http://manuals.info.apple.com/en_US/iPhone_3G_Important_Product_Information_Guide.pdf

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Important Product Information Guide 034-5216_N82_iPig_63x116_4.5pt.indd 1 9/3/09 3:06:12 PM2 3 This Important Product Information Guide contains safety, handling, disposal and recycling, regulatory, and software license information, as well as the one-year limited warranty for iPhone. Look for recycling, disposal, and other environmental information in the iPhone User Guide at: support.apple.com/manuals/iphone ±Read all safety information below and operating instructions before using iPhone to avoid injury. For detailed operating instructions read the iPhone User Guide on your iPhone by visiting help.apple.com/iphone or using the iPhone User Guide bookmark in Safari. For downloadable versions of the iPhone User Guide and the latest version of this Important Product Information Guide, visit: support.apple.com/manuals/iphone Important Safety Information WARNING: Failure to follow these safety instructions could result in fire, electric shock, or other injury or damage. Handling iPhone Do not drop, disassemble, open, crush, bend, deform, puncture, shred, microwave, incinerate, paint, or insert foreign objects into iPhone. Avoiding Water and Wet Locations Do not use iPhone in rain, or near washbasins or other wet locations. Take care not to spill any food or liquid on iPhone. In case iPhone gets wet, unplug all cables, turn off iPhone (press and hold the Sleep/Wake button, and then slide the onscreen slider) before cleaning, and allow it to dry thoroughly before turning it on again. Do not attempt to dry iPhone with an external heat source, such as a microwave oven or hair dryer. An iPhone that has been damaged as a result of exposure to liquids is not serviceable. Repairing or Modifying iPhone Never attempt to repair or modify iPhone yourself. Disassembling iPhone, including the removal of external screws, may cause damage that is not covered under the warranty. iPhone does not contain any user-serviceable parts, except for the SIM card and SIM tray. Service should only be provided by an Apple authorized wireless service provider. If iPhone has been submerged in water, punctured, or subjected to a severe fall, do not use it until you take it to an Apple authorized wireless service provider. For service information, choose iPhone Help from the Help menu in iTunes or go to: www.apple.com/support/iphone/service/faq Battery Replacement The rechargeable battery in iPhone should be replaced only by Apple or an Apple authorized wireless service provider. For more information about battery replacement service, go to: www.apple.com/support/iphone/service/battery Charging iPhone To charge iPhone, only use the Apple Dock Connector to USB Cable with an Apple USB Power Adapter or a high-power USB port on 034-5216_N82_iPig_63x116_4.5pt.indd 2 9/3/09 3:06:12 PM2 3 another device that is compliant with the USB 2.0 or 1.1 standards, another Apple-branded product or accessory designed to work with iPhone, or a third-party accessory certified to use Apple’s “Works with iPhone” logo. Read all safety instructions for any products and accessories before using with iPhone. Apple is not responsible for the operation of third-party accessories or their compliance with safety and regulatory standards. When you use the Apple USB Power Adapter to charge iPhone, make sure that the power adapter is fully assembled before you plug it into a power outlet. Then insert the Apple USB Power Adapter firmly into the power outlet. Do not connect or disconnect the Apple USB Power Adapter with wet hands. The Apple USB Power Adapter may become warm during normal use. Always allow adequate ventilation around the Apple USB Power Adapter and use care when handling. Unplug the Apple USB Power Adapter if any of the following conditions exist:  The power cord or plug has become frayed or damaged.  The adapter is exposed to rain, liquid, or excessive moisture.  The adapter case has become damaged.  You suspect the adapter needs service or repair.  You want to clean the adapter. Avoiding Hearing Damage Permanent hearing loss may occur if the receiver, earbuds, headphones, speakerphone, or earpieces are used at high volume. Set the volume to a safe level. You can adapt over time to a higher volume of sound that may sound normal but can be damaging to your hearing. If you experience ringing in your ears or muffled speech, stop listening and have your hearing checked. The louder the volume, the less time is required before your hearing could be affected. Hearing experts suggest that to protect your hearing:  Limit the amount of time you use the receiver, earbuds, headphones, speakerphone, or earpieces at high volume.  Avoid turning up the volume to block out noisy surroundings.  Turn the volume down if you can’t hear people speaking near you. For information about how to set a maximum volume limit on iPhone, see the iPhone User Guide. Emergency Calls You should not rely on wireless devices for essential communications, such as medical emergencies. Use of iPhone to call emergency services may not work in all locations. Emergency numbers and services vary by region, and sometimes an emergency call cannot be placed due to network availability or environmental interference. Some cellular networks may not accept an emergency call from iPhone if it does not have a SIM, the SIM is PIN-locked, or if you have not activated your iPhone. Driving and Riding Safely Use of iPhone alone or with headphones (even if used only in one ear) while driving a vehicle or riding a bicycle is not recommended and is illegal in some areas. Check and obey the laws and regulations on the use of mobile devices like iPhone in the areas where you 034-5216_N82_iPig_63x116_4.5pt.indd 3 9/3/09 3:06:12 PM4 5 drive or ride. Be careful and attentive while driving or riding a bicycle. If you decide to use iPhone while driving, keep in mind the following guidelines: 1  Give full attention to driving or riding and to the road. Using a mobile device while driving or riding may be distracting. If you find it disruptive or distracting while operating any type of vehicle, riding a bicycle, or performing any activity that requires your full attention, pull off the road and park before making or answering a call if driving conditions require.  Get to know iPhone and its features such as favorites, recents, and speakerphone. These features help you to place your call without taking your attention off the road. See the iPhone User Guide for more information.  Use a hands-free device. Add an extra layer of convenience and safety to your iPhone with one of the many hands-free accessories available.  Position iPhone within easy reach. Keep your eyes on the road. If you get an incoming call at an inconvenient time, let your voicemail answer it for you.  Try to plan calls when your car will be stationary. Assess the traffic before dialing, or place calls when you are not moving or before pulling into traffic.  Let the person you are speaking with know you are driving. If necessary, suspend the call in heavy traffic or hazardous weather conditions. Driving in rain, sleet, snow, ice, fog, and even heavy traffic can be hazardous.  Do not text, email, take notes, look up phone numbers, or perform any other activities that require your attention while driving. Composing or reading texts and emails, jotting down a to-do list, or flipping through your address book takes attention away from your primary responsibility, driving safely.  Do not engage in stressful or emotional conversations that may be distracting. Make people you are talking with aware you are driving and suspend conversations that have the potential to divert your attention from the road. Navigating Safely If your iPhone has applications that provide maps, directions or location-based navigation assistance, these applications should only be used for basic navigation assistance and should not be relied on to determine precise locations, proximity, distance, or direction. Maps, directions, and location-based applications provided by Apple depend on data collected and services provided by third parties. These data services are subject to change and may not be available in all geographic areas, resulting in maps, directions or location-based information that may be unavailable, inaccurate, or incomplete. Compare the information provided on iPhone to your surroundings and defer to posted signs to resolve any discrepancies. 1 Adapted from the CTIA-The Wireless Association® Safe Driving Tips. 034-5216_N82_iPig_63x116_4.5pt.indd 4 9/3/09 3:06:12 PM4 5 Do not use location-based applications while performing activities that require your full attention. For important information about driving safety, see the “Driving and Riding Safely” section. Always comply with posted signs and the laws and regulations in the areas where you are using iPhone. Seizures, Blackouts, and Eyestrain A small percentage of people may be susceptible to blackouts or seizures (even if they have never had one before) when exposed to flashing lights or light patterns such as when playing games or watching video. If you have experienced seizures or blackouts or have a family history of such occurrences, you should consult a physician before playing games (if available) or watching videos on your iPhone. Discontinue use of iPhone and consult a physician if you experience headaches, blackouts, seizures, convulsion, eye or muscle twitching, loss of awareness, involuntary movement, or disorientation. To reduce risk of headaches, blackouts, seizures, and eyestrain, avoid prolonged use, hold iPhone some distance from your eyes, use iPhone in a well lit room, and take frequent breaks. Glass Parts The outside cover of the iPhone screen is made of glass. This glass could break if iPhone is dropped on a hard surface or receives a substantial impact. If the glass chips or cracks, do not touch or attempt to remove the broken glass. Stop using iPhone until the glass is replaced by an Apple authorized wireless service provider. Glass cracked due to misuse or abuse is not covered under the warranty. Choking Hazards iPhone contains small parts, which may present a choking hazard to small children. Keep iPhone and its accessories away from small children. Repetitive Motion When you perform repetitive activities such as typing or playing games on iPhone, you may experience occasional discomfort in your hands, arms, shoulders, neck, or other parts of your body. Take frequent breaks and if you have discomfort during or after such use, stop use and see a physician. Potentially Explosive Atmospheres Turn off iPhone (press and hold the Sleep/Wake button, and then slide the onscreen slider) when in any area with a potentially explosive atmosphere. Do not charge iPhone, and obey all signs and instructions. Sparks in such areas could cause an explosion or fire, resulting in serious injury or even death. Areas with a potentially explosive atmosphere are often, but not always, marked clearly. Potential areas may include: fueling areas (such as gas stations); below deck on boats; fuel or chemical transfer or storage facilities; vehicles using liquefied petroleum gas (such as propane or butane); areas where the air contains chemicals or particles (such as grain, dust, or metal powders); and any other area where you would normally be advised to turn off your vehicle engine. For Vehicles Equipped with an Air Bag An air bag inflates with great force. Do not store iPhone or any of its accessories in the area over the air bag or in the air bag deployment area. Exposure to Radio Frequency Energy iPhone contains radio transmitters and receivers. When on, iPhone receives and sends out radio frequency (RF) energy through its antenna. The iPhone cellular antenna is located on the back of iPhone near the dock connector. The Wi-Fi and Bluetooth® antenna 034-5216_N82_iPig_63x116_4.5pt.indd 5 9/3/09 3:06:12 PM6 7 is located near the back top edge of the iPhone. iPhone is designed and manufactured to comply with the limits for exposure to RF energy set by the Federal Communications Commission (FCC) of the United States, Industry Canada (IC) of Canada, and regulating entities of Japan, the European Union, and other countries. The exposure standard employs a unit of measurement known as the specific absorption rate, or SAR. The SAR limit applicable to iPhone set by the FCC is 1.6 watts per kilogram (W/kg), 1.6 W/kg by Industry Canada, and 2.0 W/kg by the Council of the European Union. Tests for SAR are conducted using standard operating positions (i.e., at the ear and worn on the body) specified by these agencies, with iPhone transmitting at its highest certified power level in all tested frequency bands. Although SAR is determined at the highest certified power level in each frequency band, the actual SAR level of iPhone while in operation can be well below the maximum value because iPhone adjusts its cellular transmitting power based in part on proximity to the wireless network. In general, the closer you are to a cellular base station, the lower the cellular transmitting power level. iPhone has been tested, 2 and meets the FCC, IC, and European Union RF exposure guidelines for cellular, Wi-Fi, and Bluetooth operation. When tested for use at the ear and for body-worn operation (with iPhone positioned 15 mm (5/8 inch) from the body), iPhone’s maximum SAR value for each frequency band is outlined below: Frequency Band Body Ear FCC & IC 1g SAR Limit (W/kg) GSM 850 1.030 0.521 1.6 GSM 1900 0.522 1.290 1.6 UMTS II 1900 0.402 1.388 1.6 UMTS V 850 0.733 0.516 1.6 Wi-Fi 0.088 0.779 1.6 Frequency Band Body Ear EU 10g SARLimit (W/kg) GSM 900 0.559 0.235 2.0 GSM 1800 0.369 0.780 2.0 2 The device was tested by Compliance Certification Services, Fremont, CA according to measurement standards and procedures specified in FCC OET Bulletin 65, Supplement C (Edition 01-01) and IEEE P1528.1, April 21 2003 and Canada RSS 102. iPhone adheres to the European Council Recommendation of 12 July 1999 on the Limitation of Exposure of the General Public to Electromagnetic Fields [1999/519/EC]. 034-5216_N82_iPig_63x116_4.5pt.indd 6 9/3/09 3:06:13 PM6 7 Frequency Band Body Ear EU 10g SARLimit (W/kg) UMTS I 2100 0.231 0.878 2.0 Wi-Fi 0.051 0.371 2.0 iPhone’s SAR measurement may exceed the FCC exposure guidelines for body-worn operation if positioned less than 15 mm (5/8 inch) from the body (e.g. when carrying iPhone in your pocket). For optimal mobile device performance and to be sure that human exposure to RF energy does not exceed the FCC, IC, and European Union guidelines, always follow these instructions and precautions: When on a call using the built-in audio receiver in iPhone, hold iPhone with the dock connector pointed down toward your shoulder to increase separation from the antenna. When using iPhone near your body for voice calls or for wireless data transmission over a cellular network, keep iPhone at least 15 mm (5/8 inch) away from the body, and only use carrying cases, belt clips, or holders that do not have metal parts and that maintain at least 15 mm (5/8 inch) separation between iPhone and the body. If you are still concerned about exposure to RF energy, you can further limit your exposure by limiting the amount of time using iPhone, since time is a factor in how much exposure a person receives, and by placing more distance between your body and iPhone, since exposure level drops off dramatically with distance. Additional Information For more information from the FCC about exposure to RF energy, see: www.fcc.gov/oet/rfsafety The FCC and the U.S. Food and Drug Administration (FDA) also maintain a consumer website at www.fda.gov/Radiation-EmittingProducts/ RadiationEmittingProductsandProcedures/HomeBusinessandEntertainment/ CellPhones/default.htm to address inquiries about the safety of mobile phones. Please check the website periodically for updates. For information about the scientific research related to RF energy exposure, see the EMF Research Database maintained by the World Health Organization at: www.who.int/emf Radio Frequency Interference Radio-frequency emissions from electronic equipment can negatively affect the operation of other electronic equipment causing them to malfunction. Although iPhone is designed, tested, and manufactured to comply with regulations governing radio frequency emission in countries such as the United States, Canada, the European Union, and Japan, the wireless transmitters and electrical circuits in iPhone may cause interference in other electronic equipment. Therefore, please take the following precautions: Aircraft Use of iPhone may be prohibited while traveling in aircraft. For more information about using Airplane Mode to turn off the iPhone wireless transmitters, see the iPhone User Guide. Vehicles Radio frequency emissions from iPhone may affect electronic systems in motor vehicles. Check with the manufacturer or its representative regarding your vehicle. 034-5216_N82_iPig_63x116_4.5pt.indd 7 9/3/09 3:06:13 PM8 9 Pacemakers The Health Industry Manufacturers Association recommends that a minimum separation of 15 cm (6 inches) be maintained between a handheld wireless phone and a pacemaker to avoid potential interference with the pacemaker. Persons with pacemakers:  Should always keep iPhone more than 15 cm (6 inches) from the pacemaker when the phone is turned on  Should not carry iPhone in a breast pocket  Should use the ear opposite the pacemaker to minimize the potential for interference If you have any reason to suspect that interference is taking place, turn iPhone off immediately. Hearing Aids iPhone may interfere with hearing aids. If it does, consult the hearing aid manufacturer or your physician for alternatives or remedies. Other Medical Devices If you use any other personal medical device, consult the device manufacturer or your physician to determine if it is adequately shielded from radio frequency emissions from iPhone. Health Care Facilities Hospitals and health care facilities may use equipment that is particularly sensitive to external radio frequency emissions. Turn iPhone off when staff or posted signs instruct you to do so. Blasting Areas and Posted Facilities To avoid interfering with blasting operations, turn off iPhone when in a “blasting area” or in areas posted “Turn off two-way radio.” Obey all signs and instructions. Important Handling Information NOTICE: Failure to follow these handling instructions could result in damage to iPhone or other property. Carrying and Handling iPhone iPhone contains sensitive components. Do not bend, drop, or crush iPhone. If your iPhone’s back case has a highgloss finish, handle with care to maintain its appearance. If you are concerned about scratching, you can use one of the many cases sold separately. Using Connectors and Ports Never force a connector into a port. Check for obstructions on the port. If the connector and port don’t 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. Keeping iPhone Within Acceptable Temperatures Operate iPhone in a place where the temperature is between 0º and 35º C (32º to 95º F). Low- or high-temperature conditions might temporarily shorten battery life or cause iPhone to temporarily stop working properly. Avoid dramatic changes in temperature or humidity when using iPhone as condensation may form on or within iPhone. Store iPhone in a place where the temperature is between -20º and 45º C (-4º to 113º F). Don’t leave iPhone in your car, because temperatures in parked cars can exceed this range. 034-5216_N82_iPig_63x116_4.5pt.indd 8 9/3/09 3:06:13 PM8 9 When you’re using iPhone or charging the battery, it is normal for iPhone to get warm. The exterior of iPhone functions as a cooling surface that transfers heat from inside the unit to the cooler air outside. Keeping the Outside of iPhone Clean To clean iPhone, unplug all cables and turn off iPhone (press and hold the Sleep/Wake button, and then slide the onscreen slider). Then use a soft, slightly damp, lint-free cloth. Avoid getting moisture in openings. Don’t use window cleaners, household cleaners, aerosol sprays, solvents, alcohol, ammonia, or abrasives to clean iPhone. Certification and Compliance Important: Changes or modifications to this product not authorized by Apple could void the EMC and wireless compliance and negate your authority to operate the product. This product has demonstrated EMC compliance under conditions that included the use of compliant peripheral devices and shielded cables between system components. It is important that you use compliant peripheral devices and shielded cables between system components to reduce the possibility of causing interference to radios, televisions, and other electronic devices. 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. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:  Reorient or relocate the receiving antenna.  Increase the separation between the equipment and receiver.  Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  Consult the dealer or an experienced radio/TV technician for help. Canadian Compliance Statement Complies with the Canadian ICES-003 Class B specifications. Cet appareil numérique de la Classe B est conforme à la norme NMB-003 du Canada. This device complies with RSS 210 of Industry Canada. This Class B device meets all the requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique de la Classe B respecte toutes les exigences du Réglement sur le matériel brouilleur du Canada. 034-5216_N82_iPig_63x116_4.5pt.indd 9 9/3/09 3:06:13 PM10 11 European Union Regulatory Conformance The equipment complies with the RF Exposure Requirement 1999/519/EC, Council Recommendation of 12 July 1999 on the limitation of exposure of the general public to electromagnetic fields (0–300 GHz). This equipment meets the following conformance standards: EN 300 328, EN 301 489-17, EN 301 511, EN 301 908, EN 50385 EU Declaration of Conformity ????????? Apple Inc. ?????????, ?? ???? ????????, Wi-Fi, Bluetooth ?????????? ? ? ???????????? ??? ???????????? ?????????? ? ??????? ????????? ??????? ?? ????????? 1999/5/??. Cesky Apple Inc. tímto prohlašuje, že tento cellular, Wi-Fi, & Bluetooth g je ve shode se základními požadavky a dalšími príslušnými ustanoveními smernice 1999/5/ES. Dansk Undertegnede Apple Inc. erklærer herved, at følgende udstyr cellular, Wi-Fi, & Bluetooth overholder de væsentlige krav og øvrige relevante krav i direktiv 1999/5/EF. Deutsch Hiermit erklärt Apple Inc., dass sich das Gerät cellular, Wi-Fi, & Bluetooth in Übereinstimmung mit den grundlegenden Anforderungen und den übrigen einschlägigen Bestimmungen der Richtlinie 1999/5/ EG befindet. Eesti Käesolevaga kinnitab Apple Inc. seadme cellular, Wi-Fi, & Bluetooth vastavust direktiivi 1999/5/EÜ põhinõuetele ja nimetatud direktiivist tulenevatele teistele asjakohastele sätetele. English Hereby, Apple Inc. declares that this cellular, Wi-Fi, & Bluetooth is in compliance with the essential requirements and other relevant provisions of Directive 1999/5/EC. Español Por medio de la presente Apple Inc. declara que el cellular, Wi-Fi, & Bluetooth cumple con los requisitos esenciales y cualesquiera otras disposiciones aplicables o exigibles de la Directiva 1999/5/CE. ???????? ?? ??? ?????S? Apple Inc. ??????? ??? cellular, Wi-Fi, & Bluetooth S?????F?????? ???S ??S ??S?????S ??????S??S ??? ??S ?????S S??????S ????????S ??S ???G??S 1999/5/??. Français Par la présente Apple Inc. déclare que l’appareil cellular, Wi-Fi, & Bluetooth est conforme aux exigences essentielles et aux autres dispositions pertinentes de la directive 1999/5/CE. Islenska Hér með lýsir Apple Inc. yfir því að cellular, Wi-Fi, & Bluetooth er í samræmi við grunnkröfur og aðrar kröfur, sem gerðar eru í tilskipun 1999/5/EC. Italiano Con la presente Apple Inc. dichiara che questo cellular, Wi-Fi, & Bluetooth è conforme ai requisiti essenziali ed alle altre disposizioni pertinenti stabilite dalla direttiva 1999/5/CE. Latviski Ar šo Apple Inc. deklare, ka cellular, Wi-Fi, & Bluetooth atbilst Direktivas 1999/5/EK butiskajam prasibam un citiem ar to saistitajiem noteikumiem. Lietuviu Šiuo Apple Inc. deklaruoja, kad šis cellular, Wi-Fi, & Bluetooth atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos nuostatas. 034-5216_N82_iPig_63x116_4.5pt.indd 10 9/3/09 3:06:13 PM10 11 Magyar Alulírott, Apple Inc. nyilatkozom, hogy a cellular, Wi-Fi, & Bluetooth megfelel a vonatkozó alapvetõ követelményeknek és az 1999/5/EC irányelv egyéb elõírásainak. Malti Hawnhekk, Apple Inc., jiddikjara li dan cellular, Wi-Fi, & Bluetooth jikkonforma mal-htigijiet essenzjali u ma provvedimenti ohrajn relevanti li hemm fid-Dirrettiva 1999/5/EC. Nederlands Hierbij verklaart Apple Inc. dat het toestel cellular, Wi-Fi, & Bluetooth in overeenstemming is met de essentiële eisen en de andere relevante bepalingen van richtlijn 1999/5/EG. Norsk Norsk Apple Inc. erklærer herved at utstyret mobiltelefon, Wi-Fi og Bluetooth er i samsvar med de grunnleggende krav og øvrige relevante krav i direktiv 1999/5/EF. Polski Niniejszym Apple Inc. oswiadcza, ze cellular, Wi-Fi, & Bluetooth jest zgodny z zasadniczymi wymogami oraz pozostalymi stosownymi postanowieniami Dyrektywy 1999/5/EC. Português Apple Inc. declara que este cellular, Wi-Fi, & Bluetooth está conforme com os requisitos essenciais e outras disposições da Directiva 1999/5/CE. Româna Prin prezenta Apple Inc. declara ca acest aparat cellular, Wi-Fi, & Bluetooth este in conformitate cu cerintele esentiale si cu celelalte prevederi relevante ale Directivei 1999/5/CE. Slovensko Apple Inc. izjavlja, da je ta cellular, Wi-Fi, & Bluetooth v skladu z bistvenimi zahtevami in ostalimi relevantnimi dolocili direktive 1999/5/ES. Slovensky Apple Inc. týmto vyhlasuje, že cellular, Wi-Fi, & Bluetooth splna základné požiadavky a všetky príslušné ustanovenia Smernice 1999/5/ES. Suomi Apple Inc. vakuuttaa täten että cellular, Wi-Fi, & Bluetooth tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja sitä koskevien direktiivin muiden ehtojen mukainen. Svenska Härmed intygar Apple Inc. att denna cellular, Wi-Fi, & Bluetooth står I överensstämmelse med de väsentliga egenskapskrav och övriga relevanta bestämmelser som framgår av direktiv 1999/5/EG. A copy of the Declaration of Conformity is available at: www.apple.com/euro/compliance 0682 iPhone can be used in the following countries: European Community Restrictions Français Pour usage en intérieur uniquement. Consultez l’Autorité de Régulation des Communications Electroniques et des Postes (ARCEP) pour connaître les limites d’utilisation des canaux 1 à 9. www.arcep.fr 034-5216_N82_iPig_63x116_4.5pt.indd 11 9/3/09 3:06:13 PM12 13 Italiano Approvato esclusivamente per l’uso in locali chiusi. L’utilizzo all’esterno dei propri locali è subordinato al rilascio di un’autorizzazione generale. ????da G?a ???s? se es?te?????? ?????? µ??? Japan Compliance Statement—VCCI Class B Statement Compliance Marks Singapore South Africa TA-2008/712 APPROVED United Arab Emirates TRA ID: 0016472/08 TA: 0016473/08 Russia iPhone Terms and Conditions IMPORTANT: BY USING YOUR iPHONE, YOU ARE AGREEING TO BE BOUND BY THE FOLLOWING APPLE AND THIRD PARTY TERMS: A. APPLE iPHONE SOFTWARE LICENSE AGREEMENT B. NOTICES FROM APPLE C. GOOGLE MAPS TERMS AND CONDITIONS D. YOUTUBE TERMS AND CONDITIONS APPLE INC. iPHONE SOFTWARE LICENSE AGREEMENT Single Use License PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (“LICENSE”) CAREFULLY BEFORE USING YOUR iPHONE OR DOWNLOADING THE SOFTWARE UPDATE ACCOMPANYING THIS LICENSE. BY USING YOUR iPHONE OR DOWNLOADING THIS SOFTWARE UPDATE, AS APPLICABLE, YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE, UNLESS YOU RETURN THE iPHONE IN ACCORDANCE WITH APPLE’S RETURN POLICY. IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE, DO NOT USE THE iPHONE OR DOWNLOAD THIS SOFTWARE UPDATE. IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE, YOU MAY RETURN THE iPHONE WITHIN THE RETURN PERIOD TO THE APPLE 034-5216_N82_iPig_63x116_4.5pt.indd 12 9/3/09 3:06:15 PM12 13 STORE OR AUTHORIZED DISTRIBUTOR WHERE YOU OBTAINED IT FOR A REFUND, SUBJECT TO APPLE’S RETURN POLICY FOUND AT http://www.apple. com/legal/sales_policies/. 1. General. The software (including Boot ROM code and other embedded software), documentation, interfaces, content, fonts and any data that came with your iPhone (“Original iPhone Software”), as may be updated or replaced by feature enhancements, software updates or system restore software provided by Apple (“iPhone Software Updates”), whether in read only memory, on any other media or in any other form (the Original iPhone Software and iPhone Software Updates are collectively referred to as the “iPhone Software”) are licensed, not sold, to you by Apple Inc. (“Apple”) for use only under the terms of this License. Apple and its licensors retain ownership of the iPhone Software itself and reserve all rights not expressly granted to you. Apple will provide you any iPhone OS software updates that it may release from time to time, up to and including the next major iPhone OS software release following the version of iPhone OS software that originally shipped from Apple on your iPhone, for free. For example, if your iPhone originally shipped with iPhone 2.x software, Apple would provide you with any iPhone OS software updates it might release up to and including the iPhone 3.x software release. Such updates and releases may not necessarily include all of the new software features that Apple releases for newer iPhone models. 2. Permitted License Uses and Restrictions. (a) Subject to the terms and conditions of this License, you are granted a limited non-exclusive license to use the iPhone Software on a single Apple-branded iPhone. Except as permitted in Section 2(b) below, this License does not allow the iPhone Software to exist on more than one Apple-branded iPhone at a time or on any other phone, and you may not distribute or make the iPhone Software available over a network where it could be used by multiple devices at the same time. This License does not grant you any rights to use Apple proprietary interfaces and other intellectual property in the design, development, manufacture, licensing or distribution of third party devices and accessories, or third party software applications, for use with the iPhone. Some of those rights are available under separate licenses from Apple. For more information on developing third party devices and accessories for the iPhone, please email madeforipod@apple.com. For more information on developing software applications for the iPhone, please email devprograms@apple.com. (b) Subject to the terms and conditions of this License, you are granted a limited non-exclusive license to download iPhone Software Updates that may be made available by Apple for your model of the iPhone to update or restore the software on any such iPhone that you own or control. This License does not allow you to update or restore iPhones that you do not control or own, and you may not distribute or make the iPhone Software Updates available over a network where they could be used by multiple devices or multiple computers at the same time. You may make one copy of the iPhone Software Updates stored on your computer in machine-readable form for backup purposes only, provided that the backup copy must include all copyright or other proprietary notices contained on the original. 034-5216_N82_iPig_63x116_4.5pt.indd 13 9/3/09 3:06:15 PM14 15 (c) You may not and you agree not to, or to enable others to, copy (except as expressly permitted by this License), decompile, reverse engineer, disassemble, attempt to derive the source code of, decrypt, modify, or create derivative works of the iPhone Software or any services provided by the iPhone Software, or any part thereof (except as and only to the extent any foregoing restriction is prohibited by applicable law or to the extent as may be permitted by licensing terms governing use of open-sourced components included with the iPhone Software). Any attempt to do so is a violation of the rights of Apple and its licensors of the iPhone Software. (d) By storing content on your iPhone you are making a digital copy. In some jurisdictions, it is unlawful to make digital copies without prior permission from the rightsholder. The iPhone Software may be used to reproduce materials so long as such use is limited to reproduction of non-copyrighted materials, materials in which you own the copyright, or materials you are authorized or legally permitted to reproduce. (e) You agree to use the iPhone Software and the Services (as defined in Section 5 below) in compliance with all applicable laws, including local laws of the country or region in which you reside or in which you download or use the iPhone Software and Services. 3. Transfer. You may not rent, lease, lend, sell, redistribute, or sublicense the iPhone Software. You may, however, make a one-time permanent transfer of all of your license rights to the iPhone Software to another party in connection with the transfer of ownership of your iPhone, provided that: (a) the transfer must include your iPhone and all of the iPhone Software, including all its component parts, original media, printed materials and this License; (b) you do not retain any copies of the iPhone Software, full or partial, including copies stored on a computer or other storage device; and (c) the party receiving the iPhone Software reads and agrees to accept the terms and conditions of this License. 4. Consent to Use of Non-Personal Data. (a) Diagnostic Data. You agree that Apple and its subsidiaries and agents may collect, maintain, process and use diagnostic, technical and related information, including but not limited to information about your iPhone, computer, system and application software, and peripherals, that is gathered periodically to facilitate the provision of software updates, product support and other services to you (if any) related to the iPhone Software, and to verify compliance with the terms of this License. Apple may use this information, as long as it is in a form that does not personally identify you, to improve our products or to provide services or technologies to you. (b) Location Data. Apple and its partners and licensees may provide certain services through your iPhone that rely upon location information. To provide these services, where available, Apple and its partners and licensees may transmit, collect, maintain, process and use your location data, including the real-time geographic location of your iPhone. The location data collected by Apple is collected in a form that does not personally identify you and may be used by Apple and its partners and licensees to provide location-based products and services. By using any location-based services on your iPhone, you agree and consent to Apple’s and its partners’ and licensees’ transmission, collection, maintenance, processing and use of your location data to provide 034-5216_N82_iPig_63x116_4.5pt.indd 14 9/3/09 3:06:15 PM14 15 such products and services. You may withdraw this consent at any time by not using the location-based features or by turning off the Location Services setting on your iPhone. Not using these features will not impact the non location-based functionality of your iPhone. When using third party applications or services on the iPhone that use or provide location data, you are subject to and should review such third party’s terms and privacy policy on use of location data by such third party applications or services. 5. Services and Third Party Materials. (a) The iPhone Software enables access to Apple’s iTunes Store, App Store and other Apple and third party services and web sites (collectively and individually, “Services”). Use of the Services requires Internet access and use of certain Services requires you to accept additional terms. By using this software in connection with an iTunes Store account, you agree to the latest iTunes Store Terms and Conditions, which you may access and review at http://www.apple.com/legal/itunes/ww/. (b) You understand that by using any of the Services, you may encounter content that may be deemed offensive, indecent, or objectionable, which content may or may not be identified as having explicit language, and that the results of any search or entering of a particular URL may automatically and unintentionally generate links or references to objectionable material. Nevertheless, you agree to use the Services at your sole risk and that Apple shall have no liability to you for content that may be found to be offensive, indecent, or objectionable. (c) Certain Services may display, include or make available content, data, information, applications or materials from third parties (“Third Party Materials”) or provide links to certain third party web sites. By using the Services, you acknowledge and agree that Apple is not responsible for examining or evaluating the content, accuracy, completeness, timeliness, validity, copyright compliance, legality, decency, quality or any other aspect of such Third Party Materials or web sites. Apple, its officers, affiliates and subsidiaries do not warrant or endorse and do not assume and will not have any liability or responsibility to you or any other person for any third-party Services, Third Party Materials or web sites, or for any other materials, products, or services of third parties. Third Party Materials and links to other web sites are provided solely as a convenience to you. (d) Financial information displayed by any Services is for general informational purposes only and should not be relied upon as investment advice. Before executing any securities transaction based upon information obtained through the Services, you should consult with a financial or securities professional who is legally qualified to give financial or securities advice in your country or region. Location data provided by any Services is for basic navigational purposes only and is not intended to be relied upon in situations where precise location information is needed or where erroneous, inaccurate, time-delayed or incomplete location data may lead to death, personal injury, property or environmental damage. Neither Apple nor any of its content providers guarantees the availability, accuracy, completeness, reliability, or timeliness of stock information, location data or any other data displayed by any Services. (e) You agree that the Services contain proprietary content, information and material that is owned by Apple and/or its licensors, and is protected by 034-5216_N82_iPig_63x116_4.5pt.indd 15 9/3/09 3:06:15 PM16 17 applicable intellectual property and other laws, including but not limited to copyright, and that you will not use such proprietary content, information or materials in any way whatsoever except for permitted use of the Services or in any manner that is inconsistent with the terms of this License or that infringes any intellectual property rights of a third party or Apple. No portion of the Services may be reproduced in any form or by any means. You agree not to modify, rent, lease, loan, sell, distribute, or create derivative works based on the Services, in any manner, and you shall not exploit the Services in any unauthorized way whatsoever, including but not limited to, using the Services to transmit any computer viruses, worms, trojan horses or other malware, or by trespass or burdening network capacity. You further agree not to use the Services in any manner to harass, abuse, stalk, threaten, defame or otherwise infringe or violate the rights of any other party, and that Apple is not in any way responsible for any such use by you, nor for any harassing, threatening, defamatory, offensive, infringing or illegal messages or transmissions that you may receive as a result of using any of the Services. (f) In addition, Services and Third Party Materials that may be accessed from, displayed on or linked to from the iPhone are not available in all languages or in all countries. Apple makes no representation that such Services and Materials are appropriate or available for use in any particular location. To the extent you choose to access such Services or Materials, you do so at your own initiative and are responsible for compliance with any applicable laws, including but not limited to applicable local laws. Apple and its licensors reserve the right to change, suspend, remove, or disable access to any Services at any time without notice. In no event will Apple be liable for the removal of or disabling of access to any such Services. Apple may also impose limits on the use of or access to certain Services, in any case and without notice or liability. 6. Termination. This License is effective until terminated. Your rights under this License will terminate automatically or otherwise cease to be effective without notice from Apple if you fail to comply with any term(s) of this License. Upon the termination of this License, you shall cease all use of the iPhone Software. Sections 7, 8, 9, 12 and 13 of this License shall survive any such termination. 7. Disclaimer of Warranties. YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT, TO THE EXTENT PERMITTED BY APPLICABLE LAW, USE OF THE iPHONE SOFTWARE AND SERVICES IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUALITY, PERFORMANCE, ACCURACY AND EFFORT IS WITH YOU. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, THE iPHONE SOFTWARE AND SERVICES PERFORMED BY THE iPHONE SOFTWARE ARE PROVIDED “AS IS” AND “AS AVAILABLE”, WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND, AND APPLE AND APPLE’S LICENSORS (COLLECTIVELY REFERRED TO AS “APPLE” FOR THE PURPOSES OF SECTIONS 7 AND 8) HEREBY DISCLAIM ALL WARRANTIES AND CONDITIONS WITH RESPECT TO THE iPHONE SOFTWARE AND SERVICES, EITHER EXPRESS, IMPLIED OR STATUTORY, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES AND/OR CONDITIONS OF MERCHANTABILITY, SATISFACTORY QUALITY, FITNESS FOR A PARTICULAR PURPOSE, ACCURACY, QUIET ENJOYMENT, AND NON-INFRINGEMENT OF THIRD PARTY RIGHTS. APPLE DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE iPHONE 034-5216_N82_iPig_63x116_4.5pt.indd 16 9/3/09 3:06:15 PM16 17 SOFTWARE AND SERVICES, THAT THE FUNCTIONS CONTAINED IN OR SERVICES PERFORMED BY THE iPHONE SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE iPHONE SOFTWARE AND SERVICES WILL BE UNINTERRUPTED OR ERROR-FREE, THAT ANY SERVICE WILL CONTINUE TO BE MADE AVAILABLE, THAT DEFECTS IN THE iPHONE SOFTWARE OR SERVICES WILL BE CORRECTED, OR THAT THE iPHONE SOFTWARE WILL BE COMPATIBLE OR WORK WITH ANY THIRD PARTY SOFTWARE, APPLICATIONS OR THIRD PARTY SERVICES. INSTALLATION OF THIS SOFTWARE MAY AFFECT THE USABILITY OF THIRD PARTY SOFTWARE, APPLICATIONS OR THIRD PARTY SERVICES. YOU FURTHER ACKNOWLEGE THAT THE iPHONE SOFTWARE AND SERVICES ARE NOT INTENDED OR SUITABLE FOR USE IN SITUATIONS OR ENVIRONMENTS WHERE THE FAILURE OR TIME DELAYS OF, OR ERRORS OR INACCURACIES IN, THE CONTENT, DATA OR INFORMATION PROVIDED BY THE IPHONE SOFTWARE OR SERVICES COULD LEAD TO DEATH, PERSONAL INJURY, OR SEVERE PHYSICAL OR ENVIRONMENTAL DAMAGE, INCLUDING WITHOUT LIMITATION THE OPERATION OF NUCLEAR FACILITIES, AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC CONTROL, LIFE SUPPORT OR WEAPONS SYSTEMS. NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY APPLE OR AN APPLE AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY. SHOULD THE iPHONE SOFTWARE OR SERVICES PROVE DEFECTIVE, YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES OR LIMITATIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUMER, SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU. 8. Limitation of Liability. TO THE EXTENT NOT PROHIBITED BY APPLICABLE LAW, IN NO EVENT SHALL APPLE BE LIABLE FOR PERSONAL INJURY, OR ANY INCIDENTAL, SPECIAL, INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER, INCLUDING, WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS, CORRUPTION OR LOSS OF DATA, FAILURE TO TRANSMIT OR RECEIVE ANY DATA, BUSINESS INTERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES, ARISING OUT OF OR RELATED TO YOUR USE OF OR INABILITY TO USE THE iPHONE SOFTWARE AND SERVICES OR ANY THIRD PARTY SOFTWARE OR APPLICATIONS IN CONJUNCTION WITH THE iPHONE SOFTWARE, HOWEVER CAUSED, REGARDLESS OF THE THEORY OF LIABILITY (CONTRACT, TORT OR OTHERWISE) AND EVEN IF APPLE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY, OR OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THIS LIMITATION MAY NOT APPLY TO YOU. In no event shall Apple’s total liability to you for all damages (other than as may be required by applicable law in cases involving personal injury) exceed the amount of two hundred and fifty dollars (U.S.$250.00). The foregoing limitations will apply even if the above stated remedy fails of its essential purpose. 9. Digital Certificates. The iPhone Software contains functionality that allows it to accept digital certificates either issued from Apple or from third parties. YOU ARE SOLELY RESPONSIBLE FOR DECIDING WHETHER OR NOT TO RELY ON A CERTIFICATE WHETHER ISSUED BY APPLE OR A THIRD PARTY. YOUR USE OF DIGITAL CERTIFICATES IS AT YOUR SOLE RISK. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, APPLE MAKES NO WARRANTIES OR REPRESENTATIONS, EXPRESS OR IMPLIED, AS TO MERCHANTABILITY 034-5216_N82_iPig_63x116_4.5pt.indd 17 9/3/09 3:06:15 PM18 19 OR FITNESS FOR ANY PARTICULAR PURPOSE, ACCURACY, SECURITY, OR NON-INFRINGEMENT OF THIRD PARTY RIGHTS WITH RESPECT TO DIGITAL CERTIFICATES. 10. Export Control. You may not use or otherwise export or reexport the iPhone Software except as authorized by United States law and the laws of the jurisdiction(s) in which the iPhone Software was obtained. In particular, but without limitation, the iPhone Software may not be exported or reexported (a) into any U.S. embargoed countries or (b) to anyone on the U.S. Treasury Department’s list of Specially Designated Nationals or the U.S. Department of Commerce Denied Person’s List or Entity List. By using the iPhone Software, you represent and warrant that you are not located in any such country or on any such list. You also agree that you will not use the iPhone Software for any purposes prohibited by United States law, including, without limitation, the development, design, manufacture or production of missiles, nuclear, chemical or biological weapons. 11. Government End Users. The iPhone Software and related documentation are “Commercial Items”, as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation”, as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. 12. Controlling Law and Severability. This License will be governed by and construed in accordance with the laws of the State of California, excluding its conflict of law principles. This License shall not be governed by the United Nations Convention on Contracts for the International Sale of Goods, the application of which is expressly excluded. If for any reason a court of competent jurisdiction finds any provision, or portion thereof, to be unenforceable, the remainder of this License shall continue in full force and effect. 13. Complete Agreement; Governing Language. This License constitutes the entire agreement between you and Apple relating to the iPhone Software and supersedes all prior or contemporaneous understandings regarding such subject matter. No amendment to or modification of this License will be binding unless in writing and signed by Apple. Any translation of this License is done for local requirements and in the event of a dispute between the English and any non-English versions, the English version of this License shall govern, to the extent not prohibited by local law in your jurisdiction. 14. Third Party Acknowledgements. Portions of the iPhone Software may utilize or include third party software and other copyrighted material. Acknowledgements, licensing terms and disclaimers for such material are contained in the electronic documentation for the iPhone Software, and your use of such material is governed by their respective terms. Use of the Google Safe Browsing Service is subject to the Google Terms of Service 034-5216_N82_iPig_63x116_4.5pt.indd 18 9/3/09 3:06:15 PM18 19 (http://www.google.com/terms_of_service.html) and to Google’s Privacy Policy (http://www.google.com/privacypolicy.html). 15. Use of MPEG-4; H.264/AVC Notice. (a) The iPhone Software contains MPEG-4 video encoding and/or decoding functionality. The iPhone Software is licensed under the MPEG-4 Visual Patent Portfolio License for the personal and non-commercial use of a consumer for (i) encoding video in compliance with the MPEG-4 Visual Standard (“MPEG-4 Video”) and/or (ii) decoding MPEG-4 video that was encoded by a consumer engaged in a personal and non-commercial activity and/or was obtained from a video provider licensed by MPEG LA to provide MPEG-4 video. No license is granted or shall be implied for any other use. Additional information including that relating to promotional, internal and commercial uses and licensing may be obtained from MPEG LA, LLC. See http://www.mpegla.com. (b) The iPhone Software contains AVC encoding and/or decoding functionality, commercial use of H.264/AVC requires additional licensing and the following provision applies: THE AVC FUNCTIONALITY IN THE iPHONE SOFTWARE IS LICENSED HEREIN ONLY FOR THE PERSONAL AND NONCOMMERCIAL USE OF A CONSUMER TO (i) ENCODE VIDEO IN COMPLIANCE WITH THE AVC STANDARD (“AVC VIDEO”) AND/OR (ii) DECODE AVC VIDEO THAT WAS ENCODED BY A CONSUMER ENGAGED IN A PERSONAL AND NON-COMMERCIAL ACTIVITY AND/OR AVC VIDEO THAT WAS OBTAINED FROM A VIDEO PROVIDER LICENSED TO PROVIDE AVC VIDEO. INFORMATION REGARDING OTHER USES AND LICENSES MAY BE OBTAINED FROM MPEG LA L.L.C. SEE HTTP://WWW.MPEGLA.COM. 16. Yahoo Search Service Restrictions. The Yahoo Search Service available through Safari is licensed for use only in the following countries and regions: Argentina, Aruba, Australia, Austria, Barbados, Belgium, Bermuda, Brazil, Bulgaria, Canada, Cayman Islands, Chile, Colombia, Cyprus, Czech Republic, Denmark, Dominican Republic, Ecuador, El Salvador, Finland, France, Germany, Greece, Grenada, Guatemala, Hong Kong, Hungary, Iceland, India, Indonesia, Ireland, Italy, Jamaica, Latvia, Lithuania, Luxembourg, Malaysia, Malta, Mexico, Netherlands, New Zealand, Nicaragua, Norway, Panama, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Singapore, Slovakia, Slovenia, South Korea, Spain, St. Lucia, St. Vincent, Sweden, Switzerland, Taiwan, Thailand, The Bahamas, Trinidad and Tobago, Turkey, UK, Uruguay, US and Venezuela. 