement d’une région MIDI : m Choisissez l’option « Enregistrements superposés : fusionner avec les régions sélectionnées » dans l’onglet Fichier > Réglages du projet > Enregistrement, puis activez le bouton Remplacer du menu Transport. Cette opération remplace les événements des régions MIDI existantes (et sélectionnées) par les événements récemment enregistrés. Vous pouvez également utiliser la combinaison fusion/remplacement conjointement avec les fonctions Autopunch et Cycle. Pour limiter la fusion au mode Cycle : m Choisissez l’option « Enregistrements superposés : fusionner seulement dans l’enregistrement cyclique » dans l’onglet Fichier > Réglages du projet > Enregistrement. L’enregistrement de la région MIDI conserve son fonctionnement habituel et de nouvelles régions sont créées pour chaque enregistrement. Toutefois, lorsque le bouton Cycle est activé dans le menu Transport, tous les enregistrements de région MIDI a boutissent à une seule région fusionnée. Enregistrement rétrospectif de régions MIDI Si vous avez joué un solo satisfaisant au cours de la lecture mais que vous n’étiez pas en mode enregistrement, ne vous inquiétez pas. Utilisez simplement le raccourci clavier Capturer comme enregistrement. Tous les événements que vous avez joué (après le dernier changement de tête de lecture) sont ainsi ajoutés à la région MIDI enregistrée, comme si vous étiez en mode enregistrement. Remarque : si vous déplacez la tête de lecture avant d’exécuter cette commande, le prochain événement entrant supprimera tous les événements précédemment joués (et votre solo sera définitivement perdu). Chapitre 14 Enregistrement dans Logic Express 431 Enregistrement sur plusieurs pistes MIDI Vous pouvez occasionnellement souhaiter enregistrer plusieurs pistes MIDI en même temps. Il s’agit souvent de données enregistrées depuis un séquenceur externe ou lues sur un clavier divisé entre plusieurs canaux MIDI. Vous pouvez également simplement lire les données d’un même canal MIDI à partir de votre clavier, mais les enregistrer sur plusieurs pistes. Vous pouvez par exemple être amené à utiliser ces fonctions pour créer des morceaux avec des instruments superposés. Pour enregistrer des régions sur plusieurs pistes MIDI : m Cliquez sur le bouton Activer l’enregistrement correspondant aux pistes sur lesquelles vous souhaitez effectuer l’enregistrement. Remarque : si vous sélectionnez une piste instrumentale ou MIDI externe qui n’est pas activée pour l’enregistrement, l’enregistrement est désactivé pour toutes les autres pistes instrumentales ou MIDI externes. En revanche, cela ne s’applique pas aux pistes audio activées pour l’enregistrement. Il existe deux modes de fonctionnement pour l’enregistrement simultané de plusieurs pistes MIDI : l’enregistrement de type Superposition ou Multi-lecteurs.  Au cours d’un enregistrement par superposition : les événements MIDI entrants sont transférés à toutes les pistes MIDI activées pour l’enregistrement. Vous pouvez écouter tous les instruments sélectionnés avant et pendant l’enregistrement.  Une région MIDI est créée sur la piste sélectionnée après l’enregistrement.  Les alias de la région MIDI sur la piste sélectionnée sont enregistrés sur les autres pistes. L’avantage de cette approche est que toutes les modifications ultérieures apportées à la région MIDI « parent » s’appliqueront à tous les alias ; cela garantit que toutes les pistes superposées resteront identiques.  Au cours d’un enregistrement multi-lecteurs : les événements MIDI entrants sont transférés aux différentes pistes activées pour l’enregistrement, en fonction des numéros des canaux MIDI transmis.  Le canal de l’événement entrant doit correspondre au canal d’une piste sur laquelle l’enregistrement est activé pour que cette fonctionnalité puisse être exécutée.  Si aucune piste avec le numéro de canal correspondant n’est détectée, l’événement est dirigé, puis enregistré sur la piste sélectionnée. Il est conseillé de vérifier que chacun de vos contrôleurs MIDI transmet les données sur les différents canaux. Si cela n’est pas possible, utilisez simplement différentes entrées sur votre interface MIDI et modifiez le canal MIDI pour chaque entrée, en utilisant un objet Transformateur entre l’entrée physique et l’entrée du séquenceur (reportez-vous à la rubrique « Objets Entrée Physique et Entrée Séquenceur » à la page 1002). 432 Chapitre 14 Enregistrement dans Logic Express Pour passer du mode d’enregistrement Superposition (par défaut) au mode Multi-lecteurs : m Accédez à l’option Fichier > Réglages du projet > Enregistrement > « Démixer automatiquement par canal si enregistrement multi-pistes ». Passage du mode Instrument au mode Live pour les instruments logiciels Lorsque vous sélectionnez une piste d’instrument (logiciel), celle-ci ne passe pas immédiatement en mode Live ou Performances. Vous devez envoyer un événement MIDI pour activer le mode Live ; il faut toutefois environ 100 millisecondes pour que l’opération prenne effet, ce qui suffit à anéantir la synchronisation de la note lue en premier. S’il est nécessaire que la première note lue soit parfaitement synchronisée, vous devez envoyer des événements MIDI silencieux à l’avance ; par exemple, appuyez sur la pédale Sustain ou faites bouger légèrement la roulette de modulation de hauteur. Cela vous permet de passer en mode Live. Pour plus d’informations, reportez-vous à la rubrique « Nécessité du mode Live » à la page 273. Filtrage de l’entrée MIDI Le protocole MIDI peut contenir une grande variété de messages MIDI, au-delà des messages de début de note et de fin de note. Ces messages comportent également des informations sur le contrôleur, telles que les commandes de modulation de tonalité, la modulation et la commande Aftertouch (pression). Dans certaines situations, il se peut que vous ne souhaitiez pas enregistrer toutes les informations envoyées par vos contrôleurs MIDI. Pour cela, vous pouvez utiliser plusieurs « filtres MIDI » qui vous permettront de définir quels types d’événements seront acceptés ou rejetés à l’entrée du séquenceur. Pour filtrer les événements MIDI entrants : 1 Choisissez Fichier > Réglages du projet > MIDI, puis cliquez sur l’onglet Filtre d’entrée. 2 Activez les cases à cocher correspondant aux types d’événements MIDI que vous souhaitez filtrer au niveau de l’entrée du séquenceur Logic Express. Chapitre 14 Enregistrement dans Logic Express 433 Désactivation de la fonction MIDI Thru Lorsqu’une piste d’instrument MIDI externe est sélectionnée dans la fenêtre Arrangement, son bouton Activer l’enregistrement est automatiquement activé et l’instrument transmet tous les événements à l’ordinateur (via la fonction MIDI Thru). Pour désactiver la fonction MIDI Thru, il vous suffit de désactiver le bouton Activer l’enregistrement. Dans certaines situations toutefois, vous souhaitez effectuer un enregistrement sur une piste qui n’est pas automatiquement acheminée vers un port MIDI. Par exemple, cela peut se produire lorsque vous effectuez un transfert système exclusif (SyEx) à l’aide d’un périphérique. Alors que de nombreux périphériques MIDI requièrent une connexion MIDI bidirectionnelle (en entrée et en sortie) pour ce type de communication, certains périphériques risquent de traiter les données entrantes (transférées par la fonction MIDI Thru de Logic Express) de manière étonnante. Vous risquez alors de perdre des données. Si vous souhaitez enregistrer une image mémoire à partir d’un périphérique qui réagit de façon inadéquate avec une connexion bidirectionnelle, désactivez la fonction MIDI Thru de l’instrument. Pour associer un instrument à une fonction MIDI Thru désactivée en permanence : 1 Ouvrez le menu Fichier > Réglages du projet > MIDI > Général. 2 Choisissez un instrument dans le menu Instrument sans fonction MIDI Thru. Enregistrement MIDI avec entrée pas-à-pas Les fonctions Entrée pas à pas vous permettent d’insérer des notes MIDI lorsque Logic Express n’est pas en mode d’enregistrement en temps réel. Cette fonction vous permet de créer des exécutions de notes qui peuvent être trop rapides pour êtres lues, ou pour répliquer des partitions, mais vous ne pouvez pas effectuer de lecture à vue. Vous pouvez utiliser une ou plusieurs des fonctions suivantes pour l’entrée pas-à-pas :  Clavier d’entrée pas à pas  Raccourcis clavier du clavier d’entrée  Clavier MIDI  Clavier de l’ordinateur (clavier avec verrouillage majuscules) Les notes sont insérées au niveau de la position actuelle de la tête de lecture, à l’aide de tous les modes d’entrée. Il est possible, et conseillé, de combiner ces méthodes pour tirer le meilleur parti des fonctions proposées par chaque option. Par exemple : vous pouvez définir la durée de la note dans la fenêtre « Clavier d’entrée pas à pas », insérer des notes via un clavier MIDI et définir la position de la tête de lecture à l’aide des raccourcis clavier. 434 Chapitre 14 Enregistrement dans Logic Express Utilisez la souris pour vous familiariser avec le clavier d’entrée pas à pas. Pour l’exploiter au mieux, vous devrez néanmoins apprendre à utiliser les raccourcis clavier d’entrée pas à pas. Ceux-ci fournissent de nombreuses options de navigation et de saisie de notes, comme l’insertion de pas avant/arrière et de silence, qui ne sont pas disponibles dans le clavier d’entrée pas à pas. Reportez-vous à la rubrique « Entrée pas à pas avec les raccourcis clavier » à la page 436. Activation du mode d’entrée MIDI pas à pas Le mode MIDI avec entrée pas à pas est disponible dans la liste des événements, le clavier du piano et les éditeurs de partitions. Pour activer le mode « Entrée pas à pas » : m Cliquez sur le bouton en regard de la barre de menu local de la liste des événements, du clavier du piano ou de l’éditeur de partition. Relâchez le bouton pour quitter le mode « Entrée pas à pas ». Utilisation du clavier d’entrée pas à pas Vous pouvez ouvrir la fenêtre « Clavier d’entrée pas à pas » à l’aide du menu Options > Clavier d’entrée pas à pas.  Touches : cliquez pour insérer une note de la tonalité souhaitée. La barre d’insertion située au-dessus du clavier est mise à jour pour afficher l’octave sélectionnée.  Boutons Durée de la note et Vélocité : déterminent la durée ou la vélocité de la note insérée. Il existe huit valeurs de vélocité, représentées par les indicateurs de volume traditionnels : ppp, pp, p, mp, mf, f, ff et fff. Ces indicateurs correspondent aux valeurs de vélocité MIDI 16, 32, 48, 64, 80, 96, 112, et 127 respectivement. Bouton Durée de la note Bouton Point Bouton Triolet Bouton Bouton Accord Vélocité Bouton Maintenir la note insérée Chapitre 14 Enregistrement dans Logic Express 435  Bouton Triolet : cliquez sur ce bouton pour que les trois prochaines notes saisies forment un triolet. La valeur rythmique du triolet se base sur la valeur de la note actuellement sélectionnée.  Bouton Point : fonctionne comme le bouton Triolet. Une paire de notes complémentaires est insérée : une croche pointée et une double croche, par exemple.  Bouton « Maintenir la note insérée » : allonge la durée de la note sélectionnée (généralement la dernière note insérée) de la valeur de durée de note sélectionnée (bouton Durée de la note actif ).  Bouton Quantifier : quantifie le début de la prochaine note insérée par rapport à la mesure ou à la ligne de temps la plus proche. Lorsque vous utilisez cette option, le placement de la tête de lecture est essentiel.  