17. Microsoft Exchange Notice. The Microsoft Exchange mail setting in the iPhone Software is licensed only for over-the-air synchronization of information, such as email, contacts, calendar and tasks, between your iPhone and Microsoft Exchange Server or other server software licensed by Microsoft to implement the Microsoft Exchange ActiveSync protocol. EA0567 Update Rev. 5/8/09 NOTICES FROM APPLE If Apple needs to contact you about your product or account, you consent to receive the notices by email. You agree that any such notices that we send you electronically will satisfy any legal communication requirements. 034-5216_N82_iPig_63x116_4.5pt.indd 19 9/3/09 3:06:15 PM20 21 GOOGLE MAPS TERMS AND CONDITIONS Thank you for trying out the Google Maps for mobile software application! This page contains the terms and conditions (the “Terms and Conditions”) for Google Maps for mobile and the enterprise version of Google Maps for mobile. In order to use this software, including any third party software made available to you in conjunction with this software and/or the related service, (collectively referred to below as “Google Maps for mobile”) you agree to be bound by these Terms and Conditions, either on behalf of yourself or on behalf of your employer or other entity. If you are agreeing to be bound by these Terms and Conditions on behalf of your employer or other entity, you represent and warrant that you have full legal authority to bind your employer or such entity to these Terms and Conditions. If you don’t have the legal authority to bind, please press “No” when asked whether you agree to these Terms and Conditions, and do not proceed with use of this product. Additional Terms Google Maps for mobile is designed to be used in conjunction with Google’s Maps services and other Google services. Accordingly, you agree and acknowledge that your use of Google Maps for mobile is also subject to (a) the specific terms of service for Google Maps (which can be viewed at http://local.google.com/help/terms_local.html) including the content notices applicable thereto (which can be viewed at http://local.google.com/help/legalnotices_local.html), (b) the general Google terms of service (which can be viewed at http://www.google.com/terms_of_ service.html) and (c) Google’s overall privacy policy (which can be viewed at http://www.google.com/privacypolicy.html), as well as specific privacy policies, such as the Google Maps for mobile privacy policy included with this application, such provisions being hereby incorporated into these Terms and Conditions by reference. To the extent that there is any inconsistency or conflict between such additional terms and these Terms and Conditions, the provisions of these Terms and Conditions take precedence. Network Charges Google does not charge for downloading or using Google Maps for mobile, but depending on your plan and your carrier or provider, your carrier or other provider may charge you for downloading Google Maps for mobile or for use of your mobile phone when you access information or other Google services through Google Maps for mobile. Non-Commercial Use Only Google Maps for mobile is made available to you for your non-commercial use only. This means that you may use it for your personal use only: you may use it at work or at home, to search for anything you want, subject to the terms set out in these Terms and Conditions. You need to obtain Google’s permission first, which you can do by contacting mobile-support@google.com, if you want to sell Google Maps for mobile or any information, services, or software associated with or derived from it, or if you want to modify, copy, license, or create derivative works from Google Maps for mobile. Unless you have our prior written consent, you agree not to modify, adapt, translate, prepare derivative works from, decompile, reverse engineer, disassemble or otherwise attempt to derive source code from Google Maps for mobile. 034-5216_N82_iPig_63x116_4.5pt.indd 20 9/3/09 3:06:15 PM20 21 Furthermore, you may not use Google Maps for mobile in any manner that could damage, disable, overburden, or impair Google’s services (e.g., you may not use the Google Maps for mobile in an automated manner), nor may you use Google Maps for mobile in any manner that could interfere with any other party’s use and enjoyment of Google’s services. If you have comments on Google Maps for mobile or ideas on how to improve it, please email mobile-support@google.com. Please note that by doing so, you also grant Google and third parties permission to use and incorporate your ideas or comments into Google Maps for mobile (or third party software) without further notice or compensation. Intellectual Property As between you and Google, you agree and acknowledge that Google owns all rights, title and interest in and to Google Maps for mobile, including without limitation all associated Intellectual Property Rights. “Intellectual Property Rights” means any and all rights existing from time to time under patent law, copyright law, trade secret law, trademark law, unfair competition law, and any and all other proprietary rights, and any and all applications, renewals, extensions and restorations thereof, now or hereafter in force and effect worldwide. You agree to not remove, obscure, or alter Google’s or any third party’s copyright notice, trademarks, or other proprietary rights notices affixed to or contained within or accessed in conjunction with or through the Google Maps for mobile. Disclaimer of Warranties Google and any third party who makes its s oftware available in conjunction with or through Google Maps for mobile disclaim any responsibility for any harm resulting from your use of Google Maps for mobile and/or any third party software accessed in conjunction with or through Google Maps for mobile. GOOGLE MAPS FOR MOBILE IS PROVIDED “AS IS,” WITH NO WARRANTIES WHATSOEVER. GOOGLE AND SUCH THIRD PARTIES EXPRESSLY DISCLAIM TO THE FULLEST EXTENT PERMITTED BY LAW ALL EXPRESS, IMPLIED, AND STATUTORY WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT OF PROPRIETARY RIGHTS. GOOGLE AND ANY SUCH THIRD PARTIES DISCLAIM ANY WARRANTIES REGARDING THE SECURITY, RELIABILITY, TIMELINESS, AND PERFORMANCE OF GOOGLE MAPS FOR MOBILE AND SUCH THIRD PARTY SOFTWARE. YOU UNDERSTAND AND AGREE THAT YOU DOWNLOAD AND/OR USE GOOGLE MAPS FOR MOBILE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGES TO YOUR COMPUTER OR MOBILE DEVICE SYSTEM OR LOSS OF DATA THAT RESULTS FROM THE DOWNLOAD OR USE OF GOOGLE MAPS FOR MOBILE. SOME STATES OR OTHER JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO THE ABOVE EXCLUSIONS MAY NOT APPLY TO YOU. YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY FROM STATE TO STATE AND JURISDICTION TO JURISDICTION. Limitation of Liability UNDER NO CIRCUMSTANCES SHALL GOOGLE OR ANY THIRD PARTY WHO MAKE THEIR SOFTWARE AVAILABLE IN CONJUNCTION WITH OR THROUGH THE GOOGLE MAPS FOR MOBILE BE LIABLE TO ANY USER ON ACCOUNT OF THAT USER’S USE OR MISUSE OF GOOGLE MAPS FOR MOBILE. SUCH LIMITATION OF LIABILITY SHALL APPLY TO PREVENT RECOVERY 034-5216_N82_iPig_63x116_4.5pt.indd 21 9/3/09 3:06:15 PM22 23 OF DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL, SPECIAL, EXEMPLARY, AND PUNITIVE DAMAGES WHETHER SUCH CLAIM IS BASED ON WARRANTY, CONTRACT, TORT (INCLUDING NEGLIGENCE), OR OTHERWISE, (EVEN IF GOOGLE AND/OR A THIRD PARTY SOFTWARE PROVIDER HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES). SUCH LIMITATION OF LIABILITY SHALL APPLY WHETHER THE DAMAGES ARISE FROM USE OR MISUSE OF AND RELIANCE ON GOOGLE MAPS FOR MOBILE OR ON PRODUCTS OR SERVICES MADE AVAILABLE IN CONJUNCTION WITH OR THROUGH GOOGLE MAPS FOR MOBILE, FROM INABILITY TO USE GOOGLE MAPS FOR MOBILE OR PRODUCTS OR SERVICES MADE AVAILABLE IN CONJUNCTION WITH OR THROUGH THE GOOGLE MAPS FOR MOBILE, OR FROM THE INTERRUPTION, SUSPENSION, OR TERMINATION OF GOOGLE MAPS FOR MOBILE OR PRODUCTS OR SERVICES MADE AVAILABLE IN CONJUNCTION WITH OR THROUGH GOOGLE MAPS FOR MOBILE (INCLUDING SUCH DAMAGES INCURRED BY THIRD PARTIES). SUCH LIMITATION SHALL APPLY NOTWITHSTANDING A FAILURE OF ESSENTIAL PURPOSE OF ANY LIMITED REMEDY AND TO THE FULLEST EXTENT PERMITTED BY LAW. SOME STATES OR OTHER JURISDICTIONS DO NOT ALLOW THE EXCLUSION OR LIMITATION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATIONS AND EXCLUSIONS MAY NOT APPLY TO YOU. Miscellaneous Provisions These Terms and Conditions will be governed by and construed in accordance with the laws of the State of California, without giving effect to the conflict of laws provisions of California or your actual state or country of residence. If for any reason a court of competent jurisdiction finds any provision or portion of these Terms and Conditions to be unenforceable, the remainder of these Terms and Conditions will continue in full force and effect. These Terms and Conditions constitute the entire agreement between you and Google with respect to the subject matter hereof and supersede and replace all prior or contemporaneous understandings or agreements, written or oral, regarding such subject matter. Any waiver of any provision of these Terms and Conditions will be effective only if in writing and signed by Google. September 2007 YOUTUBE TERMS AND CONDITIONS http://www.youtube.com/t/terms 034-5216_N82_iPig_63x116_4.5pt.indd 22 9/3/09 3:06:16 PM22 23 Apple One (1) Year Limited Warranty FOR CONSUMERS, WHO ARE COVERED BY CONSUMER PROTECTION LAWS OR REGULATIONS IN THEIR COUNTRY OF PURCHASE OR, IF DIFFERENT, THEIR COUNTRY OF RESIDENCE, THE BENEFITS CONFERRED BY THIS WARRANTY ARE IN ADDITION TO ALL RIGHTS AND REMEDIES CONVEYED BY SUCH CONSUMER PROTECTION LAWS AND REGULATIONS. THIS WARRANTY DOES NOT EXCLUDE, LIMIT OR SUSPEND ANY RIGHTS OF CONSUMERS ARISING OUT OF NONCONFORMITY WITH A SALES CONTRACT. SOME COUNTRIES, STATES AND PROVINCES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES OR ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY OR CONDITION MAY LAST, SO THE LIMITATIONS OR EXCLUSIONS DESCRIBED BELOW MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY BY COUNTRY, STATE OR PROVINCE. THIS LIMITED WARRANTY IS GOVERNED BY AND CONSTRUED UNDER THE LAWS OF THE COUNTRY IN WHICH THE PRODUCT PURCHASE TOOK PLACE. APPLE, THE WARRANTOR UNDER THIS LIMITED WARRANTY, IS IDENTIFIED AT THE END OF THIS DOCUMENT ACCORDING TO THE COUNTRY OR REGION IN WHICH THE PRODUCT PURCHASE TOOK PLACE. Apple’s warranty obligations for this hardware product are limited to the terms set forth below: Apple, as defined in the table below, warrants this Apple-branded hardware product against defects in materials and workmanship under normal use for a period of ONE (1) YEAR from the date of retail purchase by the original end-user purchaser (“Warranty Period”). If a hardware defect arises and a valid claim is received within the Warranty Period, at its option and to the extent permitted by law, Apple will either (1) repair the hardware defect at no charge, using new parts or parts equivalent to new in performance and reliability, (2) exchange the product with a product that is new or equivalent to new in performance and reliability and is at least functionally equivalent to the original product, or (3) refund the purchase price of the product. Apple may request that you replace defective parts with new or refurbished userinstallable parts that Apple provides in fulfillment of its warranty obligation. A replacement product or part, including a user-installable part that has been installed in accordance with instructions provided by Apple, assumes the remaining warranty of the original product or ninety (90) days from the date of replacement or repair, whichever provides longer coverage for you. When a product or part is exchanged, any replacement item becomes your property and the replaced item becomes Apple’s property. Parts provided by Apple in fulfillment of its warranty obligation must be used in products for which warranty service is claimed. When a refund is given, the product for which the refund is provided must be returned to Apple and becomes Apple’s property. EXCLUSIONS AND LIMITATIONS This Limited Warranty applies only to the hardware product manufactured by or for Apple that can be identified by the “Apple” trademark, trade name, or logo affixed to it. The Limited Warranty does not apply to any non-Apple hardware product or any software, even if packaged or sold with the Apple hardware. Manufacturers, suppliers, or publishers, other than Apple, may provide their own warranties to the 034-5216_N82_iPig_63x116_4.5pt.indd 23 9/3/09 3:06:16 PM24 25 end user purchaser, but Apple, in so far as permitted by law, provides their products “as is”. Software distributed by Apple with or without the Apple brand name (including, but not limited to system software) is not covered under this Limited Warranty. Refer to the licensing agreement accompanying the software for details of your rights with respect to its use. Apple does not warrant that the operation of the product will be uninterrupted or error-free. Apple is not responsible for damage arising from failure to follow instructions relating to the product’s use. This warranty does not apply: (a) to consumable parts, such as batteries, unless damage has occurred due to a defect in materials or workmanship; (b) to cosmetic damage, including but not limited to scratches, dents, and broken plastic on ports; (c) to damage caused by use with non-Apple products; (d) to damage caused by accident, abuse, misuse, liquid spill or submersion, flood, fire, earthquake or other external causes; (e) to damage caused by operating the product outside the permitted or intended uses described by Apple; (f) to damage caused by service (including upgrades and expansions) performed by anyone who is not a representative of Apple or an Apple authorized wireless service provider); (g) to a product or part that has been modified to alter functionality or capability without the written permission of Apple; or (h) if any Apple serial number has been removed or defaced. Important: Do not open the hardware product. Opening the hardware product may cause damage that is not covered by this warranty. Only Apple or an authorized service provider should perform service on this hardware product. TO THE EXTENT PERMITTED BY LAW, THIS WARRANTY AND THE REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND IN LIEU OF ALL OTHER WARRANTIES, REMEDIES AND CONDITIONS, WHETHER ORAL, WRITTEN, STATUTORY, EXPRESS OR IMPLIED. AS PERMITTED BY APPLICABLE LAW, APPLE SPECIFICALLY DISCLAIMS ANY AND ALL STATUTORY OR IMPLIED WARRANTIES, INCLUDING, WITHOUT LIMITATION, WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE AND WARRANTIES AGAINST HIDDEN OR LATENT DEFECTS. IF APPLE CANNOT LAWFULLY DISCLAIM STATUTORY OR IMPLIED WARRANTIES THEN TO THE EXTENT PERMITTED BY LAW, ALL SUCH WARRANTIES SHALL BE LIMITED IN DURATION TO THE DURATION OF THE EXPRESS WARRANTY AND TO THE REPAIR OR REPLACEMENT SERVICE AS DETERMINED BY APPLE IN ITS SOLE DISCRETION. No Apple reseller, agent, or employee is authorized to make any modification, extension, or addition to this warranty. If any term is held to be illegal or unenforceable, the legality or enforceability of the remaining terms shall not be affected or impaired. EXCEPT AS PROVIDED IN THIS WARRANTY AND TO THE MAXIMUM EXTENT PERMITTED BY LAW, APPLE IS NOT RESPONSIBLE FOR DIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF WARRANTY OR CONDITION, OR UNDER ANY OTHER LEGAL THEORY, INCLUDING BUT NOT LIMITED TO LOSS OF USE; LOSS OF REVENUE; LOSS OF ACTUAL OR ANTICIPATED PROFITS (INCLUDING LOSS OF PROFITS ON CONTRACTS); LOSS OF THE USE OF MONEY; LOSS OF ANTICIPATED SAVINGS; LOSS OF BUSINESS; LOSS OF OPPORTUNITY; LOSS OF GOODWILL; LOSS OF REPUTATION; LOSS OF, DAMAGE TO OR CORRUPTION OF DATA; OR ANY 034-5216_N82_iPig_63x116_4.5pt.indd 24 9/3/09 3:06:16 PM24 25 INDIRECT OR CONSEQUENTIAL LOSS OR DAMAGE HOWSOEVER CAUSED INCLUDING THE REPLACEMENT OF EQUIPMENT AND PROPERTY, ANY COSTS OF RECOVERING, PROGRAMMING OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH THE APPLE PRODUCT AND ANY FAILURE TO MAINTAIN THE CONFIDENTIALITY OF DATA STORED ON THE PRODUCT. THE FOREGOING LIMITATION SHALL NOT APPLY TO DEATH OR PERSONAL INJURY CLAIMS, OR ANY STATUTORY LIABILITY FOR INTENTIONAL AND GROSS NEGLIGENT ACTS AND/OR OMISSIONS. APPLE DISCLAIMS ANY REPRESENTATION THAT IT WILL BE ABLE TO REPAIR ANY PRODUCT UNDER THIS WARRANTY OR MAKE A PRODUCT EXCHANGE WITHOUT RISK TO OR LOSS OF PROGRAMS OR DATA. OBTAINING WARRANTY SERVICE Please access and review the online help resources referred to in the documentation accompanying this hardware product before seeking warranty service. If the product is still not functioning properly after making use of these resources, please contact the Apple representatives or, if applicable, an Apple owned retail store (“Apple Retail”) or Apple authorized wireless service provider located using the information provided in the documentation. When contacting Apple via telephone, other charges may apply depending on your location. When calling, an Apple representative or Apple authorized wireless service provider will help determine whether your product requires service and, if it does, will inform you how Apple will provide it. You must assist in diagnosing issues with your product and follow Apple’s warranty processes. Apple may restrict service to the country where Apple or its authorized distributors originally sold the hardware product, and provide warranty service (i) at an Apple Retail or Apple authorized wireless service provider location, where service is performed at the location, or the Apple Retail or Apple authorized wireless service provider may send the product to an Apple repair service location for service, (ii) by sending you prepaid way bills (and if you no longer have the original packaging, Apple may send you packaging material) to enable you to ship the product to Apple’s repair service location for service, or (iii) by sending you new or refurbished customer-installable replacement product or parts to enable you to service or exchange your own product (“DIY Service”). Upon receipt of the replacement product or part, the original product or part becomes the property of Apple and you agree to follow instructions, including, if required, arranging the return of original product or part to Apple in a timely manner. When providing DIY Service requiring the return of the original product or part, Apple may require a credit card authorization as security for the retail price of the replacement product or part and applicable shipping costs. If you follow instructions, Apple will cancel the credit card authorization, so you will not be charged for the product or part and shipping costs. If you fail to return the replaced product or part as instructed, Apple will charge the credit card for the authorized amount. Service options, parts availability and response times may vary according to the country in which service is requested. Service options are subject to change at any time. You may be responsible for shipping and handling charges if the product cannot be serviced in the country in which service is requested. If you seek service in a country that is not the country of original purchase, you will comply with all applicable export laws and regulations 034-5216_N82_iPig_63x116_4.5pt.indd 25 9/3/09 3:06:16 PM26 27 and be responsible for all custom duties, V.A.T. and other associated taxes and charges. Where international service is available, Apple may repair or exchange defective products and parts with comparable products and parts that comply with local standards. In accordance with applicable law, Apple may require that you furnish proof of purchase details and/or comply with registration requirements before receiving warranty service. Please refer to the accompanying documentation for more details on this and other matters on obtaining warranty service. Apple will maintain and use customer information in accordance with the Apple Customer Privacy Policy available at the webpage listed in the table below. If your product is capable of storing software programs, data and other information, you should protect its contents against possible operational failures. Before you deliver your product for warranty service it is your responsibility to keep a separate backup copy of the contents and disable any security passwords. THE CONTENTS OF YOUR PRODUCT WILL BE DELETED AND THE STORAGE MEDIA REFORMATTED IN THE COURSE OF WARRANTY SERVICE. Your product or a replacement product will be returned to you as your product was configured when originally purchased, subject to applicable updates. Apple may install system software updates as part of warranty service that will prevent the hardware from reverting to an earlier version of the system software. Third party applications installed on the hardware may not be compatible or work with the hardware as a result of the system software update. You will be responsible for reinstalling all other software programs, data and passwords. Recovery and reinstallation of software programs and user data are not covered under this Limited Warranty. A list of authorized wireless service providers is available online at: http://images.apple.com/legal/warranty/docs/iPhoneAuthorizedDistributors.pdf Complimentary support may be available. See: http://www.apple.com/support/country/index.html?dest=complimentary Warranty Obligor for Region or Country of Purchase Region/ Country of Purchase Apple Address Americas Brazil Apple Computer Brasil Ltda Av. Cidade Jardim 400, 2 Andar, Sao Paulo, SP Brasil 01454-901 Canada Apple Canada Inc. 7495 Birchmount Rd.; Markham, Ontario, Canada; L3R 5G2 Canada Mexico Apple Operations Mexico, S.A. de C.V. Av. Paseo de la Reforma 505, Piso 33, Colonia Cuauhtemoc, Mexico DF 06500 United States and Other Americas Countries Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. 034-5216_N82_iPig_63x116_4.5pt.indd 26 9/3/09 3:06:16 PM26 27 Region/ Country of Purchase Apple Address Europe, Middle East and Africa All countries Apple Sales International Hollyhill Industrial Estate Hollyhill, Cork, Republic of Ireland Asia Pacific Australia; New Zealand; Fiji, Papua New Guinea; Vanuatu Apple Pty. Limited. PO Box A2629, South Sydney, NSW 1235, Australia Hong Kong Apple Asia Limited 2401 Tower One, Times Square, Causeway; Hong Kong India Apple India Private Ltd. 19th Floor, Concorde Tower C, UB City No 24, Vittal Mallya Road, Bangalore 560-001, India Japan Apple Japan Inc. 3-20-2 Nishishinjuku, Shinjuku-ku, Tokyo, Japan Korea Apple Computer Korea Ltd. 3201, ASEM Tower; 159, Samsung-dong, Kangnam-gu; Seoul 135-090, Korea Afghanistan, Bangladesh, Bhutan, Brunei, Cambodia, Guam, Indonesia, Laos, Singapore, Malaysia, Nepal, Pakistan, Philippines, Sri Lanka, Vietnam Apple South Asia Pte. Ltd. 7 Ang Mo Kio Street 64 Singapore 569086 People’s Republic of China Apple Computer Trading (Shanghai) Co. Ltd. B Area, 2/F, No. 6 Warehouse Building, No. 500 Bing Ke Road, Wai Gao Qiao Free Trade Zone, Shanghai, P.R.C. Thailand Apple South Asia (Thailand) Limited 25th Floor, Suite B2, Siam Tower, 989 Rama 1 Road, Pataumwan, Bangkok, 10330 Taiwan Apple Asia LLC 16A, No. 333 Tun Hwa S. Road. Sec. 2, Taipei, Taiwan 106 Other Asian Pacific Countries Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, U.S.A. Privacy Policy All countries http://www.apple.com/legal/warranty/privacy iPhone US Warranty v1.8 034-5216_N82_iPig_63x116_4.5pt.indd 27 9/3/09 3:06:16 PM© 2009 Apple Inc. All rights reserved. Apple, the Apple logo, and iTunes are trademarks of Apple Inc., registered in the U.S. and other countries. iPhone is a trademark of Apple Inc. iTunes Store is a service mark of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple Inc. is under license. 034-5216-A Printed in XXXX 034-5216_N82_iPig_63x116_4.5pt.indd 28 9/3/09 3:06:16 PM User Guide Manuel de l’utilisateur Manual del usuarioEnglish 3 Congratulations on your new iPhone Bluetooth® Headset. Follow the instructions to get started. Pair the Headset with iPhone 1 Connect the included iPhone Bluetooth Travel Cable to a USB 2.0 port on your computer (not on the keyboard). 2 Connect iPhone and the headset to the cable. The headset pairs with iPhone automatically. Cable The ? rst time you connect the headset, let it charge for about an hour until the status light on the headset turns from amber to green. 3 Remove iPhone and the headset from the cable. To connect the headset to iPhone, press the button on top of the headset. This allows calls to be routed through the headset. In some cases, you may need to reconnect the headset to iPhone. See page 6.4 English Make or Answer a Call 1 Place the headset in either ear with the microphone pointed towards your mouth. Microphone Placing the included foam pad over the speaker may provide a more comfortable ? t. 2 Make a call on iPhone. Press the button on top of the headset to answer an incoming call. Button Status light If you answer an incoming call by tapping the iPhone touchscreen, audio is routed through iPhone instead. 3 When you ? nish, press the button to end the call.English 5 Adjust the Volume m Use the volume buttons on the side of iPhone. WARNING: For important safety information about avoiding hearing loss, see page 14. What Else You Can Do To Do this Decline incoming call Press button for about one second, until you hear a beep. Switch to incoming or on-hold call and put current call on hold Press button. Switch to incoming or on-hold call and end current call Press button for about one second, until you hear a beep. Check whether headset is turned on Press button. If headset is on, status light blinks green and headset beeps. Turn headset on Press and hold button for about three seconds, until you see the status light blink green or hear four rising tones. Turn headset o? Press and hold button for about four seconds, until you see the status light blink amber or hear four falling tones. 6 English Switch from the Headset to iPhone To stop using the headset and hear calls through iPhone instead, you can either: m Turn the headset o? . You can turn it on again at any time to use it with iPhone. m During a call, tap Audio Source on iPhone and choose iPhone or Speaker (for speakerphone). Reconnect the Headset to iPhone You can tell that calls will be routed through the headset if the Bluetooth icon (?) in the iPhone status bar is blue or white (depending on which application you’re using). If the headset gets disconnected from iPhone, two low beeps sound from the headset. You can tell that the headset is disconnected from iPhone if the Bluetooth icon in the status bar is gray or isn’t present. To route calls through the headset: m Press the button to reinitiate a connection. m If that doesn’t work, make sure the headset is turned on, charged, and in range of iPhone (within about 30 feet). m If that doesn’t work, on iPhone make sure Bluetooth is turned on. From the Home screen, choose Settings > General > Bluetooth and turn Bluetooth on.English 7 m If that doesn’t work, pair the headset with iPhone again. See page 3. If the headset is paired with other Bluetooth devices, you’ll need to reconnect it to iPhone after turning the headset o? or after using it with one of the other devices. Charge the Headset When the headset doesn’t have much charge left, a long beep sounds every ten seconds. To charge the headset: 1 Connect the included iPhone Bluetooth Travel Cable to your computer. Or connect it to the Apple USB Power Adapter that comes with iPhone and connect the adapter to a power outlet. 2 Connect the headset to the cable. A fully depleted headset recharges in about an hour and a half. Status light amber = Charging Status light green = Completely charged 3 Remove the headset from the cable. Press the button to connect the headset to iPhone, so that calls are routed through the headset.8 English To see how much charge is left: m Connect the iPhone Bluetooth Travel Cable to your computer or an Apple USB Power Adapter plugged into a power outlet. Then connect iPhone and the headset to the cable. The iPhone screen shows the headset’s battery level. The headset contains an internal, non–user-replaceable battery. Rechargeable batteries have a limited number of charge cycles and will eventually wear out. Battery life and number of charge cycles vary by use and settings. For more information, go to www.apple.com/batteries. For more information about disposal of the headset, see page 57. WARNING: For important safety information about charging the headset, see page 13. Use the Headset with Another Phone or Device You can use the headset with some other Bluetooth devices, such as another phone. And you can pair the headset with iPhone manually, if you don’t have the iPhone Bluetooth Travel Cable handy.English 9 You can also pair the headset with some Bluetooth enabled computers and talk to friends using an audioenabled instant messaging application like iChat. To set the headset to be discoverable, so the other device can sense it: 1 Turn the headset o? . 2 Press and hold the headset button for about eight seconds, until you hear the startup tones and then ? ve quick high beeps. The headset remains discoverable for about ? ve minutes. The status light blinks green for as long as the headset is discoverable. To pair the headset with another phone or pair it with iPhone manually: 1 On the phone, turn Bluetooth on and set the phone to search for other Bluetooth devices. On iPhone, you do this by choosing Settings > General > Bluetooth and turning Bluetooth on. 2 Set the headset to be discoverable (see above). 3 On the phone, choose iPhone Bluetooth Headset and enter the PIN code 0000. See the instructions that came with your phone for more information about pairing it with Bluetooth devices.10 English To pair the headset with a Bluetooth enabled Mac using Mac OS X version 10.4.9 or later: 1 Open System Preferences and click Bluetooth. 2 If this is the ? rst Bluetooth device you’ve set up, click the Set Up New Device button. Otherwise, click the Add (+) button below the list of your existing devices. 3 Choose Headset. 4 Set the headset to be discoverable. 5 Follow the onscreen instructions. When prompted for a passkey, enter 0000. To use the headset with iChat: 1 Pair the headset with your Mac. 2 In iChat, choose iChat > Preferences and click Audio/ Video. 3 Choose iPhone Bluetooth Headset from the Microphone and Sound Output pop-up menus. 4 Start an audio or video chat. To pair the headset with another computer (such as a Windows PC) or Bluetooth device: Follow the instructions that came with the computer or device. When prompted for a passkey or PIN, enter 0000.English 11 Tips and Troubleshooting If the headset isn’t responding or working correctly, try these steps in order until it starts working. m Make sure the headset is on. Press the button. If the status light doesn’t blink green, press and hold the button for about three seconds, until you see the status light blink green or hear four rising tones. m Make sure iPhone is turned on. m Make sure the headset and iPhone are charged. m During a call, make sure iPhone is set to play sound through the headset. Tap Audio Source and choose iPhone Bluetooth Headset. m Make sure iPhone is paired with the headset. See page 3. m On iPhone, make sure Bluetooth is turned on. From the Home screen, choose Settings > General > Bluetooth and turn Bluetooth on. m On iPhone, choose Settings and turn Airplane Mode on. Then wait about three seconds and turn it o? again. For more tips and troubleshooting, go to: www.apple.com/support/iphone12 English ± Read all safety information below and operating instructions before using the iPhone Bluetooth Headset to avoid injury. Important Safety Information WARNING: Failure to follow these safety instructions could result in ? re, electric shock, or other injury or damage. Handling the iPhone Bluetooth Headset Do not drop, disassemble or open, crush, bend or deform, puncture, shred, microwave, incinerate, paint, or insert foreign objects into the iPhone Bluetooth Headset. Avoiding Water and Wet Locations Do not use the iPhone Bluetooth Headset in rain, or near washbasins or other wet locations. Take care not to spill any food or liquid on the iPhone Bluetooth Headset. In case the iPhone Bluetooth Headset gets wet, turn it o? (press and hold the button for about four seconds, until the status light blinks amber) before cleaning, and allow it to dry thoroughly before turning it on again. Do not attempt to dry the iPhone Bluetooth Headset with an external heat source, such as a microwave oven or hair dryer.English 13 Repairing the iPhone Bluetooth Headset Never attempt to repair or modify the iPhone Bluetooth Headset yourself. The iPhone Bluetooth Headset does not contain any user-serviceable parts. If the iPhone Bluetooth Headset has been submerged in water, punctured, or subjected to a severe fall, do not use it until you take it to an Apple Authorized Service Provider. Charging the iPhone Bluetooth Headset To charge the iPhone Bluetooth Headset, use only the iPhone Bluetooth Travel Cable with an Apple USB Power Adapter or a high-power USB port on another device that is compliant with the USB 2.0 or 1.1 standards, or another Apple-branded product or accessory designed to work with the iPhone Bluetooth Headset. Read all safety instructions for any products and accessories before using with the iPhone Bluetooth Headset. Apple is not responsible for the operation of third-party accessories or their compliance with safety and regulatory standards. When you use the Apple USB Power Adapter to charge the iPhone Bluetooth Headset, make sure that the power adapter is fully assembled before you plug it into a power outlet. Then insert the Apple USB Power Adapter ? rmly into the power outlet. Do not connect or disconnect the Apple USB Power Adapter with wet hands. Do not use any power 14 English adapter other than the Apple USB Power Adapter to charge the iPhone Bluetooth Headset. Avoiding Hearing Loss Permanent hearing loss may occur if the iPhone Bluetooth Headset is 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 the volume to a safe level before that happens. If you experience ringing in your ears or speech sounds mup ed, reduce the volume or discontinue use of your headset and have your hearing checked. The louder the volume, the less time is required before your hearing could be a? ected. Hearing experts suggest that to protect your hearing:  Limit the amount of time you use your headset at high volume.  Avoid turning up the volume to block out noisy surroundings.  Turn the volume down if you can’t hear people speaking near you. In Case of Skin Irritation Headsets can sometimes lead to ear infections if not properly cleaned. Clean the speaker of your iPhone Bluetooth Headset when necessary using water or an English 15 antiseptic, such as isopropyl alcohol, on a slightly damp, lintfree cloth. If skin irritation develops, discontinue use. If the problem persists, consult a physician. Driving Safely Check and obey the laws and regulations on the use of mobile devices like iPhone in the areas where you drive. Be careful and attentive while driving. If you decide to use iPhone while driving, keep in mind the following guidelines: Give full attention to driving and to the road. Using a mobile device while driving may be distracting. If you ? nd it disruptive or distracting while operating any type of vehicle, riding a bicycle, or performing any activity that requires your full attention, pull o? the road and park before making or answering a call if driving conditions require. Choking Hazards The iPhone Bluetooth Headset is small and may present a choking hazard to small children. Keep from small children. For Vehicles Equipped with an Air Bag An air bag in? ates with great force. Do not store the iPhone Bluetooth Headset or any of its accessories in the area over the air bag or in the air bag deployment area.16 English Radio Frequency Interference Nearly every electronic device is subject to radio frequency interference from external sources if inadequately shielded, designed, or otherwise con? gured to be compatible. As a result, the iPhone Bluetooth Headset may cause interference with other devices. Follow these instructions to avoid interference problems. Aircraft Federal Aviation Administration (FAA) regulations may prohibit using wireless devices while in the air. Turn the iPhone Bluetooth Headset o? when on an airplane. Vehicles RF signals may a? ect installed or inadequately shielded electronic systems in motor vehicles. Check with the manufacturer or its representative regarding your vehicle. Electronics Devices Most modern electronic equipment is shielded from RF signals. However, certain electronic equipment may not be shielded against the RF signals from the iPhone Bluetooth Headset.English 17 Hearing Aids The iPhone Bluetooth Headset may interfere with some hearing aids. If it does, consult the hearing aid manufacturer or your physician for alternatives or remedies. Other Medical Devices If you use any other personal medical device, consult the manufacturer of your device or your physician to determine if it is adequately shielded from external RF energy. Turn the iPhone Bluetooth Headset o? in health care facilities when any regulations posted in these areas instruct you to do so. Hospitals or health care facilities may be using equipment that could be sensitive to external RF energy. Posted Facilities Turn o? the iPhone Bluetooth Headset in any facility where posted notices so require. Blasting Areas To avoid interfering with blasting operations, turn o? the iPhone Bluetooth Headset when in a “blasting area” or in areas posted “Turn o? two-way radio.” Obey all signs and instructions.18 English Important Handling Information NOTICE: Failure to follow these handling instructions could result in damage to the iPhone Bluetooth Headset or other property. Using Connectors and Ports Never force a connector into a port. Check for obstructions on the port. If the connector and port don’t 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. Keeping the iPhone Bluetooth Headset Within Acceptable Temperatures Operate the iPhone Bluetooth Headset in a place where the temperature is always between 0º and 35º C (32º to 95º F). The iPhone Bluetooth Headset battery life might temporarily shorten in low-temperature conditions. Store the iPhone Bluetooth Headset in a place where the temperature is always between -20º and 45º C (-4º to 113º F). Don’t leave the iPhone Bluetooth Headset in your car, because temperatures in parked cars can exceed this range.Français 19 Félicitations pour l’achat de votre nouvelle oreillette Bluetooth® iPhone. Pour commencer à utiliser votre appareil, suivez les instructions ci-dessous. Pour jumeler l’oreillette avec votre iPhone 1 Connectez le câble de voyage iPhone Bluetooth inclus à un port USB 2.0 de votre ordinateur (pas sur un port du clavier). 2 Branchez l’autre extrémité du câble sur l’iPhone et l’oreillette sur l’embout du câble. L’oreillette est alors automatiquement jumelée avec l’iPhone. Câble À la première connexion de l’oreillette, laissez-la se recharger pendant environ une heure jusqu’à ce que son indicateur d’état passe du orange au vert. 3 Débranchez le câble de l’iPhone et de l’oreillette. Pour connecter l’oreillette à l’iPhone, appuyez sur le bouton situé en bout d’oreillette. Ce bouton permet de rediriger les appels vers l’oreillette.20 Français Dans certains cas, il se peut que vous deviez rebrancher l’oreillette sur l’iPhone. Voir page 23. Pour e? ectuer un appel ou répondre à un appel 1 Placez l’oreillette dans une oreille en orientant le microphone vers votre bouche. Microphone Le coussinet en mousse inclus peut être placé sur l’écouteur pour mieux adapter ce dernier à votre oreille. 2 E? ectuez un appel avec l’iPhone. Appuyez sur le bouton situé en bout d’oreillette pour répondre à un appel entrant. Bouton Indicateur d’état Si vous répondez à un appel entrant en touchant l’écran tactile de l’iPhone, le son est dans ce cas acheminé vers l’iPhone. 3 Une fois votre conversation terminée, appuyez sur le bouton pour mettre ? n à l’appel.Français 21 Pour régler le volume m Utilisez les boutons de réglage du volume situés sur le côté de l’iPhone. ATTENTION : pour prendre connaissance des précautions à prendre pour éviter toute perte d’audition, reportez-vous à la page 31. Autres fonctions Pour Procédez ainsi : Refuser un appel entrant Appuyez sur le bouton pendant environ une seconde, jusqu’à ce que vous entendiez un bip. Passer à un appel entrant ou en attente et mettre l’appel en cours en attente Appuyez sur le bouton. Passer à un appel entrant ou en attente et mettre ? n à l’appel en cours Appuyez sur le bouton pendant environ une seconde, jusqu’à ce que vous entendiez un bip. Véri? er si l’oreillette est activée Appuyez sur le bouton. Si l’oreillette est activée, un voyant d’état vert clignote et l’oreillette émet un bip.22 Français Activer l’oreillette Maintenez le bouton enfoncé pendant environ trois secondes, jusqu’à ce que le voyant d’état vert se mette à clignoter ou que vous entendiez quatre tonalités de plus en plus fortes. Désactiver l’oreillette Maintenez le bouton enfoncé pendant environ quatre secondes, jusqu’à ce que le voyant d’état orange se mette à clignoter ou que vous entendiez quatre tonalités de plus en plus faibles. Pour passer de l’oreillette à l’iPhone Pour ne plus utiliser l’oreillette et écouter vos appels via l’iPhone, vous avez deux possibilités : m Désactivez l’oreillette. Vous pouvez toujours la réactiver à tout moment de façon à l’utiliser avec l’iPhone. m Durant un appel, appuyez sur Source audio sur l’écran de l’iPhone, puis choisissez iPhone ou Haut-parleur (pour le haut-parleur du téléphone).Français 23 Pour reconnecter l’oreillette à l’iPhone Il est possible de s’assurer que les appels sont acheminés vers l’oreillette en véri? ant si l’icône Bluetooth (?), située dans la barre d’état de l’iPhone, est bleue ou blanche (en fonction de l’application utilisée). L’oreillette émet deux bips graves dès qu’elle est déconnectée de l’iPhone. Il est possible de véri? er si l’oreillette est déconnectée de l’iPhone en véri? ant si l’icône Bluetooth de la barre d’état est grise ou absente. Pour acheminer les appels vers l’oreillette : m Appuyez sur le bouton pour rétablir une connexion. m Si cela ne marche pas, assurez-vous que l’oreillette est activée, rechargée et qu’elle se trouve à portée de l’iPhone (dans un rayon d’environ 9 m). m Si cela ne marche pas, assurez-vous que Bluetooth est activé sur l’iPhone. À partir de l’écran Accueil, choisissez Réglages > Généraux > Bluetooth, puis activez l’option Bluetooth. m Si cela ne marche pas, jumelez à nouveau l’oreillette avec l’iPhone. Voir page 19. Si l’oreillette est jumelée avec d’autres appareils Bluetooth, vous devez dans ce cas la rebrancher, après l’avoir éteinte ou utilisée avec les appareils en question, sur l’iPhone.24 Français Chargement de l’oreillette L’oreillette émet un long bip toutes les 10 secondes pour vous signaler que sa batterie est presque épuisée. Pour recharger l’oreillette : 1 Branchez le câble de voyage iPhone Bluetooth inclus sur votre ordinateur. Vous pouvez également le connecter à l’adaptateur secteur USB Apple fourni avec l’iPhone, puis brancher l’adaptateur sur une prise électrique. 2 Branchez l’autre extrémité du câble sur l’oreillette. Il faut environ une heure et demie pour recharger une oreillette dont la batterie est complètement épuisée. Voyant d’état orange = en cours de chargement Voyant d’état vert = complètement rechargée 3 Retirez l’oreillette du câble. Appuyez sur le bouton pour connecter l’oreillette à l’iPhone, a? n que les appels soient acheminés vers l’oreillette. Pour véri? er le niveau de charge restant : m Connectez le câble de voyage pour iPhone Bluetooth à votre ordinateur ou à un adaptateur secteur USB Apple branché sur une prise de courant. Branchez l’autre extrémité du câble sur l’iPhone et l’oreillette sur l’embout du câble. L’écran de l’iPhone a? che le niveau de charge de la batterie de l’oreillette.Français 25 L’oreillette contient une batterie interne qui ne peut être remplacée par l’utilisateur. Les batteries rechargeables ont un nombre de cycles de chargement limité et ? nissent par s’user complètement. La durée de vie et le nombre de cycles de chargement des batteries varient en fonction de leur usage et des réglages utilisés. Pour plus d’informations, rendez-vous sur www.apple.com/fr/batteries. Pour en savoir plus sur le recyclage de l’oreillette, reportez-vous à la page 57. ATTENTION : pour prendre connaissance des précautions à prendre pour recharger l’oreillette, reportez-vous à la page 30. Utilisation de l’oreillette avec un autre téléphone ou un autre appareil Vous pouvez utiliser l’oreillette avec d’autres appareils Bluetooth tels que d’autres types de téléphones. Vous pouvez aussi jumeler manuellement l’oreillette à votre iPhone si vous ne disposez pas du câble de voyage iPhone Bluetooth. L’oreillette peut également être jumelée avec certains ordinateurs équipés de la technologie Bluetooth, a? n de pouvoir converser avec des amis au moyen d’une application de messagerie instantanée dotée de fonctions audio, telle qu’iChat.26 Français Pour régler l’oreillette a? n qu’elle soit détectable par d’autres appareils : 1 Désactivez l’oreillette. 2 Maintenez le bouton de l’oreillette enfoncé pendant environ huit secondes, jusqu’à ce que vous entendiez les tonalités de démarrage suivies d’une succession rapide de cinq bips aigus. L’oreillette demeure détectable pendant environ cinq minutes. Le voyant d’état vert clignote tant que l’oreillette est détectable. Pour jumeler l’oreillette avec un autre téléphone ou pour la jumeler manuellement avec l’iPhone : 1 Sur le téléphone, activez Bluetooth, puis réglez le téléphone a? n qu’il recherche d’autres appareils Bluetooth. Pour ce faire, choisissez Réglages > Généraux > Bluetooth, puis activez Bluetooth. 2 Réglez l’oreillette a? n qu’elle soit détectable (voir ci-dessus). 3 Sur le téléphone, choisissez Oreillette Bluetooth iPhone, puis tapez le code PIN 0000. Consultez les instructions de votre téléphone pour obtenir des informations sur la manière de le jumeler avec des appareils Bluetooth.Français 27 Pour jumeler l’oreillette avec un ordinateur Mac équipé de Bluetooth et fonctionnant sous Mac OS X 10.4.9 ou ultérieur : 1 Ouvrez Préférences Système, puis cliquez sur Bluetooth. 2 Si l’appareil Bluetooth est le premier que vous con? gurez, cliquez sur le bouton « Con? gurer le nouvel appareil ». Dans le cas contraire, cliquez sur le bouton Ajouter (+) situé sous la liste des appareils déjà con? gurés. 3 Choisissez l’option Casque d’écoute. 4 Réglez l’oreillette a? n qu’elle soit détectable. 5 Suivez les instructions à l’écran. Lorsque vous êtes invité à saisir un code d’accès, tapez 0000. Pour utiliser l’oreillette avec iChat : 1 Jumelez l’oreillette avec votre Mac. 2 Dans iChat, choisissez iChat > Préférences, puis cliquez sur Audio/Vidéo. 3 Choisissez Oreillette Bluetooth iPhone dans les menus locaux Microphone et Sortie audio. 4 Commencez une conversation audio ou vidéo. Pour jumeler l’oreillette avec un autre ordinateur (un PC Windows par exemple) ou un autre appareil Bluetooth : Suivez les instructions fournies avec l’ordinateur où l’appareil. Lorsque vous êtes invité à saisir un code d’accès ou un code PIN, tapez 0000.28 Français Astuces et dépannage Si l’oreillette ne répond plus ou ne fonctionne plus correctement, essayez les solutions suivantes dans l’ordre jusqu’à ce qu’elle fonctionne à nouveau. m Assurez-vous que l’oreillette est activée. Appuyez sur le bouton. Si le voyant d’état vert ne clignote pas, maintenez le bouton enfoncé pendant environ trois secondes, jusqu’à ce que le voyant vert clignote ou que vous entendiez quatre tonalités de plus en plus fortes. m Assurez-vous que l’iPhone est allumé. m Assurez-vous que l’oreillette et l’iPhone sont rechargés. m Durant un appel, assurez-vous que l’iPhone est réglé pour di? user le son à travers l’oreillette. Appuyez sur Source audio, puis choisissez Oreillette Bluetooth iPhone. m Assurez-vous que l’iPhone est jumelé avec l’oreillette. Voir page 19. m Sur l’iPhone, assurez-vous que Bluetooth est activé. À partir de l’écran Accueil, choisissez Réglages > Généraux > Bluetooth, puis activez l’option Bluetooth. m Sur l’iPhone, choisissez Réglages, puis activez l’option Mode Avion. Patientez ensuite pendant environ trois secondes, puis désactivez à nouveau ce mode.Français 29 Pour obtenir des astuces et des instructions de dépannage supplémentaires, rendez-vous sur : www.apple.com/fr/support/iphone. ± Pour éviter tout problème, lisez attentivement toutes les informations relatives à la sécurité ainsi que les instructions d’utilisation ci-dessous avant d’utiliser votre oreillette Bluetooth pour iPhone. Informations importantes relatives à la sécurité ATTENTION : tout manquement à ces consignes de sécurité est susceptible de provoquer un incendie, une décharge électrique ou d’autres blessures ou dégâts. Manipulation de l’oreillette Bluetooth iPhone Évitez de laisser tomber, de démonter ou d’ouvrir, d’écraser, de tordre ou de déformer, de percer, de broyer, de mettre au four à micro-ondes, d’incinérer ou de peindre l’oreillette Bluetooth iPhone, ni d’y insérer des corps étrangers.30 Français Éviter l’eau et les endroits mouillés N’utilisez jamais l’oreillette Bluetooth iPhone sous la pluie, à proximité d’un lavabo ou de tout autre endroit mouillé. Veillez à ne pas renverser d’aliments ou de liquide sur l’oreillette Bluetooth iPhone. Si l’oreillette Bluetooth iPhone est mouillée, désactivez-la (en maintenant le bouton enfoncé pendant environ quatre secondes jusqu’à ce que le voyant d’état orange clignote) avant de la nettoyer et attendez qu’elle soit complètement sèche avant de l’activer à nouveau. N’essayez jamais de sécher l’oreillette Bluetooth iPhone à l’aide d’une source de chaleur extérieure telle qu’un four à micro-ondes ou un sèche-cheveux. Réparation de l’oreillette Bluetooth iPhone N’essayez jamais de réparer ou de modi? er vous-même l’oreillette Bluetooth iPhone. L’oreillette Bluetooth iPhone ne contient aucune pièce réparable par un utilisateur. Si l’oreillette Bluetooth iPhone a été plongée dans l’eau, a été perforée ou a subi une chute grave, ne l’utilisez pas avant de l’avoir fait réviser par un fournisseur de services agréé Apple. Chargement de l’oreillette Bluetooth iPhone Pour recharger l’oreillette Bluetooth pour iPhone, utilisez exclusivement le câble de voyage iPhone Bluetooth avec un adaptateur secteur USB Apple ou le port USB alimenté d’un appareil conforme aux normes USB 2.0 ou 1.1, ou avec un autre produit ou accessoire Apple conçu pour fonctionner avec l’oreillette Bluetooth pour iPhone.Français 31 Lisez préalablement toutes les instructions de sécurité des produits et accessoires que vous voulez utiliser avec l’oreillette Bluetooth iPhone. Apple n’est pas responsable du fonctionnement d’accessoires tiers ni de leur conformité aux normes de réglementation et de sécurité. Si vous utilisez un adaptateur secteur USB Apple pour recharger l’oreillette Bluetooth iPhone, assurez-vous que l’adaptateur secteur est complètement assemblé avant de le brancher sur une prise électrique. Insérez ensuite fermement l’adaptateur secteur USB Apple dans la prise de courant. Ne branchez ni ne débranchez en aucun cas l’adaptateur secteur Apple USB Power Adapter lorsque vous avez les mains mouillées. N’utilisez pas d’autre adaptateur secteur que l’adaptateur secteur USB Apple pour recharger l’oreillette Bluetooth iPhone. Prévention de la perte d’acuité auditive L’utilisation de l’oreillette Bluetooth iPhone à des volumes sonores élevés peut entraîner une perte irréversible de l’audition. Vous pouvez vous habituer peu à peu à un volume sonore plus élevé qui peut vous paraître normal mais peut entraîner la détérioration de votre audition. Réglez le volume à un niveau raisonnable, avant que le problème se présente. Si vous entendez vos oreilles « sip er » ou que les sons vous paraissent étou? és, réduisez le volume ou n’utilisez plus votre oreillette et consultez un spécialiste de l’audition. 