Champ Canal : détermine le canal MIDI d’une note insérée. Les réglages de canal de notes isolées n’ont aucun effet sur le canal de lecture, et par conséquent sur le son de la région MIDI. Les réglages du canal des notes isolées sont principalement utilisés pour l’affichage des partitions polyphoniques.  Bouton Accord : lorsque ce bouton est activé, vous pouvez insérer des notes de différentes tonalités et de différentes durées. Elles seront « regroupées » sur la même position, et constitueront un accord. La tête de lecture n’avance pas tant que le bouton Accord reste désactivé. Pour insérer une note à l’aide du clavier d’entrée pas à pas : 1 Ouvrez la région MIDI dans l’éditeur dans lequel vous souhaitez travailler. 2 Placez la tête de lecture à l’emplacement d’insertion souhaité. 3 Réglez les boutons par rapport à la durée de la note, la vélocité et d’autres paramètres, selon vos besoins. 4 Cliquez sur la touche de votre choix dans le clavier d’entrée pas à pas pour insérer une note de la tonalité de la touche. Une note correspondant à la tonalité, la durée et la vélocité choisies est insérée. La tête de lecture se déplace alors automatiquement à la fin de la note choisie. La note suivante peut être insérée immédiatement, en suivant l’étape mentionnée ci-dessus. Le mode Accord empêche la tête de lecture de se déplacer après l’insertion d’une note, ce qui vous permet d’insérer autant de notes que vous le souhaitez sur la même position de mesure. 436 Chapitre 14 Enregistrement dans Logic Express Pour insérer plusieurs notes sur la même position de mesure : m Activez le mode Accord en cliquant sur le bouton Accord tout à gauche de la fenêtre (ou en utilisant le raccourci clavier Mode Accord), puis suivez la procédure mentionnée précédemment. Si vous cliquez une deuxième fois sur le bouton Accord (ou sur le raccourci clavier Mode Accord), le mode Accord est désactivé (il est conseillé d’effectuer cette opération avant d’insérer la dernière note de l’accord) et la tête de lecture se déplace normalement après l’insertion de la note. Entrée pas à pas avec les raccourcis clavier L’entrée de note avec les raccourcis clavier pas à pas répond aux mêmes principes que l’entrée à l’aide du clavier d’entrée pas à pas. La différence est que les raccourcis clavier sont utilisés pour toutes les fonctions et évitent d’utiliser la souris pour choisir la tonalité, la vélocité et la durée de la note. Tous les raccourcis clavier peuvent être définis par l’utilisateur. Ils sont accessibles via le dossier Entrée clavier de la fenêtre Raccourcis clavier. Remarque : il est également possible d’entrer les données de la note en temps réel à l’aide du clavier de l’ordinateur (voir « Utilisation du clavier avec verrouillage majuscules » à la page 439). Raccourcis clavier de tonalité Les douze raccourcis clavier des notes Do à Si permettent d’insérer une note de la tonalité sélectionnée, avec la durée et la vélocité définie, au niveau de la tête de lecture actuelle, dans la région MIDI sélectionnée. Pour insérer des accords, utilisez le raccourci clavier Mode Accord. Pour désactivez le mode Accord, appuyez de nouveau sur ce raccourci clavier. Plutôt que d’attribuer des raccourcis clavier aux douze tonalités de notes, vous avez également la possibilité de définir des raccourcis clavier pour les sept tonalités de la gamme de Do majeur. Ces raccourcis peuvent être utilisés en association avec les raccourcis Note suivante : Dièse et Note suivante : Bémol, afin d’insérer les autres tonalités. Lorsque vous créez un système pour l’attribution des raccourcis clavier, il existe deux méthodes simples :  Disposez ces raccourcis sur le clavier de sorte qu’ils ressemblent à un clavier de piano(Do, Ré, Mi, Fa, Sol, La, Si sur une ligne, l’un à côté de l’autre et Do#, Ré#, Fa#, Sol# et La# au-dessus de ces notes, respectivement).  Attribuez des touches alphabétiques aux tonalités de la gamme de Do majeur, conformément à leur nom de note, particulièrement si vous utilisez la deuxième méthode mentionnée précédemment. Chapitre 14 Enregistrement dans Logic Express 437 Raccourcis clavier des octaves L’octave d’une note insérée dépend de la position actuelle de la barre d’insertion. Une petite barre horizontale (de la longueur d’une octave) apparaît au dessus du clavier du piano dans le menu « Clavier d’entrée pas à pas ». La note choisie doit toujours être insérée dans la gamme indiquée par cette barre. Cette barre se déplace continuellement en fonction de la dernière note insérée : le centre de la barre d’insertion de gamme est toujours aligné avec la dernière note insérée. La note suivante est insérée dans cette octave, si la barre de la gamme n’est pas déplacée à l’aide d’un raccourci clavier ou de la souris. Exemple : si un Sol est inséré immédiatement après un Do, le Sol sera placé sous le Do. Le fait d’insérer un Do place la barre d’insertion de gamme entre le Sol (extrémité gauche) et le Fa# (extrémité droite), avec le Do au centre. Quelle que soit la prochaine note choisie, elle est insérée dans cette gamme. La barre de la gamme se déplacera toutefois à mesure que d’autres notes seront insérées, et le centre sera toujours aligné à la dernière note insérée. D’autres raccourcis clavier vous permettent de placer la barre de la gamme dans différentes octaves : Octave 0 à Octave 6, mais aussi Octave +1/–1/+2/–2, qui déplacent la barre de la gamme d’une ou deux octaves vers le haut ou vers le bas. La barre de la gamme peut également être déplacée avec la souris. Durée de la note et Vélocité La durée de la note et la vélocité sont déterminées avant l’insertion de la note à l’aide d’une commande de tonalité. Les valeurs sélectionnées peuvent être affichées dans la fenêtre « Clavier d’entrée pas à pas ». Silences, Correction, Pas avant et Pas arrière Le raccourci clavier Silence déplace la tête de lecture vers l’avant (en fonction de la valeur de note définie) sans insérer de note, et crée donc un silence. Les raccourcis clavier Pas arrière et Pas avant déplacent également la tête de lecture vers l’avant ou vers l’arrière, proportionnellement à la valeur de la note sélectionnée. Le raccourci clavier Supprimer supprime la dernière note insérée et déplace la tête de lecture vers la position à laquelle la note (précédente) commençait. Vous pouvez ainsi effectuer des corrections rapides (une autre note peut être insérée immédiatement en remplacement de la note effacée). 438 Chapitre 14 Enregistrement dans Logic Express Triolets, Groupes de notes pointées Le nom du raccourci clavier « Les trois notes suivantes sont un triolet » est explicite. La valeur rythmique des triolets correspond à la valeur de note actuellement sélectionnée dans la fenêtre « Clavier d’entrée pas à pas ». Si une croche est sélectionnée, un triolet de croches sera créé. Une fois les trois notes insérées, les valeurs binaires seront insérées, à moins que le raccourci clavier ne soit de nouveau utilisé. Le raccourci clavier « Les deux notes suivantes sont pointées » fonctionne de la même façon. En revanche, avec ce raccourci clavier, les notes insérées seront un couple de notes complémentaires : une croche pointée et une double croche, par exemple. Interaction avec les autres raccourcis clavier Si le mode « Entrée pas à pas » (le bouton Entrée) est activé dans la partition, le clavier du piano ou les éditeurs de liste d’événement, ces raccourcis clavier sont prioritaires sur tous les autres. Cela signifie que vous pouvez attribuer des touches ou des combinaisons de touches à ces fonctions, même si elles sont déjà attribuées à d’autres fonctions. À partir du moment où le mode « Entrée pas à pas » est activé, ces attributions de touches seront appliquées. Si le mode « Entrée pas à pas » est désactivé, toutes les autres attributions (pour les mêmes touches) seront prioritaires. Remarque : étant donné que vous pouvez utiliser les attributions de touches déjà utilisées pour d’autres fonctions, il est conseillé d’éviter d’utiliser des touches attribuées à des fonctions que vous pouvez être amené à utiliser également lorsque vous êtes en mode « Entrée pas à pas ». Par exemple, la barre d’espace est utilisée pour la fonction Lecture/Arrêt/Reprendre. Il serait donc risqué d’attribuer cette touche à la commande de silence. Utilisation du clavier MIDI pour l’entrée pas à pas L’entrée de note via le protocole MIDI fonctionne comme l’entrée de note via le clavier d’entrée pas à pas (voir « Utilisation du clavier d’entrée pas à pas » à la page 434). En règle générale, vous appuyez sur les touches de votre clavier MIDI réel plutôt que de cliquer sur les notes du clavier qui s’affiche à l’écran. Les informations sur la vélocité de la note MIDI (la force avec laquelle vous tapez sur les touches du clavier MIDI) sont envoyées lorsque vous utilisez l’entrée MIDI pas à pas. Vous pouvez insérer un accord en le jouant simplement sur le clavier MIDI. Vous n’avez pas besoin de passer en mode Accord pour insérer un accord. Il est conseillé de laisser la fenêtre « Clavier d’entrée pas à pas » les premières fois que vous utilisez ces fonctions, afin de vous familiariser avec celles-ci. Lorsque vous maîtrisez bien ces fonctions, vous pouvez laisser la fenêtre « Clavier d’entrée pas à pas » fermée, car elle constitue une référence et non une condition obligatoire pour l’entrée MIDI pas à pas. Chapitre 14 Enregistrement dans Logic Express 439 Il est également recommandé d’utiliser les raccourcis clavier d’entrée (voir « Entrée pas à pas avec les raccourcis clavier » à la page 436) afin de passer rapidement d’une valeur à une autre (par exemple la durée de la note) ou pour déterminer la position d’insertion. Utilisation du clavier avec verrouillage majuscules Le clavier avec verrouillage majuscules vous permet d’utiliser le clavier de l’ordinateur en tant que clavier MIDI virtuel en temps réel. Il peut également être utilisé pour l’entrée MIDI pas à pas. Il constitue donc un élément idéal lorsque vous ne possédez aucun clavier MIDI ou USB, par exemple lorsque vous voyagez avec votre ordinateur Macintosh portable. Le clavier avec verrouillage majuscules s’étend sur plus de dix octaves et inclut également les données sur la vélocité et la pédale Sustain. Pour activer le clavier avec verrouillage majuscules : m Appuyez sur la touche Verrouillage majuscules de votre clavier d’ordinateur. Un indicateur lumineux Verrouillage majuscules montre que cette fonction est activée. Il va sans dire que dans ce mode, de nombreuses touches ont différentes fonctions qui remplacent leur attribution de raccourci clavier habituelle. La version illustrée ici est celle du clavier avec verrouillage majuscules en anglais. D’autres langues peuvent être affichées, en fonction du réglage de votre clavier Mac OS X. La touche Échap envoie une commande « Désactiver toutes les notes », au cas où vous rencontriez des notes en attente. Les touches numériques (au dessus du clavier QWERTY) sont utilisées pour définir l’octave sur le clavier MIDI. Les deux lignes situées sous les touches numériques sont utilisées comme équivalents des touches du clavier MIDI, en commençant par la note Do, attribuée à la lettre A (ou Q si vous utilisez un clavier français, par exemple). Pour plus de détails, reportez-vous aux touches noires et blanches illustrées dans les images ci-dessus. 