32 Français Plus le volume d’écoute est élevé, moins il faut de temps pour que votre audition soit endommagée. Voici quelques conseils de spécialistes qui vous permettront de protéger votre audition :  Limitez la durée d’utilisation à des volumes élevés de votre oreillette.  Évitez d’augmenter le volume pour couvrir les bruits environnants.  Baissez le volume si vous ne pouvez plus entendre les personnes qui parlent à côté de vous. En cas d’irritation cutanée L’usage d’une oreillette peut provoquer parfois des infections de l’oreille si le dispositif n’est pas correctement entretenu. Nettoyez régulièrement l’écouteur de votre oreillette Bluetooth pour iPhone, avec de l’eau ou un produit antiseptique, par exemple à l’aide d’un linge non pelucheux humidi? é d’alcool isopropyle. Si l’irritation cutanée se développe, n’utilisez plus le dispositif. Si le problème persiste, consultez un médecin. Consignes de sécurité lors de la conduite Consultez et respectez les lois et réglementations applicables en matière d’utilisation de dispositifs mobiles à l’endroit où vous conduisez. Soyez vigilant et attentif lorsque vous conduisez. Si vous comptez utiliser l’iPhone en conduisant, n’oubliez pas Français 33 de rester bien attentif à votre conduite et au code de la route. L’utilisation d’un dispositif mobile lors de la conduite peut vous distraire de celle-ci. Si vous avez du mal à vous concentrer alors que vous conduisez n’importe quel type de véhicule, que vous utilisez une bicyclette ou que vous réalisez toute activité qui demande votre attention complète, arrêtez-vous sur le bord de la route avant de passer un appel ou de répondre à un appel si les conditions de conduite l’exigent. Risques d’étou? ement L’oreillette Bluetooth iPhone constitue, du fait de sa taille réduite, un risque d’étou? ement pour les jeunes enfants. Ne la laissez pas à la portée des jeunes enfants. Véhicules équipés d’un coussin gon? able de sécurité Les coussins de sécurité se gon? ent brusquement. Ne placez jamais l’oreillette Bluetooth iPhone ou l’un de ses accessoires dans la zone située au-dessus de l’airbag ou dans la zone de déploiement de ce dernier. Perturbations radioélectriques Presque tous les appareils électroniques sont sensibles aux perturbations radioélectriques dues à des sources externes s’ils ne sont pas adéquatement blindés, conçus ou con? gurés pour être compatibles. Il se peut, par conséquent, que l’oreillette Bluetooth iPhone provoque des interférences avec d’autres 34 Français appareils. Respectez les instructions suivantes pour éviter tout problème d’interférence. Avions Les règlements de la FAA (Federal Aviation Administration) peuvent interdire l’utilisation d’appareils de communication sans ? l à bord des avions. Désactivez l’oreillette Bluetooth iPhone lorsque vous voyagez en avion. Véhicules Les signaux RF peuvent a? ecter les systèmes électroniques embarqués ou mal protégés des véhicules à moteur. En ce qui concerne votre véhicule, véri? ez avec le constructeur ou son représentant. Appareils électroniques La plupart des appareils électroniques modernes sont blindés contre les signaux RF. Il se peut toutefois que certains d’entre eux ne soient pas blindés contre les signaux RF émis par l’oreillette Bluetooth iPhone. Appareils auditifs L’oreillette Bluetooth iPhone peut provoquer des interférences avec certains appareils auditifs. Si c’est le cas, consultez le fabricant de votre prothèse ou votre médecin pour trouver d’autres options ou remèdes.Français 35 Autres appareils médicaux Si vous utilisez un autre type d’appareil médical, consultez votre médecin ou le fabricant de l’appareil pour vous assurer que cet appareil est adéquatement blindé contre les signaux RF externes. Dans les établissements de santé, désactivez l’oreillette Bluetooth iPhone lorsque des a? ches vous invitent à le faire. Certains équipements utilisés dans les hôpitaux ou dans les établissements de santé sont sensibles aux signaux RF externes. Installations sensibles Désactivez l’oreillette Bluetooth iPhone dans les installations au sein desquelles des a? ches vous demandent de le faire. Zones de dynamitage Pour éviter toute interférence avec des opérations de dynamitage, désactivez l’oreillette Bluetooth iPhone dès que vous vous trouvez dans une « zone de dynamitage » ou dans des endroits où sont a? chées des pancartes invitant à « Désactiver les émetteurs récepteurs ». Respectez toutes les pancartes et toutes les consignes.36 Français Informations importantes concernant la manipulation de l’appareil AVIS : le non-respect de ces instructions de manipulation risque d’endommager l’oreillette Bluetooth iPhone ou d’autres biens. Utilisation des connecteurs et des ports Ne forcez jamais l’insertion d’un connecteur dans un port. Assurez-vous que le port n’est pas bouché. Si vous ne parvenez pas à insérer le connecteur dans le port de manière relativement aisée, c’est qu’ils ne sont probablement pas compatibles. Veillez à ce que le connecteur corresponde au port et à ce qu’il soit correctement positionné par rapport au port.Français 37 Conservation de l’oreillette Bluetooth iPhone dans des plages de température acceptables N’utilisez l’oreillette Bluetooth iPhone que dans des endroits où la température est comprise entre 0º et 35º C. Il se peut que l’autonomie de la batterie de l’oreillette Bluetooth iPhone soit temporairement réduite dans des conditions de faible température. Conservez l’oreillette Bluetooth iPhone dans un endroit où la température est toujours comprise entre -20º et 45º C. N’abandonnez pas l’oreillette Bluetooth iPhone dans votre voiture, car les températures à l’intérieur d’une voiture en stationnement peuvent dépasser ces limites.38 Español Enhorabuena por su nuevo auricular manos libres iPhone Bluetooth® Headset. Para empezar, siga estas instrucciones. Cómo enlazar el auricular manos libres con el iPhone 1 Conecte el cable iPhone Bluetooth Travel Cable incluido a un puerto USB 2.0 del ordenador (no del teclado). 2 Conecte el iPhone y el auricular manos libres al cable. El auricular manos libres se enlaza con el iPhone automáticamente. Cable La primera vez que conecte el auricular manos libres, déjelo cargar durante una hora aproximadamente, hasta que su luz de estado pase de ámbar a verde. 3 Desconecte el iPhone y el auricular manos libres del cable. Para conectar el auricular manos libres al iPhone, pulse el botón situado en la parte superior del auricular. De este modo, las llamadas se enviarán al auricular.Español 39 En algunos casos, deberá volver a conectar el auricular manos libres al iPhone. Consulte la página 41. Cómo realizar o responder a una llamada 1 Colóquese el auricular manos libres en cualquiera de las orejas con el micrófono apuntando hacia la boca. Micrófono Si coloca la almohadilla acolchada (incluida) en el altavoz del auricular, conseguirá un ajuste más cómodo. 2 Realice una llamada con el iPhone. Pulse el botón de la parte superior del auricular manos libres para responder a una llamada entrante. Botón Luz de estado Si responde a una llamada entrante pulsando la pantalla táctil del iPhone, el sonido se recibirá a través del iPhone. 3 Cuando termine, pulse el botón para ? nalizar la llamada.40 Español Cómo ajustar el volumen m Utilice los botones de volumen laterales del iPhone. ADVERTENCIA: Para obtener información de seguridad importante sobre cómo evitar pérdidas auditivas, consulte la página 51. ¿Qué más puede hacer? Para Haga esto Rechazar una llamada entrante Pulse el botón durante un segundo aproximadamente, hasta que oiga un sonido. Pasar a la llamada entrante o en espera y poner la llamada actual en espera Pulse el botón. Pasar a la llamada entrante o en espera y terminar la llamada actual Pulse el botón durante un segundo aproximadamente, hasta que oiga un sonido. Comprobar si el auricular manos libres está encendido Pulse el botón. Si el auricular manos libres está encendido, la luz de estado parpadea en verde y el auricular emite un sonido.Español 41 Encender el auricular manos libres Mantenga pulsado el botón durante unos tres segundos hasta que la luz de estado parpadee en verde o escuche cuatro tonos crecientes. Apagar el auricular manos libres Mantenga pulsado el botón durante unos cuatro segundos hasta que la luz de estado parpadee en ámbar o escuche cuatro tonos decrecientes. Cómo pasar del auricular manos libres al iPhone Para dejar de utilizar el auricular manos libres y escuchar las llamadas a través del iPhone, puede hacer lo siguiente: m Apague el auricular manos libres. Puede encenderlo en cualquier momento para volver a utilizarlo con el iPhone. m Durante una llamada, pulse “Fuente de audio” en el iPhone y elija iPhone o Altavoz (para el altavoz del teléfono). Cómo volver a conectar el auricular manos libres al iPhone Puede saber que las llamadas se enviarán al auricular manos libres si el icono de Bluetooth (?) de la barra de estado del iPhone es azul o blanco (según la aplicación que utilice). 42 Español Si el auricular manos libres se desconecta del iPhone, emitirá dos sonidos graves. Puede saber que el auricular está desconectado del iPhone si el icono de Bluetooth de la barra de estado es gris o no aparece. Para enviar las llamadas al auricular manos libres: m Pulse el botón para reiniciar la conexión. m Si no funciona, compruebe que el auricular manos libres esté encendido, cargado y situado en el radio de alcance del iPhone (hasta 10 metros). m Si no funciona, compruebe que el iPhone tenga la tecnología Bluetooth activada. En la pantalla Inicio, seleccione Ajustes > General > Bluetooth y active Bluetooth. m Si no funciona, vuelva a enlazar el auricular manos libres con el iPhone. Para ello, consulte la página 38. Si el auricular manos libres está enlazado con otros dispositivos Bluetooth, deberá volver a conectarlo al iPhone después de haberlo apagado o de haberlo usado con uno de dichos dispositivos.Español 43 Cómo cargar el auricular manos libres Cuando el auricular tenga poca carga, se oirá un sonido largo cada diez segundos. Para cargar el auricular manos libres: 1 Conecte el cable iPhone Bluetooth Travel Cable incluido al ordenador, o bien conéctelo al adaptador de corriente USB de Apple que viene con el iPhone y enchufe el adaptador a una toma eléctrica. 2 Conecte el auricular manos libres al cable. Si está completamente descargado, el auricular se recarga en una hora y media aproximadamente. Luz de estado ámbar = Cargando Luz de estado verde = Totalmente cargado 3 Desconecte el auricular manos libres del cable. Pulse el botón para conectar el auricular manos libres al iPhone, de manera que las llamadas se envíen al auricular. Para ver cuánta carga queda: m Conecte el cable iPhone Bluetooth Travel Cable al ordenador o a un adaptador de corriente USB de Apple que esté enchufado a una toma de corriente. A continuación, conecte el iPhone y el auricular manos libres al cable. La pantalla del iPhone indica el nivel de batería del auricular.44 Español El auricular manos libres lleva una batería interna que el usuario no debe manipular en ningún caso. Las baterías recargables permiten un número limitado de ciclos de carga y con el tiempo se desgastan completamente. La duración de las baterías y la cantidad de ciclos de carga que pueden admitir varían según el uso y la con? guración. Para más información, visite www.apple.com/es/batteries. Para obtener más información sobre cómo deshacerse del auricular, consulte la página 57. ADVERTENCIA: Para obtener información de seguridad importante sobre cómo cargar el auricular manos libres, consulte la página 50. Cómo utilizar el auricular manos libres con otro teléfono o dispositivo Puede utilizar el auricular manos libres con otros dispositivos Bluetooth, como otros teléfonos, y enlazar el auricular con el iPhone manualmente si no tiene a mano el cable iPhone Bluetooth Travel Cable.Español 45 También puede enlazar el auricular manos libres a algunos ordenadores equipados con Bluetooth y hablar con sus amigos utilizando una aplicación de mensajería instantánea que tenga audio, como iChat. Para hacer visible el auricular manos libres de manera que el otro dispositivo pueda detectarlo: 1 Apague el auricular manos libres. 2 Mantenga pulsado el botón del auricular durante unos ocho segundos hasta que oiga los tonos de arranque y, después, cinco sonidos agudos rápidos. El auricular manos libres permanece en modo visible durante cinco minutos aproximadamente. La luz de estado parpadea en verde mientras el auricular está en modo visible. Para enlazar el auricular manos libres con otro teléfono o enlazarlo con el iPhone manualmente: 1 En el teléfono, active Bluetooth y ajuste el teléfono para que busque otros dispositivos Bluetooth. En el iPhone, seleccione Ajustes > General > Bluetooth y active Bluetooth. 2 Ajuste el auricular manos libres en modo visible (véase más arriba). 3 En el teléfono, seleccione “iPhone Bluetooth Headset” e introduzca el código PIN 0000.46 Español Consulte las instrucciones del teléfono para obtener más información sobre cómo enlazarlo con dispositivos Bluetooth. Para enlazar el auricular manos libres con un Mac equipado con Bluetooth y con el sistema Mac OS X 10.4.9 o posterior: 1 Abra Preferencias del Sistema y haga clic en Bluetooth. 2 Si este es el primer dispositivo Bluetooth que ha con? gurado, haga clic en el botón “Con? gurar nuevo dispositivo”. De lo contrario, haga clic en el botón Añadir (+) situado en la parte inferior de la lista de dispositivos existentes. 3 A continuación, seleccione “Auriculares con micrófono”. 4 Ajuste el auricular manos libres en modo visible. 5 Siga las instrucciones de la pantalla. Cuando se le solicite una clave, escriba 0000. Para utilizar el auricular manos libres con iChat: 1 Enlace el auricular manos libres con su Mac. 2 En iChat, seleccione iChat > Preferencias y haga clic en Audio/Vídeo. 3 Seleccione “iPhone Bluetooth Headset” en los menús locales “Micrófono” y “Salida de sonido”. 4 Inicie un chat de audio o vídeo.Español 47 Para enlazar el auricular manos libres con otro ordenador (como un PC con Windows) o con dispositivos Bluetooth: Siga las instrucciones que venían con el ordenador o dispositivo. Cuando se le solicite una clave o PIN, escriba 0000. Consejos y solución de problemas Si el auricular manos libres no responde o no funciona correctamente, siga estos pasos en el orden en que están indicados hasta que vuelva a funcionar. m Compruebe que el auricular manos libres esté encendido. Pulse el botón. Si la luz de estado no parpadea en verde, mantenga pulsado el botón durante unos tres segundos hasta que la luz de estado parpadee en verde o escuche cuatro tonos crecientes. m Compruebe que el iPhone esté encendido. m Compruebe que el auricular manos libres y el iPhone estén cargados. m Durante una llamada, compruebe que el iPhone esté ajustado para reproducir sonido a través del auricular manos libres. Pulse “Fuente de audio” y seleccione “iPhone Bluetooth Headset”. m Compruebe que el iPhone esté enlazado con el auricular manos libres. Consulte la página 38.48 Español m En el iPhone, compruebe que Bluetooth esté activado. En la pantalla Inicio, seleccione Ajustes > General > Bluetooth y active Bluetooth. m En el iPhone, seleccione Ajustes y active el modo Avión. Espere unos tres segundos y desactívelo. Para obtener más consejos e información sobre solución de problemas, visite www.apple.com/es/support/iphone. ± Lea toda la información sobre seguridad que ? gura más abajo y las instrucciones de funcionamiento antes de usar el auricular manos libres iPhone Bluetooth Headset para evitar posibles daños. Información importante sobre seguridad ADVERTENCIA: Si no respeta estas instrucciones de seguridad, pueden producirse incendios, descargas eléctricas u otros daños. Manipulación del auricular manos libres iPhone Bluetooth Headset No deje caer al suelo el auricular manos libres iPhone Bluetooth Headset ni lo desmonte, abra, aplaste, doble, deforme, perfore, desarme, incinere, pinte, ponga en el microondas ni le introduzca objetos extraños.Español 49 Agua y lugares húmedos No utilice el auricular manos libres iPhone Bluetooth Headset bajo la lluvia ni cerca de lugares con agua o humedad. Procure no derramar comida ni líquidos sobre el auricular manos libres iPhone Bluetooth Headset. Si se moja, apáguelo (mantenga pulsado el botón durante unos cuatro segundos, hasta que la luz de estado parpadee en ámbar) antes de limpiarlo y deje que se seque completamente antes de volver a encenderlo. No intente secar el auricular manos libres iPhone Bluetooth Headset mediante una fuente de calor externa, como un horno microondas o un secador de cabello. Reparación del auricular manos libres iPhone Bluetooth Headset No intente nunca reparar o modi? car el auricular manos libres iPhone Bluetooth Headset por su cuenta. El auricular manos libres iPhone Bluetooth Headset no contiene piezas que el usuario pueda reparar. Si el auricular manos libres iPhone Bluetooth Headset se sumerge en agua, se perfora o sufre una fuerte caída, no lo utilice hasta que lo haya llevado a un proveedor de servicios Apple autorizado.50 Español Cómo cargar el auricular manos libres iPhone Bluetooth Headset Para cargar el auricular manos libres iPhone Bluetooth Headset, utilice únicamente el cable iPhone Bluetooth Travel Cable con un adaptador de corriente USB de Apple o un puerto USB de alta potencia de otro dispositivo que cumpla los estándares USB 2.0 o 1.1, o bien con otro producto o accesorio de marca Apple que haya sido diseñado para utilizarse con el auricular manos libres iPhone Bluetooth Headset. Lea todas las instrucciones sobre seguridad de todos los productos y accesorios antes de utilizarlos con el auricular manos libres iPhone Bluetooth Headset. Apple no es responsable del funcionamiento de accesorios de otros fabricantes ni del cumplimiento de la normativa aplicable y las directrices de seguridad por parte de dichos accesorios. Cuando utilice el adaptador de corriente USB de Apple para cargar el auricular manos libres iPhone Bluetooth Headset, compruebe que el adaptador de corriente esté totalmente acoplado antes de conectarlo a una toma eléctrica. A continuación, inserte ? rmemente el adaptador de corriente USB de Apple a la toma eléctrica. No conecte ni desconecte el adaptador de corriente USB de Apple con las manos húmedas. No utilice ningún otro adaptador de corriente que no sea el adaptador de corriente USB de Apple para cargar el auricular manos libres iPhone Bluetooth Headset.Español 51 Prevención de la pérdida auditiva Pueden ocurrir pérdidas auditivas permanentes si el auricular manos libres iPhone Bluetooth Headset se utiliza a un volumen elevado. Con el tiempo, puede acostumbrarse a un volumen de sonido más alto, que, aunque puede parecer normal, puede llegar a dañar su capacidad auditiva. Ajuste el volumen a un nivel seguro antes de que esto ocurra. Si oye pitidos o murmullos sordos, reduzca el volumen del sonido o deje de usar el auricular y acuda a que le revisen el oído. Cuanto más alto sea el volumen, menor es el tiempo necesario para que su capacidad auditiva pueda verse afectada. Los especialistas en audición recomiendan lo siguiente para proteger su capacidad auditiva:  Limite el tiempo de utilización del auricular manos libres a un volumen elevado.  No suba el volumen con el ? n de aislarse de ambientes ruidosos.  Si no puede oír a la gente que está hablando cerca de usted, baje el volumen. En caso de irritación de la piel Si los auriculares no se limpian adecuadamente, pueden provocar infecciones de oído. Limpie el altavoz de su auricular manos libres iPhone Bluetooth Headset cuando sea necesario con un paño que no desprenda pelusas y 52 Español que esté ligeramente humedecido en agua o un producto antiséptico (por ejemplo, alcohol isopropílico). Si la irritación de la piel va a más, deje de utilizarlo. Si el problema persiste, consulte a su médico. Cómo conducir de forma segura Consulte y respete las leyes y normativas sobre el uso de dispositivos móviles como el iPhone en los sitios por donde conduzca. Sea prudente y preste atención cuando conduzca. Si decide usar el iPhone mientras conduce, tenga en cuenta las siguientes recomendaciones: Ponga los cinco sentidos en la conducción y en la carretera. El uso de un dispositivo móvil durante la conducción puede ocasionar distracciones. Si su uso le impide conducir cualquier tipo de vehículo (automóvil o bicicleta) o realizar cualquier actividad con toda la atención necesaria, detenga el vehículo antes de realizar o contestar una llamada. Peligro de atragantamiento El auricular manos libres iPhone Bluetooth Headset es de pequeño tamaño y puede presentar riesgo de atragantamiento para los niños pequeños. Manténgalo alejado de los niños pequeños.Español 53 Vehículos equipados con airbag Los airbags se in? an con una gran fuerza. No coloque el auricular manos libres iPhone Bluetooth Headset o sus accesorios sobre el airbag o su área de in? uencia. Interferencia con las radiofrecuencias Casi todos los dispositivos electrónicos están sujetos a interferencias por radiofrecuencias procedentes de fuentes externas si no están adecuadamente protegidos, diseñados o con? gurados para evitarlas. Por lo tanto, el auricular manos libres iPhone Bluetooth Headset puede provocar interferencias con otros dispositivos. Siga estas instrucciones para evitar problemas de interferencias. Aviones La normativa de la FAA (Administración Federal de Aviación) puede prohibir el uso de dispositivos inalámbricos durante los vuelos. Apague el auricular manos libres iPhone Bluetooth Headset cuando viaje en avión. Vehículos Las señales de radiofrecuencia pueden afectar a los equipos electrónicos instalados o inadecuadamente protegidos de los vehículos de motor. Consulte con el fabricante o representante correspondiente a su vehículo.54 Español Dispositivos electrónicos La mayoría de los equipos electrónicos modernos están protegidos contra las señales de radiofrecuencia. Sin embargo, ciertos equipos electrónicos pueden no estar protegidos contra las señales de radiofrecuencia procedentes del auricular manos libres iPhone Bluetooth Headset. Audífonos El auricular manos libres iPhone Bluetooth Headset puede interferir con algunos audífonos. En ese caso, consulte con el fabricante del audífono o con su médico para buscar alternativas o soluciones. Otros dispositivos médicos Si utiliza cualquier otro dispositivo médico personal, consulte con el fabricante del dispositivo o con su médico para determinar si está adecuadamente protegido contra la energía de radiofrecuencia externa. Apague el auricular manos libres iPhone Bluetooth Headset en los centros sanitarios cuando las normativas de dichos centros así lo establezcan. Los hospitales o centros sanitarios pueden utilizar equipos sensibles a la energía de radiofrecuencia externa.Español 55 Avisos públicos Apague el auricular manos libres iPhone Bluetooth Headset en cualquier lugar en el que haya avisos públicos que lo exijan. Zonas con riesgo de explosión Para no interferir con operaciones que impliquen el uso de explosivos, apague el auricular manos libres iPhone Bluetooth Headset en zonas con riesgo de explosión o en lugares donde se ordene desactivar la transmisión de señales de radio bidireccionales. Respete todos los avisos e instrucciones. Información importante sobre manejo ADVERTENCIA: Si no respeta estas instrucciones de manejo, pueden producirse daños en el auricular manos libres iPhone Bluetooth Headset o en otros bienes de su propiedad. Conectores y puertos No fuerce nunca un conector al enchufarlo en un puerto. Compruebe que nada obstruya el puerto. Si la conexión entre el conector y el puerto no es razonablemente fácil, es probable que no se correspondan. Compruebe que el conector encaja con el puerto y que lo ha colocado en la posición correcta.56 Español Temperaturas de funcionamiento y almacenamiento Utilice el auricular manos libres iPhone Bluetooth Headset en lugares donde la temperatura esté siempre entre 0 y 35 ºC. La duración de la batería del auricular manos libres iPhone Bluetooth Headset puede verse temporalmente reducida en condiciones de bajas temperaturas. Guarde el auricular manos libres iPhone Bluetooth Headset en lugares donde la temperatura esté siempre entre -20 y 45 ºC. No deje el auricular manos libres iPhone Bluetooth Headset en su vehículo, pues la temperatura puede sobrepasar estos márgenes en el interior de un vehículo aparcado. 57 Regulatory Compliance 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. Important: Changes or modi? cations to this product not authorized by Apple could void the EMC compliance and negate your authority to operate the product. This product has demonstrated EMC compliance under conditions that included the use of compliant peripheral devices and shielded cables between system components. It is important that you use compliant peripheral devices and shielded cables between system components to reduce the possibility of causing interference to radios, televisions, and other electronic devices. Disposal and Recycling Information iPhone Bluetooth Headset Disposal and Recycling Your iPhone Bluetooth Headset must be disposed of properly according to local laws and regulations. Because the iPhone Bluetooth Headset contains electronic components and a battery, it must be disposed of separately from household waste. When your iPhone Bluetooth Headset reaches its end of life, contact local authorities to learn about disposal and recycling options, or simply drop it o? at your local Apple retail store or return it to Apple. For more information, go to: www.apple.com/environment/recycling58 Battery Disposal Information Deutschland: Das Gerät enthält Batterien. Diese gehören nicht in den Hausmüll. Sie können verbrauchte Batterien beim Handel oder bei den Kommunen unentgeltlich abgeben. Um Kurzschlüsse zu vermeiden, kleben Sie die Pole der Batterien vorsorglich mit einem Klebestreifen ab. Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. European Union—Disposal Information: The symbol above means that according to local laws and regulations your product should be disposed of separately from household waste. When this product reaches its end of life, take it to a collection point designated by local authorities. Some collection points accept products for free. The separate collection and recycling of your product at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. 59 Union Européenne: informations sur l’élimination Ce symbole signi? e que vous devez vous débarasser de votre produit sans le mélanger avec les ordures ménagères, selon les normes et la législation de votre pays. Lorsque ce produit n’est plus utilisable, portez-le dans un centre de traitement des déchets agréé par les autorités locales. Certains centres acceptent les produits gratuitement. Le traitement et le recyclage séparé de votre produit lors de son élimination aideront à préserver les ressources naturelles et à protéger l’environnement et la santé des êtres humains. Europäische Union – Informationen zur Entsorgung Dieses Symbol weist darauf hin, dass dieses Produkt entsprechend den geltenden gesetzlichen Vorschriften und getrennt vom Hausmüll entsorgt werden muss. Geben Sie dieses Produkt zur Entsorgung bei einer o? ziellen Sammelstelle ab. Bei einigen Sammelstellen können Produkte zur Entsorgung unentgeltlich abgegeben werden. Durch getrenntes Sammeln und Recycling werden die Rohsto? -Reserven geschont, und es ist sichergestellt, dass beim Recycling des Produkts alle Bestimmungen zum Schutz von Gesundheit und Umwelt eingehalten werden. Unione Europea: informazioni per l’eliminazione Questo simbolo signi? ca che, in base alle leggi e alle norme locali, il prodotto dovrebbe essere eliminato separatamente dai ri? uti casalinghi. Quando il prodotto diventa inutilizzabile, portarlo nel punto di raccolta stabilito dalle autorità locali. Alcuni punti di raccolta accettano i prodotti gratuitamente. La raccolta separata e il riciclaggio del prodotto al momento dell’eliminazione aiutano a conservare le risorse naturali e assicurano che venga riciclato in maniera tale da salvaguardare la salute umana e l’ambiente.Europeiska unionen – uttjänta produkter Den här symbolen betyder att produkten enligt lokala lagar och bestämmelser inte får kastas tillsammans med hushållsavfallet. När produkten har tjänat ut måste den tas till en återvinningsstation som utsetts av lokala myndigheter. Vissa återvinningsstationer tar kostnadsfritt hand om uttjänta produkter. Genom att låta den uttjänta produkten tas om hand för återvinning hjälper du till att spara naturresurser och skydda hälsa och miljö. 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 © 2008 Apple Inc. All rights reserved. Apple, the Apple logo, iChat, Mac, and Mac OS are trademarks of Apple Inc., registered in the U.S. and other countries. iPhone is a trademark of Apple Inc. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple is under license. ZM034-4622-A Printed in XXXX iPhone OS Enterprise Deployment Guide Second Edition, for Version 3.2 or laterK Apple Inc. © 2010 Apple Inc. All rights reserved. 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 408-996-1010 www.apple.com Apple, the Apple logo, Bonjour, iPhone, iPod, iPod touch, iTunes, Keychain, Leopard, Mac, Macintosh, the Mac logo, Mac OS, QuickTime, and Safari are trademarks of Apple Inc., registered in the U.S. and other countries. iPad is a trademark of Apple Inc. iTunes Store and App Store are service marks of Apple Inc., registered in the U.S. and other countries. MobileMe is a service mark of Apple 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. Simultaneously published in the United States and Canada. 019-1835/2010-04 3 3 Contents Preface 6 iPhone in the Enterprise 6 What’s New for the Enterprise in iPhone OS 3.0 and Later 7 System Requirements 8 Microsoft Exchange ActiveSync 10 VPN 11 Network Security 11 Certificates and Identities 12 Email Accounts 12 LDAP Servers 12 CalDAV Servers 13 Additional Resources Chapter 1 14 Deploying iPhone and iPod touch 15 Activating Devices 16 Preparing Access to Network Services and Enterprise Data 20 Determining Device Passcode Policies 21 Configuring Devices 22 Over-the-Air Enrollment and Configuration 27 Other Resources Chapter 2 28 Creating and Deploying Configuration Profiles 29 About iPhone Configuration Utility 30 Creating Configuration Profiles 39 Editing Configuration Profiles 40 Installing Provisioning Profiles and Applications 40 Installing Configuration Profiles 43 Removing and Updating Configuration Profiles Chapter 3 44 Manually Configuring Devices 44 VPN Settings 48 Wi-Fi Settings 49 Exchange Settings 54 Installing Identities and Root Certificates 55 Additional Mail Accounts4 Contents 55 Updating and Removing Profiles 55 Other Resources Chapter 4 57 Deploying iTunes 57 Installing iTunes 59 Quickly Activating Devices with iTunes 60 Setting iTunes Restrictions 62 Backing Up a Device with iTunes Chapter 5 63 Deploying Applications 63 Registering for Application Development 64 Signing Applications 64 Creating the Distribution Provisioning Profile 64 Installing Provisioning Profiles Using iTunes 65 Installing Provisioning Profiles Using iPhone Configuration Utility 65 Installing Applications Using iTunes 66 Installing Applications Using iPhone Configuration Utility 66 Using Enterprise Applications 66 Disabling an Enterprise Application 66 Other Resources Appendix A 67 Cisco VPN Server Configuration 67 Supported Cisco Platforms 67 Authentication Methods 68 Authentication Groups 68 Certificates 69 IPSec Settings 69 Other Supported Features Appendix B 70 Configuration Profile Format 70 Root Level 71 Payload Content 72 Profile Removal Password Payload 72 Passcode Policy Payload 73 Email Payload 75 Web Clip Payload 75 Restrictions Payload 76 LDAP Payload 76 CalDAV Payload 77 Calendar Subscription Payload 77 SCEP Payload 78 APN Payload 79 Exchange Payload 79 VPN PayloadContents 5 81 Wi-Fi Payload 84 Sample Configuration Profiles Appendix C 88 Sample ScriptsPreface 6 iPhone in the Enterprise Learn how to integrate iPhone, iPod touch, and iPad with your enterprise systems. This guide is for system administrators. It provides information about deploying and supporting iPhone, iPod touch, and iPad in enterprise environments. What’s New for the Enterprise in iPhone OS 3.0 and Later iPhone OS 3.x includes numerous enhancements, including the following items of special interest to enterprise users:  CalDAV calendar wireless syncing is supported.  LDAP server support for contact look-up in mail, address book, and SMS.  Configuration profiles can be encrypted and locked to a device so that their removal requires an administrative password.  iPhone Configuration Utility allows you to add and remove encrypted configuration profiles directly onto devices that are connected to your computer by USB.  Online Certificate Status Protocol (OCSP) is supported for certificate revocation.  On-demand certificate-based VPN connections are now supported.  VPN proxy configuration via a configuration profile and VPN servers is supported.  Microsoft Exchange users can invite others to meetings. Microsoft Exchange 2007 users can also view reply status.  Exchange ActiveSync client certificate-based authentication is supported.  Additional EAS policies are supported, along with EAS protocol 12.1.  Additional device restrictions are available, including the ability to specify the length of time that a device can be left unlocked, disable the camera, and prevent users from taking a screenshot of the device’s display.  Local mail messages and calendar events can be searched. For IMAP, MobileMe, and Exchange 2007, mail that resides on the server can also be searched.  Additional mail folders can be designated for push email delivery.  APN proxy settings can be made specified using a configuration profile.Preface iPhone in the Enterprise 7  Web clips can be installed using a configuration profile.  802.1x EAP-SIM is now supported.  Devices can be authenticated and enrolled over-the-air using a Simple Certificate Enrollment Protocol (SCEP) server.  iTunes can store device backups in encrypted format.  iPhone Configuration Utility supports profile creation via scripting.  iPhone Configuration Utility 2.2 supports iPad, iPhone, and iPod touch. Mac OS X v10.6 Snow Leopard is required. Windows 7 is also supported. System Requirements Read this section for an overview of the system requirements and the various components available for integrating iPhone, iPod touch, and iPad with your enterprise systems. iPhone and iPod touch iPhone and iPod touch devices you use with your enterprise network must be updated to iPhone OS 3.1.x. iPad iPad must be updated to iPhone OS 3.2.x. iTunes iTunes 9.1 or later is required in order to set up a device. iTunes is also required in order to install software updates for iPhone, iPod touch, and iPad. You also use iTunes to install applications, and sync music, video, notes, or other data with a Mac or PC. To use iTunes, you need a Mac or PC that has a USB 2.0 port and meets the minimum requirements listed on the iTunes website. See www.apple.com/itunes/download/. iPhone Configuration Utility iPhone Configuration Utility lets you create, encrypt, and install configuration profiles, track and install provisioning profiles and authorized applications, and capture device information such as console logs. iPhone Configuration Utility requires one of the following:  Mac OS X v10.5 Snow Leopard  Windows XP Service Pack 3 with .NET Framework 3.5 Service Pack 1  Windows Vista Service Pack 1 with .NET Framework 3.5 Service Pack 1  Windows 7 with .NET Framework 3.5 Service Pack 1 iPhone Configuration Utility operates in 32-bit mode on 64-bit versions of Windows.8 Preface iPhone in the Enterprise You can download the .Net Framework 3.5 Service Pack 1 installer at: http://www.microsoft.com/downloads/details.aspx?familyid=ab99342f-5d1a-413d-8319- 81da479ab0d7 The utility allows you to create an Outlook message with a configuration profile as an attachment. Additionally, you can assign users’ names and email addresses from your desktop address book to devices that you’ve connected to the utility. Both of these features require Outlook and are not compatible with Outlook Express. To use these features on Windows XP computers, you may need to install 2007 Microsoft Office System Update: Redistributable Primary Interop Assemblies. This is necessary if Outlook was installed before .NET Framework 3.5 Service Pack 1. The Primary Interop Assemblies installer is available at: http://www.microsoft.com/downloads/details.aspx?FamilyID=59daebaa-bed4-4282- a28c-b864d8bfa513 Microsoft Exchange ActiveSync iPhone, iPod touch, and iPad support the following versions of Microsoft Exchange:  Exchange ActiveSync for Exchange Server (EAS) 2003 Service Pack 2  Exchange ActiveSync for Exchange Server (EAS) 2007 For support of Exchange 2007 policies and features, Service Pack 1 is required. Supported Exchange ActiveSync Policies The following Exchange policies are supported:  Enforce password on device  Minimum password length  Maximum failed password attempts  Require both numbers and letters  Inactivity time in minutes The following Exchange 2007 policies are also supported:  Allow or prohibit simple password  Password expiration  Password history  Policy refresh interval  Minimum number of complex characters in password  Require manual syncing while roaming  Allow camera  Require device encryption For a description of each policy, refer to your Exchange ActiveSync documentation.Preface iPhone in the Enterprise 9 The Exchange policy to require device encryption (RequireDeviceEncryption) is supported on iPhone 3GS, on iPod touch (Fall 2009 models with 32 GB or more) and on iPad. iPhone, iPhone 3G, and other iPod touch models don’t support device encryption and won’t connect to an Exchange Server that requires it. If you enable the policy “Require Both Numbers and Letters” on Exchange 2003, or the policy “Require Alphanumeric Password” on Exchange 2007, the user must enter a device passcode that contains at least one complex character. The value specified by the inactivity time policy (MaxInactivityTimeDeviceLock or AEFrequencyValue) is used to set the maximum value that users can select in both Settings > General > Auto-Lock and Settings > General > Passcode Lock > Require Passcode. Remote Wipe You can remotely wipe the contents of an iPhone, iPod touch, or iPad. Wiping removes all data and configuration information from the device. The device is securely erased and restored to original, factory settings. Important: On iPhone and iPhone 3G, wiping overwrites the data on the device, which can take approximately one hour for each 8 GB of device capacity. Connect the device to a power supply before wiping. If the device turns off due to low power, the wiping process resumes when the device is connected to power. On iPhone 3GS and iPad, wiping removes the encryption key to the data (which is encrypted using 256-bit AES encryption) which occurs instantaneously. With Exchange Server 2007, you can initiate a remote wipe using the Exchange Management Console, Outlook Web Access, or the Exchange ActiveSync Mobile Administration Web Tool. With Exchange Server 2003, you can initiate a remote wipe using the Exchange ActiveSync Mobile Administration Web Tool. Users can also wipe a device in their possession by choosing “Erase All Content and Settings” from the Reset menu in General settings. Devices can also be configured to automatically initiate a wipe after several failed passcode attempts. If you recover a device that was wiped because it was lost, use iTunes to restore it using the device’s latest backup. Microsoft Direct Push The Exchange server automatically delivers email, contacts, and calendar events to iPhone and iPad Wi-Fi + 3G if a cellular or Wi-Fi data connection is available. iPod touch and iPad Wi-Fi don’t have a cellular connection, so they receive push notifications only when they’re active and connected to a Wi-Fi network.10 Preface iPhone in the Enterprise Microsoft Exchange Autodiscovery The Autodiscover service of Exchange Server 2007 is supported. When you manually configure a device, Autodiscover uses your email address and password to automatically determine the correct Exchange server information. For information about enabling the Autodiscover service, see http://technet.microsoft.com/en-us/ library/cc539114.aspx. Microsoft Exchange Global Address List iPhone, iPod touch, and iPad retrieve contact information from your company’s Exchange server corporate directory. You can access the directory when searching in Contacts, and it’s automatically accessed for completing email addresses as you enter them. Additional Supported Exchange ActiveSync Features In addition to the features and capabilities already described, iPhone OS supports:  Creating calendar invitations. With Microsoft Exchange 2007, you can also view the status of replies to your invitations.  Setting Free, Busy, Tentative, or Out of Office status for your calendar events.  Searching mail messages on the server. Requires Microsoft Exchange 2007.  Exchange ActiveSync client certificate-based authentication. Unsupported Exchange ActiveSync Features Not all Exchange features are supported, including, for example:  Folder management  Opening links in email to documents stored on SharePoint servers  Task synchronization  Setting an “out of office” autoreply message  Flagging messages for follow-up VPN iPhone OS works with VPN servers that support the following protocols and authentication methods:  L2TP/IPSec with user authentication by MS-CHAPV2 Password, RSA SecurID and CryptoCard, and machine authentication by shared secret.  PPTP with user authentication by MS-CHAPV2 Password, RSA SecurID, and CryptoCard.  Cisco IPSec with user authentication by Password, RSA SecurID, or CryptoCard, and machine authentication by shared secret and certificates. See Appendix A for compatible Cisco VPN servers and recommendations about configurations.Preface iPhone in the Enterprise 11 Cisco IPSec with certificate-based authentication supports VPN on demand for domains you specify during configuration. See “VPN Settings” on page 35 for details. Network Security iPhone OS supports the following 802.11i wireless networking security standards as defined by the Wi-Fi Alliance:  WEP  WPA Personal  WPA Enterprise  WPA2 Personal  WPA2 Enterprise Additionally, iPhone OS supports the following 802.1X authentication methods for WPA Enterprise and WPA2 Enterprise networks:  EAP-TLS  EAP -TTLS  EAP-FAST  EAP-SIM  PEAP v0, PEAP v1  LEAP Certificates and Identities iPhone, iPod touch, and iPad can use X.509 certificates with RSA keys. The file extensions .cer, .crt, and .der are recognized. Certificate chain evaluations are performed by Safari, Mail, VPN, and other applications. Use P12 (PKCS #12 standard) files that contain exactly one identity. The file extensions .p12 and .pfx are recognized. When an identity is installed, the user is prompted for the passphrase that protects it. Certificates necessary for establishing the certificate chain to a trusted root certificate can be installed manually or by using configuration profiles. You don’t need to add root certificates that are included on the device by Apple. To view a list of the preinstalled system roots, see the Apple Support article at http://support.apple.com/kb/HT3580. Certificates can be securely installed over the air via SCEP. See “Overview of the Authenticated Enrollment and Configuration Process” on page 22 for more information.12 Preface iPhone in the Enterprise Email Accounts iPhone, iPod touch, and iPad support industry-standard IMAP4- and POP3-enabled mail solutions on a range of server platforms including Windows, UNIX, Linux, and Mac OS X. You can also use IMAP to access email from Exchange accounts in addition to the Exchange account you use with direct push. When a user searches their mail, they have the option of continuing the search on the mail server. This works with Microsoft Exchange Server 2007 as well as most IMAP-based accounts. The user’s email account information, including Exchange user ID and password, are securely stored on the device. LDAP Servers iPhone, iPod touch, and iPad retrieve contact information from your company’s LDAPv3 server corporate directories.You can access directories when searching in Contacts, and and they are automatically accessed for completing email addresses as you enter them. CalDAV Servers iPhone, iPod touch, and iPad synchronize calendar data with your company’s CalDAV server. Changes to the calendar are periodically updated between the device and server. You can also subscribe to read-only published calendars, such as holiday calendars or those of a colleague’s schedule. Creating and sending new calendar invitations from a device isn’t supported for CalDAV accounts.Preface iPhone in the Enterprise 13 Additional Resources In addition to this guide, the following publications and websites provide useful information:  iPhone in Enterprise webpage at www.apple.com/iphone/enterprise/  iPad in Business webpage at: www.apple.com/ipad/business/  Exchange Product Overview at http://technet.microsoft.com/en-us/library/ bb124558.aspx  Deploying Exchange ActiveSync at http://technet.microsoft.com/en-us/library/ aa995962.aspx  Exchange 2003 Technical Documentation Library at http://technet.microsoft.com/ en-us/library/bb123872(EXCHG.65).aspx  Managing Exchange ActiveSync Security at http://technet.microsoft.com/en-us/ library/bb232020(EXCHG.80).aspx  Wi-Fi for Enterprise webpage at www.wi-fi.org/enterprise.php  iPhone VPN Connectivity to Cisco Adaptive Security Appliances (ASA) at www.cisco.com/en/US/docs/security/vpn_client/cisco_vpn_client/iPhone/2.0/ connectivity/guide/iphone.html  iPhone User Guide, available for download at www.apple.com/support/iphone/; view the guide on iPhone, tap the iPhone User Guide bookmark in Safari or go to http://help.apple.com/iphone/  iPhone Guided Tour at www.apple.com/iphone/guidedtour/  iPod touch User Guide, available for download at www.apple.com/support/ipodtouch; view the guide on iPod touch, tap the iPod touch User Guide in Safari or go to http://help.apple.com/ipodtouch/  iPod touch Guided Tour at www.apple.com/ipodtouch/guidedtour/  iPad User Guide, available for download at www.apple.com/support/ipad; view the guide on iPad, tap the iPad User Guide in Safari or go to http://help.apple.com/ipad/  iPad Guided Tour at www.apple.com/ipad/guided-tour/1 14 1 Deploying iPhone and iPod touch This chapter provides an overview of how to deploy iPhone, iPod touch, and iPad in your enterprise. iPhone, iPod touch, and iPad are designed to easily integrate with your enterprise systems, including Microsoft Exchange 2003 and 2007, 802.1X-based secure wireless networks, and Cisco IPSec virtual private networks. As with any enterprise solution, good planning and an understanding of your deployment options make deployment easier and more efficient for you and your users. When planning your deployment of iPhone, iPod touch, and iPad, consider the following:  How will your company’s iPhones and iPad (Wi-Fi + 3G models) be activated for wireless cellular service?  Which enterprise network services, applications, and data will your users need to access?  What policies do you want to set on the devices to protect sensitive company data?  