440 Chapitre 14 Enregistrement dans Logic Express La ligne la plus basse des touches alphabétiques permet de régler la vélocité des notes MIDI. Certaines valeurs sont prédéfinies, et vont de pianissimo à forte fortissimo. Chaque valeur peut être ajustée à l’aide des deux touches situées à droite de cette ligne (elles sont attribuées aux touches de virgule et de point sur un clavier QWERTY anglais). Cette configuration de clavier vous permet d’envoyer une valeur de vélocité comprise entre 1 et 127. La barre d’espace fournit une fonction de pédale Sustain, jouée avec vos pouces plutôt qu’avec vos pieds. Vous pouvez librement déclencher de nouvelles notes ou passer d’une octave ou d’une valeur de vélocité à une autre tout en maintenant les notes jouées. Les valeurs d’octave et de vélocité actuelles des notes MIDI sont affichées dans la partie supérieure de la fenêtre du clavier avec verrouillage majuscules. Un équilibreur de transparence est également disponible dans cette fenêtre, afin de rendre la visualisation plus nette ou de placer la fenêtre en arrière-plan. Préférences du clavier avec verrouillage majuscules L’option « Valider la touche de verrouillage » vous permet d’activer ou de désactiver complètement la fonction de clavier avec verrouillage majuscules. Si vous souhaitez utiliser le raccourci clavier Barre d’espace pour commencer, arrêter ou reprendre la lecture dans Logic Express, plutôt que la fonction Pédale Sustain pour le Clavier avec verrouillage majuscules (lorsqu’il est activé), vous pouvez désactiver l’option « La barre d’espace sert de pédale Sustain ». Informations supplémentaires sur le clavier avec verrouillage majuscules Étant donné que les claviers d’ordinateur comportent des restrictions techniques, vous ne pouvez jouer que six notes simultanément. Il existe d’autres restrictions concernant la précision temporelle ou pouvant apparaître lorsque vous essayez de jouer des clusters de notes (inhabituels d’un point de vue musical). Souvenez-vous que le but initial de cette fonctionnalité est d’apporter une aide lorsque vous composez des morceaux au cours d’un voyage et non de remplacer complètement un vrai clavier MIDI. 15 441 15 Présentation de l’édition MIDI Ce chapitre présente les éditeurs qui conviennent le mieux pour modifier différents types d’événements MIDI dans Logic Express. Logic Express offre plusieurs éditeurs d’événements MIDI : les éditeurs de partition, Clavier et Hyper, Liste des événements et la fenêtre de transformation. Chaque éditeur fournit une vue différente d’événements MIDI et offre des fonctions d’édition uniques. Ces différences facilitent certaines tâches d’édition MIDI et vous serez certainement amené à utiliser plusieurs éditeurs en fonction du type de partie à réaliser. Les points forts de chaque éditeur sont listés ci-après :  Éditeur de partition : utilisé pour créer une notation imprimée. Idéal si vous aimez travailler avec des points, des tirets et des lignes.  Clavier : convient parfaitement pour modifier la hauteur tonale et la longueur des événements de notes MIDI. Les événements de notes sont représentés sous la forme de rectangles horizontaux sur une grille. La longueur du rectangle est directement proportionnelle à la longueur de la note. La hauteur tonale est indiquée par la position verticale du rectangle, les notes les plus élevées étant placées vers le haut de l’écran.  Hyper Editor : utile pour la création de parties de percussions MIDI et la modification de niveaux d’événements de notes individuels. Il peut également servir à créer et éditer des informations de contrôleur MIDI, permettant de dessiner des courbes résultant en une trajectoire de filtre dans un synthétiseur externe, par exemple.  Liste des événements : affiche tous les types d’événement MIDI sous forme de liste. Utilisez cet éditeur lorsque vous devez apporter des modifications précises à un aspect d’un événement MIDI.  Fenêtre de transformation : il ne s’agit pas tout à fait d’un éditeur, tout comme les autres fenêtres. La fenêtre de transformation est utilisée pour les tâches de traitement MIDI via des variables mathématiques. Outre ces opérations qui peuvent sembler complexes, vous pouvez utiliser la fenêtre de transformation pour créer un crescendo dans une région, doubler ou réduire de moitié la vitesse des notes dans une région, entre autres. De nombreux processus sont disponibles en tant que préréglages, mais vous pouvez aussi créer les vôtres. 442 Chapitre 15 Présentation de l’édition MIDI Important : vous ne pouvez pas effectuer d’opérations d’édition d’événements dans la zone Arrangement des éditeurs, sauf si les données MIDI résident dans une région MIDI qui existe dans la zone Arrangement. Ouverture des éditeurs Tous les éditeurs peuvent être ouverts de puis la menu Fenêtre. L’éditeur est alors lancé dans une fenêtre distincte. Pour ouvrir un éditeur depuis le menu Fenêtre : m Choisissez le nom de la fenêtre d’éditeur dans le menu Fenêtre (ou utilisez le raccourci clavier correspondant). En général, vous accédez directement aux éditeurs dans la fenêtre Arrangement, mais il peut être utile de disposer de plusieurs copies du même éditeur ouvertes en même temps. Par exemple : deux listes d’événements, l’une pour définir l’affichage au niveau Arrangement (affichant les régions), l’autre faisant apparaître les événements au sein des régions. Lorsque vous cliquez sur les noms de régions dans la liste d’événements au niveau arrangement, le contenu de la région sélectionné est mis à jour et affiché dans l’autre fenêtre de liste des événements. Pour accéder à l’éditeur de partition, l’Éditeur Clavier ou Hyper Editor dans la fenêtre Arrangement, effectuez une des opérations suivantes : m Cliquez sur le bouton approprié au bas de la zone d’édition de la fenêtre Arrangement. Le contenu (les événements) de la région MIDI sélectionnée figure dans la fenêtre de l’éditeur sélectionné. Fenêtre d’éditeur Raccourci clavier par défaut Liste des événements Éditeur de partition Commande + 3 Transformation Commande + 4 Hyper Editor Commande + 5 Éditeur Clavier Commande + 6 Chapitre 15 Présentation de l’édition MIDI 443 m Double-cliquez sur une région MIDI (voir ci-dessous). Vous pouvez utiliser les raccourcis clavier Ouvrir/fermer l’éditeur de partition, Afficher/ Masquer le clavier du piano et Ouvrir/fermer l’Éditeur Hyper. L’utilisation répétée du raccourci clavier ouvre ou ferme l’éditeur choisi en bas de la fenêtre Arrangement. Π Conseil : maintenez la touche Option enfoncée tout en double-cliquant sur une région MIDI afin d’ouvrir l’éditeur souhaité dans une fenêtre séparée. Pour accéder à la Liste des événements dans la fenêtre Arrangement, procédez de l’une des manières suivantes : m Cliquez sur le bouton Listes à droite de la barre d’outils de la fenêtre Arrangement, puis cliquez sur l’onglet Liste des événements. m Utilisez le raccourci clavier Afficher/Masquer la liste des événements (affectation par défaut : E). m Double-cliquez sur une région MIDI (voir ci-dessous). Le contenu (les événements) de la région MIDI sélectionnée figure dans la liste des événements, à droite de la fenêtre Arrangement. Pour définir l’éditeur auquel on accède en double-cliquant sur une région MIDI : 1 Ouvrez les préférences globales en procédant de l’une des manières suivantes :  Choisissez Logic Express > Préférences > Global (ou utilisez le raccourci clavier Ouvrir les Préférences Globales).  Cliquez sur le bouton Préférences dans la barre d’outils Arrangement et choisissez Global dans le menu. 2 Dans l’onglet Édition, choisissez l’éditeur souhaité dans le menu local « Double-cliquer sur une région MIDI ouvre ». Pour accéder à la fenêtre de transformation, effectuez l’une des opérations suivantes : m Choisissez Fenêtre > Transformation (ou utilisez le raccourci clavier correspondant, par défaut : Commande + 4). m Lorsqu’une fenêtre d’édition MIDI : Choisissez Fonctions > Transformation. 444 Chapitre 15 Présentation de l’édition MIDI Écoute des événements MIDI lors de l’édition Il va sans dire que l’édition MIDI est grandement facilitée si vous pouvez entendre chaque événement et édition que vous apportez, que vous parcouriez la liste des événements (sélection automatique) ou transposiez une note en la faisant glisser. Pour écouter les éditions d’événements MIDI en temps réel : m Cliquez sur le bouton MIDI Out en haut à gauche de chaque fenêtre d’édition. Il s’agit d’un réglage indépendant pour chaque éditeur, qui transmettra les événements MIDI à chaque fois qu’ils seront ajoutés, sélectionnés ou édités. Édition d’événements MIDI dans la zone Arrangement Vous ne pouvez pas effectuer d’opérations d’édition d’événements (dans la zone Arrangement ou dans les éditeurs), sauf si les données MIDI résident dans une région MIDI qui existe dans la zone Arrangement (bien que vous puissiez utiliser les fonctions Presse-papiers pour créer une région MIDI dans l’arrangement). Pour créer une région MIDI vide : m Cliquez à la position voulue dans la zone Arrangement avec l’outil Crayon. Une région MIDI vide est alors insérée, dans laquelle vous pouvez entrer manuellement des événements. En général, l’édition au niveau événement ne peut pas être effectuée sur des régions dans la zone Arrangement, mais il existe quelques exceptions. Dans certains cas, il peut même être plus efficace d’effectuer vos éditions (ou opérations) sur des régions MIDI dans la zone Arrangement, plutôt que dans un éditeur MIDI. Exemples :  Modification des longueurs de notes en redimensionnant la région (voir« Options d’utilisation des notes lors de la modification des longueurs des régions MIDI » à la page 354).  Suppression ou déplacement de parties de régions (et donc d’événements) avec l’outil Sélecteur.  Ajustement de la lecture de tous les événements d’une région en modifiant ses paramètres de lecture. Chapitre 15 Présentation de l’édition MIDI 445 Copie d’événements via le Presse-papiers dans la zone Arrangement Vous pouvez utiliser le Presse-papiers pour ajouter les événements MIDI directement à la piste sélectionnée dans la zone Arrangement, à la position de la tête de lecture en cours. Cela fonctionne aussi pour les événements d’un autre projet. Pour copier des événements MIDI dans la zone Arrangement : 1 Sélectionnez les événements à copier dans l’un des éditeurs d’événements. 2 Choisissez Édition > Copier (ou utilisez le raccourci clavier Copier, par défaut : Commande + C). 3 Sélectionnez la piste (et la région MIDI, si applicable) dans laquelle vous voulez copier les événements. 4 Choisissez Édition > Coller (ou utilisez le raccourci clavier Coller, par défaut : Commande + V). Logic Express ajoute le contenu du Presse-papiers (événements MIDI) à la région MIDI sélectionnée. Remarque : si aucune région MIDI n’est sélectionnée, Logic Express va créer une région MIDI sur la piste sélectionnée, à la position de la tête de lecture en cours. Contrôle et réinitialisation des événements MIDI La ligne supérieure de l’affichage Activité MIDI dans la barre de transport affiche le dernier message MIDI reçu. La ligne du bas montre le message MIDI le plus récemment reçu. Le moniteur est principalement utilisé pour vérifier les connexions MIDI. Lorsque Logic Express reçoit plus d’une note MIDI simultanément ; les intervalles tenus respectifs (entre des notes) sont interprétés et affichés en tant qu’accords. Pour désactiver les notes bloquées : m Cliquez sur la rubrique inférieure de l’écran des activités MIDI ou cliquez rapidement à deux reprises sur le bouton Arrêt. Dans les