Do you want to manually configure devices individually, or use a streamlined process for configuring a large fleet? The specifics of your enterprise environment, IT policies, wireless carrier, and your computing and communication requirements affect how you tailor your deployment strategy.Chapter 1 Deploying iPhone and iPod touch 15 Activating Devices Each iPhone must be activated with your wireless carrier before it can be used to make and receive calls, send text messages, or connect to the cellular data network. Contact your carrier for voice and data tariffs and activation instructions for consumer and business customers. You or your user need to install a SIM card in the iPhone. After the SIM card is installed, iPhone must be connected to a computer with iTunes to complete the activation process. If the SIM card is already active, iPhone is ready for immediate use; otherwise, iTunes walks you through the process of activating a new line of service. iPad must be connected to a computer with iTunes to activate the device. For iPad Wi-Fi + 3G in the U.S., you sign up and manage (or cancel) an AT&T data plan using iPad. Go to Settings > Cellular Data > View Account. iPad is unlocked, so you can use your preferred carrier. Contact your carrier to set up an account and obtain a compatible micro SIM card. In the U.S., micro SIM cards compatible with AT&T are included with iPad Wi-Fi + 3G. Although there is no cellular service or SIM card for iPod touch and iPad Wi-Fi, they must also be connected to a computer with iTunes for activation. Because iTunes is required in order to complete the activation process, you must decide whether you want to install iTunes on each user’s Mac or PC, or whether you’ll complete activation for each device with your own iTunes installation. After activation, iTunes isn’t required in order to use the device with your enterprise systems, but it’s required for synchronizing music, video, and web browser bookmarks with a computer. It’s also required for downloading and installing software updates for devices and installing your enterprise applications. For more information about activating devices and using iTunes, see Chapter 4.16 Chapter 1 Deploying iPhone and iPod touch Preparing Access to Network Services and Enterprise Data iPhone OS 3.x software enables secure push email, push contacts, and push calendar with your existing Microsoft Exchange Server 2003 or 2007 solution, as well as Global Address Lookup, Remote Wipe, and device passcode policy enforcement. It also allows users to securely connect to company resources via WPA Enterprise and WPA2 Enterprise wireless networks using 802.1X wireless authentication and/or via VPN using PPTP, LT2P over IPSec, or Cisco IPSec protocols. If your company doesn’t use Microsoft Exchange, your users can still use iPhone or iPod touch to wirelessly sync email with most standard POP or IMAP-based servers and services. And they can use iTunes to sync calendar events and contacts from Mac OS X iCal and Address Book or Microsoft Outlook on a Windows PC. For wireless access to calendars and directories, CalDAV and LDAP are supported. As you determine which network services you want users to access, refer to the information in the following sections. Microsoft Exchange iPhone communicates directly with your Microsoft Exchange Server via Microsoft Exchange ActiveSync (EAS). Exchange ActiveSync maintains a connection between the Exchange Server and iPhone or iPad Wi-Fi + 3G, so that when a new email message or meeting invitation arrives, the device is instantly updated. iPod touch and iPad Wi-Fi don’t have a cellular connection, so they receive push notifications only when they’re active and connected to a Wi-Fi network. If your company currently supports Exchange ActiveSync on Exchange Server 2003 or Exchange Server 2007, you already have the necessary services in place. For Exchange Server 2007, make sure the Client Access Role is installed. For Exchange Server 2003, make sure you’ve enabled Outlook Mobile Access (OMA). If you have an Exchange Server but your company is new to Exchange ActiveSync, review the information in the following sections. Network Configuration  Make sure port 443 is open on the firewall. If your company uses Outlook Web Access, port 443 is most likely already open.  Verify that a server certificate is installed on the front-end Exchange server and turn on basic authentication only, in the Authentication Method properties, to require an SSL connection to the Microsoft Server ActiveSync directory of your IIS.  If you’re using a Microsoft Internet Security and Acceleration (ISA) Server, verify that a server certificate is installed and update the public DNS to properly resolve incoming connections.Chapter 1 Deploying iPhone and iPod touch 17  Make sure the DNS for your network returns a single, externally-routable address to the Exchange ActiveSync server for both intranet and Internet clients. This is required so the device can use the same IP address for communicating with the server when both types of connections are active.  If you’re using a Microsoft ISA Server, create a web listener as well as an Exchange web client access publishing rule. See Microsoft’s documentation for details.  For all firewalls and network appliances, set the idle session timeout to 30 minutes. For information about heartbeat and timeout intervals, refer to the Microsoft Exchange documentation at http://technet.microsoft.com/en-us/library/cc182270.aspx. Exchange Account Setup  Enable Exchange ActiveSync for specific users or groups using the Active Directory service. These are enabled by default for all mobile devices at the organizational level in Exchange Server 2003 and Exchange Server 2007. For Exchange Server 2007, see Recipient Configuration in the Exchange Management Console.  Configure mobile features, policies, and device security settings using the Exchange System Manager. For Exchange Server 2007, this is done in the Exchange Management Console.  Download and install the Microsoft Exchange ActiveSync Mobile Administration Web Tool, which is necessary to initiate a remote wipe. For Exchange Server 2007, remote wipe can also be initiated using Outlook Web Access or the Exchange Management Console. WPA/WPA2 Enterprise Wi-Fi Networks Support for WPA Enterprise and WPA2 Enterprise ensures that corporate wireless networks are securely accessed on iPhone, iPod touch and iPad. WPA/WPA2 Enterprise uses AES 128-bit encryption, a proven block-based encryption method that provides a high level of assurance that corporate data remains protected. With support for 802.1X authentication, iPhone OS devices can be integrated into a broad range of RADIUS server environments. 802.1X wireless authentication methods are supported, including EAP-TLS, EAP-TTLS, EAP-FAST, PEAPv0, PEAPv1, and LEAP. WPA/WPA2 Enterprise Network Configuration  Verify network appliances for compatibility and select an authentication type (EAP type) supported by iPhone, iPod touch, and iPad. Make sure that 802.1X is enabled on the authentication server, and if necessary, install a server certificate and assign network access permissions to users and groups.  Configure wireless access points for 802.1X authentication and enter the corresponding RADIUS server information.  Test your 802.1X deployment with a Mac or a PC to make sure RADIUS authentication is properly configured.18 Chapter 1 Deploying iPhone and iPod touch  If you plan to use certificate-based authentication, make sure you have your public key infrastructure configured to support device and user-based certificates with the corresponding key distribution process.  Verify the compatibility of your certificate formats with the device and your authentication server. For information about certificates see “Certificates and Identities” on page 11. Virtual Private Networks Secure access to private networks is supported on iPhone, iPod touch, and iPad using Cisco IPSec, L2TP over IPSec, and PPTP virtual private network protocols. If your organization supports one of these protocols, no additional network configuration or third-party applications are required in order to use your devices with your VPN infrastructure. Cisco IPSec deployments can take advantage of certificate-based authentication via industry-standard X.509 certificates. Additionally, certificate-based authentication allows you to take advantage of VPN On Demand, which provides seamless, secure wireless access to your enterprise network. For two-factor token-based authentication, iPhone OS supports RSA SecurID and CryptoCard. Users enter their PIN and token-generated, one-time password directly on their device when establishing a VPN connection. For compatible Cisco VPN servers and recommendations about configurations, see Appendix A. iPhone, iPod touch and iPad also support shared secret authentication for Cisco IPSec and L2TP/IPSec deployments, and MS-CHAPv2 for basic user name and password authentication. VPN Proxy auto-config (PAC and WPAD) is also supported, which allows you specify proxy server settings for accessing specific URLs. VPN Setup Guidelines  iPhone OS integrates with most existing VPN networks, so minimal configuration is necessary to enable devices to access to your network. The best way to prepare for deployment is to check if your company’s existing VPN protocols and authentication methods are supported by iPhone.  Ensure compatibility with standards by your VPN concentrators. It’s also a good idea to review the authentication path to your RADIUS or authentication server, to make sure standards supported by iPhone OS are enabled within your implementation.  Check with your solutions providers to confirm that your software and equipment are up-to-date with the latest security patches and firmware.Chapter 1 Deploying iPhone and iPod touch 19  If you want to configure URL-specific proxy settings, place a PAC file on a web server that’s accessible with the basic VPN settings, and ensure that it’s served with a MIME type of application/x-ns-proxy-autoconfig. Alternatively, configure your DNS or DHCP to provide the location of a WPAD file on a server that is similarly accessible. IMAP Email If you don’t use Microsoft Exchange, you can still implement a secure, standards-based email solution using any email server that supports IMAP and is configured to require user authentication and SSL. For example, you can access Lotus Notes/Domino or Novell GroupWise email using this technique. The mail servers can be located within a DMZ subnetwork, behind a corporate firewall, or both. With SSL, iPhone OS supports 128-bit encryption and X.509 certificates issued by the major certificate authorities. It also supports strong authentication methods including industry-standard MD5 Challenge-Response and NTLMv2. IMAP Network Setup Guidelines  For additional security protection, install a digital certificate on the server from a trusted certificate authority (CA). Installing a certificate from a CA is an important step in ensuring that your proxy server is a trusted entity within your corporate infrastructure. See “Credentials Settings” on page 38 for information about installing certificates on iPhone.  To let iPhone OS devices retrieve email from your server, open port 993 in the firewall and make sure that the proxy server is set to IMAP over SSL.  To let devices send email, port 587, 465, or 25 must be open. Port 587 is used first, and is the best choice. LDAP Directories iPhone OS lets you access standards-based LDAP directory servers and provide a global address directory or other information similar to the Global Address List in Microsoft Exchange. When an LDAP account is configured on the device, the device searches for the attribute namingContexts at the server’s root level to identify the default search base. The search scope is set to subtree by default. CalDAV Calendars CalDAV support in iPhone OS provides global calendars and scheduling for organizations that don’t use Microsoft Exchange. iPhone OS works with calendar servers that support the CalDAV standard.20 Chapter 1 Deploying iPhone and iPod touch Subscribed Calendars If you want to publish read-only calendars of corporate events, such as holidays or special event schedules, iPhone OS devices can subscribe to calendars and display the information alongside Microsoft Exchange and CalDAV calendars. iPhone OS works with calendar files in the standard iCalendar (.ics) format. An easy way to distribute subscribed calendars to your users is to send the fully qualified URL in SMS or email. When the user taps the link, the device offers to subscribe to the specified calendar. Enterprise Applications To deploy enterprise iPhone OS applications, you install the applications on your devices using iPhone Configuration Utility or iTunes. Once you deploy an application to users’ devices, updating those applications will be easier if each user has iTunes installed on their Mac or PC. Online Certificate Status Protocol When you provide digital certificates for iPhone OS devices, consider issuing them so they’re OCSP-enabled. This allows the device to ask your OCSP server if the certificate has been revoked before using it. Determining Device Passcode Policies Once you decide which network services and data your users will access, you should determine which device passcode policies you want to implement. Requiring passcodes to be set on your devices is recommended for companies whose networks, systems, or applications don’t require a password or an authentication token. If you’re using certificate-based authentication for an 802.1X network or Cisco IPSec VPN, or your enterprise application saves your login credentials, you should require users to set a device passcode with a short timeout period so a lost or stolen device cannot be used without knowing the device passcode. Policies can be set on iPhone, iPod touch, and iPad in either of two ways. If the device is configured to access a Microsoft Exchange account, the Exchange ActiveSync policies are wirelessly pushed to the device. This allows you to enforce and update the policies without any user action. For information about EAS policies, see “Supported Exchange ActiveSync Policies” on page 8. If you don’t use Microsoft Exchange, you can set similar policies on your devices by creating configuration profiles. If you want to change a policy, you must post or send an updated profile to users or install the profile using iPhone Configuration Utility. For information about the device passcode policies, see “Passcode Settings” on page 32.Chapter 1 Deploying iPhone and iPod touch 21 If you use Microsoft Exchange, you can also supplement your EAS policies by using configuration policies. This can provide access to policies that aren’t available in Microsoft Exchange 2003, for example, or allow you to define policies specifically for iPhone OS devices. Configuring Devices You need to decide how you’ll configure each iPhone, iPod touch, or iPad. This is influenced in part by how many devices you plan on deploying and managing over time. If the number is small, you may find that it’s simpler for you or your users to manually configure each device. This involves using the device to enter the settings for each mail account, Wi-Fi settings, and VPN configuration information. See Chapter 3 for details about manual configuration. If you deploy a large number of devices, or you have a large collection of email settings, network settings, and certificates to install, then you may want to configure the devices by creating and distributing configuration profiles. Configuration profiles quickly load settings and authorization information onto a device. Some VPN and Wi-Fi settings can only be set using a configuration profile, and if you’re not using Microsoft Exchange, you’ll need to use a configuration profile to set device passcode policies. Configuration profiles can be encrypted and signed, which allows you to restrict their use to a specific device, and prevents anyone from changing the settings that a profile contains. You can also mark a profile as being locked to the device, so once installed it cannot be removed without wiping the device of all data, or optionally, with an administrative passcode. Whether or not you’re configuring devices manually or using configuration profiles, you also need to decide if you’ll configure the devices or if you will delegate this task to your users. Which you choose depends on your users’ locations, company policy regarding users’ ability to manage their own IT equipment, and the complexity of the device configuration you intend to deploy. Configuration profiles work well for a large enterprise, for remote employees, or for users that are unable to set up their own devices. If you want users to activate their device themselves or if they need to install or update enterprise applications, iTunes must be installed on each user’s Mac or PC. iTunes is also required for iPhone OS software updates, so keep that in mind if you decide to not distribute iTunes to your users. For information about deploying iTunes, see Chapter 4.22 Chapter 1 Deploying iPhone and iPod touch Over-the-Air Enrollment and Configuration Enrollment is the process of authenticating a device and user so that you can automate the process of distributing certificates. Digital certificates provide many benefits to users. They can be used to authenticate access to key enterprise services, such as Microsoft Exchange ActiveSync, WPA2 Enterprise wireless networks, and corporate VPN connections. Certificate-based authentication also permits the use of VPN On Demand for seamless access to corporate networks. In addition to using the over-the-air enrollment capabilities to issue certificates for your company’s public key infrastructure (PKI), you can also deploy device configuration profiles. This ensures that only trusted users are accessing corporate services and that their devices are configured according to your IT policies. And because configuration profiles can be both encrypted and locked, the settings cannot be removed, altered, or shared with others. These capabilities are available to you in the over-the-air process described below, and also by using iPhone Configuration Utility to configure devices while they’re attached to your administrative computer. See Chapter 2 to learn about using iPhone Configuration Utility. Implementing over-the-air enrollment and configuration requires development and integration of authentication, directory, and certificate services. The process can be deployed using standard web services, and once it’s in place, it permits your users to set up their devices in a secure, authenticated fashion. Overview of the Authenticated Enrollment and Configuration Process To implement this process, you need to create your own profile distribution service that accepts HTTP connections, authenticates users, creates mobileconfig profiles, and manages the overall process described in this section. You also need a CA (certificate authority) to issue the device credentials using Simple Certificate Enrollment Protocol (SCEP). For links to PKI, SCEP, and related topics see “Other Resources” on page 27. The following diagram shows the enrollment and configuration process that iPhone supports.Chapter 1 Deploying iPhone and iPod touch 23 Phase 1 – Begin Enrollment: Enrollment begins with the user using Safari to access the URL of the profile distribution service you’ve created. You can distribute this URL via SMS or email. The enrollment request, represented as step 1 in the diagram, should authenticate the user’s identify. Authentication can be as simple as basic auth, or you can tie into your existing directory services. In step 2, your service sends a configuration profile (.mobileconfig) in response. This response specifies a list of attributes that the device must provide in the next reply and a pre-shared key (challenge) that can carry the identity of the user forward during this process so you can customize the configuration process for each user. The device attributes that the service can request are iPhone OS version, device ID (MAC Address), product type (iPhone 3GS returns iPhone2,1), phone ID (IMEI), and SIM information (ICCID). For a sample configuration profile for this phase, see “Sample Phase 1 Server Response” on page 84. Profile service Attributes required: UDID, OS version, IMEI Challenge token: AnneJohnson1 URL for response: https://profiles.example.com Phase 1 - Begin Enrollment User: Anne Johnson Enrollment request Device information request sample sample 1 224 Chapter 1 Deploying iPhone and iPod touch Phase 2 – Device Authentication: After the user accepts the installation of the profile received in phase 1, the device looks up the requested attributes, adds the challenge response (if provided), signs the response using the device’s built-in identity (Apple-issued certificate), and sends it back to the profile distribution service using HTTP Post. For a sample configuration profile for this phase, see “Sample Phase 2 Device Response” on page 85. Profile service Attributes: UDID, OS Version, IMEI Challenge token: AnneJohnson1 Phase 2 - Device Authentication Signed response via POST sampleChapter 1 Deploying iPhone and iPod touch 25 Phase 3 – Certificate Installation: In step 1, the profile distribution service responds with specifications that the device uses to generate a key (RSA 1024) and where to return it for certification using SCEP (Simple Certificate Enrollment Protocol). In step 2, the SCEP request must be handled in automatic mode, using the challenge from the SCEP packet to authenticate the request. In step 3, the CA responds with an encryption certificate for the device. For a sample configuration profile for this phase, see “Sample Phase 3 Server Response With SCEP Specifications” on page 85. Profile service Certificate issuing service Phase 3 - Device Certificate Installation Challenge Key generation specs URL for response Challenge Certificate Signing Request Public key Device certificate RSA: 1024 Challenge: AnneJohnson1 URL:http://ca.example.com/ getkey.exe sample 1 2 326 Chapter 1 Deploying iPhone and iPod touch Phase 4 – Device Configuration: In step 1, the device replies with the list of attributes, signed using the encryption certificate provided by the CA in the previous phase. In step 2, the profile service responds with an encrypted .mobileconfig file that’s automatically installed. The profile service should sign the .mobileconfig file. Its SSL certificate can be used for this purpose, for example. In addition to general settings, this configuration profile should also define enterprise policies that you want to enforce and it should be a locked profile so the user cannot remove it from the device. The configuration profile can contain additional requests for enrollment of identities using SCEP, which are executed as the profile is installed. Similarly, when a certificate installed using SCEP expires or is otherwise invalidated, the device asks the user to update the profile. When the user authorizes the request, the device repeats the above process to obtain a new certificate and profile. For a sample configuration profile for this phase, see “Sample Phase 4 Device Response” on page 87. Profile service UDID, OS version, IMEI, MAC address Exchange policies, VPN settings, additional SCEP payloads, mail accounts, etc. Phase 4 - Device Configuration A .mobileconfig file encrypted for device and signed by profile service Device attributes signed with device certificate sample sample 1 2Chapter 1 Deploying iPhone and iPod touch 27 Other Resources  Digital Certificates PKI for IPSec VPNs at https://cisco.hosted.jivesoftware.com/docs/ DOC-3592  Public key infrastructure at http://en.wikipedia.org/wiki/Public_key_infrastructure  IETF SCEP protocol specification at http://www.ietf.org/internet-drafts/draft-noursescep-18.txt Additional information and resources for iPhone, iPod touch and iPad in the enterprise are available at www.apple.com/iphone/enterprise/ and www.apple.com/ipad/ business/.2 28 2 Creating and Deploying Configuration Profiles Configuration profiles define how iPhone, iPad and iPod touch work with your enterprise systems. Configuration profiles are XML files that contain device security policies and restrictions, VPN configuration information, Wi-Fi settings, email and calendar accounts, and authentication credentials that permit iPhone, iPod touch, and iPad to work with your enterprise systems. You can install configuration profiles on devices connected to a computer via USB using iPhone Configuration Utility, or you can distribute configuration profiles by email or using a webpage. When users open the email attachment or download the profile using Safari on their device, they are prompted to begin the installation process. If you prefer not to create and distribute configuration profiles, you can configure devices manually. See Chapter 3 for information.Chapter 2 Creating and Deploying Configuration Profiles 29 About iPhone Configuration Utility iPhone Configuration Utility lets you easily create, encrypt and install configuration profiles, track and install provisioning profiles and authorized applications, and capture device information including console logs. When you run the iPhone Configuration Utility installer, the utility is installed in /Applications/Utilities/ on Mac OS X, or in Programs\iPhone Configuration Utility\ on Windows. When you open iPhone Configuration Utility, a window similar to the one shown below appears. The content of the main section of the window changes as you select items in the sidebar. The sidebar displays the Library, which contains the following categories:  Devices shows a list of iPhone and iPod touch devices that have been connected to your computer.  Applications lists your applications that are available to install on devices attached to your computer. A provisioning profile might be needed for an application to run on a device.  Provisioning Profiles lists profiles that permit the use of the device for iPhone OS development, as authorized by Apple Developer Connection. For information, see Chapter 5. Provisioning profiles also allow devices to run enterprise applications that are not distributed using the iTunes Store.  Configuration Profiles lists the configuration profiles you’ve previously created, and lets you edit the information you entered, or create a new configuration that you can send to a user or install on a connected device.30 Chapter 2 Creating and Deploying Configuration Profiles The sidebar also displays Connected Devices, which shows information about the iPhone OS devices currently connected to your computer’s USB port. Information about a connected device is automatically added to the Devices list, so you can view it again without having to reconnect the device. After a device has been connected, you can also encrypt profiles for use on only that device. When a device is connected, you can use iPhone Configuration Utility to install configuration profiles and applications on the device. See “Installing Configuration Profiles Using iPhone Configuration Utility” on page 40,“Installing Applications Using iPhone Configuration Utility” on page 66 and “Installing Provisioning Profiles Using iPhone Configuration Utility” on page 65 for details. When a device is connected, you can also view console logs and any available crash logs. These are the same device logs that are available for viewing within the Xcode development environment on Mac OS X. Creating Configuration Profiles This document uses the terms configuration profile and payload. A configuration profile is the whole file that configures certain (single or multiple) settings for iPhone, iPod touch, or iPad. A payload is an individual collection of a certain type of settings, such as VPN settings, within the configuration profile. Although you can create a single configuration profile that contains all of the payloads you need for your organization, consider creating one profile for certificates and another one (or more) for other settings so you can update and distribute each type of information separately. This also allows users to retain the certificates they’ve already installed when installing a new profile that contains VPN or account settings. Many of the payloads allow you to specify user names and passwords. If you omit this information, the profile can be used by multiple users, but the user will be asked to enter the missing information when the profile is installed. If you do personalize the profile for each user, and include passwords, you should distribute the profile in encrypted format to protect its contents. For more information see “Installing Configuration Profiles” on page 40. To create a new configuration profile, click the New button in the toolbar of iPhone Configuration Utility. You add payloads to the profile using the payloads list. Then, you edit the payloads by entering and selecting options that appear in the editing pane. Required fields are marked with a red arrow. For some settings such as W-Fi, you can click the Add (+) button to add configurations. To remove a configuration, click the Delete (–) button in the editing pane. To edit a payload, select the appropriate item in the payloads list, then click the Configure button, and fill in the information as described below. Chapter 2 Creating and Deploying Configuration Profiles 31 Automating Configuration Profile Creation You can also automate the creation of configuration files using AppleScript on a Mac, or C# Script on Windows. To see the supported methods and their syntax, do the following:  Mac OS X: Use Script Editor to open the AppleScript Dictionary for iPhone Configuration Utility.  Windows: Use Visual Studio to view the method calls provided by iPCUScripting.dll. To execute a script, on Mac, use the AppleScript Tell command. On Windows, pass the script name to iPhone Configuration Utility as a command line parameter. For examples, see Appendix C, “Sample Scripts.” General Settings This is where you provide the name and identifier of this profile, and specify if users are allowed to remove the profile after it is installed. The name you specify appears in the profiles list and is displayed on the device after the configuration profile is installed. The name doesn’t have to be unique, but you should use a descriptive name that identifies the profile. The profile identifier must uniquely identify this profile and must use the format com.companyname.identifier, where identifier describes the profile. (For example, com.mycompany.homeoffice.)32 Chapter 2 Creating and Deploying Configuration Profiles The identifier is important because when a profile is installed, the value is compared with profiles that are already on the device. If the identifier is unique, information in the profile is added to the device. If the identifier matches a profile already installed, information in the profile replaces the settings already on the device, except in the case of Exchange settings. To alter an Exchange account, the profile must first be manually removed so that the data associated with the account can be purged. To prevent a user from deleting a profile installed on a device, choose an option from the Security pop-up menu. The With Authorization option allows you to specify an authorization password that permits the removal of the profile on the device. If you select the Never option, the profile can be updated with a new version, but it cannot be removed. Passcode Settings Use this payload to set device policies if you aren’t using Exchange passcode policies. You can specify whether a passcode is required in order to use the device, as well as specify characteristics of the passcode and how often it must be changed. When the configuration profile is loaded, the user is immediately required to enter a passcode that meets the policies you select or the profile won’t be installed. If you’re using device policies and Exchange passcode policies, the two sets of policies are merged and the strictest of the settings is enforced. For information about supported Exchange ActiveSync policies, see “Microsoft Exchange ActiveSync” on page 8. The following policies are available:  Require passcode on device: Requires users to enter a passcode before using the device. Otherwise, anyone who has the device can access all of its functions and data.  Allow simple value: Permits users to use sequential or repeated characters in their passcodes. For example, this would allow the passcodes “3333” or “DEFG.”  Require alphanumeric value: Requires that the passcode contain at least one letter character.  Minimum passcode length: Specifies the smallest number of characters a passcode can contain.  Minimum number of complex characters: The number of non-alphanumeric characters (such as $, &, and !) that the passcode must contain.  Maximum passcode age (in days): Requires users to change their passcode at the interval you specify.  Auto-Lock (in minutes): If the device isn’t used for this period of time, it automatically locks. Entering the passcode unlocks it.  Passcode history: A new passcode won’t be accepted if it matches a previously used passcode. You can specify how many previous passcodes are remembered for this comparison.Chapter 2 Creating and Deploying Configuration Profiles 33  Grace period for device lock: Specifies how soon the device can be unlocked again after use, without re-prompting for the passcode.  Maximum number of failed attempts: Determines how many failed passcode attempts can be made before the device is wiped. If you don’t change this setting, after six failed passcode attempts, the device imposes a time delay before a passcode can be entered again. The time delay increases with each failed attempt. After the eleventh failed attempt, all data and settings are securely erased from the device. The passcode time delays always begin after the sixth attempt, so if you set this value to 6 or lower, no time delays are imposed and the device is erased when the attempt value is exceeded. Restrictions Settings Use this payload to specify which device features the user is allowed to use.  Allow explicit content: When this is turned off, explicit music or video content purchased from the iTunes Store is hidden. Explicit content is marked as such by content providers, such as record labels, when sold through the iTunes Store.  Allow use of Safari: When this option is turned off, the Safari web browser application is disabled and its icon removed from the Home screen. This also prevents users from opening web clips.  Allow use of YouTube: When this option is turned off, the YouTube application is disabled and its icon is removed from the Home screen.  Allow use of iTunes Music Store: When this option is turned off, the iTunes Music Store is disabled and its icon is removed from the Home screen. Users cannot preview, purchase, or download content.  Allow installing apps: When this option is turned off, the App Store is disabled and its icon is removed from the Home screen. Users are unable to install or update their applications.  Allow use of camera: When this option is turned off, the camera is completely disabled and its icon is removed from the Home screen. Users are unable to take photographs.  Allow screen capture: When this option is turned off, users are unable to save a screenshot of the display.34 Chapter 2 Creating and Deploying Configuration Profiles Wi-Fi Settings Use this payload to set how the device connects to your wireless network. You can add multiple network configurations by clicking the Add (+) button in the editing pane. These settings must be specified, and must match the requirements of your network, in order for the user to initiate a connection.  Service Set Identifier: Enter the SSID of the wireless network to connect to.  Hidden Network: Specifies whether the network is broadcasting its identity.  Security Type: Select an authentication method for the network. The following choices are available for both Personal and Enterprise networks.  None: The network doesn’t use authentication.  WEP: The network uses WEP authentication only.  WPA/WPA 2: The network uses WPA authentication only.  Any: The device uses either WEP or WPA authentication when connecting to the network, but won’t connect to non-authenticated networks.  Password: Enter the password for joining the wireless network. If you leave this blank, the user will be asked to enter it. Enterprise Settings In this section you specify settings for connecting to enterprise networks. These settings appear when you choose an Enterprise setting in the Security Type pop-up menu. In the Protocols tab, you specify which EAP methods to use for authentication and configure the EAP-FAST Protected Access Credential settings. In the Authentication tab, you specify sign-in settings such as user name and authentication protocols. If you’ve installed an identity using the Credentials section, you can choose it using the Identity Certificate pop-up menu. In the Trust tab, you specify which certificates should be regarded as trusted for the purpose of validating the authentication server for the Wi-Fi connection. The Trusted Certificates list displays certificates that have been added using the Credentials tab, and lets you select which certificates should be regarded as trusted. Add the names of the authentication servers to be trusted to the Trusted Server Certificates Names list. You can specify a particular server, such as server.mycompany.com or a partial name such as *.mycompany.com. The Allow Trust Exceptions option lets users decide to trust a server when the chain of trust can’t be established. To avoid these prompts, and to permit connections only to trusted services, turn off this option and embed all necessary certificates in a profile.Chapter 2 Creating and Deploying Configuration Profiles 35 VPN Settings Use this payload to enter the VPN settings for connecting to your network. You can add multiple sets of VPN connections by clicking the Add (+) button. For information about supported VPN protocols and authentication methods, see “VPN” on page 10. The options available vary by the protocol and authentication method you select. VPN On Demand For certificate-based IPSec configurations, you can turn on VPN On Demand so that a VPN connection is automatically established when accessing certain domains. The VPN On Demand options are: The action applies to all matching addresses. Addresses are compared using simple string matching, starting from the end and working backwards. The address “.example.org” matches “support.example.org” and “sales.example.org” but doesn’t match “www.private-example.org”. However, if you specify the match domain as “example.com”—notice there is not a period at the start—it matches “www.privateexample.com” and all the others. Note that LDAP connections won’t initiate a VPN connection; if the VPN hasn’t already been established by another application, such as Safari, the LDAP lookup fails. VPN Proxy iPhone supports manual VPN proxy, and automatic proxy configuration using PAC or WPAD. To specify a VPN proxy, select an option from the Proxy Setup pop-up menu. Setting Description Always Initiates a VPN connection for any address that matches the specified domain. Never Does not initiate a VPN connection for addresses that match the specified domain, but if VPN is already active, it may be used. Establish if needed Initiates a VPN connection for addresses that match the specified domain only after a failed DNS look-up has occurred.36 Chapter 2 Creating and Deploying Configuration Profiles For PAC-based auto-proxy configurations, select Automatic from the pop-up menu and then enter the URL of a PAC file. For information about PACS capabilities and the file format, see “Other Resources” on page 55. For Web Proxy Autodiscovery (WPAD) configurations, select Automatic from the pop-up menu. Leave the Proxy Server URL field empty, iPhone will request the WPAD file using DHCP and DNS. For information about WPAD see “Other Resources” on page 55. Email Settings Use this payload to configure POP or IMAP mail accounts for the user. If you’re adding an Exchange account, see Exchange Settings below. Users can modify some of the mail settings you provide in a profile, such as the account name, password, and alternative SMTP servers. If you omit any of this information from the profile, users are asked to enter it when they access the account. You can add multiple mail accounts by clicking the Add (+) button. Exchange Settings Use this payload to enter the user’s settings for your Exchange server. You can create a profile for a specific user by specifying the user name, host name, and email address, or you can provide just the host name—the users are prompted to fill in the other values when they install the profile. If you specify the user name, host name, and SSL setting in the profile, the user can’t change these settings on the device. You can configure only one Exchange account per device. Other email accounts, including any Exchange via IMAP accounts, aren’t affected when you add an Exchange account. Exchange accounts that are added using a profile are deleted when the profile is removed, and can’t be otherwise deleted. By default, Exchange syncs contacts, calendar, and email. The user can change these settings on the device, including how many days worth of data to sync, in Settings > Accounts. If you select the Use SSL option, be sure to add the certificates necessary to authenticate the connection using the Credentials pane. To provide a certificate that identifies the user to the Exchange ActiveSync Server, click the Add (+) button and then select an identity certificate from the Mac OS X Keychain or Windows Certificate Store. After adding a certificate, you can specify the Authentication Credential Name, if necessary for your ActiveSync configuration. You can also embed the certificate’s passphrase in the configuration profile. If you don’t provide the passphrase, the user is asked to enter it when the profile is installed.Chapter 2 Creating and Deploying Configuration Profiles 37 LDAP Settings Use this payload to enter settings for connecting to an LDAPv3 directory. You can specify multiple search bases for each directory, and you can configure multiple directory connections by clicking the Add (+) button. If you select the Use SSL option, be sure to add the certificates necessary to authenticate the connection using the Credentials pane. CalDAV Settings Use this payload to provide accounts settings for connecting to a CalDAV-compliant calendar server. These accounts will be added to the device, and as with Exchange accounts, users need to manually enter information you omit from the profile, such as their account password, when the profile is installed. If you select the Use SSL option, be sure to add the certificates necessary to authenticate the connection using the Credentials pane. You can configure multiple accounts by clicking the Add (+) button. Subscribed Calendars Settings Use this payload to add read-only calendar subscriptions to the device’s Calendar application. You can configure multiple subscriptions by clicking the Add (+) button. A list of public calendars you can subscribe to is available at www.apple.com/downloads/macosx/calendars/. If you select the Use SSL option, be sure to add the certificates necessary to authenticate the connection using the Credentials pane. Web Clip Settings Use this payload to add web clips to the Home screen of the user’s device. Web clips provide fast access to favorite web pages. Make sure the URL you enter includes the prefix http:// or https://—this is required for the web clip to function correctly. For example, to add the online version of the iPhone User Guide to the Home screen, specify the web clip URL: http://help.apple.com/iphone/ To add a custom icon, select a graphic file in gif, jpeg, or png format, 59 x 60 pixels in size. The image is automatically scaled and cropped to fit, and converted to png format if necessary.38 Chapter 2 Creating and Deploying Configuration Profiles Credentials Settings Use this payload to add certificates and identities to the device. For information about supported formats, see “Certificates and Identities” on page 11. When installing credentials, also install the intermediate certificates that are necessary to establish a chain to a trusted certificate that’s on the device. To view a list of the preinstalled roots, see the Apple Support article at http://support.apple.com/kb/HT2185. If you’re adding an identify for use with Microsoft Exchange, use the Exchange payload instead. See “Exchange Settings” on page 36. Adding credentials on Mac OS X: 1 Click the Add (+) button. 2 In the file dialog that appears, select a PKCS1 or PKSC12 file, then click Open. If the certificate or identity that you want to install in your Keychain, use Keychain Access to export it in .p12 format. Keychain Access is located in /Applications/Utilities. For help see Keychain Access Help, available in the Help menu when Keychain Access is open. To add multiple credentials to the configuration profile, click the Add (+) button again. Adding credentials on Windows: 1 Click the Add (+) button. 2 Select the credential that you want to install from the Windows Certificate Store. If the credential isn’t available in your personal certificate store, you must add it, and the private key must be marked as exportable, which is one of the steps offered by the certificate import wizard. Note that adding root certificates requires administrative access to the computer, and the certificate must be added to the personal store. If you’re using multiple configuration profiles, make sure certificates aren’t duplicated. You cannot install multiple copies of the same certificate. Instead of installing certificates using a configuration profile, you can let users use Safari to download the certificates directly to their device from a webpage. Or, you can email certificates to users. See “Installing Identities and Root Certificates” on page 54 for more information. You can also use the SCEP Settings, below, to specify how the device obtains certificates over-the-air when the profile is installed.Chapter 2 Creating and Deploying Configuration Profiles 39 SCEP Settings The SCEP payload lets you specify settings that allow the device to obtain certificates from a CA using Simple Certificate Enrollment Protocol (SCEP). For more information about how the iPhone obtains certificates wirelessly, see “Over-the-Air Enrollment and Configuration” on page 22. Advanced Settings The Advanced payload lets you change the device’s Access Point Name (APN) and cell network proxy settings. These settings define how the device connects to the carrier’s network. Change these settings only when specifically directed to do so by a carrier network expert. If these settings are incorrect, the device can’t access data using the cellular network. To undo an inadvertent change to these settings, delete the profile from the device. Apple recommends that you define APN settings in a configuration profile separate from other enterprise settings, because profiles that specify APN information must be signed by your cell service provider. iPhone OS supports APN user names of up to 20 characters, and passwords of up to 32 characters. Editing Configuration Profiles In iPhone Configuration Utility, select a profile in the Configuration Profiles list, and then use the payload list and editing panes to make changes. You can also import a profile by choosing File > Add to Library and then selecting a .mobileconfig file. If the settings panes aren’t visible, choose View > Show Detail. Setting Description URL This is the address of the SCEP server. Name This can be any string that will be understood by the certificate authority, it can be used to distinguish between instances, for example. Subject The representation of a X.500 name represented as an array of OID and value. For example, /C=US/O=Apple Inc./CN=foo/1.2.5.3=bar, which would translate to: [ [ [“C”, “US”] ], [ [“O”, “Apple Inc.”] ], ..., [ [ “1.2.5.3”, “bar” ] ] ] Challenge A pre-shared secret the SCEP server can use to identify the request or user. Key Size and Usage Select a key size, and—using the checkboxes below this field—the acceptable use of the key. Fingerprint If your Certificate Authority uses HTTP, use this field to provide the fingerprint of the CA’s certificate which the device will use to confirm authenticity of the CA’s response. during the enrollment process. You can enter a SHA1 or MD5 fingerprint, or select a certificate to import its signature.40 Chapter 2 Creating and Deploying Configuration Profiles The Identifier field in the General payload is used by the device to determine whether a profile is new, or an update to an existing profile. If you want the updated profile to replace one that users have already installed, don’t change the Identifier. Installing Provisioning Profiles and Applications iPhone Configuration Utility can install applications and distribution provisioning profiles on devices attached to the computer. For details, see Chapter 5, “Deploying Applications,” on page 63. Installing Configuration Profiles After you’ve created a profile, you can connect a device and install the profile using iPhone Configuration Utility. Alternatively, you can distribute the profile to users by email, or by posting it to a website. When users use their device to open an email message or download the profile from the web, they’re prompted to start the installation process. Installing Configuration Profiles Using iPhone Configuration Utility You can install configuration profiles directly on a device that has been updated to iPhone OS 3.0 or later and is attached to your computer. You can also use iPhone Configuration Utility to remove previously installed profiles. To install a configuration profile: 1 Connect the device to your computer using a USB cable. After a moment, the device appears in the Devices list in iPhone Configuration Utility. 2 Select the device, and then click the Configuration Profiles tab. 3 Select a configuration profile from the list, and then click Install. 4 On the device, tap Install to install the profile. When you install directly onto a device using USB, the configuration profile is automatically signed and encrypted before being transferred to the device. Distributing Configuration Profiles by Email You can distribute configuration profiles using email. Users install the profile by receiving the message on their device, then tapping the attachment to install it. To email a configuration profile: 1 Click the Share button in the iPhone Configuration Utility toolbar. In the dialog that appears, select a security option: a None: A plain text .mobileconfig file is created. It can be installed on any device. Some content in the file is obfuscated to prevent casual snooping if the file is examined.Chapter 2 Creating and Deploying Configuration Profiles 41 b Sign Configuration Profile: The .mobileconfig file is signed and won’t be installed by a device if it’s altered. Some fields are obfuscated to prevent casual snooping if the file is examined. Once installed, the profile can only be updated by a profile that has the same identifier and is signed by the same copy of iPhone Configuration Utility. c Sign and Encrypt Profile: Signs the profile so it cannot be altered, and encrypts all of the contents so the profile cannot be examined and can only be installed on a specific device. If the profile contains passwords, this option is recommended. Separate .mobileconfig files will be created for each of the devices you select from the Devices list. If a device does not appear in the list, it either hasn’t been previously connected to the computer so that the encryption key can be obtained, or it hasn’t been upgraded to iPhone OS 3.0 or later. 2 Click Share, and new Mail (Mac OS X) or Outlook (Windows) message opens with the profiles added as uncompressed attachments. The files must be uncompressed for the device to recognize and install the profile. Distributing Configuration Profiles on the Web You can distribute configuration profiles using a website. Users install the profile by downloading it using Safari on their device. To easily distribute the URL to your users, send it via SMS. To export a configuration profile: 1 Click the Export button in the iPhone Configuration Utility toolbar. In the dialog that appears, select a security option: a None: A plain text .mobileconfig file is created. It can be installed on any device. Some content in the file is obfuscated to prevent casual snooping if the file is examined, but you should make sure that when you put the file on your website it’s accessible only by authorized users. b Sign Configuration Profile: The .mobileconfig file is signed and won’t be installed by a device if it’s altered. Once installed, the profile can only be updated by a profile that has the same identifier and is signed by the same copy of iPhone Configuration Utility. Some of the information in the profile is obfuscated to prevent casual snooping if the file is examined, but you should make sure that when you put the file on your website, it’s accessible only by authorized users. c Sign and Encrypt Profile: Signs the profile so it cannot be altered, and encrypts all of the contents so the profile cannot be examined and can only be installed on a specific device. Separate .mobileconfig files will be created for each of the devices you select from the Devices list. 2 Click Export, then select a location to save the .mobileconfig files. The files are ready for posting on your website. Don’t compress the .mobileconfig file or change its extension, or the device won’t recognize or install the profile. 42 Chapter 2 Creating and Deploying Configuration Profiles User Installation of Downloaded Configuration Profiles Provide your users with the URL where they can download the profiles onto their devices, or send the profiles to an email account your users can access using the device before it’s set up with your enterprise-specific information. When a user downloads the profile from the web, or opens the attachment using Mail, the device recognizes the .mobileconfig extension as a profile and begins installation when the user taps Install. During installation, the user is asked to enter any necessary information, such as passwords that were not specified in the profile, and other information as required by the settings you specified. The device also retrieves the Exchange ActiveSync policies from the server, and will refresh the policies, if they’ve changed, with every subsequent connection. If the device or Exchange ActiveSync policies enforce a passcode setting, the user must enter a passcode that complies with the policy in order to complete the installation. Additionally, the user is asked to enter any passwords necessary to use certificates included in the profile. If the installation isn’t completed successfully—perhaps because the Exchange server was unreachable or the user cancelled the process—none of the information entered by the user is retained. Users may want to change how many days worth of messages are synced to the device and which mail folders other than the inbox are synced. The defaults are three days and all folders. Users can change these by going to Settings > Mail, Contacts, Calendars > Exchange account name. Chapter 2 Creating and Deploying Configuration Profiles 43 Removing and Updating Configuration Profiles Configuration profile updates aren’t pushed to users. Distribute the updated profiles to your users for them to install. As long as the profile identifier matches, and if signed, it has been signed by the same copy of iPhone Configuration Utility, the new profile replaces the profile on the device. Settings enforced by a configuration profile cannot be changed on the device. To change a setting, you must install an updated profile. If the profile was signed, it can be replaced only by a profile signed by the same copy of iPhone Configuration Utility. The identifier in both profiles must match in order for the updated profile to be recognized as a replacement. For more information about the identifier, see “General Settings” on page 31. Important: Removing a configuration profile removes policies and all of the Exchange account’s data stored on the device, as well as VPN settings, certificates, and other information, including mail messages, associated with the profile. If the General Settings payload of the profile specifies that it cannot be removed by the user, the Remove button won’t appear. If the settings allows removal using an authorization password, the user will be asked to enter the password after tapping Remove. For more information about profile security settings, see “General Settings” on page 31.3 44 3 Manually Configuring Devices This chapter describes how to manually configure iPhone, iPod touch, and iPad. If you don’t provide automatic configuration profiles, users can configure their devices manually. Some settings, such as passcode policies, can only be set by using a configuration profile. VPN Settings To change VPN settings, go to Settings > General > Network > VPN. When you configure VPN settings, the device asks you to enter information based on responses it receives from your VPN server. For example, you’ll be asked for an RSA SecurID token if the server requires one. You cannot configure a certificate-based VPN connection unless the appropriate certificates are installed on the device. See “Installing Identities and Root Certificates” on page 54 for more information. VPN On Demand cannot be configured on the device, you set this up using a configuration profile. See “VPN On Demand” on page 35. VPN Proxy Settings For all configurations you can also specify a VPN proxy. To configure a single proxy for all connections, tap Manual and provide the address, port, and authentication if necessary. To provide the device with an auto-proxy configuration file, tap Auto and specify the URL of the PACS file. To specify auto-proxy configuration using WPAD, tap Auto. The device will query DHCP and DNS for the WPAD settings. See Other Resources at the end of this chapter for PACS file samples and resources.Chapter 3 Manually Configuring Devices 45 Cisco IPSec Settings When you manually configure the device for Cisco IPSec VPN, a screen similar to the following appears: Use this chart to identify the settings and information you enter: Field Description Description A descriptive title that identifies this group of settings. Server The DNS name or IP address of the VPN server to connect to. Account The user name of the user’s VPN login account. Don’t enter the group name in this field. Password The passphrase of the user’s VPN login account. Leave blank for RSA SecurID and CryptoCard authentication, or if you want the user to enter their password manually with every connection attempt. Use Certificate This will be available only if you’ve installed a .p12 or .pfx identity that contains a certificate provisioned for remote access and the private key for the certificate. When Use Certificate is on, the Group Name and Shared Secret fields are replaced with an Identify field that lets you pick from a list of installed VPN-compatible identities. Group Name The name of the group that the user belongs to as defined on the VPN server. Secret The group’s shared secret. This is the same for every member of the user’s assigned group. It’s not the user’s password and must be specified to initiate a connection.46 Chapter 3 Manually Configuring Devices PPTP Settings When you manually configure the device for PPTP VPN, a screen similar to the following appears: Use this chart to identify the settings and information you enter: Field Description Description A descriptive title that identifies this group of settings. Server The DNS name or IP address of the VPN server to connect to. Account The user name of the user’s VPN login account. RSA SecurID If you’re using an RSA SecurID token, turn on this option, so the Password field is hidden. Password The passphrase of the user’s VPN login account. Encryption Level The default is Auto, which selects the highest encryption level that is available, starting with 128-bit, then 40-bit, then None. Maximum is 128-bit only. None turns off encryption. Send All Traffic The default is On. Sends all network traffic over the VPN link. Turn off to enable split-tunneling, which routes only traffic destined for servers inside the VPN through the server. Other traffic is routed directly to the Internet. Chapter 3 Manually Configuring Devices 47 L2TP Settings When you manually configure the device for L2TP VPN, a screen similar to the following appears: Use this chart to identify the settings and information you enter: Field Description Description A descriptive title that identifies this group of settings. Server The DNS name or IP address of the VPN server to connect to. Account The user name of the user’s VPN login account. Password The password of the user’s VPN login account. Secret The shared secret (pre-shared key) for the L2TP account. This is the same for all LT2P users. Send All Traffic The default is On. Sends all network traffic over the VPN link. Turn off to enable split-tunneling, which routes only traffic destined for servers inside the VPN through the server. Other traffic is routed directly to the Internet. 48 Chapter 3 Manually Configuring Devices Wi-Fi Settings To change Wi-Fi settings, go to Settings > General > Network > Wi-Fi. If the network you’re adding is within range, select it from the list of available networks. Otherwise, tap Other. Make sure that your network infrastructure uses authentication and encryption supported by iPhone and iPod touch. For specifications, see “Network Security” on page 11. For information about installing certificates for authentication, see “Installing Identities and Root Certificates” on page 54.Chapter 3 Manually Configuring Devices 49 Exchange Settings You can configure only one Exchange account per device. To add an Exchange account, go to Settings > Mail, Contacts, Calendars, and then tap Add Account. On the Add Account screen, tap Microsoft Exchange. When you manually configure the device for Exchange, use this chart to identify the settings and information you enter: iPhone, iPod touch, and iPad support Microsoft’s Autodiscover service, which uses your user name and password to determine the address of the front-end Exchange server. If the server’s address can’t be determined, you’ll be asked to enter it. If your Exchange server listens for connections on a port other than 443, specify the port number in the Server field using the format exchange.example.com:portnumber. Field Description Email The user’s complete email address. Domain The domain of the user’s Exchange account. Username The user name of the user’s Exchange account. Password The password of the user’s Exchange account. Description A descriptive title that identifies this account.50 Chapter 3 Manually Configuring Devices After the Exchange account is successfully configured, the server’s passcode policies are enforced. If the user’s current passcode doesn’t comply with the Exchange ActiveSync policies, the user is prompted to change or set the passcode. The device won’t communicate with the Exchange server until the user sets a compliant passcode. Next, the device offers to immediately sync with the Exchange server. If you choose not to sync at this time, you can turn on calendar and contact syncing later in Settings > Mail, Contacts, Calendars. By default, Exchange ActiveSync pushes new data to your device as it arrives on the server. If you prefer to fetch new data on a schedule or to only pull new data manually, use Settings > Mail, Contacts, Calendars > Fetch New Data to change the settings. To change how many days’ worth of mail messages are synced to your device, go to Settings > Mail, Contacts, Calendars, and then select the Exchange account. You can also select which folders, in addition to the inbox, are included in push email delivery. To change the setting for calendar data go to Settings > Mail, Contacts, Calendars > Sync.Chapter 3 Manually Configuring Devices 51 LDAP Settings iPhone, iPod touch, and iPad can look up contact information on LDAP directory servers. To add an LDAP server, go to Settings > Mail, Contacts, Calendars > Add Account > Other. Then tap Add LDAP Account. Enter the LDAP server address, and user name and password if required, then tap Next. If the server is reachable and supplies default search settings to the device, the settings will be used. 52 Chapter 3 Manually Configuring Devices The following Search Scope settings are supported: You can define multiple sets of search settings for each server. CalDAV Settings iPhone, iPod touch, and iPad work with CalDAV calendar servers that provide group calendars and scheduling. To add a CalDAV server, go to Settings > Mail, Contacts, Calendars > Add Account > Other. Then tap Add CalDAV Account. Enter the CalDAV server address, and user name and password if necessary, then tap Next. After the server is contacted, additional fields appear that allow you to set more options. Search Scope setting Description Base Searches the base object only. One Level Searches objects one level below the base object, but not the base object itself. Subtree Searches the base object and the entire tree of all objects descended from it.Chapter 3 Manually Configuring Devices 53 Calendar Subscription Settings You can add read-only calendars, such as project schedules or holidays. To add a calendar, go to Settings > Mail, Contacts, Calendars > Add Account > Other and then tap Add Subscribed Calendar. Enter the URL for an iCalendar (.ics) file, and the user name and password if necessary, then tap Save. You can also specify whether alarms that are set in the calendar should be removed when the calendar is added to the device. In addition to adding calendar subscriptions manually, you can send users a webcal:// URL (or an http:// link to a .ics file) and, after the user taps the link, the device will offer to add it as a subscribed calendar.54 Chapter 3 Manually Configuring Devices Installing Identities and Root Certificates If you don’t distribute certificates using profiles, your users can install them manually by using the device to download them from a website, or by opening an attachment in an email message. The device recognizes certificates with the following MIME types and file extensions:  application/x-pkcs12, .p12, .pfx  application/x-x509-ca-cert, .cer, .crt, .der See “Certificates and Identities” on page 11 for more information about supported formats and other requirements. When a certificate or identity is downloaded to the device, the Install Profile screen appears. The description indicates the type: identity or certificate authority. To install the certificate, tap Install. If it’s an identity certificate, you’ll be asked to enter the certificate’s password. To view or remove an installed certificate, go to Settings > General > Profile. If you remove a certificate that’s required for accessing an account or network, your device cannot connect to those services.Chapter 3 Manually Configuring Devices 55 Additional Mail Accounts You can configure only one Exchange account, but you can add multiple POP and IMAP accounts. This can be used, for example, to access mail on a Lotus Notes or Novell Groupwise mail server. Go to Settings > Accounts > Mail, Contacts, Calendars > Add Account > Other. For more about adding an IMAP account, see the iPhone User Guide, iPod touch User Guide, or iPad User Guide. Updating and Removing Profiles For information about how a user updates or removes configuration profiles, see “Removing and Updating Configuration Profiles” on page 43. For information about installing distribution provisioning profiles, see “Deploying Applications” on page 63. Other Resources For information about the format and function of auto-proxy configuration files, used by the VPN proxy settings, see the following:  Proxy auto-config (PAC) at http://en.wikipedia.org/wiki/Proxy_auto-config  Web Proxy Autodiscovery Protocol at http://en.wikipedia.org/wiki/Wpad  Microsoft TechNet “Using Automatic Configuration, Automatic Proxy, and Automatic Detection” at http://technet.microsoft.com/en-us/library/dd361918.aspx Apple has several video tutorials, viewable in a standard web browser, that show your users how to set up and use the features of iPhone, iPod touch, and iPad:  iPhone Guided Tour at www.apple.com/iphone/guidedtour/  iPod touch Guided Tour at www.apple.com/ipodtouch/guidedtour/  iPad Guided Tour at www.apple.com/ipad/guided-tours/  iPhone Support webpage at www.apple.com/support/iphone/  iPod touch Support webpage at www.apple.com/support/ipodtouch/  iPad Support webpage at www.apple.com/support/ipad/ There is also a user guide for each device, in PDF, that provides additional tips and usage details:  iPhone User Guide: http://manuals.info.apple.com/en/iPhone_User_Guide.pdf  iPod touch User Guide: http://manuals.info.apple.com/en/iPod_touch_User_Guide.pdf  iPad User Guide: http://manuals.info.apple.com/en/iPad_User_Guide.pdf56 Chapter 3 Manually Configuring Devices 4 57 4 Deploying iTunes You use iTunes to sync music and video, install applications, and more. This chapter describes how to deploy iTunes and enterprise applications, and defines the settings and restrictions you can specify. iPhone, iPod touch, and iPad can sync each type of data (music, media, etc) to only one computer at a time. For example, you can sync music with a desktop computer and bookmarks with a portable computer, by setting iTunes sync options appropriately on both computers. See iTunes Help, available in the Help menu when iTunes is open, for more information about sync options. Installing iTunes iTunes uses standard Macintosh and Windows installers. The latest version and a list of system requirements is available for downloading at www.itunes.com. For information about licensing requirements for distributing iTunes, see: http://developer.apple.com/softwarelicensing/agreements/itunes.html Installing iTunes on Windows Computers When you install iTunes on Windows computers, by default you also install the latest version of QuickTime, Bonjour, and Apple Software Update. You can omit these components by passing parameters to the iTunes installer, or by pushing only the components you want to install on your users’ computers.58 Chapter 4 Deploying iTunes Installing on Windows using iTunesSetup.exe If you plan to use the regular iTunes installation process but omit some components, you can pass properties to iTunesSetup.exe using the command line. Silently Installing on Windows To silently install iTunes, extract the individual .msi files from iTunesSetup.exe, then push the files to client computers. To extract .msi files from iTunesSetup.exe: 1 Run iTunesSetup.exe. 2 Open %temp% and find a folder named IXPnnn.TMP, where %temp% is your temporary directory and nnn is a 3-digit random number. On Windows XP, the temporary directory is typically bootdrive:\Documents and Settings\user\Local Settings\temp\. On Windows Vista, the temporary directory is typically \Users\user\AppData\Local\Temp\. 3 Copy the .msi files from the folder to another location. 4 Quit the installer opened by iTunesSetup.exe. Then use Group Policy Object Editor, in the Microsoft Management Console, to add the .msi files to a Computer Configuration policy. Make sure to add the configuration to the Computer Configuration policy, not the User Configuration policy. Important: iTunes requires QuickTime and Apple Application Support. Apple Application Support must be installed before installing iTunes. Apple Mobile Device Services (AMDS) is necessary to use an iPhone, iPad, or iPod touch with iTunes. Before pushing the .msi files, you need to select which localized versions of iTunes you want to install. To do so, open the .msi in the ORCA tool, which is installed by the Windows SDK as Orca.msi, in bin\. Then edit the summary information stream and remove the languages that you don’t want to install. (Locale ID1033 is English.) Alternatively, use the Group Policy Object Editor to change the deployment properties of the .msi files to Ignore Language. Property Meaning NO_AMDS=1 Don’t install Apple Mobile Device Services. This component is required for iTunes to sync and manage mobile devices. NO_ASUW=1 Don’t install Apple Software Update for Windows. This application alerts users to new versions of Apple software. NO_BONJOUR=1 Don’t install Bonjour. Bonjour provides zero-configuration network discovery of printers, shared iTunes libraries, and other services. NO_QUICKTIME=1 Don’t install QuickTime. This component is required to use iTunes. Don’t omit QuickTime unless you’re sure the client computer already has the latest version installed.Chapter 4 Deploying iTunes 59 Installing iTunes on Macintosh Computers Mac computers come with iTunes installed. The latest version of iTunes is available at www.itunes.com. To push iTunes to Mac clients, you can use Workgroup Manager, an administrative tool included with Mac OS X Server. Quickly Activating Devices with iTunes Before a new iPhone, iPod touch, or iPad can be used, it must be activated by connecting it to a computer that is running iTunes. Normally, after activating a device, iTunes offers to sync the device with the computer. To avoid this when you’re setting up a device for someone else, turn on activation-only mode. This causes iTunes to automatically eject a device after it’s activated. The device is then ready to configure, but doesn’t have any media or data. To turn on activation-only mode on Mac OS X: 1 Make sure iTunes isn’t running, and then open Terminal. 2 In Terminal, enter a command:  To turn activation-only mode on: defaults write com.apple.iTunes StoreActivationMode -integer 1  To turn activation-only mode off: defaults delete com.apple.iTunes StoreActivationMode To activate a device, see “Using Activation-only Mode,” below. To turn on activation-only mode on Windows: 1 Make sure iTunes isn’t running, and then open a Command Prompt window. 2 Enter a command:  To turn activation-only mode on: "C:\Program Files\iTunes\iTunes.exe" /setPrefInt StoreActivationMode 1  To turn activation-only mode off: "C:\Program Files\iTunes\iTunes.exe" /setPrefInt StoreActivationMode 0 You can also create a shortcut, or edit the iTunes shortcut you already have, to include these commands so you can quickly toggle activation-only mode. To verify that iTunes is in activation-only mode, choose iTunes > About iTunes and look for the text “Activation-only mode” under the iTunes version and build identifier.60 Chapter 4 Deploying iTunes Using Activation-Only Mode Make sure that you’ve turned on activation-only mode as described above, and then follow these steps. 1 If you’re activating an iPhone, insert an activated SIM card. Use the SIM eject tool, or a straightened paper clip, to eject the SIM tray. See the iPhone User Guide for details. 2 Connect iPhone, iPod touch, or iPad to the computer. The computer must be connected to the Internet to activate the device. iTunes opens, if necessary, and activates the device. A message appears when the device is successfully activated. 3 Disconnect the device. You can immediately connect and activate additional devices. iTunes won’t sync with any device while activation-only mode is on, so don’t forget to turn activation-only mode off if you plan on using iTunes to sync devices. Setting iTunes Restrictions You can restrict your users from using certain iTunes features. This is sometimes referred to as parental controls. The following features can be restricted:  Automatic and user-initiated checking for new versions of iTunes and device software updates  Displaying Genius suggestions while browsing or playing media  Automatically syncing when devices are connected  Downloading album artwork  Using Visualizer plug-ins  Entering a URL of streaming media  Automatically discovering Apple TV systems  Registering new devices with Apple  Subscribing to podcasts  Playing Internet radio  Accessing the iTunes Store  Library sharing with local network computers also running iTunes  Playing iTunes media content that is marked as explicit  Playing movies  Playing TV showsChapter 4 Deploying iTunes 61 Setting iTunes Restrictions for Mac OS X On Mac OS X, you control access by using keys in a plist file. On Mac OS X the key values shown above can be specified for each user by editing ~/Library/Preferences/ com.apple.iTunes.plist using Workgroup Manager, an administrative tool included with Mac OS X Server. For instructions, see the Apple Support article at http://docs.info.apple.com/ article.html?artnum=303099. Setting iTunes Restrictions for Windows On Windows, you control access by setting registry values inside one of the following registry keys: On Windows XP and 32-bit Windows Vista:  HKEY_LOCAL_MACHINE\Software\Apple Computer, Inc.\iTunes\[SID]\Parental Controls\  HKEY_CURRENT_USER\Software\Apple Computer, Inc.\iTunes\Parental Controls On 64-bit Windows Vista:  HKEY_LOCAL_MACHINE\Software\Wow6432Node\Apple Computer, Inc.\iTunes\[SID]\Parental Controls\  HKEY_CURRENT_USER\Software\Wow6432Node\Apple Computer, Inc.\iTunes\Parental Controls For information about the iTunes registry values, see the Apple Support article at http://support.apple.com/kb/HT2102. For general information about editing the Windows registry, see the Microsoft Help and Support article at http://support.microsoft.com/kb/136393. Updating iTunes and iPhone OS Manually If you turn off automated and user-initiated software update checking in iTunes, you’ll need to distribute software updates to users for manual installation. To update iTunes, see the installation and deployment steps described earlier in this document. It’s the same process you followed for distributing iTunes to your users.62 Chapter 4 Deploying iTunes To update iPhone OS, follow these steps: 1 On a computer that doesn’t have iTunes software updating turned off, use iTunes to download the software update. To do so, select an attached device in iTunes, click the Summary tab, and then click the “Check for Update” button. 2 After downloading, copy the updater file (.ipsw) found in the following location:  On Mac OS X: ~/Library/iTunes/iPhone Software Updates/  On Windows XP: bootdrive:\Documents and Settings\user\Application Data\ Apple Computer\iTunes\iPhone Software Updates\ 3 Distribute the .ipsw file to your users, or place it on the network where they can access it. 4 Tell your users to back up their device with iTunes before applying the update. During manual updates, iTunes doesn’t automatically back up the device before installation. To create a new backup, right-click (Windows) or Control-click (Mac) the device in the iTunes sidebar. Then choose Back Up from the contextual menu that appears. 5 Your users install the update by connecting their device to iTunes, then selecting the Summary tab for their device. Next, they hold down the Option (Mac) or Shift (Windows) key and click the “Check for Update” button. 6 A file selector dialog appears. Users should select the .ipsw file and then click Open to begin the update process. Backing Up a Device with iTunes When iPhone, iPod touch, or iPad is synced with iTunes, device settings are automatically backed up to the computer. Applications purchased from the App Store are copied to the iTunes Library. Applications you’ve developed yourself, and distributed to your users with enterprise distribution profiles, won’t be backed up or transferred to the user’s computer. But the device backup will include any data files your application creates. Device backups can be stored in encrypted format by selecting the Encrypt Backup option for the device in the summary pane of iTunes. Files are encrypted using AES256. The key is stored securely in the iPhone OS keychain. Important: If the device being backed up has any encrypted profiles installed, iTunes requires the user to enable backup encryption.5 63 5 Deploying Applications You can distribute iPhone, iPod touch, and iPad applications to your users. If you want to install iPhone OS applications that you’ve developed, you distribute the application to your users, who install the applications using iTunes. Applications from the online App Store work on iPhone, iPod touch, and iPad without any additional steps. If you develop an application that you want to distribute yourself, it must be digitally signed with a certificate issued by Apple. You must also provide your users with a distribution provisioning profile that allows their device to use the application. The process for deploying your own applications is:  Register for enterprise development with Apple.  Sign your applications using your certificate.  Create an enterprise distribution provisioning profile that authorizes devices to use applications you’ve signed.  Deploy the application and the enterprise distribution provisioning profile to your users’ computers.  Instruct users to install the application and profile using iTunes. See below for more about each of these steps. Registering for Application Development To develop and deploy custom applications for iPhone OS, first register for the iPhone Enterprise Developer Program at http://developer.apple.com/. Once you complete the registration process, you’ll receive instructions for enabling your applications to work on devices.64 Chapter 5 Deploying Applications Signing Applications Applications you distribute to users must be signed with your distribution certificate. For instructions about obtaining and using a certificate, see the iPhone Developer Center at http://developer.apple.com/iphone. Creating the Distribution Provisioning Profile Distribution provisioning profiles let you create applications that your users can use on their device. You create an enterprise distribution provisioning profile for a specific application, or multiple applications, by specifying the AppID that is authorized by the profile. If a user has an application, but doesn’t have a profile that authorizes its use, the user isn’t able to use the application. The designated Team Agent for your enterprise can create distribution provisioning profiles at the Enterprise Program Portal at http://developer.apple.com/iphone. See the website for instructions. Once you create the enterprise distribution provisioning profile, download the .mobileprovision file, and then securely distribute it and your application. Installing Provisioning Profiles Using iTunes The user’s installed copy of iTunes automatically installs provisioning profiles that are located in the following folders defined in this section. If the folders don’t exist, create them using the names shown. Mac OS X  ~/Library/MobileDevice/Provisioning Profiles/  /Library/MobileDevice/Provisioning Profiles/  the path specified by the ProvisioningProfilesPath key in ~/Library/Preferences/ com.apple.itunes Windows XP  bootdrive:\Documents and Settings\username\Application Data\Apple Computer\ MobileDevice\Provisioning Profiles  bootdrive:\Documents and Settings\All Users\Application Data\Apple Computer\ MobileDevice\Provisioning Profiles  the path specified in the HKCU or HKLM by the ProvisioningProfilesPath registry key SOFTWARE\Apple Computer, Inc\iTunesChapter 5 Deploying Applications 65 Windows Vista  bootdrive:\Users\username\AppData\Roaming\Apple Computer\MobileDevice\ Provisioning Profiles  bootdrive:\ProgramData\Apple Computer\MobileDevice\Provisioning Profiles  the path specified in the HKCU or HKLM by the ProvisioningProfilesPath registry key SOFTWARE\Apple Computer, Inc\iTunes iTunes automatically installs provisioning profiles found in the locations above onto devices it syncs with. Once installed, the provisioning profiles can be viewed on the device in Settings > General > Profiles. You can also distribute the .mobileprovision file to your users and have them drag it to the iTunes application icon. iTunes will copy the file to the correct location as defined above. Installing Provisioning Profiles Using iPhone Configuration Utility You can use iPhone Configuration Utility to install provisioning profiles on connected devices. Follow these steps: 1 In iPhone Configuration Utility, choose File > Add to Library, and then select the provisioning profile that you want to install. The profile is added to iPhone Configuration Utility and can be viewed by selecting the Provisioning Profiles category in the Library. 2 Select a device in the Connected Devices list. 3 Click the Provisioning Profiles tab. 4 Select the provisioning profile in the list, and then click its Install button. Installing Applications Using iTunes Your users use iTunes to install applications on their devices. Securely distribute the application to your users and then have them follow these steps: 1 In iTunes, choose File > Add to Library and select the application (.app) you provided. You can also drag the .app file to the iTunes application icon. 2 Connect a device to the computer, and then select it in the Devices list in iTunes. 3 Click the Applications tab, and then select the application in the list. 4 Click Apply to install the application and all distribution provisioning profiles that are located in the designated folders discussed in “Installing Provisioning Profiles Using iTunes” on page 64.66 Chapter 5 Deploying Applications Installing Applications Using iPhone Configuration Utility You can use iPhone Configuration Utility to install applications on connected devices. Follow these steps: 1 In iPhone Configuration Utility, choose File > Add to Library, and then select the application that you want to install. The application is added to iPhone Configuration Utility and can be viewed by selecting the Applications category in the Library. 2 Select a device in the Connected Devices list. 3 Click the Applications tab. 4 Select the application in the list, and then click its Install button. Using Enterprise Applications When a user runs an application that isn’t signed by Apple, the device looks for a distribution provisioning profile that authorizes its use. If a profile isn’t found, the application won’t open. Disabling an Enterprise Application If you need to disable an in-house application, you can do so by revoking the identity used to sign the distribution provisioning profile. The application will no longer be able to be installed, and if it’s already installed, it will no longer open. Other Resources For more information about creating applications and provisioning profiles, see:  iPhone Developer Center at http://developer.apple.com/iphone/Appendix A Cisco VPN Server Configuration 67 A Cisco VPN Server Configuration Use these guidelines to configure your Cisco VPN server for use with iPhone, iPod touch and iPad. Supported Cisco Platforms iPhone OS supports Cisco ASA 5500 Security Appliances and PIX Firewalls configured with 7.2.x software or later. The latest 8.0.x software release (or later) is recommended. iPhone OS also supports Cisco IOS VPN routers with IOS version 12.4(15)T or later. VPN 3000 Series Concentrators don’t support iPhone VPN capabilities. Authentication Methods iPhone OS supports the following authentication methods:  Pre-shared key IPSec authentication with user authentication via xauth  Client and server certificates for IPSec authentication with optional user authentication via xauth  Hybrid authentication where the server provides a certificate and the client provides a pre-shared key for IPSec authentication; user authentication is required via xauth.  User authentication is provided via xauth and includes the following authentication methods:  User name with password  RSA SecurID  CryptoCard68 Appendix A Cisco VPN Server Configuration Authentication Groups The Cisco Unity protocol uses authentication groups to group users together based on a common set of authentication and other parameters. You should create an authentication group for iPhone OS device users. For pre-shared key and hybrid authentication, the group name must be configured on the device with the group’s shared secret (pre-shared key) as the group password. When using certificate authentication, no shared secret is used and the user’s group is determined based on fields in the certificate. The Cisco server settings can be used to map fields in a certificate to user groups. Certificates When setting up and installing certificates, make sure of the following:  The server identity certificate must contain the server’s DNS name and/or IP address in the subject alternate name (SubjectAltName) field. The device uses this information to verify that the certificate belongs to the server. You can specify the SubjectAltName using wildcard characters for per-segment matching, such as vpn.*.mycompany.com, for more flexibility. The DNS name can be put in the common name field, if no SubjectAltName is specified.  The certificate of the CA that signed the server’s certificate should be installed on the device. If it isn’t a root certificate, install the rest of the trust chain so that the certificate is trusted.  If client certificates are used, make sure that the trusted CA certificate that signed the client’s certificate is installed on the VPN server.  The certificates and certificate authorities must be valid (not expired, for example.).  Sending of certificate chains by the server isn’t supported and should be turned off.  When using certificate-based authentication, make sure that the server is set up to identify the user’s group based on fields in the client certificate. See “Authentication Groups” on page 68.Appendix A Cisco VPN Server Configuration 69 IPSec Settings Use the following IPSec settings:  Mode: Tunnel Mode  IKE Exchange Modes: Aggressive Mode for pre-shared key and hybrid authentication, Main Mode for certificate authentication.  Encryption Algorithms: 3DES, AES-128, AES-256  Authentication Algorithms: HMAC-MD5, HMAC-SHA1  Diffie Hellman Groups: Group 2 is required for pre-shared key and hybrid. authentication. For certificate authentication, use Group 2 with 3DES and AES-128. Use Group 2 or 5 with AES-256.  PFS (Perfect Forward Secrecy): For IKE phase 2, if PFS is used the Diffie-Hellman group must be the same as was used for IKE phase 1.  Mode Configuration: Must be enabled.  Dead Peer Detection: Recommended.  Standard NAT Transversal: Supported and can be enabled if desired. (IPSec over TCP isn’t supported).  Load Balancing: Supported and can be enabled if desired.  Re-keying of Phase 1: Not currently supported. Recommend that re-keying times on the server be set to approximately one hour.  ASA Address Mask: Make sure that all device address pool masks are either not set, or are set to 255.255.255.255. For example: asa(config-webvpn)# ip local pool vpn_users 10.0.0.1-10.0.0.254 mask 255.255.255.255. When using the recommended address mask, some routes assumed by the VPN configuration might be ignored. To avoid this, make sure that your routing table contains all necessary routes and verify that the subnet addresses are accessible before deployment. Other Supported Features iPhone, iPod touch, and iPad support the following features:  Application Version: The client software version is sent to the server, allowing the server to accept or reject connections based on the device’s software version.  Banner: The banner, if configured on the server, is displayed on the device and the user must accept it or disconnect.  Split Tunnel: Split tunneling is supported.  Split DNS: Split DNS is supported.  Default Domain: Default domain is supported.70 B Appendix B Configuration Profile Format This appendix specifies the format of mobileconfig files for those who want to create their own tools. This document assumes that you’re familiar with the Apple XML DTD and the general property list format. A general description of the Apple plist format is available at www.apple.com/DTDs/PropertyList-1.0.dtd. To get started, use iPhone Configuration Utility to create a skeleton file that you can modify using the information in this appendix. This document uses the terms payload and profile. A profile is the whole file that configures certain (single or multiple) settings on iPhone, iPod touch, or iPad. A payload is an individual component of the profile file. Root Level At the root level, the configuration file is a dictionary with the following key/value pairs: Key Value PayloadVersion Number, mandatory. The version of the whole configuration profile file. This version number designates the format of the whole profile, not the individual payloads. PayloadUUID String, mandatory. This is usually a synthetically generated unique identifier string. The exact content of this string is irrelevant; however, it must be globally unique. On Mac OS X, you can generate UUIDs with /usr/bin/uuidgen. PayloadType String, mandatory. Currently, only “Configuration” is a valid value for this key. PayloadOrganization String, optional. This value describes the issuing organization of the profile, as displayed to the user.Appendix B Configuration Profile Format 71 Payload Content The PayloadContent array is an array of dictionaries, where each dictionary describes an individual payload of the profile. Each functional profile has at least one or more entries in this array. Each dictionary in this array has a few common properties, regardless of the payload type. Others are specialized and unique to each payload type. PayloadIdentifier String, mandatory. This value is by convention a dot-delimited string uniquely describing the profile, such as “com.myCorp.iPhone.mailSettings” or “edu.myCollege.students.vpn”. This is the string by which profiles are differentiated—if a profile is installed which matches the identifier of another profile, it overrides it (instead of being added). PayloadDisplayName String, mandatory. This value determines a very short string to be displayed to the user describing the profile, such as “VPN Settings”. It does not have to be unique. PayloadDescription String, optional. This value determines what descriptive, freeform text will be shown to the user on the Detail screen for the entire profile. This string should clearly identify the profile so the user can decide whether to install it. PayloadContent Array, optional. This value is the actual content of the profile. If it is omitted, the whole profile has no functional meaning. PayloadRemovalDisallowed Boolean, optional. Default is No. If set, the user won’t be able to delete the profile. A profile with this set can be updated via USB or web/email only if the profile identifier matches and is signed by the same authority. If a removal password is provided, the profile can be deleted by specifying the password. With signed and encrypted profiles, having this locking bit in plain view is without consequence because the profile can’t be altered and this setting is also shown on the device. Key Value Key Value PayloadVersion Number, mandatory. The version of the individual payload. Each profile can consist of payloads with different version numbers. For instance, the VPN version number can be incremented at a point in the future while the Mail version number would not. PayloadUUID String, mandatory. This is usually a synthetically generated unique identifier string. The exact content of this string is irrelevant; however, it must be globally unique. PayloadType String, mandatory. This key/value pair determines the type of the individual payload within the profile. PayloadOrganization String, optional. This value describes the issuing organization of the profile, as it will be shown to the user. It can be, but doesn’t have to be, the same as the root level PayloadOrganization.72 Appendix B Configuration Profile Format Profile Removal Password Payload The Removal Password payload is designated by the com.apple.profileRemovalPassword value of PayloadType. It’s purpose is to encode the password that allows users to remove a configuration profile from the device. If this payload is present, and has a password value set, the device will ask for the password when the user taps a profile’s Remove button. This payload is encrypted with the rest of the profile. Passcode Policy Payload The Passcode Policy payload is designated by the com.apple.mobiledevice.passwordpolicy PayloadType value. The presence of this payload type prompts device to present the user with an alphanumeric passcode entry mechanism, which allows the entry of arbitrarily long and complex passcodes. In addition to the settings common to all payloads, this payload defines the following: PayloadIdentifier String, mandatory. This value is by convention a dot-delimited string uniquely describing the payload. It’s usually the root PayloadIdentifier with an appended subidentifier, describing the particular payload. PayloadDisplayName String, mandatory. This value is a very short string displayed to the user which describes the profile, such as “VPN Settings”. It does not have to be unique. PayloadDescription String, optional. This value determines what descriptive, free-form text is displayed on the Detail screen for this particular payload. Key Value Key Value RemovalPassword String, optional. Specifies the removal password for the profile. Key Value allowSimple Boolean, optional. Default YES. Determines whether a simple passcode is allowed. A simple passcode is defined as containing repeated characters, or increasing/decreasing characters (such as 123 or CBA). Setting this value to “NO” is synonymous to setting minComplexChars to “1”. forcePIN Boolean, optional. Default NO. Determines whether the user is forced to set a PIN. Simply setting this value (and not others) forces the user to enter a passcode, without imposing a length or quality. Appendix B Configuration Profile Format 73 Email Payload The email payload is designated by the com.apple.mail.managed PayloadType value. This payload creates an email account on the device. In addition to the settings common to all payloads, this payload defines the following: maxFailedAttempts Number, optional. Default 11. Allowed range [2...11]. Specifies the number of allowed failed attempts to enter the passcode at the device’s lock screen. Once this number is exceeded, the device is locked and must be connected to its designated iTunes in order to be unlocked. maxInactivity Number, optional. Default Infinity. Specifies the number of minutes for which the device can be idle (without being unlocked by the user) before it’s locked by the system. Once this limit is reached, the device is locked and the passcode must be entered. maxPINAgeInDays Number, optional. Default Infinity. Specifies the number of days for which the passcode can remain unchanged. After this number of days, the user is forced to change the passcode before the device is unlocked. minComplexChars Number, optional. Default 0. Specifies the minimum number of complex characters that a passcode must contain. A “complex” character is a character other than a number or a letter, such as &%$#. minLength Number, optional. Default 0. Specifies the minimum overall length of the passcode. This parameter is independent of the also optional minComplexChars argument. requireAlphanumeric Boolean, optional. Default NO. Specifies whether the user must enter alphabetic characters (“abcd”), or if numbers are sufficient. pinHistory Number, optional. When the user changes the passcode, it has to be unique within the last N entries in the history. Minimum value is 1, maximum value is 50. manualFetchingWhenRoaming Boolean, optional. If set, all push operations will be disabled when roaming. The user has to manually fetch new data. maxGracePeriod Number, optional. The maximum grace period, in minutes, to unlock the phone without entering a passcode. Default is 0, that is no grace period, which requires a passcode immediately. Key Value Key Value EmailAccountDescription String, optional. A user-visible description of the email account, shown in the Mail and Settings applications. EmailAccountName String, optional. The full user name for the account. This is the user name in sent messages, etc.74 Appendix B Configuration Profile Format EmailAccountType String, mandatory. Allowed values are EmailTypePOP and EmailTypeIMAP. Defines the protocol to be used for that account. EmailAddress String, mandatory. Designates the full email address for the account. If not present in the payload, the device prompts for this string during profile installation. IncomingMailServerAuthentication String, mandatory. Designates the authentication scheme for incoming mail. Allowed values are EmailAuthPassword and EmailAuthNone. IncomingMailServerHostName String, mandatory. Designates the incoming mail server host name (or IP address). IncomingMailServerPortNumber Number, optional. Designates the incoming mail server port number. If no port number is specified, the default port for a given protocol is used. IncomingMailServerUseSSL Boolean, optional. Default Yes. Designates whether the incoming mail server uses SSL for authentication. IncomingMailServerUsername String, mandatory. Designates the user name for the email account, usually the same as the email address up to the @ character. If not present in the payload, and the account is set up to require authentication for incoming email, the device will prompt for this string during profile installation. IncomingPassword String, optional. Password for the Incoming Mail Server. Use only with encrypted profiles. OutgoingPassword String, optional. Password for the Outgoing Mail Server. Use only with encrypted profiles. OutgoingPasswwordSameAsIncomi ngPassword Boolean, optional. If set, the user will be prompted for the password only once and it will be used for both outgoing and incoming mail. OutgoingMailServerAuthentication String, mandatory. Designates the authentication scheme for outgoing mail. Allowed values are EmailAuthPassword and EmailAuthNone. OutgoingMailServerHostName String, mandatory. Designates the outgoing mail server host name (or IP address). OutgoingMailServerPortNumber Number, optional. Designates the outgoing mail server port number. If no port number is specified, ports 25, 587 and 465 are used, in this order. OutgoingMailServerUseSSL Boolean, optional. Default Yes. Designates whether the outgoing mail server uses SSL for authentication. OutgoingMailServerUsername String, mandatory. Designates the user name for the email account, usually the same as the email address up to the @ character. If not present in the payload, and the account is set up to require authentication for outgoing email, the device prompts for this string during profile installation. Key ValueAppendix B Configuration Profile Format 75 Web Clip Payload The Web Clip payload is designated by the com.apple.webClip.managed PayloadType value. In addition to the settings common to all payloads, this payload defines the following: Restrictions Payload The Restrictions payload is designated by the com.apple.applicationaccess PayloadType value. In addition to the settings common to all payloads, this payload defines the following: Key Value URL String, mandatory. The URL