deux cas, des messages de réinitialisation sont envoyés, selon ce qui est défini dans Logic Express > Préférences > MIDI > Messages de réinitialisation. Dans certains cas, des modules internes MIDI continuent à émettre des sons, même quand aucune donnée de note ne leur est envoyée. Ceci indique que vos sources sonores n’ont pas répondu aux messages « Désactiver toutes les notes » envoyés par Logic Express. Affichage de l’activité MIDI 446 Chapitre 15 Présentation de l’édition MIDI Pour arrêter les notes suspendues : m Double-cliquez sur l’affichage Activité MIDI dans la barre de transport (ou utilisez le raccourci clavier Envoi de désactivation de notes discrètes). Des messages de désactivation de note distincts seront envoyés pour chaque note, sur tous les canaux de chaque port MIDI, ce qui devrait résoudre le problème. Pour arrêter une modulation indésirable : m Choisissez Options > Envoi vers MIDI > Contrôleurs de réinitialisation (ou utilisez le raccourci clavier correspondant). Ceci transmet le message de changement de contrôle n°121, avec la valeur 0 (réinitialise tous les contrôleurs), sur tous les canaux et sorties MIDI utilisés par des instruments définis. Tous les contrôleurs MIDI sont neutralisés, comme la modulation ou les modulations de hauteur. Pour régler tous les canaux MIDI sur leur volume maximal : m Choisissez Options > Envoi vers MIDI > Volume maximum (ou utilisez le raccourci clavier correspondant). Ceci transmet le message de changement de contrôle n°7, avec la valeur 127, sur tous les canaux et sorties MIDI utilisés par des instruments définis. Pour envoyer tous les réglages de programme, de volume et de balance depuis toutes les zones de paramètres d’instruments MIDI externes : m Choisissez Options > Envoi vers MIDI > Réglages des instruments MIDI utilisés (ou utilisez le raccourci clavier correspondant). Vos sources sonores sont réinitialisées, si des changements de programmes inattendus se produisent à mi-performance. Pour envoyer automatiquement des réglages d’instruments après le chargement d’un projet : m Activez l’option « Envoyer après avoir chargé le projet : réglages d’instruments MIDI utilisés » dans l’onglet Fichier > Réglages du projet > MIDI > Général. 16 447 16 Modification d’événements MIDI dans l’Éditeur Clavier L’Éditeur Clavier présente les événements de notes d’une région MIDI sous la forme de rectangles horizontaux. Ils ont le même aspect que les perforations des rouleaux de papier des pianos mécaniques. L’Éditeur Clavier peut afficher les événements de notes MIDI d’une région MIDI, ou de toutes les régions MIDI dans un dossier ou projet, le cas échéant (voir « Affichage et édition de plusieurs régions MIDI » à la page 449). Cependant, vous travaillerez généralement sur une région à la fois dans l’Éditeur Clavier. Découverte de l’interface de l’Éditeur Clavier Les événements de notes MIDI sont représentés par des rectangles horizontaux, alignés sur une grille de lignes horizontales et verticales.  La position horizontale des événements de notes indique leur positionnement temporel (mesure, battement et battement secondaire) au sein de la région et du projet. Événement de la note MIDI 448 Chapitre 16 Modification d’événements MIDI dans l’Éditeur Clavier  La position verticale des événements de notes indique leur hauteur tonale, ceux étant positionnés le plus en haut de la grille Clavier ayant la hauteur tonale la plus élevée. Les accords s’affichent sous la forme de piles verticales de rectangles de notes. L’alignement de notes dans des accords n’est pas toujours identique, car toutes les notes d’un accord peuvent ne pas être frappées ou finir en même temps.  La durée d’un événement de note MIDI est directement liée à la longueur du rectangle. Par conséquent, des notes telles que les croches, les noires, les blanches, etc., sont facilement reconnaissables. Utilisation de la grille La grille fournit une référence solide pour les durées de notes : vous pouvez voir les positions de début et de fin des événements de notes, alignés avec les valeurs temporelles figurant dans la règle Mesure. L’édition de la durée des notes en est simplifiée. Les traits affichés par défaut dans la grille sont :  Une ligne noire à chaque mesure et battement.  Une ligne gris clair à chaque valeur de division (vous pouvez modifier la valeur de division dans le transport). Vous pouvez modifier l’apparence de cette grille et d’autres aspects de l’Éditeur Clavier (voir « Personnalisation de l’Éditeur Clavier » à la page 468). Le clavier vertical sur la gauche de l’Éditeur Clavier indique des hauteurs tonales de notes. Les lignes noires horizontales s’étendent sur l’écran entre les notes Si et Do et les notes Mi et Fa. Ces lignes sont très utiles lors de la transposition de notes en les faisant glisser vers le haut ou le bas. Explication de la vélocité des notes Chaque événement de note comporte une ligne horizontale qui passe par le rectangle. La longueur de la ligne, relativement à la durée totale de la note, correspond à la valeur de vélocité de la note (jusqu’à la valeur maximale de 127). La vélocité montre la force avec laquelle le clavier MIDI a été frappé lorsque la note a été enregistrée. En règle générale, elle indique aussi le niveau sonore de la note dans une plage pouvant atteindre 127, cette dernière valeur correspondant au niveau le plus fort. L’Éditeur Clavier indique aussi les vélocités via différentes couleurs. Chapitre 16 Modification d’événements MIDI dans l’Éditeur Clavier 449 Ainsi, il est très aisé de visualiser l’intervalle global (et de chacune des notes) des vélocités dans une région MIDI. Lorsque la vélocité des notes MIDI est modifiée, la couleur des notes sélectionnées change en