that the Web Clip should open when clicked. The URL must begin with HTTP or HTTPS or it won’t work. Label String, mandatory. The name of the Web Clip as displayed on the Home screen. Icon Data, optional. A PNG icon to be shown on the Home screen. Should be 59 x 60 pixels in size. If not specified, a white square will be shown. IsRemovable Boolean, optional. If No, the user cannot remove the Web Clip, but it will be removed if the profile is deleted. Key Value allowAppInstallation Boolean, optional. When false, the App Store is disabled and its icon is removed from the Home screen. Users are unable to install or update their applications. allowCamera Boolean, optional. When false, the camera is completely disabled and its icon is removed from the Home screen. Users are unable to take photographs. allowExplicitContent Boolean, optional. When false, explicit music or video content purchased from the iTunes Store is hidden. Explicit content is marked as such by content providers, such as record labels, when sold through the iTunes Store. allowScreenShot Boolean, optional. When false, users are unable to save a screenshot of the display. allowYouTube Boolean, optional. When false, the YouTube application is disabled and its icon is removed from the Home screen. allowiTunes Boolean, optional. When false, the iTunes Music Store is disabled and its icon is removed from the Home screen. Users cannot preview, purchase, or download content. allowSafari Boolean, optional. When false, the Safari web browser application is disabled and its icon removed from the Home screen. This also prevents users from opening web clips.76 Appendix B Configuration Profile Format LDAP Payload The LDAP payload is designated by the com.apple.ldap.account PayloadType value. There’s a one-to-many relationship from LDAP Account to LDAPSearchSettings. Think of LDAP as a tree. Each SearchSettings object represents a node in the tree to start the search at, and what scope to search for (node, node+1 level of children, node + all levels of children). In addition to the settings common to all payloads, this payload defines the following: CalDAV Payload The CalDAV payload is designated by the com.apple.caldav.account PayloadType value. In addition to the settings common to all payloads, this payload defines the following: Key Value LDAPAccountDescription String, optional. Description of the account. LDAPAccountHostName String, mandatory. The host. LDAPAccountUseSSL Boolean, mandatory. Whether or not to use SSL. LDAPAccountUserName String, optional. The username. LDAPAccountPassword String, optional. Use only with encrypted profiles. LDAPSearchSettings Top level container object. Can have many of these for one account. Should have at least one for the account to be useful. LDAPSearchSettingDescription String, optional. Description of this search setting. LDAPSearchSettingSearchBase String, required. Conceptually, the path to the node to start a search at “ou=people,o=example corp” LDAPSearchSettingScope String, required. Defines what recursion to use in the search. Can be one of the following 3 values: LDAPSearchSettingScopeBase: Just the immediate node pointed to by SearchBase LDAPSearchSettingScopeOneLevel: The node plus its immediate children. LDAPSearchSettingScopeSubtree: The node plus all children, regardless of depth. Key Value CalDAVAccountDescription String, optional. Description of the account. CalDAVHostName String, mandatory. The server address CalDAVUsername String, mandatory. The user’s login name. CalDAVPassword String, optional. The user’s password CalDAVUseSSL Boolean, mandatory. Whether or not to use SSL. CalDAVPort Number, optional. The port on which to connect to the server. CalDAVPrincipalURL String, optional. The base URL to the user’s calendar.Appendix B Configuration Profile Format 77 Calendar Subscription Payload The CalSub payload is designated by the com.apple.subscribedcalendar.account PayloadType value. In addition to the settings common to all payloads, this payload defines the following: SCEP Payload The SCEP (Simple Certificate Enrollment Protocol) payload is designated by the com.apple.encrypted-profile-service PayloadType value. In addition to the settings common to all payloads, this payload defines the following: Key Value SubCalAccountDescription String, optional. Description of the account. SubCalAccountHostName String, mandatory. The server address. SubCalAccountUsername String, optional. The user’s login name SubCalAccountPassword String, optional. The user’s password. SubCalAccountUseSSL Boolean, mandatory. Whether or not to use SSL. Key Value URL String, mandatory. Name String, optional. any string which is understood by the SCEP server. For example, it could be a domain name like example.org. If a certificate authority has multiple CA certificates this field can be used to distinguish which is required. Subject Array, optional. The representation of a X.500 name represented as an array of OID and value. For example, /C=US/O=Apple Inc./ CN=foo/1.2.5.3=bar, which would translate to: [ [ [“C”, “US”] ], [ [“O”, “Apple Inc.”] ], ..., [ [ “1.2.5.3”, “bar” ] ] ] OIDs can be represented as dotted numbers, with shortcuts for C, L, ST, O, OU, CN (country, locality, state, organization, organizational unit, common name). Challenge String, optional. A pre-shared secret. Keysize Number, optional. The keysize in bits, either 1024 or 2048. Key Type String, optional. Currently always “RSA”. Key Usage Number, optional. A bitmask indicating the use of the key. 1 is signing, 4 is encryption, 5 is both signing and encryption. Some CAs, such as Windows CA, support only encryption or signing, but not both at the same time.78 Appendix B Configuration Profile Format SubjectAltName Dictionary Keys The SCEP payload can specify an optional SubjectAltName dictionary that provides values required by the CA for issuing a certificate. You can specify a single string or an array of strings for each key. The values you specify depend on the CA you’re using, but might include DNS name, URL, or email values. For an example, see “Sample Phase 3 Server Response With SCEP Specifications” on page 85. GetCACaps Dictionary Keys If you add a dictionary with the key GetCACaps, the device uses the strings you provide as the authoritative source of information about the capabilities of your CA. Otherwise, the device queries the CA for GetCACaps and uses the answer it gets in response. If the CA doesn’t respond, the device defaults to GET 3DES and SHA-1 requests. APN Payload The APN (Access Point Name) payload is designated by the com.apple.apn.managed PayloadType value. In addition to the settings common to all payloads, this payload defines the following: Key Value DefaultsData Dictionary, mandatory. This dictionary contains two key/value pairs. DefaultsDomainName String, mandatory. The only allowed value is com.apple.managedCarrier. apns Array, mandatory. This array contains an arbitrary number of dictionaries, each describing an APN configuration, with the key/value pairs below. apn String, mandatory. This string specifies the Access Point Name. username String, mandatory. This string specifies the user name for this APN. If it’s missing, the device prompts for it during profile installation. password Data, optional. This data represents the password for the user for this APN. For obfuscation purposes, it’s encoded. If it’s missing from the payload, the device prompts for it during profile installation. proxy String, optional. The IP address or URL of the APN proxy. proxyPort Number, optional. The port number of the APN proxy.Appendix B Configuration Profile Format 79 Exchange Payload The Exchange payload is designated by the com.apple.eas.account PayloadType value. This payload creates a Microsoft Exchange account on the device. In addition to the settings common to all payloads, this payload defines the following: VPN Payload The VPN payload is designated by the com.apple.vpn.managed PayloadType value. In addition to the settings common to all payload types, the VPN payload defines the following keys. There are two possible dictionaries present at the top level, under the keys “PPP” and “IPSec”. The keys inside these two dictionaries are described below, along with the VPNType value under which the keys are used. Key Value EmailAddress String, mandatory. If not present in the payload, the device prompts for this string during profile installation. Specifies the full email address for the account. Host String, mandatory. Specifies the Exchange server host name (or IP address). SSL Boolean, optional. Default YES. Specifies whether the Exchange server uses SSL for authentication. UserName String, mandatory. This string specifies the user name for this Exchange account. If missing, the devices prompts for it during profile installation. Password String, optional. The password of the account. Use only with encrypted profiles. Certificate Optional. For accounts that allow authentication via certificate, a .p12 identity certificate in NSData blob format. CertificateName String, Optional. Specifies the name or description of the certificate. CertificatePassword Optional. The password necessary for the p12 identity certificate. Use only with encrypted profiles. Key Value UserDefinedName String. Description of the VPN connection displayed on the device. OverridePrimary Boolean. Specifies whether to send all traffic through the VPN interface. If true, all network traffic is sent over VPN. VPNType String. Determines the settings available in the payload for this type of VPN connection. It can have three possible values: “L2TP”, “PPTP”, or “IPSec”, representing L2TP, PPTP and Cisco IPSec respectively.80 Appendix B Configuration Profile Format PPP Dictionary Keys The following elements are for VPN payloads of type PPP. IPSec Dictionary Keys The following elements are for VPN payloads of type IPSec. Key Value AuthName String. The VPN account user name. Used for L2TP and PPTP. AuthPassword String, optional. Only visible if TokenCard is false. Used for L2TP and PPTP. TokenCard Boolean. Whether to use a token card such as an RSA SecurID card for connecting. Used for L2TP. CommRemoteAddress String. IP address or host name of VPN server. Used for L2TP and PPTP. AuthEAPPlugins Array. Only present if RSA SecurID is being used, in which case it has one entry, a string with value “EAP-RSA”. Used for L2TP and PPTP. AuthProtocol Array. Only present if RSA SecurID is being used, in which case it has one entry, a string with value “EAP”. Used for L2TP and PPTP. CCPMPPE40Enabled Boolean. See discussion under CCPEnabled. Used for PPTP. CCPMPPE128Enabled Boolean. See discussion under CCPEnabled. Used for PPTP. CCPEnabled Boolean. Enables encryption on the connection. If this key and CCPMPPE40Enabled are true, represents automatic encryption level; if this key and CCPMPPE128Enabled are true, represents maximum encryption level. If no encryption is used, then none of the CCP keys are true. Used for PPTP. Key Value RemoteAddress String. IP address or host name of the VPN server. Used for Cisco IPSec. AuthenticationMethod String. Either “SharedSecret” or “Certificate”. Used for L2TP and Cisco IPSec. XAuthName String. User name for VPN account. Used for Cisco IPSec. XAuthEnabled Integer. 1 if XAUTH is ON, 0 if it’s OFF. Used for Cisco IPSec. LocalIdentifier String. Present only if AuthenticationMethod = SharedSecret. The name of the group to use. If Hybrid Authentication is used, the string must end with “[hybrid]”. Used for Cisco IPSec. LocalIdentifierType String. Present only if AuthenticationMethod = SharedSecret. The value is “KeyID”. Used for L2TP and Cisco IPSec. SharedSecret Data. The shared secret for this VPN account. Only present if AuthenticationMethod = SharedSecret. Used for L2TP and Cisco IPSec.Appendix B Configuration Profile Format 81 Wi-Fi Payload The Wi-Fi payload is designated by the com.apple.wifi.managed PayloadType value. This describes version 0 of the PayloadVersion value. In addition to the settings common to all payload types, the payload defines the following keys. For 802.1X enterprise networks, the EAP Client Configuration Dictionary must be provided. PayloadCertificateUUID String. The UUID of the certificate to use for the account credentials. Only present if AuthenticationMethod = Certificate. Used for Cisco IPSec. PromptForVPNPIN Boolean. Whether to prompt for a PIN when connecting. Used for Cisco IPSec. Key Value Key Value SSID_STR String. SSID of the Wi-Fi network to be used. HIDDEN_NETWORK Boolean. Besides SSID, the device uses information such as broadcast type and encryption type to differentiate a network. By default, it’s assumed that all configured networks are open or broadcast. To specify a hidden network, you need to include a boolean for the key “HIDDEN_NETWORK”. EncryptionType String. The possible values for “EncryptionType” are “WEP”, “WPA”, or “Any”. “WPA” corresponds to WPA and WPA2 and applies to both encryption types. Make sure that these values exactly match the capabilities of the network access point. If you’re unsure about the encryption type, or would prefer that it applies to all encryption types, use the value “Any”. Password String, optional. The absence of a password doesn’t prevent the network from being added to the list of known networks. The user is eventually prompted to provide the password when connecting to that network.82 Appendix B Configuration Profile Format EAPClientConfiguration Dictionary In addition to the standard encryption types, it’s possible to specify an enterprise profile for a given network via the “EAPClientConfiguration” key. If present, its value is a dictionary with the following keys. Key Value UserName String, optional. Unless you know the exact user name, this property won’t appear in an imported configuration. Users can enter this information when they authenticate. AcceptEAPTypes Array of integer values. These EAP types are accepted: 13 = TLS 17 = LEAP 21 = TTLS 25 = PEAP 43 = EAP-FAST PayloadCertificateAnchorUUID Array of strings, optional. Identifies the certificates to be trusted for this authentication. Each entry must contain the UUID of a certificate payload. Use this key to prevent the device from asking the user if the listed certificates are trusted. Dynamic trust (the certificate dialogue) is disabled if this property is specified, unless TLSAllowTrustExceptions is also specified with the value true. TLSTrustedServerNames Array of string values, optional. This is the list of server certificate common names that will be accepted. You can use wildcards to specify the name, such as wpa.*.example.com. If a server presents a certificate that isn’t in this list, it won’t be trusted. Used alone or in combination with TLSTrustedCertificates, the property allows someone to carefully craft which certificates to trust for the given network, and avoid dynamically trusted certificates. Dynamic trust (the certificate dialogue) is disabled if this property is specified, unless TLSAllowTrustExceptions is also specified with the value true. TLSAllowTrustExceptions Boolean, optional. Allows/disallows a dynamic trust decision by the user. The dynamic trust is the certificate dialogue that appears when a certificate isn’t trusted. If this is false, the authentication fails if the certificate isn’t already trusted. See PayloadCertificateAnchorUUID and TLSTrustedNames above. The default value of this property is true unless either PayloadCertificateAnchorUUID or TLSTrustedServerNames is supplied, in which case the default value is false.Appendix B Configuration Profile Format 83 EAP-Fast Support The EAP-FAST module uses the following properties in the EAPClientConfiguration dictionary. These keys are hierarchical in nature: if EAPFASTUsePAC is false, the other two properties aren’t consulted. Similarly, if EAPFASTProvisionPAC is false, EAPFASTProvisionPACAnonymously isn’t consulted. If EAPFASTUsePAC is false, authentication proceeds much like PEAP or TTLS: the server proves its identity using a certificate each time. If EAPFASTUsePAC is true, then an existing PAC is used if it’s present. The only way to get a PAC on the device currently is to allow PAC provisioning. So, you need to enable EAPFASTProvisionPAC, and if desired, EAPFASTProvisionPACAnonymously. EAPFASTProvisionPACAnonymously has a security weakness: it doesn’t authenticate the server so connections are vulnerable to a man-in-the-middle attack. Certificates As with VPN configurations, it’s possible to associate a certificate identity configuration with a Wi-Fi configuration. This is useful when defining credentials for a secure enterprise network. To associate an identity, specify its payload UUID via the “PayloadCertificateUUID” key. TTLSInnerAuthentication String, optional. This is the inner authentication used by the TTLS module. The default value is “MSCHAPv2”. Possible values are “PAP”, “CHAP”, “MSCHAP”, and “MSCHAPv2”. OuterIdentity String, optional. This key is only relevant to TTLS, PEAP, and EAPFAST. This allows the user to hide his or her identity. The user’s actual name appears only inside the encrypted tunnel. For example, it could be set to “anonymous” or “anon”, or “anon@mycompany.net”. It can increase security because an attacker can’t see the authenticating user’s name in the clear. Key Value Key Value EAPFASTUsePAC Boolean, optional. EAPFASTProvisionPAC Boolean, optional. EAPFASTProvisionPACAnonymously Boolean, optional. Key Value PayloadCertificateUUID String. UUID of the certificate payload to use for the identity credential.84 Appendix B Configuration Profile Format Sample Configuration Profiles This section includes sample profiles that illustrate the over-the-air enrollment and configuration phases. These are excerpts and your requirements will vary from the examples. For syntax assistance, see the details provided earlier in this appendix. For a description of each phase, see “Over-the-Air Enrollment and Configuration” on page 22. Sample Phase 1 Server Response PayloadContent URL https://profileserver.example.com/iphone DeviceAttributes UDID IMEI ICCID VERSION PRODUCT Challenge optional challenge or base64-encoded PayloadOrganization Example Inc. PayloadDisplayName Profile Service PayloadVersion 1 PayloadUUID fdb376e5-b5bb-4d8c-829e-e90865f990c9 PayloadIdentifier com.example.mobileconfig.profile-service PayloadDescription Enter device into the Example Inc encrypted profile service PayloadType Profile Service Appendix B Configuration Profile Format 85 Sample Phase 2 Device Response UDID VERSION 7A182 MAC_ADDRESS_EN0 00:00:00:00:00:00 CHALLENGE either: String or: "base64 encoded data" Sample Phase 3 Server Response With SCEP Specifications PayloadVersion 1 PayloadUUID Ignored PayloadType Configuration PayloadIdentifier Ignored PayloadContent PayloadContent URL https://scep.example.com/scep Name EnrollmentCAInstance Subject 86 Appendix B Configuration Profile Format O Example, Inc. CN User Device Cert Challenge ... Keysize 1024 Key Type RSA Key Usage 5 PayloadDescription Provides device encryption identity PayloadUUID fd8a6b9e-0fed-406f-9571-8ec98722b713 PayloadType com.apple.security.scep PayloadDisplayName Encryption Identity PayloadVersion 1 PayloadOrganization Example, Inc. PayloadIdentifier com.example.profileservice.scep Appendix B Configuration Profile Format 87 Sample Phase 4 Device Response UDID VERSION 7A182 MAC_ADDRESS_EN0 00:00:00:00:00:00 88 C Appendix C Sample Scripts This appendix provides sample scripts for iPhone OS deployment tasks. The scripts in this section should be modified to fit your needs and configurations. Sample C# Script for iPhone Configuration Utility This sample script demonstrates creating configuration files using iPhone Configuration Utility for Windows. using System; using Com.Apple.iPCUScripting; public class TestScript : IScript { private IApplication _host; public TestScript() { } public void main(IApplication inHost) { _host = inHost; string msg = string.Format("# of config profiles : {0}", _host.ConfigurationProfiles.Count); Console.WriteLine(msg); IConfigurationProfile profile = _host.AddConfigurationProfile(); profile.Name = "Profile Via Script"; profile.Identifier = "com.example.configviascript"; profile.Organization = "Example Org"; profile.Description = "This is a configuration profile created via the new scripting feature in iPCU"; // passcode IPasscodePayload passcodePayload = profile.AddPasscodePayload(); passcodePayload.PasscodeRequired = true;Appendix C Sample Scripts 89 passcodePayload.AllowSimple = true; // restrictions IRestrictionsPayload restrictionsPayload = profile.AddRestrictionsPayload(); restrictionsPayload.AllowYouTube = false; // wi-fi IWiFiPayload wifiPayload = profile.AddWiFiPayload(); wifiPayload.ServiceSetIdentifier = "Example Wi-Fi"; wifiPayload.EncryptionType = WirelessEncryptionType.WPA; wifiPayload.Password = "password"; wifiPayload = profile.AddWiFiPayload(); profile.RemoveWiFiPayload(wifiPayload); // vpn IVPNPayload vpnPayload = profile.AddVPNPayload(); vpnPayload.ConnectionName = "Example VPN Connection"; vpnPayload = profile.AddVPNPayload(); profile.RemoveVPNPayload(vpnPayload); // email IEmailPayload emailPayload = profile.AddEmailPayload(); emailPayload.AccountDescription = "Email Account 1 Via Scripting"; emailPayload = profile.AddEmailPayload(); emailPayload.AccountDescription = "Email Account 2 Via Scripting"; // exchange IExchangePayload exchangePayload = profile.AddExchangePayload(); exchangePayload.AccountName = "ExchangePayloadAccount"; // ldap ILDAPPayload ldapPayload = profile.AddLDAPPayload(); ldapPayload.Description = "LDAP Account 1 Via Scripting"; ldapPayload = profile.AddLDAPPayload(); ldapPayload.Description = "LDAP Account 2 Via Scripting"; // webclip IWebClipPayload wcPayload = profile.AddWebClipPayload(); wcPayload.Label = "Web Clip 1 Via Scripting"; wcPayload = profile.AddWebClipPayload(); wcPayload.Label = "Web Clip 2 Via Scripting"; } }90 Appendix C Sample Scripts Sample AppleScript for iPhone Configuration Utility This sample script demonstrates creating configuration files using iPhone Configuration Utility for Mac OS X. tell application "iPhone Configuration Utility" log (count of every configuration profile) set theProfile to make new configuration profile with properties {displayed name:"Profile Via Script", profile identifier:"com.example.configviascript", organization:"Example Org.", account description:"This is a configuration profile created via AppleScript"} tell theProfile make new passcode payload with properties {passcode required:true, simple value allowed:true} make new restrictions payload with properties {YouTube allowed:false} make new WiFi payload with properties {service set identifier:"Example Wi-Fi", security type:WPA, password:"password"} set theWiFiPayload to make new WiFi payload delete theWiFiPayload make new VPN payload with properties {connection name:"Example VPN Connection"} set theVPNPayload to make new VPN payload delete theVPNPayload make new email payload with properties {account description:"Email Account 1 Via Scripting"} make new email payload with properties {account description:"Email Account 2 Via Scripting"} make new Exchange ActiveSync payload with properties {account name:"ExchangePayloadAccount"} make new LDAP payload with properties {account description:"LDAP Account 1 Via Scripting"} make new LDAP payload with properties {account description:"LDAP Account 2 Via Scripting"} make new web clip payload with properties {label:"Web Clip Account 1 Via Scripting"} make new web clip payload with properties {label:"Web Clip Account 2 Via Scripting"} end tell end tell iMovie ’08 Premiers contacts Familiarisez vous avec iMovie et révolutionnez la manière dont vous lisez, visualisez, stockez et partagez vos vidéos.2 1 Table des matières Chapitre 1 4 Bienvenue dans iMovie ’08 5 L’Interface iMovie 5 Une bibliothèque vidéo source unique 6 Exploration et lecture de votre vidéo 6 Création de diaporamas vidéo 6 À propos des formats de fichier vidéo 7 Éléments retenus 8 Avant de commencer 8 Éléments requis Chapitre 2 9 Apprendre à utiliser iMovie 9 Étape 1 : importez une séquence dans iMovie 10 Identification du type de votre caméra et importation de séquences vidéo 20 Étape 2 : organisez votre vidéothèque et visionnez la vidéo 20 À propos des événements iMovie 22 Affichage de votre vidéo source. 25 Sélection de la vidéo source 26 Marquage de la vidéo comme favorite ou à supprimer 28 Tri (filtrage) de vidéo 29 Étape 3 : améliorez les images vidéo et réglez le volume sonore 29 Rognage d’images vidéo 31 Ajustement du volume des clips 33 Étape 4 : créez un projet iMovie 34 Création d’un projet iMovie 34 Ajout de vidéo à votre projet 36 Ajout de musique de fond à votre projet 38 Suppression des images indésirables dans les clips d’un projet 40 Affichage rapide des modifications 40 Ajout de transitions entre les clips d’un projet 42 Ajout de titres à votre projet 43 Ajout d’effets sonores et de commentaires à votre projet 45 Ajout de photos avec des effets d’animation 47 Étape 5 : partager votre film 48 Publication en vue d’un affichage sur votre iPod, iPhone ou Apple TV 48 Envoi de votre film terminé vers iDVD, iWeb ou d’autres applicationsTable des matières 3 49 Publication directe sur le web 51 Poursuivez votre exploration de iMovie 52 Ressources supplémentaires1 4 1 Bienvenue dans iMovie ’08 Voici iMovie ’08, un outil révolutionnaire pour profiter, stocker et partager toutes vos vidéos personnelles. Vous pouvez importer de la vidéo dans iMovie depuis une grande variété de sources et d’appareils pour garder vos mémoires toujours à portée de main. Toutes ces séquences vidéo dont personne ne profite car elles restent dans votre appareil photo numérique ou dans votre caméscope ? Cette boîte pleine de disques et de bandes dans votre armoire ? Ajoutez-les à votre bibliothèque de vidéos pour en profiter à tout moment. Visionnez toutes vos vidéos personnelles sans avoir à déballer votre caméscope ou à le brancher à votre ordinateur ou à votre télévision. Parcourez les événements qui marquent votre vie, un moment après l’autre, année après année, d’une personne à l’autre, depuis un seul et même emplacement. iMovie facilite l’organisation et le classement de vos vidéos, en vous permettant de séparer les meilleures des moins bonnes, et d’accé- der facilement aux parties que vous recherchez. Vous pouvez également créer des séquences rapides et simples, ajouter des titres à la vidéo, des transitions de plan, une musique de fond, et des commentaires vocaux. iMovie vous permet de partager avec vos proches vos vidéos sur le Web, sur votre ordinateur, sur votre iPod, iPhone ou sur Apple TV. Avant de suivre l’initiation qui débute dans le chapitre 2, lisez les sections suivantes pour vous familiariser avec les concepts et les outils de lecture, d’organisation et de manipulation de la vidéo d’iMovie. Même si vous avez utilisé les versions précédentes d’iMovie ou d’autres applications de montage vidéo, vous tirerez profit des idées qui font qu’iMovie ’08 est différent de ce que vous avez rencontré jusqu’à présent.Chapitre 1 Bienvenue dans iMovie ’08 5 L’Interface iMovie La fenêtre principale d’iMovie, ci-dessous, est la console à partir de laquelle vous visualisez, organisez et montez vos vidéos. Elle vous permet d’accéder directement à tous les outils que vous pouvez utiliser pour manipuler vos vidéos. Une bibliothèque vidéo source unique Le fait d’importer toutes vos vidéos dans iMovie, quelle que soit leur source, permet de créer une bibliothèque unique appelée bibliothèque vidéo. Dans cette bibliothèque, sélectionnez simplement le nom d’un événement que vous avez enregistré et visualisez son contenu ; c’est aussi simple que d’ouvrir un livre et d’afficher ses pages. Regrouper toutes les vidéos d’un événement unique—vos dernières vacances, par exemple— même si elles proviennent de sources différentes et sont enregistrées dans des formats vidéos différents. Vous pouvez désormais accéder à toutes les vidéos en un simple clic. Bibliothèque de Projet Enumérez tous les projets iMovie que vous avez créés. Barre d’outils iMovie La plupart des outils et des commandes dont vous avez besoin sont disponibles à cet endroit. Bibliothèque d’événements Enumérez les noms de tous les événements que vous avez enregistrés sur vidéo et assemblés Vidéo source Montre le contenu des événement que vous avez sélectionnés dans la Bibliothèque d’événements. Projet iMovie Assembler vos séquences, vos photos, votre musique et plus encore pour créer des vidéos que vous pouvez partager sur le Web, sur votre iPod, ou sur Apple TV. Visualiseur Votre vidéo est lue ici.6 Chapitre 1 Bienvenue dans iMovie ’08 Exploration et lecture de votre vidéo Il n’a jamais été aussi facile de profiter de votre bibliothèque vidéo. Dès que vous sélectionnez un événement, votre vidéo est affichée sous la forme d’une pellicule cinématographique déroulée, ce qui vous permet de visualiser le contenu de chaque image du film. Lorsque vous positionnez le pointeur sur les images, ces dernières se déplacent. Ce « survol » de la vidéo vous permet de visionner un passage précis de façon instantanée sans avoir à rembobiner la bande, effectuer une avance rapide ou sélectionner et lire des clips particuliers. Vous pouvez aussi appuyer sur la barre d’espace ou double-cliquez n’importe où dans la vidéo pour commencer la lecture à vitesse normale. Création de diaporamas vidéo iMovie facilite la création de vidéos de meilleure qualité et plus rapides. La méthode la plus simple pour créer une vidéo personnelle de qualité consiste à monter un « diaporama vidéo », c’est-à-dire une succession de clips vidéo très courts et de durée identique, reprenant uniquement les meilleurs extraits des vidéos qui se trouvent dans votre bibliothèque. iMovie permet non seulement de réaliser ce diaporama vidéo pratiquement sans effort, mais aussi d’ajouter une musique de fond afin d’obtenir des vidéos personnelles attrayantes et bien rythmées que vous pourrez montrer fièrement à votre entourage. À propos des formats de fichier vidéo Vous pouvez à présent utiliser une multitude d’appareils vidéo pour filmer dans tous les endroits où vous vous rendez. Le caméscope s’est ouvert à de nouveaux formats pour enregistrer sur mini-DVD, disque dur, ou carte mémoire Flash. Même la plupart des appareils photo numériques peuvent enregistrer des vidéos, ainsi que de nombreux autres appareils portables. De plus, chacun de ces appareils peut enregistrer une vidéo dans des formats de fichier vidéo différents. iMovie travaille avec la génération émergente d’appareils enregistreur vidéo. Vous pouvez importer de la vidéo depuis les sources suivantes dans votre bibliothèque vidéo iMovie : Type d’appareil photo Support d’enregistrement Format de fichier vidéo Caméscopes USB (appareils à accès aléatoire, RAD) Disque dur MPEG-2 et AVCHD DVD (petit DVD de 8 cm) Mémoire Flash (carte mémoire) Caméscopes FireWire Cassette Mini DV DV (standard) et HDV (Vidéo haute définition) Appareil photo iSight Disque dur (sur votre ordinateur) Séquence QuickTimeChapitre 1 Bienvenue dans iMovie ’08 7 Outre les sources vidéo indiquées ci-dessus, vous pouvez aussi ajouter des données vidéo issues de fichiers de séquence stockés au préalable sur un disque dur (y compris celles qui proviennent de projets créés dans iMovie HD). Remarque : un processeur Intel est indispensable pour prendre en charge la vidéo AVCHD. Pour en savoir plus sur les caméscopes AVCHD, consultez la page www.apple.com/fr/ilife/systemrequirements.html. Éléments retenus Pour comprendre la manière d’importer la vidéo dans iMovie, puis de l’organiser, de la trier et de la gérer, suivez l’initiation rapide qui débute au chapitre 2. Vous apprendrez comment :  importer la vidéo dans iMovie ;  organiser votre vidéo en événements ;  classer vos segments par ordre de préférence pour les retrouver facilement ;  classer les segments que vous souhaitez supprimer ;  améliorer le son de vos vidéos ;  rogner l’arrière-plan pour créer un gros plan ;  créer un diaporama vidéo ;  ajouter une photo avec des effets panoramique et de zoom (l’effet Ken Burns) ;  partager votre film une fois qu’il est terminé. Appareils photo numériques Mémoire Flash MPEG-2, MPEG-4, etc. Téléphones portables avec appareil photo (ajoutés automatiquement via iPhoto) Type d’appareil photo Support d’enregistrement Format de fichier vidéo8 Chapitre 1 Bienvenue dans iMovie ’08 Avant de commencer Vous pouvez imprimer ce document avant de commencer ou laisser ce fichier PDF ouvert sur votre bureau pendant que vous travaillez. Bien entendu, vous n’êtes pas obligé de terminer cette initiation en une seule fois. Ignorez les parties qui ne vous inté- ressent pas et concentrez-vous sur celles que vous voulez assimiler immédiatement. Dans plusieurs tâches décrites dans ce guide et dans l’Aide iMovie, vous devrez choisir des commandes de menu dans la barre des menus. Les commandes de menu se pré- sentent de la façon suivante : Choisissez Édition > Copier. Le premier terme après Choisissez correspond au nom d’un menu dans la barre des menus d’iMovie. Le terme suivant est l’élément que vous choisissez dans ce menu. Éléments requis Pour terminer toutes les parties de cette initiation, vous devez disposer des éléments suivants :  Une vidéo numérique d’un des appareils énumérés dans le tableau de la page 6, ou une vidéo présente sur le disque dur de votre ordinateur ou un disque dur externe connecté à votre ordinateur à l’aide d’un câble FireWire.  Au moins plusieurs gigaoctets (Go) d’espace disponible sur le disque dur de votre ordinateur ou sur un disque dur externe connecté par un câble FireWire. (L’espace nécessaire dépend du format de fichier vidéo que vous utilisez. Vérifiez les instructions relatives à l’importation de vidéo depuis votre appareil enregistreur pour plus d’informations.) Si aucune vidéo n’est disponible, vous pouvez créer un diaporama à l’aide des photos de votre bibliothèque iPhoto. Expérimentez et amusez-vous tout en vous familiarisant avec iMovie.2 9 2 Apprendre à utiliser iMovie Importez des séquences de vos appareils vidéo les plus récents et ressortez vos vieilles bandes des cartons. Avec iMovie, vous pouvez importer, organiser, monter vos séquences et redonner vie à vos souvenirs. Ce guide d’initiation vous montrera comment importer votre vidéo dans iMovie, réorganiser votre Bibliothèque d’événements et lire et parcourir votre séquence vidéo. Vous aurez également la possibilité de trouver et de repérer vos parties préférées pour accéder à vos moments favoris et vous pourrez repérer les parties que vous voulez supprimer. Vous allez ajuster la durée de votre vidéo en appliquant un Trim et la rogner, créer un diaporama vidéo muni de titres, de transitions, de photos et de musique que vous pourrez ensuite partager avec vos amis sur le web ou lire sur votre iPod ou un téléviseur haute définition (HDTV) à l’aide de l’Apple TV. Étape 1 : importez une séquence dans iMovie Pour commencer à travailler sur votre séquence vidéo, vous devez d’abord la transférer dans iMovie. L’importation de séquences vidéo dans iMovie ne les efface pas de votre appareil d’enregistrement. Au cours de cette opération, vous allez ouvrir iMovie et importer une séquence vidéo d’un appareil d’enregistrement ou importer un fichier vidéo déjà stocké sur un disque dur ; vous commencerez ensuite à créer votre vidéothèque.10 Chapitre 2 Apprendre à utiliser iMovie Pour ouvrir iMovie : m Double-cliquez sur l’icône iMovie dans votre dossier Applications ou cliquez sur l’icône correspondante dans le Dock. Lorsque vous ouvrez iMovie pour la première fois, la fenêtre iMovie ci-dessous s’affiche. Identification du type de votre caméra et importation de séquences vidéo Il existe plusieurs méthodes d’importation de séquences vidéo dans iMovie. Suivez les instructions correspondant à votre situation, puis passez à l’« Étape 2 : organisez votre vidéothèque et visionnez la vidéo » à la page 20.  Si vous disposez d’un lecteur DVD, d’un disque dur ou d’un caméscope à mémoire flash, consultez la page 11.  Si votre séquence vidéo se trouve sur une bande d’un caméscope numérique équipé d’une interface FireWire, consultez la page 14.  Si vous avez des séquences vidéo dans votre photothèque iPhoto, consultez la page 16.  Si vous voulez enregistrer une séquence vidéo directement dans iMovie, consultez la page 17.  Si votre séquence vidéo se trouve dans un ancien projet iMovie ou sur un disque dur, consultez la page 18. Affichez la liste de vos projets dans la Bibliothè- que de projets. Importez et montez en utilisant les boutons de la barre d’outils iMovie. Affichez la liste de vos événements dans la Bibliothèque d’événements. Parcourez votre vidéo source. Créez votre projet. Affichez votre séquence vidéo dans ce visualiseur.Chapitre 2 Apprendre à utiliser iMovie 11 Caméscopes DVD, HDD ou à mémoire Flash Ces appareils sont connectés à votre ordinateur à l’aide d’un câble USB. On les appelle « appareils à accès aléatoire » (RAD, Random-Access Devices) parce qu’ils permettent de sélectionner et d’importer des clips vidéo de manière aléatoire, ce qui évite d’avoir à lire la vidéo pour l’importer, comme c’est le cas avec les caméscopes traditionnels qui utilisent des cassettes. Remarque : un processeur Intel est indispensable pour prendre en charge la vidéo AVCHD. Pour en savoir plus sur les caméscopes AVCHD, consultez la page www.apple.com/fr/ilife/systemrequirements.html. Pour importer une séquence vidéo à partir d’un appareil à accès aléatoire : 1 Placez l’appareil en mode PC ou ordinateur, puis connectez-le à votre ordinateur à l’aide d’un câble USB. (Pour obtenir des instructions sur cette connexion, reportez-vous à la documentation fournie avec l’appareil.) L’illustration ci-dessous montre comment connecter un caméscope à un iMac à l’aide d’un câble USB. Lorsque le caméscope est correctement connecté, la fenêtre Importer s’ouvre et affiche tous les clips présents dans l’appareil. La fenêtre Importer s’ouvre lorsque votre appareil est correctement connecté.12 Chapitre 2 Apprendre à utiliser iMovie Si vous importez une séquence vidéo haute définition (HD), la zone de dialogue « Réglage d’importation au format 1080i HD » s’ouvre. Si vous n’importez pas de séquence vidéo au format 1080i, cliquez sur OK. Si vous importez une séquence au format 1080i ou si vous envisagez de le faire par la suite, sélectionnez la taille de la séquence vidéo devant être importée par iMovie. L’option Grande taille est recommandée dans la plupart des cas (y compris pour la visualisation sur Apple TV) car elle économise de l’espace sur le disque dur et peut être lue de manière plus fluide sur certains ordinateurs. Cependant, si votre caméscope enregistre au format vidéo 1920x1080 HD et que vous pensez utiliser cette séquence vidéo pour une diffusion ou une exportation vers Final Cut Pro, sélectionnez l’option Taille originale : celle-ci préserve la qualité originale de la séquence vidéo mais utilise plus d’espace disque (pour en savoir plus à ce sujet, recherchez 1080i dans l’Aide iMovie). Remarque : si vous utilisez un caméscope avec DVD, le branchement à votre Mac peut entraîner l’ouverture du lecteur DVD. Dans ce cas, il vous suffit de le fermer. 2 Cliquez sur Importer tout pour importer tous les clips. 3 Dans le menu local Enregistrer dans, choisissez le disque dur sur lequel vous voulez enregistrer la séquence vidéo importée. Vous pouvez choisir n’importe quel disque pris en charge et connecté à votre ordinateur au moyen d’un câble FireWire. Une heure de vidéo en définition standard (DV) occupe environ 13 Go (40 Go pour une heure de vidéo haute définition (HD) : vous devez donc vérifier que vous disposez de suffisamment d’espace sur le disque que vous choisissez. La quantité d’espace libre sur chaque disque disponible est affichée entre parenthèses à côté du nom du disque dans le menu local. 4 Choisissez la façon dont vous souhaitez organiser la vidéo importée dans votre Bibliothèque d’événements :  Pour ajouter la vidéo importée à un événement qui existe déjà, choisissez « Ajouter à l’événement existant », puis sélectionnez le nom de cet événement dans le menu local.  Pour créer un nouvel événement, saisissez son nom dans le champ « Créer un nouvel événement » (par exemple « Fête d’anniversaire »). Si vous souhaitez créer un nouvel événement pour chaque date d’enregistrement de la vidéo, sélectionnez « Créer un nouvel événement pour chaque jour ». 5 Si vous importez une vidéo au format 1080i, sélectionnez sa taille dans le menu local. La qualité des vidéos de grande taille est suffisante pour permettre leur affichage sur un téléviseur haute définition (HDTV) et pour la plupart des autres utilisations. Toutefois, si vous comptez exporter votre film vers Final Cut Pro ou si, pour une raison ou une autre, vous souhaitez conserver la taille originale de votre vidéo sans la réduire, choisissez « Entier - 1920x1080 » dans le menu local « Importer la vidéo 1080i au format : ».Chapitre 2 Apprendre à utiliser iMovie 13 6 Cliquez sur OK. Selon la durée de votre vidéo, l’importation dans iMovie et la création de vignettes pour chaque clip peut prendre de quelques minutes à plus d’une heure. La barre de progression de la fenêtre Importation indique le clip en cours d’importation et la vitesse à laquelle l’importation se déroule. 7 Une fois la séquence importée, éteignez votre caméscope et déconnectez-le de l’ordinateur. Importation d’une sélection de séquences vidéo à partir d’un appareil à accès aléatoire : Si vous ne souhaitez pas importer toutes les données vidéo qui se trouvent sur votre appareil, vous avez la possibilité de sélectionner et d’importer uniquement les clips vidéo qui vous intéressent. Vous pouvez utiliser les commandes de lecture sous le visualiseur de la fenêtre Importer pour examiner les clips et sélectionner ceux que vous voulez importer. Pour les besoins de ce guide d’initiation, il est préférable d’importer de 10 à 15 minutes de vidéo comme base de travail. Après avoir connecté votre appareil à votre ordinateur (voir ci-dessus), effectuez l’une des actions suivantes. Pour importer la plupart des clips vidéo : 1 Réglez le commutateur situé dans la partie gauche de la fenêtre Importer sur Manuel. 2 Désactivez les cases au-dessous des clips que vous ne souhaitez pas importer. 3 Cliquez sur Importer les clips cochés. 4 Ensuite, suivez la procédure décrite dans les étapes 3 à 6, à la page 12. Pour importer seulement quelques clips vidéo : 1 Réglez le commutateur situé dans la partie gauche de la fenêtre Importer sur Manuel. 2 Cliquez sur Tout décocher. 3 Cochez les cases qui se trouvent sous les clips que vous souhaitez importer. 4 Cliquez sur Importer les clips cochés. 5 Ensuite, suivez la procédure décrite dans les étapes 3 à 6, à la page 12. Une fois que l’importation de la vidéo est terminée, cliquez sur le bouton d’éjection qui se trouve près du menu local Caméra, puis éteignez le caméscope et déconnectez-le de l’ordinateur.14 Chapitre 2 Apprendre à utiliser iMovie Caméscopes numériques équipés d’une interface FireWire Si vous avez un caméscope DV ou HDV mini-DV que vous pouvez connecter à votre ordinateur au moyen d’un câble FireWire, vous importerez les séquences vidéo pendant leur lecture sur la bande. Pour importer de la vidéo à partir d’un caméscope avec connexion FireWire : 1 Placez le caméscope en mode VTR (mode d’enregistrement sur bande vidéo que certains caméscopes appellent mode « Lecture » ou « VCR ») et allumez-le s’il ne le fait pas automatiquement. 2 Connectez votre caméscope à votre ordinateur à l’aide d’un câble FireWire. L’illustration ci-dessous montre comment connecter un caméscope à iMac à l’aide d’un câble FireWire. La fenêtre Importer s’ouvre lorsque la caméra est correctement connectée. Si vous importez une séquence vidéo haute définition (HD), la zone de dialogue « Réglage d’importation au format 1080i HD » s’ouvre. Si vous n’importez pas de séquence vidéo au format 1080i, cliquez sur OK. Si vous importez une séquence au format 1080i ou si vous envisagez de le faire par la suite, sélectionnez la taille de la séquence vidéo devant être importée par iMovie. L’option Grande taille est recommandée dans la plupart des cas (y compris pour la visualisation sur Apple TV) car elle économise de l’espace sur le disque dur et peut être lue de manière plus fluide sur certains ordinateurs. Cependant, si votre caméscope enregistre au format vidéo 1920x1080 HD et que vous pensez utiliser cette séquence vidéo pour une diffusion ou une exportation vers Final Cut Pro, sélectionnez l’option Taille originale : celle-ci préserve la qualité originale de la séquence vidéo mais utilise plus d’espace disque (pour en savoir plus à ce sujet, recherchez 1080i dans l’Aide iMovie). La fenêtre Importer s’ouvre lorsque votre appareil est correctement connecté.Chapitre 2 Apprendre à utiliser iMovie 15 3 Assurez-vous que le commutateur situé dans la partie gauche de la fenêtre est défini sur Automatique. 4 Cliquez sur Importer. 5 Dans le menu local Enregistrement dans, choisissez le disque dur sur lequel vous voulez enregistrer la séquence vidéo importée. Vous pouvez choisir n’importe quel disque pris en charge et connecté à votre ordinateur au moyen d’un câble FireWire. Une heure de vidéo en définition standard (DV) occupe environ 13 Go (40 Go pour une heure de vidéo haute définition (HD) : vous devez donc vérifier que vous disposez de suffisamment d’espace sur le disque que vous choisissez. La quantité d’espace libre sur chaque disque disponible est affichée entre parenthèses à côté du nom du disque dans le menu local. 6 Choisissez la façon dont vous souhaitez organiser la vidéo importée dans votre Bibliothèque d’événements :  Pour ajouter la vidéo importée à un événement qui existe déjà, choisissez « Ajouter à l’événement existant », puis sélectionnez le nom de cet événement dans le menu local.  Pour créer un nouvel événement, saisissez son nom dans le champ « Créer un nouvel événement » (par exemple « Fête d’anniversaire »). Si vous souhaitez créer un nouvel événement pour chaque date d’enregistrement de la vidéo, sélectionnez « Créer un nouvel événement pour chaque jour ». 7 Si vous importez une vidéo au format 1080i, sélectionnez sa taille dans le menu local. La qualité des vidéos de grande taille est suffisante pour permettre leur affichage sur un téléviseur haute définition (HDTV) et pour la plupart des autres utilisations. Toutefois, si vous comptez exporter votre film vers Final Cut Pro ou si, pour une raison ou une autre, vous souhaitez conserver la taille originale de votre vidéo sans la réduire, choisissez « Entier - 1920x1080 » dans le menu local « Importer la vidéo 1080i au format : ». 8 Cliquez sur OK. La bande de votre caméscope se rembobine automatiquement au début ; la vidéo complète sur la bande est importée, puis la bande se rembobine à nouveau. La bande est lue pendant l’importation. Vous pouvez regarder la vidéo pendant la lecture (le son n’est lu que sur le caméscope) ou laisser votre ordinateur poursuivre l’importation pendant que vous êtes ailleurs. Cela peut prendre plus de temps pour importer la vidéo que pour la regarder. Après l’importation, iMovie prend quelques minutes pour générer les vignettes de chaque clip vidéo.16 Chapitre 2 Apprendre à utiliser iMovie 9 Une fois la séquence importée, vous pouvez éteindre votre caméscope et le déconnecter de l’ordinateur. Vidéo de votre photothèque iPhoto Les séquences vidéo de votre appareil photo ou de votre téléphone que vous chargez dans votre photothèque iPhoto sont automatiquement disponibles lorsque vous ouvrez iMovie. Dans la Bibliothèque d’événements, sélectionnez Vidéos iPhoto, puis l’événement que vous voulez. (Pour en savoir plus sur l’ajout de vidéo à votre photothèque iPhoto, ouvrez l’application iPhoto et consultez l’Aide iPhoto.) Remarque : seuls les formats vidéo compatibles avec iMovie sont affichés dans la Bibliothèque d’événements. Importation d’une sélection de séquences vidéo à partir d’un caméscope FireWire Si vous ne voulez pas importer la totalité du contenu de votre cassette, vous pouvez choisir de n’importer que certaines séquences. Pour ce guide d’initiation, il est préférable d’importer au moins 10 à 15 minutes de vidéo sur laquelle vous pourrez travailler. Après avoir connecté votre caméscope à votre ordinateur (voir ci-dessus), procédez comme suit. Pour importer une sélection de séquences vidéo : 1 Réglez le commutateur situé dans la partie gauche de la fenêtre Importer sur Manuel. 2 Servez-vous des commandes de lecture de la fenêtre Importer pour rembobiner, effectuer une avance rapide ou visionner votre bande. Lorsque vous avez fini d’examiner votre bande, rembobinez-la jusqu’à l’endroit à partir duquel vous souhaitez commencer l’importation. 3 Cliquez sur Importer, puis suivez la procédure décrite dans les étapes 5 à 8, à la page 15. La vidéo est importée à partir de l’endroit où vous l’avez arrêtée. 4 Cliquez sur Stop lorsque vous souhaitez arrêter l’importation. Chaque fois que vous interrompez l’importation, iMovie prend quelques minutes pour créer des vignettes de la vidéo importée. 5 Pour importer une autre vidéo, répétez les étapes 2 à 4 décrites ci-dessus. 6 Lorsque l’importation de la vidéo est terminée, vous pouvez éteindre votre caméscope et le déconnecter de l’ordinateur.Chapitre 2 Apprendre à utiliser iMovie 17 Enregistrement de séquences vidéo directement dans iMovie Si votre Mac est équipé d’une webcam iSight intégrée, ou si vous connectez une iSight, une autre webcam compatible ou un caméscope via un câble FireWire, vous pouvez enregistrer de la vidéo directement dans iMovie pour la retravailler. Pour enregistrer directement dans iMovie : 1 Connectez votre iSight si elle n’est pas intégrée (ou votre autre webcam ou votre caméscope équipé d’une interface FireWire). 2 Cliquez sur le bouton Importer pour ouvrir la fenêtre Importer. 3 Si plusieurs appareils sont connectés à votre ordinateur, sélectionnez la caméra que vous voulez utiliser dans le menu local Appareil. 4 Cliquez sur Capturer. 5 Dans le menu local Enregistrer dans, choisissez le disque sur lequel vous souhaitez stocker la vidéo enregistrée. Vous pouvez choisir n’importe quel disque pris en charge et connecté à votre ordinateur au moyen d’un câble FireWire. Une heure de vidéo peut occuper plusieurs gigaoctets : vous devez donc vérifier que l’espace disponible est suffisant sur le disque que vous choisissez. La quantité d’espace libre sur chaque disque disponible est affichée entre parenthèses à côté du nom du disque dans le menu local. 6 Choisissez la façon dont vous souhaitez organiser la vidéo enregistrée dans votre Bibliothèque d’événements :  Pour créer un nouvel événement destiné à la vidéo enregistrée, saisissez son nom dans le champ « Créer un nouvel événement » (par exemple « Fête d’anniversaire »).  Pour ajouter la vidéo enregistrée à un événement qui existe déjà, choisissez « Ajouter à l’événement existant », puis sélectionnez le nom de cet événement dans le menu local. 7 Lorsque vous êtes prêt à commencer l’enregistrement, cliquez sur OK. iMovie commence l’enregistrement immédiatement. 8 Pour arrêter l’enregistrement, cliquez sur Stop quand vous voulez. Vous pouvez démarrer et arrêter l’enregistrement autant de fois que vous le voulez. Chaque fois que vous arrêtez l’enregistrement, iMovie prend quelques minutes pour générer les vignettes qui représentent les séquences vidéo. Chaque fois que vous recommencez à enregistrer, vous pouvez créer un nouvel événement ou cliquer sur OK pour ajouter la nouvelle vidéo au même événement. 9 Lorsque vous avez fini d’enregistrer, cliquez sur Terminé. Bouton Importer18 Chapitre 2 Apprendre à utiliser iMovie Projets iMovie HD ou autres fichiers de films sur votre disque dur Vous pouvez importer les séquences vidéo brutes que vous avez déjà stockées sur le disque dur de votre ordinateur ou sur un disque dur externe compatible et connecté à votre ordinateur au moyen d’un câble FireWire. Pour importer de la vidéo à partir d’un disque dur : 1 Sélectionnez Fichier > Importer des films et recherchez le projet dans la fenêtre Importer. Si vous importez une séquence vidéo haute définition (HD), la zone de dialogue « Réglage d’importation au format 1080i HD » s’ouvre. Si vous n’importez pas de séquence vidéo au format 1080i, cliquez sur OK. Si vous importez une séquence au format 1080i ou si vous envisagez de le faire par la suite, sélectionnez la taille de la séquence vidéo devant être importée par iMovie. L’option Grande taille est recommandée dans la plupart des cas (y compris pour la visualisation sur Apple TV) car elle économise de l’espace sur le disque dur et peut être lue de manière plus fluide sur certains ordinateurs. Cependant, si votre caméscope enregistre au format vidéo 1920x1080 HD et que vous pensez utiliser cette séquence vidéo pour une diffusion ou une exportation vers Final Cut Pro, sélectionnez l’option Taille originale : celle-ci préserve la qualité originale de la séquence vidéo mais utilise plus d’espace disque (pour en savoir plus à ce sujet, recherchez 1080i dans l’Aide iMovie). 2 Sélectionnez le disque dans lequel vous voulez stocker l’enregistrement dans le menu local Enregistrer dans. Vous pouvez choisir n’importe quel disque pris en charge et connecté à votre ordinateur au moyen d’un câble FireWire. Une heure de vidéo peut occuper plusieurs gigaoctets : vous devez donc vérifier que l’espace disponible est suffisant sur le disque que vous choisissez. La quantité d’espace libre sur chaque disque disponible est affichée entre parenthèses à côté du nom du disque dans le menu local. 3 Choisissez la façon dont vous souhaitez organiser la vidéo importée dans votre Bibliothèque d’événements :  Pour créer un nouvel événement destiné à la vidéo importée, saisissez son nom dans le champ Nom de l’événement (par exemple « Fête d’anniversaire »).  Pour ajouter la vidéo importée à un événement qui existe déjà, choisissez Événement existant, puis sélectionnez le nom de ce dernier dans le menu local. 4 Si vous importez une vidéo au format 1080i, sélectionnez sa taille dans le menu local. La qualité des vidéos de grande taille est suffisante pour permettre leur affichage sur un téléviseur haute définition (HDTV) et pour la plupart des autres utilisations. Toutefois, si vous comptez exporter votre film vers Final Cut Pro ou si, pour une raison ou une autre, vous souhaitez conserver la taille originale de votre vidéo sans la réduire, choisissez « Entier - 1920x1080 » dans le menu local « Importer la vidéo 1080i au format : ».Chapitre 2 Apprendre à utiliser iMovie 19 5 Choisissez ce que vous souhaitez faire des fichiers originaux :  Pour supprimer les fichiers originaux une fois qu’ils ont été copiés dans iMovie, sélectionnez Déplacer les fichiers.  Pour maintenir l’intégrité des fichiers originaux même s’ils ont déjà été copiés dans iMovie, sélectionnez Copier les fichiers. 6 Cliquez sur Importer. Vous pouvez aussi importer des données vidéo d’un projet créé avec iMovie HD. Lorsque vous importez un projet iMovie HD, seules les données vidéo importées à l’origine dans le projet depuis un caméscope sont importées dans iMovie ; les autres données vidéo qui se trouvent dans le projet parce que vous les y avez fait glisser depuis le Finder ne sont pas importées. Les clips dans le Visualiseur sont ajoutés à la vidéothèque et regroupés en tant qu’événement ; les clips dans la chronologie sont placés dans un nouveau projet iMovie. Toutes les transitions sont remplacées par des fondus enchaî- nés. Aucun titre, aucun effet, aucune musique, aucun effet sonore et aucune photo ne sont importés dans iMovie. Tous les marqueurs de chapitre sont également perdus. Pour importer un ancien projet iMovie : 1 Choisissez Fichier > Importer le projet HD iMovie, puis recherchez ce dernier dans la zone de dialogue Importer. Si vous importez une séquence vidéo haute définition (HD), la zone de dialogue « Réglage d’importation au format 1080i HD » s’ouvre. Si vous n’importez pas de séquence vidéo au format 1080i, cliquez sur OK. Si vous importez une séquence au format 1080i ou si vous envisagez de le faire par la suite, sélectionnez la taille de la séquence vidéo devant être importée par iMovie. L’option Grande taille est recommandée dans la plupart des cas (y compris pour la visualisation sur Apple TV) car elle économise de l’espace sur le disque dur et peut être lue de manière plus fluide sur certains ordinateurs. Cependant, si votre caméscope enregistre au format vidéo 1920x1080 HD et que vous pensez utiliser cette séquence vidéo pour une diffusion ou une exportation vers Final Cut Pro, sélectionnez l’option Taille originale : celle-ci préserve la qualité originale de la séquence vidéo mais utilise plus d’espace disque (pour en savoir plus à ce sujet, recherchez 1080i dans l’Aide iMovie). Vos projets iMovie se trouvent généralement dans votre dossier Séquences. 2 Sélectionnez le disque dans lequel vous voulez stocker le projet dans le menu local Enregistrer dans. Vous pouvez choisir n’importe quel disque pris en charge et connecté à votre ordinateur au moyen d’un câble FireWire. Une heure de vidéo en définition standard (DV) occupe environ 13 Go (40 Go pour une heure de vidéo haute définition (HD) : vous devez donc vérifier que vous disposez de suffisamment d’espace sur le disque que vous choisissez. La quantité d’espace libre sur chaque disque disponible est affichée entre parenthèses à côté du nom du disque dans le menu local.20 Chapitre 2 Apprendre à utiliser iMovie 3 Si vous importez une vidéo au format 1080i, sélectionnez sa taille dans le menu local. La qualité des vidéos de grande taille est suffisante pour permettre leur affichage sur un téléviseur haute définition (HDTV) et pour la plupart des autres utilisations. Toutefois, si vous comptez exporter votre film vers Final Cut Pro ou si, pour une raison ou une autre, vous souhaitez conserver la taille originale de votre vidéo sans la réduire, choisissez « Entier - 1920x1080 » dans le menu local « Importer la vidéo 1080i au format : ». 4 Cliquez sur Importer. Étape 2 : organisez votre vidéothèque et visionnez la vidéo Une fois que vous avez importé votre séquence, elle est prête à l’emploi. La vidéo est classée par événement dans la Bibliothèque d’événements, où vous pouvez immédiatement la visualiser, la parcourir, la rechercher ou l’améliorer. À propos des événements iMovie Lorsque vous importez une séquence vidéo dans iMovie et que vous lui attribuez un nom d’événement, un nouvel événement apparaît dans la Bibliothèque d’événements, classé sous l’année où il s’est produit. En cliquant sur le triangle d’affichage d’une année dans la Bibliothèque d’événements, vous affichez tous les événements de cette année-là. Si la vidéo d’un même événement s’étale sur plusieurs jours et que vous avez choisi d’établir une séparation lors de l’importation, chacun de ces jours apparaît dans la liste. Si vous choisissez le nom d’un événement existant lorsque vous importez une nouvelle séquence vidéo, vous regroupez les vidéos de plusieurs sources dans un même événement. Vous pouvez également fusionner plusieurs événements (ou jours d’événements) en un même événement, ou scinder un événement en deux. En fusionnant et en scindant des événements ou en déplaçant des clips vidéo d’un événement à l’autre, vous pouvez organiser vos vidéos en catégories et périodes de temps et les passer en revue comme s’il s’agissait de livres rangés sur une étagère. Ainsi, si vous avez importé depuis plusieurs sources différentes des séquences vidéo tournées pendant des vacances sur les îles Galápagos, vous pourriez regrouper toutes ces séquences vidéo, quelle que soit leur source, sous un seul et unique événement intitulé par exemple, « Vacances aux Galápagos », que vous pourrez retrouver facilement sous l’année pendant laquelle vous êtes parti en vacances là-bas. Si vous sélectionnez un événement dans la Bibliothèque d’événements, vous pouvez voir toutes les vidéos qu’il contient. De même, si vous sélectionnez plusieurs événements à la fois, vous voyez toutes les vidéos qu’ils contiennent.Chapitre 2 Apprendre à utiliser iMovie 21 Pour parcourir plusieurs événements : m Maintenez enfoncée la touche Commande (x) et cliquez sur les noms des événements contenant la vidéo que vous voulez parcourir. m Sélectionnez une année dans la Bibliothèque d’événements pour parcourir tous les événements qu’elle contient. Pour fusionner des événements : m Sélectionnez-les dans la Bibliothèque d’événements, puis choisissez Fichier > Fusionner les événements. Pour scinder un événement en deux parties : m Cliquez sur le clip vidéo que vous voulez placer en premier dans le nouvel événement, puis sélectionnez Fichier > « Scinder l’événement avant le plan ». Pour déplacer un segment vidéo (clip) d’un événement vers un autre : m Faites-le glisser et déposez-le (dans la Bibliothèque d’événements) sur le titre de l’événement dans lequel vous voulez le placer. L’événement apparaît dans la Bibliothèque d’événements, sous l’année dans laquelle le clip le plus récent a été tourné. Vous pouvez également trier votre Bibliothèque d’événements en fonction du disque dur sur lequel les vidéos sont stockées. Lorsque vos événements sont triés par disque dur, vous pouvez parcourir tous les événements d’un disque en sélectionnant le nom de ce disque. Pour trier la Bibliothèque d’événements par disque dur : m Cliquez sur le bouton avec une icône de disque dur dans la partie supérieure de la sous-fenêtre Bibliothèque d’événements. Clips vidéo apparaissant comme des « pellicules cinématographiques » Noms d’événements répertoriés dans la Bibliothèque d’événements, séparés par jour Tri des événements par disque dur22 Chapitre 2 Apprendre à utiliser iMovie Pour découvrir d’autres options relatives à l’organisation de votre Bibliothèque d’évé- nements, consultez la rubrique « Réorganisation d’événements dans la Bibliothèque d’événements » dans l’Aide iMovie. Affichage de votre vidéo source. Sélectionnez le nom d’un événement que vous avez créé dans la Bibliothèque d’événements et examinez les segments vidéo qu’il contient. La vidéo qui se trouve dans vos événements est appelée vidéo source parce qu’elle reste toujours telle que vous l’avez importée et qu’elle n’est pas modifiée par les opérations de montage réalisées dans iMovie. Elle sert de source à la vidéo que vous pouvez utiliser pour créer des films. Vous pouvez voir le contenu d’une vidéo en observant les images espacées dans le temps, comme si vous examiniez une pellicule cinématographique sur une table lumineuse. Chaque pellicule représente un clip vidéo, c’est-à-dire un segment vidéo qui commence au moment où la caméra a commencé à enregistrer et se termine lorsqu’elle a arrêté d’enregistrer. Généralement, chaque événement comporte plusieurs clips, un pour chaque fois où vous avez démarré et arrêté la caméra pendant l’enregistrement de l’événement. Un ensemble de vignettes assemblées forme une pellicule qui représente un clip vidéo. Une vignette représente une image d’un clip. Les images dentelées indiquent que ce clip continue à la ligne suivante ou représente la suite de la ligne précédente. Plusieurs clips, contenant chacun plusieurs vignettesChapitre 2 Apprendre à utiliser iMovie 23 Par défaut, iMovie affiche une image par intervalle de 5 secondes de vidéo du clip ; vous pouvez modifier ce réglage pour « dérouler » (développer) ou « enrouler » (contracter) la pellicule selon vos préférences. La durée de chaque clip est affichée à l’extrême gauche lorsque vous passez le pointeur dessus. Pour agrandir ou réduire les pellicules :  Faites glisser le curseur des vignettes vers la droite pour réduire le nombre d’images affichées par clip et raccourcir ainsi la pellicule.  Faites glisser le curseur des vignettes vers la gauche pour augmenter le nombre d’images affichées par clip et agrandir ainsi la pellicule. L’agrandissement et la réduction des pellicules à l’aide de ce curseur ne modifient votre vidéo en aucune manière : ces opérations modifient uniquement l’affichage pendant votre travail. Lecture de votre vidéo Lorsque vous déplacez le pointeur sur les pellicules, vous remarquez que les images des pellicules se déplacent avec la plus grande image dans le visualiseur. L’image dans le visualiseur correspond au moment de la vidéo, ou à l’image, sur laquelle le pointeur se trouve. Le déplacement du pointeur en avant ou en arrière dans la vidéo porte le nom de défilement : il s’agit d’une manière rapide d’avoir une idée de l’apparence de la vidéo. Lorsque vous parcourez votre vidéo, vous entendez également le son qui se lit en avant ou en arrière suivant que vous avancez ou reculez dans la vidéo. Cela est parfois utile pour rechercher un moment particulier dans votre vidéo. D’autres fois, vous voudrez couper le son. Pour couper le son pendant le défilement : m Dans la barre d’outils d’iMovie, cliquez sur le bouton prévu pour couper le son lors du survol de la vidéo ou choisissez Présentation > Écrémage audio et assurez-vous que l’élément n’est pas coché dans le menu. Pour rétablir le son, appuyez à nouveau sur ce bouton. Cela affecte uniquement le défilement, mais pas la lecture du son en vitesse normale. Vous pouvez également lire votre vidéo à la vitesse prévue. Cliquez pour couper le son pendant le défilement24 Chapitre 2 Apprendre à utiliser iMovie Pour lire la vidéo à n’importe quel endroit, effectuez l’une des opérations suivantes : m Placez le pointeur à l’emplacement de la pellicule à partir duquel vous voulez démarrer la lecture, puis appuyez sur la barre d’espace. Si le pointeur est placé sur une bordure de sélection jaune, seule la portion sélectionnée de la vidéo est lue. Pour lire au-delà de la portion de vidéo sélectionnée, placez le pointeur à gauche de la sélection avant d’appuyer sur la barre d’espace. m Double-cliquez dans le clip à l’endroit à partir duquel vous voulez démarrer la lecture. m Sélectionnez n’importe quelle partie du clip et sélectionnez Affichage > Lecture. Pour arrêter la lecture de la vidéo : m Cliquez n’importe où dans la fenêtre iMovie ou appuyez sur la barre d’espace pendant la lecture. Pour lire des événements sélectionnés à partir du début, effectuez l’une des opérations suivantes : m Sélectionnez n’importe quelle partie du clip et sélectionnez Affichage > « Lire depuis le début ». m Appuyez sur la touche Barre oblique inverse (\). m Cliquez sur le bouton Lecture qui se trouve au-dessous de la Bibliothèque d’événements. Pour lire un événement en plein écran : 1 Sélectionnez n’importe quelle partie du clip, puis cliquez sur le bouton « Lire en plein écran » qui se trouve au-dessous de la Bibliothèque d’événements pour lire l’événement depuis le début ou appuyez sur Commande (x) + G pour commencer la lecture à partir de l’endroit où se trouve le pointeur. 2 Pour rembobiner ou avancer rapidement, déplacez le pointeur, puis cliquez sur la pellicule qui apparaît ; faites défiler la pellicule en avant ou en arrière ou appuyez sur les touches fléchées pour vous déplacer image par image. 3 Pour quitter le mode plein écran, appuyez sur la touche Échap. Pour ne lire que les images vidéo sélectionnées, effectuez l’une des opérations suivantes : m Appuyez sur la touche Barre oblique (/). m Sélectionnez Affichage > Lire la sélection. Cliquez pour commencer la lecture Cliquez ici pour commencer la lecture depuis le début.Chapitre 2 Apprendre à utiliser iMovie 25 Sélection de la vidéo source Chaque clip vidéo est composé de plusieurs images vidéo, apparaissant comme des images fixes, comme les différents clichés qui composent les images d’une pellicule photographique. (Le nombre d’images par seconde de vidéo animée dépend du format vidéo que vous utilisez). Généralement, la manipulation de vidéo dans iMovie consiste à sélectionner des plages d’images vidéo, ou plages d’images, qui ne représentent qu’une petite partie du clip vidéo. Dans certains cas, il se peut toutefois que la plage d’images sélectionnée couvre l’ensemble d’un clip vidéo voire plusieurs clips. Par défaut, lorsque vous cliquez sur un clip vidéo source, iMovie sélectionne quatre secondes de vidéo à partir du point où vous avez cliqué. Vous pouvez ainsi survoler rapidement votre vidéo à la recherche des meilleures scènes, puis cliquer simplement dessus pour sélectionner automatiquement des plages d’images de quatre secondes qui vous permettront de monter un film constitué de plans bien rythmés. (Vous pouvez en outre régler le nombre d’images vidéo qu’un simple clic peut sélectionner via la sousfenêtre Préférences d’iMovie. Pour savoir comment procéder, reportez-vous à la section « Réglage de la sélection automatique d’une plage d’images » dans l’Aide iMovie.) Un bord de sélection jaune apparaît autour de la plage d’images lorsque vous la sélectionnez. Vous pouvez agrandir ou réduire une sélection de plage d’images, la recentrer ou sélectionner un clip entier ou plusieurs clips à la fois. Pour sélectionner une plage d’images vidéo dans la bibliothèque des vidéos sources, effectuez l’une des opérations suivantes : m Cliquez sur un clip pour sélectionner quatre secondes de vidéo à partir du point où vous avez cliqué. m Faites glisser le curseur sur le clip pour sélectionner autant d’images que vous le voulez. Pour ajuster une sélection de plage d’images, effectuez l’une des opérations suivantes : m Faites glisser la poignée située à l’une des extrémités du bord de sélection pour agrandir ou réduire la sélection. m Placez le pointeur au-dessus du point de départ ou de fin souhaité et cliquez tout en maintenant la touche Maj enfoncée. Faites glisser les poignées pourredimensionner la sélection. La bordure jaune délimite l’étendue des images sélectionnées dans un clip.26 Chapitre 2 Apprendre à utiliser iMovie Si vous voulez déplacer la sélection dans une autre plage d’images du même clip sans modifier sa taille, vous pouvez la recentrer. Pour recentrer la sélection : m Faites glisser le haut de la bordure de sélection vers n’importe quel emplacement du clip. m Appuyez sur les touches Flèche droite ou Flèche gauche pour déplacer l’ensemble de la sélection vers la gauche ou la droite image par image. Vous pouvez « faire coulisser » la plage de sélection le long du clip pour déplacer la sélection et sélectionner plusieurs plages de même taille, ce qui permet d’assurer la régularité du rythme d’un film lors de sa création. Pour sélectionner un clip vidéo entier dans la vidéothèque source : m Cliquez sur un clip tout en maintenant enfoncée la touche Option. m Cliquez sur un clip tout en maintenant enfoncée la touche Contrôle et choisissez « Sélectionner le clip entier » dans le menu local qui s’affiche. ? Astuce : Si vous cliquez tout en maintenant la touche Contrôle enfoncée, vous faites apparaître des menus contextuels qui peuvent vous aider à travailler de manière plus efficace. Ils vous proposent des options pertinentes en fonction de l’endroit où vous cliquez. Pour sélectionner plusieurs clips vidéo : m Si les clips constituent une série de clips contigus, maintenez enfoncée la touche Maj et cliquez sur le premier et le dernier des clips de la plage à sélectionner. m Si les clips ne sont pas contigus, maintenez enfoncée la touche Commande (x) et cliquez sur chaque clip à sélectionner ; pour retirer un clip de la sélection, cliquez à nouveau sur ce clip. Lorsque vous avez sélectionné plusieurs clips, vous pouvez les faire glisser dans un autre événement ou dans un projet iMovie. Vous pouvez aussi modifier l’apparence d’un clip vidéo, puis copier-coller les modifications dans d’autres clips. Pour en savoir plus à ce sujet, recherchez « ajustements vidéo » dans l’Aide iMovie. Marquage de la vidéo comme favorite ou à supprimer Avec iMovie, vous trouvez instantanément les meilleurs moments. Vous n’avez pas besoin de parcourir des heures de vidéo, en effectuant des retours et avances rapides à la recherche des passages souhaités. Désormais, en passant rapidement sur votre vidéo, vous pouvez marquer les passages que vous pensez être les meilleurs ou les moins bons, facilitant ainsi le filtrage ultérieur de votre vidéo et la recherche des séquences à retravailler ou à supprimer.Chapitre 2 Apprendre à utiliser iMovie 27 Pour organiser plus finement votre vidéo, vous pouvez également repérer une plage d’images avec des mots-clés. Pour en savoir plus sur le repérage des vidéos et la recherche à l’aide de mots-clés, recherchez les termes « balisage avec mots-clés » dans l’Aide iMovie. Dans cette étape, vous devez sélectionner la portion de la vidéo que vous aimez et la marquer comme favorite ; vous devrez également marquer la portion de vidéo que vous n’aimez pas en vue de la supprimer. Vous devez d’abord définir un filtre pour votre vidéo source pour afficher tous les clips : sélectionnez Tous les clips dans le menu local Afficher sous la Bibliothèque d’événements. Survolez ensuite votre vidéo pour localiser les passages particulièrement intéressants. Pour marquer la vidéo comme favorite : m Sélectionnez une plage d’images, puis cliquez sur le bouton « Marquer comme favorite » dans la barre d’outils iMovie. Une barre verte apparaît en haut de la plage d’images. Menu local Afficher Marquer comme favorite Démarquer Refuser Une barre verte indique que la plage est marquée comme favorite.28 Chapitre 2 Apprendre à utiliser iMovie Pour marquer une vidéo à supprimer : m Sélectionnez une plage, puis cliquez sur le bouton Refuser de la barre d’outils iMovie. Une barre rouge s’affiche au-dessus de la plage d’images. Pour supprimer une marque : m Sélectionnez une plage que vous avez marquée comme favorite ou que vous avez refusée, puis, dans la barre d’outils d’iMovie, cliquez sur le bouton Démarquer. La barre de couleur disparaît. Tri (filtrage) de vidéo Maintenant que vous avez marqué certaines images vidéo, vous pouvez aisément filtrer la bibliothèque source de façon à ne voir que les meilleures ou les pires sélections. Pour filtrer la bibliothèque source vidéo et afficher les clips favoris ou refusés : m Sélectionnez l’une des options suivantes dans le menu local Afficher sous la Bibliothèque d’événements.  Favoris uniquement : affiche uniquement la séquence vidéo que vous avez marquée comme favorite.  Favoris et démarqués : affiche toutes les séquences vidéo que vous avez marquées comme favorites ou que vous n’avez pas marquées. (Affichage par défaut.)  Tous les clips : affiche tous les clips de l’événement sélectionné.  Refusés uniquement : affiche uniquement les clips que vous avez marqués pour être supprimés. Si vous choisissez Refusés uniquement, vous pouvez afficher un aperçu des clips refusés avant de les supprimer. Une barre rouge indique que la plage est marquée pour la suppression (refusée).Chapitre 2 Apprendre à utiliser iMovie 29 Pour supprimer les clips refusés : 1 Choisissez Présentation > Refusés uniquement ou sélectionnez Refusés uniquement dans le menu local Afficher. 2 Cliquez sur « Placer dans la corbeille » dans le coin supérieur droit au-dessus des clips refusés. Si vous voulez récupérer l’espace disque libéré par les vidéos supprimées, vous devez vider la Corbeille de votre ordinateur. Pour récupérer l’espace disque des clips supprimés : m Cliquez sur le bureau pour activer le Finder, puis choisissez Finder > Vider la Corbeille. Affichage Favoris et démarqués Lorsque vous travaillez dans iMovie, vous préférerez peut-être afficher uniquement la vidéo que vous avez marquée comme favorite ou que vous n’avez pas marquée. Pour cela, revenez à l’affichage par défaut. La vidéo refusée disparaît immédiatement de cet affichage. Pour l’afficher à nouveau, sélectionnez Rejeté dans le menu local Afficher. Pour restaurer l’affichage par défaut (Favoris et démarqués), effectuez l’une des opérations suivantes : m Appuyez sur Commande (x) + L. m Choisissez Favoris et démarqués dans le menu local Afficher. m Choisissez Présentation > Favoris et démarqués. m Si vous êtes en mode Refusés uniquement, cliquez sur l’option « Masquer les projets rejetés » située dans l’angle supérieur droit du navigateur d’événements. Étape 3 : améliorez les images vidéo et réglez le volume sonore Lorsque vous regardez votre vidéo, vous voudrez peut-être améliorer vos moments préférés. Le volume de votre clip favori est peut-être trop élevé ou trop bas. Dans un autre clip, le sujet principal vous gratifie d’un superbe sourire, mais il est un peu trop éloigné. Ou les couleurs mériteraient peut-être une petite correction. Avec iMovie, vous pouvez facilement améliorer l’apparence et le son de votre vidéo. Rognage d’images vidéo De la même manière que vous découpez une photo, avec iMovie vous pouvez créer un plan rapproché du sujet choisi alors que vous n’en aviez pas auparavant. Si vous travaillez avec un format vidéo standard ou de résolution inférieure, le rognage du clip peut créer du grain. Avec la vidéo haute définition, la qualité d’affichage des clips rognés est quasiment la même que celle des originaux.30 Chapitre 2 Apprendre à utiliser iMovie Pour rogner un clip : 1 Cliquez sur le bouton Rogner, puis sur un clip pour le sélectionner. 2 Dans le visualiseur, cliquez sur Rogner. Un rectangle de découpage vert apparaît autour de l’image dans le visualiseur. 3 Faites glisser le rectangle vert pour le redimensionner et le repositionner afin de souligner la partie de l’image que vous voulez mettre en évidence. Le découpage maximal est de 50 % de la taille de l’image originale. Les proportions du rectangle de rognage restent celles du format 16:9 (écran large) si aucun projet n’est sélectionné (dans le cas contraire, les proportions sont celles du projet sélectionné). 4 Pour afficher l’aperçu de votre travail, cliquez sur le bouton Lecture. 5 Cliquez sur Terminé lorsque vous avez obtenu le résultat souhaité. Le rognage s’applique à l’ensemble du clip. Une icône Rogner apparaît au début du clip. Cliquez sur ce bouton pour afficher un aperçu de votre travail. Faites glisser le cadre et redimensionnez-le pour définir la taille et l’emplacement du découpage. Cliquez sur ce bouton pour Cliquez sur ce bouton pour rogner. faire pivoter toute l’image. Cliquez sur ce bouton pour restaurer complètement l’image. Cliquez sur ce bouton lorsque vous avez terminé. Icône RognerChapitre 2 Apprendre à utiliser iMovie 31 Cliquez dessus pour modifier ou supprimer le rognage à tout moment. Vous pouvez restaurer votre vidéo à sa taille d’origine à tout moment en ouvrant l’éditeur de rognage et en cliquant sur Adapter. Ajustement du volume des clips iMovie offre deux manières simples de régler le volume sonore général de vos clips vidéo : réduction du volume maximal ou réglage de tous les volumes du clip pour qu’ils tiennent dans une plage « normalisée ». Vous effectuez ces deux réglages dans la fenêtre Ajustements audio. Modifications non destructives L’expression « modifications non destructives » signifie que vous pouvez annuler toutes les modifications apportées à votre vidéo (ou aux autres données que vous ajoutez à vos projets iMovie) si, par exemple, vous changez d’avis ou vous n’êtes pas satisfait du résultat. Cela est dû au fait qu’iMovie ne modifie jamais les données originales que vous modifiez ; iMovie ne crée pas non plus une copie de l’original. iMovie stocke simplement les modifications que vous apportez et les applique à nouveau chaque fois que vous visionnez la vidéo, sans qu’il soit nécessaire pour vous de les enregistrer. Pour annuler la dernière action : m Sélectionnez Édition > Annuler [Action]. Pour restaurer les données dans leur état d’origine : 1 Sélectionnez le clip, puis cliquez sur le bouton pour ouvrir l’outil utilisé pour modifier l’image ou le son original. 2 Supprimez les modifications qui ne vous plaisent pas. À la fin de chaque rubrique de ce guide d’initiation, vous trouverez des instructions particulières sur la restauration de vos données.32 Chapitre 2 Apprendre à utiliser iMovie Pour ouvrir la fenêtre Ajustements audio : m Cliquez sur un clip, puis sur le bouton Ajustements audio. Réglage du volume d’un clip Si le son de l’un de vos clips est trop élevé par rapport à celui de tous les autres ou, à l’inverse, si vous trouvez qu’il n’est pas assez fort, il vous suffit d’augmenter ou de baisser le volume du clip en question. Pour régler le volume d’un clip : 1 Avec la fenêtre Ajustements audio ouverte, cliquez sur un clip pour le sélectionner. 2 Faites glisser le curseur Volume jusqu’au niveau souhaité. 3 Cliquez sur Terminé pour fermer la fenêtre Ajustements audio, ou cliquez sur un autre clip pour régler son volume. Cliquez sur l’icône de réglage audio qui apparaît au début du clip pour ouvrir la fenê- tre Ajustements audio et modifier ou supprimer les réglages audio à tout moment. Cliquez sur « Revenir à l’original » dans la fenêtre Ajustements audio pour restaurer le volume d’origine du clip. Cliquez sur ce bouton pour réinitialiser la plage de volume du clip. Faites glisser le curseur pour régler le volume du clip. Cliquez sur ce bouton pour restaurer les volumes aux niveaux d’origine. Cliquez sur ce bouton lorsque vous avez terminé. Cochez cette case pour que le son de ce clip soit prioritaire par rapport au son d’autres clips. Faites glisser le curseur pour régler l’atténuation du volume des autres clips audio et vidéo. Sélectionnez Manuel, puis faites glisser les curseurs pour régler le taux de fondu en entrée ou en sortie du volume du clip. Icône Ajustements audioChapitre 2 Apprendre à utiliser iMovie 33 Normalisation du volume des clips Si la voix est trop forte dans un clip et trop faible dans un autre, la normalisation du volume vous permet de redéfinir les niveaux de son de sorte qu’ils soient compris dans la plage de volume de votre choix. Pour normaliser les volumes dans divers clips : 1 Avec la fenêtre Ajustements audio ouverte, cliquez sur un clip pour le sélectionner. 2 Cliquez sur Normaliser le volume. Cela règle le volume du clip à son niveau maximal sans distorsion. 3 Sélectionnez un autre clip, puis cliquez à nouveau sur Normaliser le volume. Les volumes des deux clips sont désormais réglés sur la même plage. 4 Répétez les étapes 2 et 3 pour tous les autres clips de sorte que leur volume se trouve à l’intérieur de la même plage. Vous pouvez annuler la normalisation audio à tout moment en cliquant sur « Supprimer la normalisation » ou « Revenir à l’original » dans la fenêtre Ajustements audio. Étape 4 : créez un projet iMovie Si vous voulez partager des parties de votre vidéothèque avec des amis, les publier sur le web ou les transférer sur votre iPod ou votre Apple TV, vous pouvez créer un film à l’aide de la vidéo source dans votre vidéothèque et y placer vos meilleurs clips comme vous le voulez. Vous pouvez améliorer votre film avec de la musique de fond, des effets sonores, des commentaires et des photos. iMovie intègre également plusieurs styles de titres très pratiques pour ajouter du texte à votre film, ainsi que des styles de transitions pour passer en douceur d’un clip à l’autre. Commencez par créer un projet iMovie dans lequel vous allez ensuite combiner toutes les pièces de ce qui deviendra votre film. Au cours de cette opération, vous allez commencer un projet iMovie, puis ajouter une vidéo provenant de la bibliothèque source, l’organiser en une séquence qui vous plaît et ajouter de la musique de fond pour créer un diaporama vidéo élémentaire. Ensuite, vous allez supprimer les images inutiles de la vidéo, ajouter des titres et des transitions et terminer votre montage en ajoutant des effets sonores.34 Chapitre 2 Apprendre à utiliser iMovie Création d’un projet iMovie Un projet iMovie peut être aussi simple ou complexe que vous le voulez, en fonction de ce que vous voulez ajouter à votre film en plus de la vidéo de base. Les tâches pré- sentées ici sont organisées dans l’ordre idéal pour tous vos projets iMovie. N’oubliez pas que lorsque vous apportez des modifications ou des ajustements à une vidéo dans iMovie, les données d’origine ne sont pas affectées. Vous pouvez à tout moment annuler les ajustements que vous avez apportés à la vidéo et votre vidéo originale demeure intacte, protégée contre les modifications non souhaitées. N’hésitez donc pas à essayer tout ce qui vous passe par la tête et amusez-vous bien. Pour créer un projet iMovie 1 Choisissez Fichier > Nouveau projet. 2 Tapez un nom pour votre projet. 3 Choisissez les proportions souhaitées pour votre film terminé dans le menu local Proportions. Choisissez les proportions en fonction des dimensions de la vidéo et des photos que vous utiliserez dans votre projet.  Standard (4:3) : produit un film pour l’affichage sur un téléviseur standard TV ou sur le web. S’il est affiché sur un téléviseur haute définition, un espace noir apparaît de chaque côté de la vidéo.  iPhone (3:2) : produit un film pour l’affichage sur iPhone.  Écran large (16:9) : produit un film idéal pour l’affichage sur un écran large ou un téléviseur haute définition (HDTV). Si vous affichez votre film sur un téléviseur standard, des bandes noires apparaîtront en haut et en bas de la vidéo. Vous pouvez mélanger diverses tailles et formats vidéo dans un même projet. Si vous utilisez des vidéos et des photos de tailles différentes, sélectionnez les proportions les mieux adaptées aux données. Si cela provoque l’apparition de bandes noires en haut, en bas ou sur les côtés de certains contenus, vous pouvez ajouter ces derniers à votre projet, puis les rogner pour enlever ces bandes noires. (Pour en savoir plus sur le rognage des images, voir « Rognage d’images vidéo » à la page 29). Ajout de vidéo à votre projet Vous pouvez ajouter autant de séquences vidéo que vous le souhaitez dans un projet : sélectionnez-les à partir d’un ou de plusieurs événements, pour les regrouper dans l’ordre que vous voulez. Lorsque vous ajoutez une plage d’images à votre projet, elle apparaît sous la forme d’un clip entier dans votre projet, même s’il ne s’agissait que d’une partie d’un clip vidéo source.Chapitre 2 Apprendre à utiliser iMovie 35 Lorsque vous ajoutez à votre projet des données vidéo d’un événement, iMovie ne déplace pas celles-ci et ne les duplique pas non plus. Il établit simplement une réfé- rence à la vidéo source. C’est pourquoi, si votre vidéo source est stockée sur un disque dur externe, ce dernier doit être connecté à votre ordinateur lorsque vous travaillez sur un projet faisant référence à la vidéo source. Cela implique également que vous pouvez ajouter le même segment vidéo plusieurs fois si vous voulez le dupliquer dans votre projet, ou ajouter la même séquence vidéo à plusieurs projets. Dans chaque cas, la séquence vidéo fonctionnera comme un clip individuel. Pour créer un diaporama vidéo, vos clips doivent avoir la même taille ou pratiquement la même. En effet, des clips de même taille équilibrent le rythme de votre film. iMovie facilite cette opération grâce à la fonctionnalité de sélection automatique dans la vidéo source, qui permet de sélectionner toujours la même quantité de vidéo en un seul clic. Pour ajouter des clips à votre projet : 1 Cliquez sur un clip de la vidéo source pour sélectionner une plage d’images vidéo que vous voulez inclure dans votre projet. Quatre secondes de vidéo sont automatiquement sélectionnées. 2 Cliquez sur le bouton « Ajouter au projet » au milieu de la barre d’outils iMovie pour ajouter de la vidéo à la fin de votre projet ou faites glisser la sélection là où vous voulez la faire apparaître dans votre projet. 3 Continuez à sélectionner des données vidéo et à les ajouter à votre projet. 4 Dans le projet, faites glisser les clips pour les placer dans l’ordre souhaité. Vous pouvez afficher un aperçu de votre projet en le lisant de l’une des manières suivantes : Pour lire un projet sélectionné à partir du début : m Cliquez sur le bouton Lire le projet sous la Bibliothèque de projets ou appuyez sur la touche Barre oblique inverse (\). Pour lire un projet sélectionné à partir de n’importe quel point : m Double-cliquez sur l’image à partir de laquelle vous voulez lancer la lecture ou appuyez sur la barre d’espace. Pour arrêter la lecture de la vidéo de votre projet : m Appuyez sur la barre d’espace ou cliquez n’importe où dans la fenêtre iMovie. Bouton « Ajouter au projet »36 Chapitre 2 Apprendre à utiliser iMovie Pour lire un clip ou une plage d’images sélectionné(e) dans votre projet : m Appuyez sur la touche Barre Antislash (/). Pour lire en plein écran un projet sélectionné : 1 Choisissez l’endroit à partir duquel vous souhaitez commencer la lecture du projet :  Pour commencer la lecture à partir de la position du pointeur, quelle qu’elle soit, appuyez sur Commande (x) + G.  Pour démarrer la lecture au début du projet, sélectionnez n’importe quel clip de ce dernier, puis cliquez sur le bouton « Lire en plein écran » qui se trouve au-dessous de la Bibliothèque des projets. 2 Déplacez le pointeur et cliquez sur la pellicule qui apparaît, puis faites défiler la vidéo en avant et en arrière. 3 Pour quitter le mode plein écran, appuyez sur la touche Échap. Lorsque vous travaillez sur votre projet, vous pouvez agrandir ou réduire les pellicules du projet pour afficher plus ou moins d’images de chaque clip. Les pellicules de votre projet et de votre source vidéo ne sont pas nécessairement agrandies de la même manière. Pour agrandir ou réduire les pellicules d’un projet : m Faites glisser le curseur des vignettes directement sous votre projet. Ajout de musique de fond à votre projet Vous pouvez animer un film en ajoutant une bande son musicale. Si vous avez des morceaux musicaux dans votre bibliothèque iTunes, vous pouvez en faire glisser un pour accompagner votre vidéo. Sinon, vous pouvez essayer d’utiliser l’un des jingles de iLife. Pour ajouter une musique de fond à votre projet iMovie : 1 Choisissez Fenêtre > « Musique et effets sonores » ou cliquez sur le bouton « Musique et effets sonores » de la barre d’outils d’iMovie. 2 Dans la sous-fenêtre « Musique et effets sonores », cliquez sur iTunes pour voir toute la musique que contient votre bibliothèque iTunes ou cliquez sur le dossier Effets sonores pour rechercher la musique de fond la plus adaptée à votre film. Cliquez sur un fichier audio pour en obtenir un aperçu sonore. 3 Sélectionnez un fichier musical et faites-le glisser dans l’arrière-plan du projet en veillant à ne pas le faire glisser dans un clip.Chapitre 2 Apprendre à utiliser iMovie 37 Une icône représentant la musique sous forme d’un arrière-plan de couleur verte apparaît derrière les clips vidéo. Cet arrière-plan commence au début du clip et continue pendant toute la durée de la chanson ou de la vidéo, suivant celle qui se termine la première. Si la musique dure plus longtemps que la vidéo, un indicateur apparaît à la fin de la vidéo. La musique se termine automatiquement par une baisse progressive du son à la fin de la vidéo. 4 Si vous souhaitez ajuster le point de début et de fin de la musique de fond, cliquez sur l’arrière-plan de couleur verte, puis choisissez Édition > « Appliquer un Trim à la musique ». Le découpeur musical s’ouvre et affiche uniquement le clip de fond musical Dans le clip audio qui correspond à la musique, on peut voir une forme d’onde ; chaque fois que celle-ci est de couleur rose, cela signifie que la musique est associée à des données vidéo, que vous pouvez voir dans le visualiseur en faisant défiler rapidement le clip audio. La forme d’onde de couleur noire correspond à la partie du clip audio qui s’étend au-delà du début ou de la fin de la vidéo. Si vous ajoutez d’autres clips pour rallonger votre vidéo, la musique de fond couvre alors automatiquement les images vidéo supplémentaires. Musique de fond Indicateur de musique Poignée du point fin de la musique Poignée du point de début de la vidéo38 Chapitre 2 Apprendre à utiliser iMovie 5 Pour définir le point de la musique où la vidéo commence (point de début de la vidéo), faites glisser la première poignée de sélection. Lorsque vous faites glisser la poignée du début de la vidéo, la forme d’onde rose se déplace à l’intérieur du clip audio et le visualiseur lit la vidéo correspondante, en indiquant la nouvelle position du point de début de la vidéo. 6 Pour définir l’endroit de la vidéo où la musique se termine (c’est-à-dire, le point de fin de la musique), faites glisser la seconde poignée de sélection. Lorsque vous faites glisser la poignée du point de fin de la musique, la vidéo correspondante est lue dans le visualiseur pour vous aider à trouver le point de fin qui vous convient. 7 Cliquez sur le bouton Lecture du découpeur pour obtenir un aperçu de votre travail ; cliquez sur Terminé lorsque vous êtes satisfait. Pour découvrir d’autres façons d’arranger et de manipuler le son dans iMovie, y compris en ajoutant et en montant plusieurs clips musicaux de fond ou d’effets sonores, en extrayant des clips audio de votre vidéo et en créant des fondus audio en entrée et en sortie, consultez les rubriques d’Aide iMovie sous « Amélioration de l’audio » (dans la section intitulée « Création d’un projet vidéo »). Pour fermer la sous-fenêtre « Musique et effets sonores » : m Cliquez sur le bouton « Musique et effets sonores » de la barre d’outils iMovie. Pour supprimer la musique de fond : m Cliquez derrière les clips vidéo pour sélectionner la musique, puis appuyez sur la touche Suppr. Vous venez de créer un simple diaporama vidéo que vous pouvez partager avec votre famille et des amis. Si vous le souhaitez, vous pouvez effectuer d’autres modifications en suivant les instructions des sections ci-dessous. Suppression des images indésirables dans les clips d’un projet Il est facile de supprimer des images superflues aux extrémités d’un clip vidéo dans votre projet iMovie ou de les restaurer dans votre projet à tout moment. Pour effectuer un trim d’un clip vidéo : m Sélectionnez les images que vous voulez conserver et choisissez Édition > Appliquer un Trim à la sélection. Les images jugées indésirables sont supprimées. Si vous changez d’avis, vous pouvez à tout moment restaurer les images éliminées en réajustant la durée du clip (ou la plage d’images) dans votre projet.Chapitre 2 Apprendre à utiliser iMovie 39 Pour ajuster la durée du clip ou la plage d’images : 1 Sélectionnez un clip dans votre projet. 2 Choisissez Édition > Trim ou cliquez sur le bouton de durée du clip situé dans le coin au début du clip (il apparaît lorsque vous placez le pointeur au-dessus du clip et ressemble à une horloge). Le découpeur s’ouvre et affiche uniquement le clip sélectionné. Les poignées de sélection indiquent ses points de début et de fin dans votre projet. 3 Pour ajuster les points de départ et de fin du clip, effectuez l’une des opérations suivantes :  Faites glisser les poignées qui se trouvent au début ou à la fin de la sélection.  Maintenez enfoncée la touche Option en appuyant sur la touche Flèche gauche ou Flèche droite pour déplacer le point de départ ou de fin de la sélection image par image. Si le pointeur se trouve à proximité du début de la sélection, c’est le point de départ du clip qui est ajusté, si le pointeur se trouve à proximité de la fin de la sélection, c’est le point de fin du clip qui est ajusté.  Appuyez sur la touche Flèche droite ou Flèche gauche pour déplacer l’ensemble de la plage d’images sélectionnée vers la gauche ou la droite, image par image. 4 Pour obtenir un aperçu des modifications, cliquez sur le bouton Lecture du Trimmer, puis, lorsque vous êtes satisfait du résultat, cliquez sur Terminé. Vous pouvez aussi agrandir ou réduire rapidement des clips de votre projet, image par image, sans passer par la fonction Trim. Icône Durée du clip Poignée de fin du clip Poignée de début du clip40 Chapitre 2 Apprendre à utiliser iMovie Pour ajuster la durée d’un clip image par image : 1 Placez le pointeur à proximité de la fin du clip à ajuster, puis effectuez l’une des opérations suivantes :  Maintenez enfoncée les touches Commande (x) et Option. Lorsque la poignée de sélection orange apparaît à la fin du clip, faites-la glisser vers la droite ou la gauche pour augmenter ou diminuer la durée du clip par incréments d’une image.  Maintenez enfoncée la touche Option en appuyant sur la touche Flèche gauche ou Flèche droite pour augmenter ou diminuer la durée du clip par incréments d’une image. Ajout de transitions entre les clips d’un projet Pour varier et animer votre projet iMovie, vous pouvez insérer des transitions qui évitent le passage brutal d’un clip au suivant dans votre vidéo. Par exemple, vous pouvez fondre les dernières images d’une séquence avec les premières de la séquence suivante ; vous pouvez également créer l’effet qu’une scène repousse la précédente en dehors de l’écran. iMovie intègre plusieurs transitions attractives qui donnent du style à votre projet. Affichage rapide des modifications Une fois que vous avez ajusté la durée d’un clip vidéo ou apporté une autre modification à votre projet, il est parfois utile d’observer les effets de la modification apportée en visionnant quelques secondes de la vidéo pour apporter ensuite d’autres ajustements. iMovie contient des raccourcis clavier facilitant l’affichage des modifications. Pour afficher un bref aperçu de votre modification : m Assurez-vous que votre pointeur se trouve à l’endroit où vous avez apporté la modification, puis effectuez l’une des opérations suivantes :  Appuyez sur la touche Crochet gauche ([) pour lire une seconde de vidéo avant l’endroit où le pointeur se trouve et une seconde après. Si le pointeur se trouve au-dessus de la plage d’images sélectionnée, appuyer sur la touche Crochet gauche ne lit qu’une seconde de vidéo, au début ou à la fin de la sélection, selon l’extrémité de la sélection dont le pointeur est le plus proche.  Appuyez sur la touche Crochet droite (]) pour lire trois secondes de vidéo avant l’endroit où le pointeur se trouve et trois secondes après. Si le pointeur se trouve au-dessus de la plage d’images sélectionnée, appuyer sur la touche Crochet droite ne lit que trois secondes de vidéo, au début ou à la fin de la sélection, selon l’extrémité de la sélection dont le pointeur est le plus proche. Pour d’autres raccourcis clavier permettant de travailler plus efficacement, recherchez « Raccourcis clavier » dans l’Aide iMovie.Chapitre 2 Apprendre à utiliser iMovie 41 Pour ajouter une transition entre deux clips : 1 Sélectionnez Fenêtre > Transitions ou cliquez sur le bouton Transitions de la barre d’outils iMovie. Dans la sous-fenêtre Transitions, vous pouvez obtenir un aperçu des transitions disponibles en plaçant le pointeur sur chacune d’entre elles. 2 Sélectionnez la transition voulue et faites-la glisser entre deux clips dans votre projet iMovie. Une icône de transition noire apparaît. Pour afficher l’aperçu de la transition dans votre projet : m Double-cliquez n’importe où dans le clip juste en face de la transition pour la lire ou faites-la défiler en faisant glisser le pointeur sur la transition à la vitesse que vous voulez. Si le résultat obtenu ne vous convient pas, vous pouvez à tout moment faire glisser une autre transition dessus pour remplacer l’existante ou la supprimer et ajouter une transition différente. Pour supprimer une transition : m Sélectionnez l’icône de transition de couleur noire, puis appuyez sur la touche Supprimer. Essayez différentes transitions pour voir comment elles apparaissent à différents emplacements de votre projet. Pour fermer la sous-fenêtre Transitions : m Cliquez sur le bouton Transitions de la barre d’outils iMovie. Le temps entre un clip et le suivant est appelé la durée de transition. La durée d’une transition ne peut jamais être supérieure à la moitié de la durée du clip le plus court précédent ou suivant. Par exemple, si vous avez une transition entre une séquence de quatre secondes et une autre de six secondes, sa durée ne peut pas être supérieure à deux secondes. Par défaut, la durée de toutes les transitions de votre projet est définie à une seconde et demie. Vous pouvez modifier la durée des transitions dans la fenêtre des propriétés du projet ou en choisissant Édition > Définir la durée. Pour plus de détails, recherchez « durée des transitions » dans l’Aide iMovie. Vous pouvez également configurer iMovie pour insérer automatiquement la même transition entre tous les clips de votre projet. Pour en savoir plus à ce sujet, recherchez « transitions automatiques » dans l’Aide iMovie. Icône de transition42 Chapitre 2 Apprendre à utiliser iMovie Ajout de titres à votre projet Vous pouvez ajouter du texte sur la vidéo à n’importe quel point de votre projet. Par exemple, vous pouvez donner un titre ou un générique à votre film, ou encore utiliser du texte pour identifier une scène ou une personne dans le film. Tous les textes ajoutés sont appelés titres. Pour ajouter un titre à votre vidéo : 1 Sélectionnez Fenêtre > Titres ou cliquez sur le bouton Titres de la barre d’outils iMovie. 2 Sélectionnez le style de titre que vous voulez et faites-le glisser sur un clip de votre projet iMovie. Lorsque vous passez le titre sur le clip vidéo, une ombre rouge sur le clip indique que le titre sera affiché sur tout le clip, sur le premier tiers ou sur le dernier tiers ; vous pouvez toujours le déplacer et le redimensionner par la suite. Une fois que le titre est en place, il apparaît dans le visualiseur iMovie et une icône de titre bleue apparaît au-dessus du clip vidéo. 