temps réel. Remarque : lorsque l’option Présentation > Couleur de région est activée, les notes s’affichent dans la couleur des régions MIDI qui les contiennent. Il est ainsi plus facile d’identifier les notes lors de la visualisation de notes de plusieurs régions. Affichage et édition de plusieurs régions MIDI L’Éditeur Clavier peut simultanément afficher le contenu de toutes les régions MIDI dans un dossier, de toutes les régions d’un projet ou de plusieurs régions MIDI sélectionnées. Vous pouvez sélectionner à votre gré des événements de notes appartenant à différentes régions MIDI, puis les traiter, les déplacer ou les redimensionner selon vos besoins. Une bulle d’aide indique le nombre d’événements sélectionnés et les régions MIDI parentes. Par exemple : 8/2 signifie que huit notes sont sélectionnées dans deux régions MIDI. Pour afficher les événements de notes de toutes les régions MIDI dans un projet : m Assurez-vous que, dans le menu Présentation, l’option « Afficher les régions sélectionnées uniquement » est décochée puis double-cliquer sur l’arrière-plan de l’Éditeur Clavier. Le point de départ de chaque région MIDI est indiqué par une ligne verticale de la même couleur que la région MIDI. Double-cliquez sur un événement de note pour revenir à l’affichage du contenu d’une région MIDI parente (la région qui contient la note). Pour limiter l’affichage des événements de note des régions MIDI sélectionnées : m Activez l’option Présentation > Afficher les régions sélectionnées uniquement. L’affichage Clavier est restreint aux événements de notes des régions MIDI sélectionnées dans la zone Arrangement. Logiquement, les événements des régions non sélectionnées ne sont pas affichés, ce qui simplifie l’édition de plusieurs régions. 450 Chapitre 16 Modification d’événements MIDI dans l’Éditeur Clavier Création et édition d’événements de notes La gestion d’événements de notes dans l’Éditeur Clavier est très similaire à la gestion de régions dans la zone Arrangement. Un grand nombre des techniques utilisées pour allonger, couper et déplacer des régions étant également applicables aux événements de notes, une majorité de cette rubrique devrait donc vous être familière. Alignement d’éditions sur des positions temporelles Vous déplacez et redimensionnez des événements dans l’Éditeur Clavier car vous voulez qu’ils commencent et finissent à un moment précis. Logic Express offre une fonction de positionnement qui aligne automatiquement les points de début et de fin d’un événement sur une valeur de grille spécifique, lorsque vous le déplacez ou le redimensionnez. Pour aligner des événements sur une grille : m Choisissez l’une des valeurs suivantes dans le menu Magnétisme en haut de la fenêtre Clavier :  Intelligent : les opérations vont s’aligner sur la mesure, le battement, le battement secondaire (etc.) le plus proche en fonction de la valeur de division et du niveau de zoom en cours de la Règle Mesure.  Mesure : les opérations d’édition alignent les éléments sur la mesure la plus proche.  Battement : les opérations d’édition s’alignent sur le battement le plus proche d’une mesure.  Division : les opérations d’édition s’alignent sur la division la plus proche (temps figurant dans la barre de transport et la règle Mesure).  Ticks : les opérations d’édition s’alignent sur le tick d’horloge le plus proche (1/3840e d’un battement).  Images : les opérations d’édition s’alignent sur l’image SMPTE la plus proche. Chapitre 16 Modification d’événements MIDI dans l’Éditeur Clavier 451 La fonctionnalité d’alignement est relative, ce qui signifie que l’opération d’édition s’aligne sur la mesure, le battement (etc.) le plus proche, en conservant la distance de l’événement par rapport à sa position d’origine. Par exemple, si un événement est placé à la position 1.2.1.16 et que vous le placez environ au niveau de la mesure 2 (le menu Aligner étant défini sur Mesure), il aligne automatiquement l’événement sur la position 2.2.1.16 et non 2.1.1.1 (le point de départ de la mesure 2). Vous pouvez remplacer les alignements relatifs avec l’option « Aligner sur la valeur absolue ». Pour aligner sur une position absolue (pas relative) : m Choisissez l’option « Aligner sur la valeur absolue » dans le menu Alignement. Un tick s’affiche à gauche lorsqu’elle est activée. Cette fonction est utilisée conjointement au format de grille d’alignement choisi. Pour clarifier, si vous avez choisi Mesure dans le menu Alignement alors que l’option « Aligner sur la valeur absolue » est activée, le déplacement d’un événement (de la position 1.2.1.16) à proximité de la mesure 2 provoque l’alignement de cet événement sur la position 2.1.1.1 (le point de départ de la mesure 2), plutôt que sur sa position relative (2.2.1.16). Le réglage du menu Magnétisme s’applique aux opérations d’édition suivantes :  Déplacement et copie d’événements  Redimensionnement d’événements  Découpage d’événements  Déplacement, ajout et redimensionnement de marqueurs  Définition de limites de cycle Vous pouvez remplacer temporairement la grille d’alignement, permettant des éditions et des ajustements plus fins. Pour ne pas tenir compte de la grille d’alignement : m Appuyez sur Contrôle tout en effectuant l’opération d’édition. La valeur de division choisie dans le transport (1/16, par exemple) détermine l’échelle de la grille d’édition. m Maintenez les touches Contrôle et Maj enfoncées lors de l’opération d’édition : La grille d’édition passe aux ticks. 452 Chapitre 16 Modification d’événements MIDI dans l’Éditeur Clavier Utilisation de l’écran d’informations L’écran d’informations de l’Éditeur Clavier indique la position et la hauteur tonale en cours du pointeur de la souris dans la région.