3 Dans le visualiseur, sélectionnez le texte de paramètre fictif et tapez le texte voulu. Icône de titre Sélectionnez le texte du paramètre fictif et tapez Cliquez sur ce bouton lorsque vous avez terminé. Cliquez ici pour ouvrir la fenêtre Police et modifier l’apparence du texte. Cliquez sur ce bouton pour afficher un aperçu de votre travail.Chapitre 2 Apprendre à utiliser iMovie 43 4 Pour modifier la couleur, la police ou le style du texte, sélectionnez-le et cliquez sur le bouton Afficher les polices dans le visualiseur, puis effectuez vos sélections dans la fenêtre Police. 5 Cliquez sur le bouton Lecture du visualiseur pour obtenir un aperçu de votre travail ; cliquez sur Terminé lorsque vous êtes satisfait. Pour raccourcir ou rallonger un titre : m Passez le pointeur sur une extrémité du titre jusqu’à ce qu’il se transforme en ligne verticale, puis faites glisser l’icône de titre d’un côté ou de l’autre. Pour repositionner le titre : m Faites glisser le titre à l’emplacement où vous voulez qu’il apparaisse dans votre vidéo. Vous pouvez même le placer de façon qu’il chevauche deux clips. Pour modifier un titre déjà créé : m Double-cliquez sur l’icône du titre et apportez vos modifications dans le visualiseur. Pour supprimer un titre : m Sélectionnez l’icône du titre et appuyez sur la touche Suppr. Ajout d’effets sonores et de commentaires à votre projet Vous pouvez ajouter un effet sonore ou un enregistrement de commentaire à votre projet et l’ancrer à une image vidéo spécifique afin qu’il démarre et s’arrête aux emplacements voulus. Vous pouvez utiliser un fichier audio de votre bibliothèque iTunes ou un effet sonore disponible dans les dossiers Effets sonores. Vous pouvez enregistrer un commentaire directement sur la vidéo dans iMovie. Pour ajouter un effet sonore : 1 Choisissez Fenêtre > « Musique et effets sonores » ou cliquez sur le bouton « Musique et effets sonores » de la barre d’outils iMovie. 2 Cliquez sur un dossier d’effets sonores pour afficher une liste d’effets ou utilisez le champ de recherche au bas de la sous-fenêtre pour trouver un fichier audio par son nom. Cliquez sur un fichier audio pour en obtenir un aperçu sonore. 3 Sélectionnez un fichier audio et faites-le glisser là où vous voulez commencer sa lecture dans votre projet iMovie. Le pointeur se transforme pour vous permettre de faire glisser les extrémités de l’icône du titre.44 Chapitre 2 Apprendre à utiliser iMovie Une icône de clip audio verte apparaît sous les clips vidéo. 4 Pour repositionner le clip audio sur la vidéo, faites-le glisser là où vous voulez commencer sa lecture dans votre film. 5 Pour le raccourcir, faites glisser la fin du clip vers la gauche. Pour enregistrer un commentaire : 1 Cliquez sur le bouton Voix commentaire pour ouvrir la fenêtre Voix hors-champ. 2 Sélectionnez le microphone que vous voulez utiliser dans le menu local Enregistrer depuis. 3 Faites glisser le curseur Volume d’entrée vers la droite ou vers la gauche :  Si vous avez une voix douce, faites glisser le curseur Volume d’entrée vers la droite pour augmenter le volume de l’enregistrement.  Si vous avez une voix forte, faites-le glisser vers la gauche pour le diminuer. 4 Faites glisser le curseur Réduction de bruit au maximum vers la droite pour éliminer les bruits ambiants autant que possible. Si vous voulez conserver un peu de bruit de fond dans votre enregistrement, faites glisser le curseur vers la gauche. 5 Sélectionnez « Amélioration de la voix » si vous voulez adoucir le son de la voix enregistrée. 6 Si vous souhaitez entendre l’audio tout en enregistrant votre voix hors-champ, cochez la case « Lire l’audio du projet lors de l’enregistrement » et branchez des écouteurs afin que l’audio ne passe pas par le micro. Pour couper l’audio alors que vous enregistrez votre voix hors-champ, décochez la case. 7 Lorsque vous êtes prêt à commencer, cliquez sur le point du clip où vous voulez commencer le commentaire. iMovie compte à rebours de trois à un. Icône d’effet sonore Indicateurs de niveau sonore Gauche et DroiteChapitre 2 Apprendre à utiliser iMovie 45 8 Commencez à parler lorsque vous y êtes invité. Parlez fort et distinctement dans le microphone de l’ordinateur, en veillant à ce que les indicateurs de niveau Droite et Gauche restent dans le vert. La couleur jaune indique que vous parlez légèrement trop fort ; rouge indique que vous parlez beaucoup trop fort et que votre voix sera déformée (“hachée”) dans l’enregistrement. 9 Pour arrêter l’enregistrement, cliquez n’importe où dans la fenêtre iMovie ou appuyez sur la barre d’espace. Pour raccourcir un commentaire : m Faites glisser la fin de l’icône de commentaire vers la gauche. Il n’est pas possible d’allonger le commentaire au-delà de sa longueur d’origine. Pour déplacer un commentaire dans votre projet : m Faites glisser le clip audio jusqu’à l’image vidéo sur laquelle vous voulez que sa lecture commence. Pour supprimer un commentaire : m Sélectionnez son icône et appuyez sur la touche Suppr. Ajout de photos avec des effets d’animation Pour ajouter un peu de variété à vos films, vous pouvez ajouter des photos de votre bibliothèque iPhoto. Les images fixes s’animent lorsque vous vous servez des effets Ken Burns de panoramique et de zoom puisque ceux-ci donnent l’impression que la caméra balaie l’image fixe tout en s’en approchant ou en s’en éloignant. Pour ajouter une photo : 1 Sélectionnez Fenêtre > Photos ou cliquez sur le bouton Photos de la barre d’outils iMovie. 2 Dans la sous-fenêtre Photos, recherchez celle que vous voulez. Vous pouvez utiliser le champ de recherche au bas de la sous-fenêtre pour trouver une photo par son nom. 3 Faites glisser la photo jusqu’à l’endroit où vous souhaitez la voir apparaître dans votre projet. Par défaut, iMovie définit une durée de 4 secondes pour les photos et applique l’effet Ken Burns. En fonction de la configuration du curseur des vignettes de votre projet, la photo peut se dérouler comme une pellicule. 4 Pour modifier la durée de la photo dans votre projet, cliquez sur le bouton Durée dans le coin inférieur de la photo (il apparaît lorsque vous placez le pointeur presque à la fin du clip) et tapez le nombre de secondes que vous voulez que votre photo reste à l’écran dans votre film. Si l’effet Ken Burns dans votre photo ne vous plaît pas, vous pouvez le modifier ou le supprimer.46 Chapitre 2 Apprendre à utiliser iMovie Pour modifier l’effet Ken Burns : 1 Sélectionnez la photo dans votre projet, puis cliquez sur le bouton Rogner de la barre d’outils d’iMovie. 2 Dans le visualiseur, cliquez sur Ken Burns. Deux rectangles de rognage apparaissent dans le visualiseur. Le rectangle de rognage vert indique l’endroit où commence l’effet Ken Burns et le rectangle de rognage rouge celui où il se termine. Vous pouvez rapidement échanger les positions des rectangles de rognage rouge et vert en cliquant sur le petit bouton orné de deux flèches à l’inté- rieur du rectangle de rognage sélectionné . 3 Faites glisser pour redimensionner et repositionner le rectangle de rognage vert de façon à mettre en surbrillance le début souhaité pour l’effet Ken Burns. 4 Faites-le glisser pour redimensionner et repositionner le rectangle rouge jusqu’à ce qu’il affiche en surbrillance la position finale de l’effet Ken Burns. Les rectangles de rognage conservent toujours les proportions que vous avez choisies pour votre projet. 5 Pour afficher l’aperçu de votre travail, cliquez sur le bouton Lecture. Faites glisser et redimensionnez le rectangle de rognage rouge pour définir la position finale. Cliquez ici pour faire pivoter toute l’image. Cliquez sur ce bouton pour rogner l’image sans effet d’animation. Cliquez sur ce bouton pour rétablir l’image de sorte qu’elle retrouve sa taille complète et soit dénuée d’effets d’animation. Faites glisser et redimensionnez le rectangle de rognage vert pour définir la position de début. Cliquez sur ce bouton pour créer ou modifier l’effet Ken Burns. Cliquez sur ce bouton lorsque vous avez terminé. Cliquez sur ce bouton pour afficher un aperçu de votre travail. Cliquez pour intervertir la position des points de début et de fin.Chapitre 2 Apprendre à utiliser iMovie 47 6 Cliquez sur Terminé lorsque vous avez obtenu le résultat souhaité. Une icône Rogner apparaît au début du clip. La même icône de rognage indique que le clip a simplement été rogné, qu’on l’a fait pivoté ou que l’effet Ken Burns lui a été ajouté. Cliquez dessus pour modifier ou supprimer le rognage à tout moment. Ouvrez l’éditeur de rognage et cliquez sur Adapter pour supprimer l’effet Ken Burns et restaurer la taille d’origine de votre vidéo à tout moment. Vous pouvez également faire pivoter une image dans iMovie. Pour savoir comment procéder, recherchez les rubriques sur le pivotement des images dans l’Aide iMovie. Étape 5 : partager votre film Avec iMovie, vous pouvez partager votre film de différentes façons : dans un format adapté pour une visualisation sur le web, sur votre ordinateur, sur un iPod, sur iPhone, sur une Apple TV ou sur tout autre appareil. Vous pouvez même publier votre film terminé directement dans votre galerie MobileMe ou sur YouTube. Quelle que soit la manière que vous choisissez pour visualiser votre film, iMovie permet d’exporter facilement le fichier d’un film au format adéquat. Au cours de cette étape, vous allez finaliser votre film dans n’importe laquelle des quatre tailles, chacune étant adaptée à la plupart des utilisations. Icône Rogner Pivotement et rognage des images Les boutons de rotation qui apparaissent lorsque vous rognez des images ou lorsque vous appliquez l’effet Ken Burns permettent de modifier l’orientation de l’image par tranches de 90 degrés. Si votre photo ou votre vidéo a été prise avec la caméra retournée, vous pouvez la redresser. De la même manière, vous pouvez rogner des photos ou des vidéos qui n’ont pas les proportions choisies pour votre projet. Lorsque vous exportez votre film, il prend les dimensions de la vidéo ou de la photo la plus large qu’il contient, ce qui peut entraî- ner l’apparition de bandes noires à gauche et à droite de l’image (« pillar box ») ou en haut et en bas de l’image (« letterbox »). Le rognage de photos ou de vidéos pour s’adapter aux mêmes dimensions évite ce phénomène.48 Chapitre 2 Apprendre à utiliser iMovie Publication en vue d’un affichage sur votre iPod, iPhone ou Apple TV Si vous voulez regarder votre film sur votre iPod, votre iPhone ou votre Apple TV, vous devez d’abord transférer votre film terminé dans iTunes. Pour créer un film prêt à être visualisé sur iPod, iPhone ou Apple TV : 1 Choisissez Partager > iTunes. 2 Sélectionnez la ou les tailles de film souhaitées. Les films de taille moyenne sont préférables pour la lecture sur un iPod ; les films de grande taille sont particulièrement indiqués si vous avez l’intention de les regarder sur un téléviseur haute définition (HDTV). Pour votre iPhone, il est recommandé de créer des films de petite taille et adaptés aux appareils mobiles. Il se peut que certaines options relatives au choix de la taille ne soient pas disponibles. Cela est dû au fait que la taille des données originales du projet n’est pas suffisante pour un rendu dans la ou les tailles en question. Si vos données d’origine ne sont pas en haute définition, iMovie ne produira pas le film en grande taille. Le rendu du projet peut prendre un certain temps, notamment si vous avez choisi de rendre plusieurs tailles à la fois. Une fois rendus, vos films sont affichés dans votre bibliothèque de films iTunes d’où vous pouvez les télécharger sur votre iPod ou votre iPhone, ou les regarder sur votre téléviseur haute définition via Apple TV. Envoi de votre film terminé vers iDVD, iWeb ou d’autres applications Une fois que le montage de votre film est terminé dans iMovie, vous pouvez le publier dans le navigateur multimédia d’où il pourra être utilisé avec d’autres applications Apple. Pour créer un film prêt à être utilisé avec iWeb, iDVD, GarageBand et d’autres applications : 1 Choisissez Partager > Navigateur multimédia. 2 Sélectionnez la ou les tailles souhaitées pour votre film en fonction de l’utilisation que vous comptez en faire. Il se peut que certaines options relatives au choix de la taille ne soient pas disponibles. Cela est dû au fait que la taille des données originales du projet n’est pas suffisante pour un rendu dans la ou les tailles en question. Si vos données d’origine ne sont pas en haute définition, iMovie ne produira pas le film en grande taille. Le rendu du projet peut prendre un certain temps, notamment si vous avez choisi de rendre plusieurs tailles à la fois. Une fois rendus, vos films apparaîtront dans le Navigateur multimédia et vous pourrez les utiliser avec iDVD, iWeb et GarageBand. Lorsque votre projet est finalisé pour le partage, des icônes apparaissent à côté de son nom dans la Bibliothèque de projets pour indiquer les tailles finalisées.Chapitre 2 Apprendre à utiliser iMovie 49 Si vous voulez encore modifier votre projet, iMovie vous avertit qu’il sera différent des versions partagées dans iTunes et dans le Navigateur multimédia. Les icônes de partage disparaissent tant que vous n’avez pas à nouveau finalisé le projet. Si vous finalisez à nouveau le projet, les versions finalisées précédentes sont supprimées. Si vous souhaitez conserver des copies de vos films rendus de façon à pouvoir y accé- der sans utiliser le Navigateur multimédia ni iTunes, reportez-vous aux rubriques de l’Aide d’iMovie qui traitent du partage et de l’exportation. Publication directe sur le web Si vous possédez un compte MobileMe, vous pouvez publier votre film dès qu’il est terminé. Pour publier votre film directement dans votre galerie MobileMe : 1 Sélectionnez votre projet dans la bibliothèque des projets, puis choisissez Partager > Galerie MobileMe 2 Tapez un nom pour votre film dans le champ Titre, puis, si vous le souhaitez, saisissez dans le champ Description une brève description que les spectateurs pourront lire. 3 Sélectionnez une taille pour la publication de façon à optimiser l’affichage pour vos amis ou votre famille qui ont des connexions Internet plus ou moins rapides. 4 Si vous voulez que les gens puissent télécharger des copies de votre film, cochez la case « Autoriser le téléchargement de la séquence ». 5 Si vous voulez limiter l’accès de votre film aux personnes autorisées, cochez la case « Masquer le projet sur la page d’accueil de ma galerie ». 6 Cliquez sur Publier. iMovie télécharge automatiquement votre film vers votre galerie MobileMe. Une fois que le film a été téléchargé dans votre galerie MobileMe, la barre de titre du projet dans iMovie affiche « Publié sur MobileMe ». Des boutons permettant d'accéder à la page web du film sont également affichés et des notifications sont envoyées à vos amis. Indique que le projet est rendu dans n’importe laquelle des quatre tailles Indique que le projet est publié sur le web Indique que le projet a été modifié depuis sa dernière publication sur le web50 Chapitre 2 Apprendre à utiliser iMovie 7 Pour visiter la page web de votre film, cliquez sur Visiter. 8 Pour informer vos amis que vous avez publié ce nouveau film, cliquez sur « Recommander à un ami ». Si vous n’avez pas de compte MobileMe, vous pouvez vous abonner à l’adresse www.apple.com/fr/mobileme. Vous pouvez aussi publier votre film sur YouTube. Pour publier votre projet sur YouTube : 1 Sélectionnez votre projet dans la bibliothèque des projets, puis choisissez Partager > YouTube. 2 Sélectionnez votre compte dans le menu local Compte. Si vous n’avez pas de compte YouTube, vous pouvez en ouvrir un en cliquant sur Ajouter et en créant un compte sur le site web YouTube. 3 Tapez un nom pour votre film dans le champ Titre, puis saisissez une brève description que les spectateurs liront dans le champ Description. 4 Tapez des mots-clés dans le champ Étiquettes de façon que les utilisateurs trouvent facilement votre film s’ils le cherchent sur le site YouTube. 5 Sélectionnez une taille de publication. La taille Moyenne est recommandée. 6 Si vous ne voulez pas que votre film soit publiquement disponible, sélectionnez « Rendre ce film privé ». 7 Cliquez sur Suivant, puis sur Publier pour accepter les conditions du service offert par YouTube. iMovie télécharge automatiquement votre film sur le site web de YouTube. Lorsque le film est téléchargé sur le site web YouTube, la barre de titre du projet dans iMovie affiche « Publié sur YouTube ». Elle affiche également les boutons qui vous amè- nent à la page web du film et envoie des notifications à vos amis. 8 Pour visiter la page web de votre film, cliquez sur Visiter. 9 Pour informer vos amis que vous avez publié ce nouveau film, cliquez sur « Recommander à un ami ». Lorsque votre projet est publié, une icône s’affiche à côté de son nom dans la Bibliothèque de projets pour indiquer sa publication. Si vous voulez modifier votre projet par la suite, iMovie vous avertit qu’il sera différent de la version publiée ; un signal d’alerte apparaît au-dessus de l’icône de publication tant que vous n’avez pas à nouveau publié le film.Chapitre 2 Apprendre à utiliser iMovie 51 Poursuivez votre exploration de iMovie Félicitations, vous avez terminé votre initiation ! Maintenant que vous vous êtes familiarisé avec les principaux outils et fonctionnalités de iMovie, vous pouvez continuer à importer et à profiter de vos vidéos quand vous le souhaitez, et à créer et à partager d’autres films. Dans l’Aide iMovie, vous trouverez d’autres conseils pour travailler avec des vidéos et du son, ainsi que bien d’autres choses encore, entre autres :  Régler les couleurs et la luminosité, ainsi que d’autres paramètres de qualité des images.  Repérer votre vidéo avec des mots-clés pour retrouver facilement des moments particuliers.  Personnaliser votre espace de travail en fonction de votre style de travail.  Partager votre film avec une multitude de formats et d’appareils iMovie vous permet de créer des films dans de nombreux formats différents pour que vous puissiez le visionner sur pratiquement tout type de support numérique, et notamment :  l’envoyer par courrier électronique ;  le graver sur un DVD à l’aide d’iDVD ;  l’enregistrer sous forme de séquence QuickTime sous divers formats. Pour en savoir plus sur le partage de films, consultez les rubriques traitant du partage des films dans l’Aide iMovie. iMovie offre des outils sophistiqués afin de travailler plus rapidement et plus facilement avec votre vidéo, une fois que vous connaissez les bases. Grâce à ces outils, vous pouvez effectuer la plupart des tâches mentionnées dans ce guide d’initiation, y compris l’amélioration et le repérage de votre vidéo à l’aide de mots-clés. Pour en savoir plus sur les outils sophistiqués, consultez les rubriques traitant de leur utilisation dans l’Aide iMovie.52 Chapitre 2 Apprendre à utiliser iMovie Ressources supplémentaires Vous pouvez consulter diverses sources pour obtenir de l’aide supplémentaire sur l’utilisation de iMovie :  Aide à l’écran : iMovie est fourni avec un système d’aide intégré. Lorsque l’application iMovie est ouverte, choisissez Aide > Aide iMovie. Lorsque l’Aide s’ouvre, tapez un mot ou une expression dans le champ de recherche situé en haut de la page ou cliquez sur l’une des zones de rubriques pour trouver des informations détaillées sur un sujet en particulier.  Didacticiels multimédias (www.apple.com/fr/ilife/tutorials/imovie/) : ces courtes initiations à la vidéo montrent comment effectuer des tâches courantes dans iMovie. Pour y accéder, choisissez Aide, puis cliquez sur How-To Videos. (Ces initiations vidéo sont disponibles uniquement dans certaines langues.)  Site web d’assistance iMovie (www.apple.com/fr/support/imovie) : consultez ce site pour accéder à des forums de discussion, ainsi qu’à des informations de dépannage et à des mises à jour de logiciels.www.apple.com/ilife/imovie © 2008 Apple Inc. Tous droits réservés. Apple, le logo Apple, Apple TV, FireWire, GarageBand, iDVD, iLife, iMac, iMovie, iPhone, iPhoto, iPod, iSight, iTunes et QuickTime sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. MobileMe est une marque de service d’Apple Inc. Les autres noms de produit et d’entreprise mentionnés dans le présent document peuvent être des marques appartenant à leur détenteurs respectifs. F019-1282 iPod shuffle Guide des fonctions2 1 Table des matières Chapitre 1 3 Notions élémentaires de l’iPod shuffle 4 Vue d’ensemble de l’iPod shuffle 4 Utilisation des commandes de l’iPod shuffle 5 Connexion et déconnexion de l’iPod shuffle 7 Recharge de la batterie 8 Voyants d’état Chapitre 2 11 Chargement et lecture de musique 11 À propos d’iTunes 12 Importation de musique dans votre bibliothèque iTunes 15 Organisation de votre musique 16 Chargement de musique sur l’iPod shuffle 19 Lecture de musique Chapitre 3 23 Stockage de fichiers sur l’iPod shuffle 23 Utilisation de l’iPod shuffle en tant que disque externe Chapitre 4 24 Accessoires de l’iPod shuffle 24 Écouteurs Apple Earphones 25 Le socle pour iPod shuffle 25 L’adaptateur secteur USB iPod Power Adapter 25 Accessoires disponibles Chapitre 5 26 Astuces et dépannage 30 Mise à jour et restauration du logiciel de l’iPod shuffle Chapitre 6 31 Sécurité et manipulation 31 Informations importantes relatives à la sécurité 33 Informations importantes sur la manipulation Chapitre 7 34 En savoir plus, service et assistance1 3 1 Notions élémentaires de l’iPod shuffle Apple vous félicite pour l’acquisition de votre iPod shuffle. Lisez ce chapitre pour en savoir plus sur les fonctionnalités de l’iPod shuffle, sur la manière d’utiliser ses commandes et plus encore. Pour utiliser l’iPod shuffle, vous devez déposer des morceaux et d’autres fichiers audio sur votre ordinateur puis charger ces fichiers sur l’iPod shuffle. Vous pouvez utiliser l’iPod shuffle pour :  charger des chansons et les écouter lorsque vous êtes en déplacement ;  écouter des podcasts, des sortes d’émissions de radio téléchargeables sur Internet ;  écouter des livres audio achetés sur l’iTunes Store ou audible.com ;  stocker ou sauvegarder des fichiers et autres données en utilisant l’iPod shuffle comme disque externe.4 Chapitre 1 Notions élémentaires de l’iPod shuffle Vue d’ensemble de l’iPod shuffle Utilisation des commandes de l’iPod shuffle Les commandes simples de l’iPod shuffle vous permettent de lire des morceaux, des livres audio et des podcasts aisément. Port de sortie casque Bouton Précédent/ Retour rapide Bouton Lecture/Pause Bouton Suivant/ Avance rapide Bouton Baisser le volume (-) Bouton d'alimentation Voyant d'état supérieur Bouton Augmenter le volume (+) Bouton de mode aléatoire Voyant d'état inférieur OFF Pour : procédez ainsi : Activer ou désactiver l’iPod shuffle Faites glisser le bouton d’alimentation (la couleur verte indique que l’iPod shuffle est activé). Lancer la lecture d’un morceau (ou autre) Appuyez sur le bouton Lecture/Pause (’). Mettre un morceau en pause Appuyez sur le bouton Lecture/Pause (’). Régler le volume Appuyez sur les boutons Augmenter le volume (?) ou Baisser le volume (D). Définir l’ordre de lecture des morceaux Faites glisser le bouton de mode aléatoire (vers ¡ pour activer la lecture aléatoire, vers / pour la désactiver et lire dans l’ordre). Passer à la piste suivante Appuyez sur Suivant/Avance rapide (‘). Revenir au début d’une piste Appuyez sur Précédent/Retour rapide (]). Lancer la lecture de la piste précédente Appuyez deux fois sur Précédent/Retour rapide (]). Aller à la première piste Appuyez à trois reprises sur le bouton Lecture/Pause (’), rapidement. Effectuer une avance ou un retour rapide Maintenez enfoncé Suivant/Avance rapide (‘) ou Précédent/ Retour rapide (]).Chapitre 1 Notions élémentaires de l’iPod shuffle 5 Connexion et déconnexion de l’iPod shuffle Connectez l’iPod shuffle à votre ordinateur pour y charger des morceaux et d’autres fichiers audio ainsi que pour recharger sa batterie. Déconnectez l’iPod shuffle lorsque vous avez terminé. Connexion de l’iPod shuffle Pour connecter l’iPod shuffle à votre ordinateur : m Branchez le socle de l’iPod shuffle, inclus, sur un port USB de votre ordinateur puis placez l’iPod shuffle sur le socle. Remarque : branchez le socle sur un port USB à forte alimentation pour recharger la batterie de l’iPod shuffle. Il est recommandé d’utiliser un port USB 2.0. N’utilisez pas le port USB du clavier. La première fois que vous branchez l’iPod shuffle sur l’ordinateur, l’Assistant réglages de l’iPod vous aide à configurer l’iPod shuffle et à le synchroniser avec votre bibliothèque iTunes. Désactiver les boutons de l’iPod shuffle (pour ne pas les activer par mégarde) Maintenez enfoncé le bouton Lecture/Pause (’) pendant environ trois secondes (jusqu’à ce que le voyant d’état soit de couleur orange et clignote trois fois). Répétez l’opération pour activer à nouveau les boutons (le voyant d’état passe alors au vert et clignote trois fois). réinitialiser l’iPod shuffle (si votre iPod shuffle ne répond plus) Retirez l’iPod shuffle du socle. Éteignez l’iPod shuffle, attendez 5 secondes puis rallumez-le. rechercher le numéro de série de l’iPod shuffle Observez l’encoche située sous la pince de l’ iPod shuffleou bien sélectionnez l’iPod shuffle dans la sous-fenêtre Source d’iTunes (lorsque l’iPod shuffle est connecté à l’ordinateur) et cliquez sur l’onglet Réglages. Pour : procédez ainsi :6 Chapitre 1 Notions élémentaires de l’iPod shuffle Important : une fois l’iPod shuffle synchronisé avec la bibliothèque iTunes d’un ordinateur, un message s’affichera chaque fois que vous brancherez l’iPod shuffle sur un autre ordinateur et vous demandera si vous souhaitez le synchroniser avec la bibliothèque de cet ordinateur. Si vous voulez conserver la musique actuellement présente sur l’iPod shuffle, cliquez sur Annuler. Vous pouvez également cliquez sur Transférer les achats, ce qui vous permettra de conserver le contenu de l’iPod shuffle et de copier les morceaux achetés qui y sont présents sur la bibliothèque iTunes du nouvel ordinateur. Pour en savoir plus, consultez l’Aide iTunes. Déconnexion de l’iPod shuffle Il est important de ne pas débrancher l’iPod shuffle de votre ordinateur lorsque des fichiers audio sont en cours de chargement ou lorsque l’iPod shuffle est utilisé en tant que disque externe. Pour savoir si vous pouvez débrancher l’iPod shuffle, observez la partie supérieure de la fenêtre d’iTunes ou le voyant d’état de l’iPod shuffle. Important : si le message « Ne pas déconnecter » s’affiche dans iTunes ou si le voyant d’état de l’iPod shuffle est de couleur orange et clignote, vous devez éjecter l’iPod shuffle avant de le débrancher. Dans le cas contraire, vous pourriez endommager les fichiers de l’iPod shuffle. Si vous activez le mode d’utilisation de l’iPod shuffle comme disque (voir la page 23), vous devrez toujours éjecter l’iPod shuffle avant de le débrancher. Pour éjecter l’iPod shuffle : m Dans iTunes, cliquez sur le bouton d’éjection (C) situé à côté de l’iPod shuffle dans la sous-fenêtre Source. Si vous utilisez un Mac : pour éjecter l’iPod shuffle, vous pouvez également faire glisser l’icône iPod shuffle du bureau vers la Corbeille. Si vous utilisez un PC sous Windows, vous pouvez aussi éjecter l’iPod shuffle en cliquant sur l’icône « Supprimer le périphérique en toute sécurité » située dans la zone de notification du PC et en sélectionnant votre iPod shuffle. Pour débrancher l’iPod shuffle : m Retirez l’iPod shuffle du socle.Chapitre 1 Notions élémentaires de l’iPod shuffle 7 Recharge de la batterie L’iPod shuffle dispose d’une batterie interne et rechargeable. Pour obtenir des résultats optimaux, rechargez entièrement la batterie lors de la première utilisation de l’iPod shuffle. Il faut environ deux heures pour recharger une batterie vide jusqu’à 80 % et quatre heures pour la recharger complètement. Si l’iPod shuffle n’a pas été utilisé pendant un moment, il est possible qu’une recharge de sa batterie soit nécessaire. Pour recharger la batterie via votre ordinateur : m Branchez l’iPod shuffle sur un port USB à forte alimentation à l’aide du socle de l’iPod shuffle, inclus. Votre ordinateur doit être allumé et non pas en mode veille (certains modèles de Macintosh permettent cependant de recharger l’iPod shuffle même en mode veille). Lorsque la batterie est en cours de recharge, le voyant d’état de l’iPod shuffle est de couleur orange. Une fois la batterie complètement rechargée, le voyant passe au vert. Remarque : si l’iPod shuffle est utilisé en tant que disque dur (voir la page 23) ou si des morceaux ou des réglages sont en cours de chargement sur l’iPod shuffle depuis iTunes, le voyant d’état devient orange et clignote, ce qui vous indique qu’il est nécessaire d’éjecter l’iPod shuffle avant de le débrancher. Si le voyant d’état ne s’allume pas, il est possible que l’iPod shuffle ne soit pas connecté à un port USB 2.0 à forte alimentation. Essayez de le connecter à un autre port USB de votre ordinateur. Remarque : vous pouvez charger de la musique lorsque la batterie est en cours de recharge. Si vous souhaitez recharger l’iPod shuffle lorsque vous n’êtes pas devant votre ordinateur, vous pouvez brancher l’iPod shuffle sur un adaptateur secteur iPod USB Power Adapter, disponible à l’adresse www.apple.com/fr/.8 Chapitre 1 Notions élémentaires de l’iPod shuffle Pour recharger la batterie via un adaptateur iPod USB Power Adapter : 1 Connectez l’adaptateur CA à une prise électrique (si nécessaire). 2 Branchez le connecteur USB du socle de l’iPod shuffle sur l’adaptateur secteur. 3 Connectez l’adaptateur secteur à une prise de courant en état de fonctionnement. 4 Placez l’iPod shuffle sur le socle. Vous pouvez déconnecter et utiliser l’iPod shuffle avant qu’il ne soit complètement rechargé. Remarque : les batteries rechargeables ont un nombre limité de cycles de recharge. La durée de vie de la batterie et le nombre de cycles de recharge varient en fonction de l’utilisation et des réglages du matériel. Pour plus d’informations, rendez-vous sur le site www.apple.com/fr/batteries. Vérification de l’état de la batterie Lorsque vous allumez l’iPod shuffle ou lorsque vous le débranchez de l’ordinateur ou de l’adaptateur secteur, le voyant d’état vous indique quelle est la charge approximative de la batterie. Consultez le tableau de la section suivante. Si l’iPod shuffle est déjà allumé, il est possible de vérifier l’état de la batterie sans interrompre la lecture en cours : pour ce faire, éteignez puis rallumez très rapidement l’iPod shuffle. Voyants d’état L’iPod shuffle est doté de deux voyants d’état : un en haut et un autre en bas. Ils vous permettent de savoir quand un bouton est activé, de connaître l’état de la batterie, de savoir si le mode d’utilisation de l’iPod shuffle en tant que disque est activé ou encore de détecter un éventuel problème. AVERTISSEMENT : avant d’utiliser l’adaptateur secteur iPod USB Power Adapter, lisez les consignes de sécurité de la page 32 pour savoir comment vous en servir. Adaptateur CA Adaptateur secteur USB iPod Câble du socle de l'iPod shuffleChapitre 1 Notions élémentaires de l’iPod shuffle 9 À l’allumage ou lors du débranchement de l’iPod vert Charge suffisante (entre 30 et 100 %) orange Charge faible (entre 10 et 30 %) rouge Charge très faible (moins de 10 %) inactif Aucune charge vert et deux fois orange en alternance (10 secondes) ERREUR : l’iPod shuffle doit être restauré Lorsque l’iPod est branché orange (en permanence) En cours de recharge vert (en permanence) Entièrement rechargé orange et clignotant (en permanence) Ne le débranchez pas (synchronisation avec iTunes en cours ou mode d’utilisation de l’iPod shuffle comme disque activé) À l’appui sur les boutons vert Lecture (’) vert (1 minute) Pause (’) Si vous maintenez enfoncé le bouton : vert, puis trois fois orange Boutons désactivés orange, puis trois fois vert Boutons activés vert Augmentation (?) ou baisse (D) du volume trois fois orange Limite de volume fixée par l’utilisateur atteinte. Si vous maintenez enfoncé le bouton : vert Augmentation (?) ou baisse (D) du volume inactif Volume maximum ou coupé. trois fois orange Limite de volume fixée par l’utilisateur atteinte vert Piste précédente (]) Si vous maintenez enfoncé le bouton : vert Retour rapide (]) vert Piste suivante (]) Si vous maintenez enfoncé le bouton : vert Avance rapide (‘) N’importe quel bouton orange Pas d’action en cours (les boutons sont désactivés) vert et orange en alternance (2 secondes) ERREUR : pas de musique chargée sur l’appareil10 Chapitre 1 Notions élémentaires de l’iPod shuffle Lorsque l’iPod shuffle est en cours de lecture rouge et clignotant (en permanence) Batterie presque déchargée2 11 2 Chargement et lecture de musique Grâce à l’iPod shuffle, vous pouvez emporter avec vous toute votre musique, où que vous alliez. Lisez ce chapitre pour apprendre à charger de la musique et à l’écouter sur votre iPod shuffle. Vous pouvez utiliser l’iPod shuffle en important tout d’abord des morceaux, des livres audio et des podcasts (sortes d’émissions radio) sur votre ordinateur puis en les chargeant sur l’iPod shuffle. Lisez ce qui suit pour en savoir plus sur les étapes de ce processus, notamment sur :  le transfert de musique à partir de votre collection de CD, votre disque dur ou l’iTunes Store (qui fait partie d’iTunes et n’est disponible que dans certains pays) vers l’application iTunes de votre ordinateur ;  l’organisation de votre musique et des autres fichiers audio en liste de lectures ;  le chargement de morceaux, de livres audio et de podcasts sur l’iPod shuffle ;  l’écoute de musique ou de tout autre fichier audio lorsque vous êtes en déplacement. À propos d’iTunes iTunes est l’application que vous devez utiliser pour synchroniser de la musique, des livres audio et des podcasts avec l’iPod shuffle. Elle s’ouvre automatiquement dès que vous connectez l’iPod shuffle à votre ordinateur. Ce guide vous explique comment utiliser iTunes pour importer des morceaux et d’autres fichiers audio sur votre ordinateur, créer des compilations personnelles de vos morceaux préférés (appelées listes de lecture), les charger sur l’iPod shuffle et définir les réglages de l’iPod shuffle. iTunes possède également bien d’autres fonctionnalités. Pour en savoir plus, ouvrez iTunes puis choisissez Aide > Aide iTunes.12 Chapitre 2 Chargement et lecture de musique Importation de musique dans votre bibliothèque iTunes Pour écouter de la musique sur l’iPod shuffle, il vous faut tout d’abord la transférer depuis la bibliothèque iTunes de votre ordinateur. Il existe trois façons d’importer de la musique dans la bibliothèque iTunes :  En achetant de la musique et des livres audio ou en téléchargeant des podcasts en ligne à partir de l’iTunes Store.  En y important de la musique à partir de CD audio.  En y ajoutant de la musique et des données audio déjà stockées sur votre ordinateur. Achat de musique et téléchargement de podcasts via l’iTunes Store Si vous disposez d’une connexion à Internet, vous pouvez facilement acheter et télé- charger des morceaux, des albums et des livres audio en ligne via l’iTunes Store. Vous pouvez également vous abonner à des podcasts, des sortes d’émissions de radio, et les télécharger. Pour acheter de la musique en ligne via l’iTunes Store, vous devez configurer un compte Apple dans iTunes, rechercher les morceaux voulus, puis les acheter. Si vous disposez déjà d’un compte Apple ou d’un compte America Online (AOL, disponible uniquement dans certains pays), vous pouvez vous en servir pour vous inscrire à l’iTunes Store et acheter des morceaux. Pour entrer dans l’iTunes Store : m Ouvrez iTunes, puis :  Si vous disposez déjà d’un compte iTunes, choisissez Store > Ouvrir une session.  Si vous n’avez pas encore de compte iTunes, choisissez Store > Créer un compte. Suivez alors les instructions à l’écran pour configurer un compte Apple ou bien saisissez les données de votre compte Apple ou AOL existant.Chapitre 2 Chargement et lecture de musique 13 Pour rechercher des morceaux, des livres audio et des podcasts : Vous pouvez parcourir l’iTunes Store ou y faire une recherche pour trouver un album, un morceau ou un artiste. Ouvrez iTunes puis cliquez sur iTunes Store dans la sousfenêtre Source.  Pour parcourir l’iTunes Store, choisissez un genre musical dans le menu local Genre, cliquez sur l’un des morceaux ou l’une des publications ou bien cliquez sur le bouton Explorer dans la fenêtre iTunes Store.  Pour naviguer à la recherche de podcasts, cliquez sur le lien Podcasts situé dans la fenêtre principale de l’iTunes Store.  Pour faire une recherche dans l’iTunes Store, tapez le nom d’un album, d’un morceau, d’un artiste ou d’un compositeur dans le champ Rechercher iTunes Store.  Pour limiter votre recherche, tapez du texte dans la zone Rechercher iTunes Store, appuyez sur la touche Retour ou Entrée de votre clavier, puis cliquez sur les éléments de la barre de recherche. Par exemple, pour limiter la recherche à des titres de morceaux et à des albums, cliquez sur MUSIQUE.  Pour rechercher une combinaison d’éléments, cliquez sur Recherche avancée dans la fenêtre de l’iTunes Store.  Pour revenir à la page principale de l’iTunes Store, cliquez sur le bouton Accueil dans l’angle supérieur gauche de la fenêtre principale de l’iTunes Store. Pour acheter un morceau, un album ou un livre audio : 1 Cliquez sur iTunes Store dans la sous-fenêtre Source puis recherchez l’élément que vous souhaitez acheter. Vous pouvez double-cliquer sur un morceau ou un autre élément pour en écouter un extrait et vous assurer que c’est bien celui que vous voulez. 2 Cliquez sur Acheter le morceau, Acheter l’album ou Acheter le livre. L’élément est alors téléchargé sur votre ordinateur et le prix est débité de la carte de crédit indiquée sur votre compte Apple ou AOL. Pour télécharger un podcast ou vous y abonner : 1 Cliquez sur iTunes Store dans la sous-fenêtre Source. 2 Cliquez sur le lien Podcasts dans la partie gauche de la page principale de l’iTunes Store. 3 Recherchez le podcast que vous souhaitez télécharger.  Pour télécharger un seul épisode de podcast, cliquez sur le bouton Obtenir l’épisode situé à côté de l’épisode.  Pour vous abonner à un podcast, cliquez sur le bouton S’abonner situé à côté de l’image du podcast. iTunes télécharge l’épisode le plus récent. Les nouveaux épisodes disponibles seront automatiquement téléchargés sur iTunes lorsque vous vous connecterez à Internet.14 Chapitre 2 Chargement et lecture de musique Importation de musique dans iTunes à partir de CD audio Suivez ces instructions pour importer de la musique de vos CD dans iTunes. Pour importer de la musique dans iTunes à partir d’un CD audio : 1 Insérez un CD dans votre ordinateur puis ouvrez iTunes. Si vous disposez d’une connexion à Internet, iTunes obtient le nom des morceaux sur Internet (s’ils sont disponibles) et les affiche dans la fenêtre. Si vous ne disposez pas de connexion à Internet, vous pouvez dans un premier temps importer vos CD puis, ultérieurement, lorsque l’ordinateur est connecté à Internet, choisir Avancé > Obtenir le nom des pistes du CD. iTunes obtiendra alors le nom des pistes des CD importés. Si le nom des pistes du CD n’est pas disponible en ligne, vous pouvez les saisir manuellement. Consultez « Saisie du nom des morceaux et d’autres informations » à la page 14. Une fois les données des morceaux saisies, vous pouvez parcourir les morceaux dans iTunes par titre, artiste, album ou autre critère. 2 Cliquez pour supprimer la coche située en regard des morceaux que vous ne souhaitez pas importer depuis le CD. 3 Cliquez sur le bouton Importer un CD. La zone d’affichage située en haut de la fenêtre iTunes indique le temps nécessaire à l’importation des différents morceaux. Par défaut, iTunes lit les morceaux à mesure qu’ils sont importés. Si vous importez un grand nombre de morceaux, il est possible que vous souhaitiez arrêter la lecture des morceaux afin d’améliorer les performances. 4 Pour éjecter le CD, cliquez sur le bouton d’éjection (C). 5 Répétez ces opérations pour tout autre CD contenant des morceaux que vous souhaitez importer. Saisie du nom des morceaux et d’autres informations Il est possible de saisir manuellement les titres et d’autres informations (y compris des commentaires) pour les morceaux et les autres éléments de votre bibliothèque iTunes. Pour saisir manuellement le titre des morceaux et d’autres informations du CD : 1 Sélectionnez la première piste du CD puis sélectionnez Fichier > Obtenir des informations. 2 Cliquez sur Infos. 3 Saisissez les informations concernant le morceau. 4 Cliquez sur Suivant pour saisir les informations concernant la piste suivante.Chapitre 2 Chargement et lecture de musique 15 Ajout de morceaux stockés sur votre ordinateur à la bibliothèque iTunes Si votre ordinateur contient déjà des fichiers audio numériques, tels que les fichiers MP3, vous pouvez facilement les ajouter à votre bibliothèque iTunes. Pour ajouter des morceaux stockés sur votre ordinateur à la bibliothèque iTunes : m Faites glisser le dossier ou l’unité contenant les fichiers audio vers l’en-tête BIBLIOTHÈQUE de la sous-fenêtre Source d’iTunes (ou choisissez Fichier > Ajouter à la bibliothèque, puis sélectionnez le dossier ou l’unité). Si iTunes prend en charge le format de fichier des morceaux, ceux-ci sont automatiquement ajoutés à la bibliothèque iTunes. Vous pouvez également faire glisser individuellement des fichiers audio dans iTunes. Remarque : avec l’application iTunes pour Windows, vous avez la possibilité de convertir un fichier audio numérique sans protection créé avec Windows Media Player en format de fichier compatible iTunes (AAC ou MP3, par exemple). Cela peut être utile si vous disposez des fichiers de musique encodés au format WMA. Pour en savoir plus, ouvrez iTunes puis choisissez Aide > Aide iTunes. Organisation de votre musique Grâce à iTunes, vous pouvez organiser à votre guise des morceaux et d’autres éléments dans des listes appelées listes de lecture. Vous pouvez par exemple créer des listes de lecture qui accompagnent votre séance d’exercice physique ou qui correspondent à une humeur particulière. Vous pouvez également créer des listes de lecture intelligentes qui se mettront automatiquement à jour selon les règles que vous aurez choisies. Lorsque vous ajoutez à iTunes des morceaux qui correspondent à ces règles, ils seront automatiquement ajoutés à la liste de lecture intelligente. Vous pouvez créer autant de listes de lecture que vous le souhaitez avec n’importe lequel des morceaux de la bibliothèque iTunes. Le fait d’ajouter un morceau à une liste de lecture ou de l’en supprimer ne le supprime pas de la bibliothèque iTunes. Pour créer une liste de lecture dans iTunes : 1 Cliquez sur le bouton Ajouter (?) ou bien choisissez Fichier > Nouvelle liste de lecture. 2 Tapez le nom de la liste de lecture. 3 Cliquez sur Musique dans la liste BIBLIOTHÈQUE, puis faites glisser un morceau ou un autre élément vers la liste de lecture. Pour sélectionner plusieurs morceaux, lorsque vous cliquez sur chaque morceau, maintenez la touche Maj ou Commande (x) enfoncée s’il s’agit d’un Mac, ou la touche Maj ou Contrôle s’il s’agit d’un PC sous Windows. Pour créer une liste de lecture intelligente : m Sélectionnez Fichier > « Nouvelle liste de lecture intelligente » puis définissez les règles de votre liste de lecture.16 Chapitre 2 Chargement et lecture de musique Chargement de musique sur l’iPod shuffle Une fois votre musique importée et organisée dans iTunes, vous pouvez facilement la charger sur l’iPod shuffle. Il est possible de définir le mode de chargement de la musique d’iTunes vers l’iPod shuffle en branchant ce dernier sur l’ordinateur, en sélectionnant iPod shuffle dans la sous-fenêtre Source puis en configurant les options situées dans la partie inférieure de la sous-fenêtre Contenu. Des options supplémentaires concernant le chargement de musique et l’utilisation de l’iPod shuffle s’affichent dans la sous-fenêtre Réglages. Remplissage automatique de l’iPod shuffle iTunes vous permet de charger de manière automatique une sélection de morceaux sur l’iPod shuffle en un seul clic. Vous pouvez décider d’obtenir les morceaux de la totalité de la bibliothèque ou bien d’une seule liste de lecture, mais aussi définir d’autres options pour la fonction de remplissage automatique. Pour charger automatiquement de la musique sur l’iPod shuffle : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Sélectionnez l’iPod shuffle dans la liste des dispositifs de la sous-fenêtre Source. 3 Cliquez sur l’onglet Contenu. 4 Choisissez la liste de lecture que vous souhaitez charger automatiquement sur l’iPod dans le menu local. Pour charger automatiquement les morceaux de la totalité de votre bibliothèque, sélectionnez Musique. 5 Sélectionnez une des options suivantes, au choix : Choisir les éléments aléatoirement : iTunes modifie l’ordre des morceaux au cours de leur chargement sur l’iPod shuffle. Si cette option n’est pas sélectionnée, iTunes télécharge les morceaux dans l’ordre où ils apparaissent dans la liste de lecture sélectionnée ou dans la bibliothèque. Favoriser les éléments les mieux cotés: iTunes charge automatiquement les morceaux que vous écoutez le plus souvent.Chapitre 2 Chargement et lecture de musique 17 Remplacer tous les éléments lors du remplissage automatique : iTunes remplace les morceaux présents sur l’iPod shuffle par les nouveaux morceaux sélectionnés. Si cette option n’est pas sélectionnée, les morceaux déjà chargés sur l’iPod shuffle y demeurent et iTunes sélectionne de nouveaux morceaux pour remplir l’espace qui y est disponible. 6 Cliquez sur Remplissage auto. Lorsque le chargement de musique d’iTunes sur l’iPod shuffle est en cours, la fenêtre d’état d’iTunes affiche sa progression. Une fois le « remplissage automatique » terminé, le message « L’iPod est à jour » apparaît dans iTunes. Comment limiter la fonction de remplissage automatique aux éléments cochés dans la bibliothèque iTunes Il est possible de configurer iTunes de manière à ce que la fonction de remplissage automatique charge uniquement les éléments qui, dans la bibliothèque iTunes, sont cochés. Les éléments désélectionnés seront ignorés. Pour limiter la fonction de remplissage automatique aux éléments cochés : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Lorsque l’iPod shuffle apparaît dans la fenêtre d’iTunes, sélectionnez-le. 3 Cliquez sur l’onglet Réglages. 4 Sélectionnez l’option « Ne mettre à jour que les morceaux cochés ». 5 Cliquez sur Appliquer. Chargement manuel de morceaux, de livres audio et de podcasts Il est possible de charger manuellement des morceaux et des listes de lecture sur l’iPod shuffle. Si vous souhaitez charger des livres audio et des podcasts sur l’iPod shuffle, vous devrez obligatoirement le faire manuellement. Pour charger un morceau ou tout autre élément sur l’iPod shuffle : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez une liste de lecture ou la bibliothèque dans la sous-fenêtre Source. 3 Faites glisser le morceau (ou l’élément) vers l’iPod shuffle, situé dans la sous-fenêtre Source. Vous pouvez également faire glisser des listes de lecture entières afin de les charger sur l’iPod shuffle.18 Chapitre 2 Chargement et lecture de musique Organisation des morceaux sur l’iPod shuffle Une fois que les morceaux sont chargés sur l’iPod shuffle, vous pouvez les organiser et les placer dans l’ordre que vous le souhaitez, tout comme vous le faites avec les listes de lecture dans iTunes. Pour organiser les morceaux sur l’iPod shuffle : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Cliquez sur l’onglet Contenu. 4 Cliquez sur l’en-tête vide situé au-dessus de la première colonne pour classer les morceaux par numéro. 5 Faites glisser les morceaux afin de les placer dans l’ordre souhaité. Comment faire tenir davantage de morceaux sur l’iPod shuffle Si vous avez importé des morceaux dans iTunes dans un format au débit plus élevé, tel que le format AIFF, vous pouvez faire en sorte qu’iTunes convertisse automatiquement les morceaux en fichiers AAC de 128 kbps lors de leur chargement sur l’iPod shuffle. Cela n’influe pas sur la qualité ni sur la taille des morceaux dans iTunes. Remarque : les morceaux aux formats non pris en charge par l’iPod shuffle, comme Apple Lossless, doivent obligatoirement être convertis pour pouvoir être chargés sur l’iPod shuffle. Pour en savoir plus sur les formats pris en charge par l’iPod shuffle, consultez la section « Si vous ne parvenez pas à charger un morceau ou un autre élément sur l’iPod shuffle : » à la page 28. Pour convertir des morceaux au débit plus élevé en fichiers AAC : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Cliquez sur l’onglet Réglages. 4 Sélectionnez « Convertir en AAC 128 kbps les morceaux dont le débit est supérieur ». 5 Cliquez sur Appliquer.Chapitre 2 Chargement et lecture de musique 19 Suppression de morceaux et d’autres éléments de l’iPod shuffle Vous pouvez faire en sorte qu’iTunes remplace automatiquement les éléments présents sur l’iPod shuffle par ceux qui y sont chargés via la fonction de remplissage automatique. Vous pouvez également supprimer les éléments de l’iPod shuffle manuellement. Pour remplacer automatiquement les éléments de l’iPod shuffle par ceux importés lors du processus de remplissage automatique : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Sélectionnez l’onglet Contenu. 4 Vérifiez que l’option « Remplacer tous les éléments lors du remplissage automatique » est sélectionnée. Pour supprimer un morceau ou un autre élément de l’iPod shuffle : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Sélectionnez un morceau ou autre élément sur l’iPod shuffle puis appuyez sur la touche Supprimer ou Arrière de votre clavier. La suppression manuelle d’un morceau ou d’un autre élément de l’iPod shuffle ne supprime pas cet élément de votre bibliothèque iTunes. Lecture de musique Après avoir chargé de la musique et d’autres données audio sur votre iPod shuffle, vous pouvez les écouter. Pour écouter les morceaux et les autres éléments présents sur l’iPod shuffle : 1 Branchez les écouteurs sur l’iPod shuffle et placez-les dans vos oreilles. 2 Appuyez sur le bouton Lecture/Pause (’). Appuyez sur Augmenter le volume (?) ou Baisser le volume (D) pour régler le volume sonore. Évitez d’augmenter le volume à outrance. Consultez la section « Définition d’une limite de volume » à la page 21. Pour obtenir un résumé des commandes de l’iPod shuffle, consultez la section « Utilisation des commandes de l’iPod shuffle » à la page 4. Remarque : si vous écoutez un livre audio, placez le bouton de mode aléatoire sur la position de répétition (/) afin que les chapitres soient lus dans l’ordre. AVERTISSEMENT : avant d’utiliser les écouteurs, lisez les consignes de sécurité de la page 32 pour savoir comment éviter d’endommager votre audition.20 Chapitre 2 Chargement et lecture de musique Comment configurer l’iPod shuffle de manière à ce qu’il lise les morceaux dans l’ordre ou dans un ordre aléatoire Il est possible de régler l’iPod shuffle pour qu’il lise les morceaux de manière aléatoire ou dans l’ordre. Pour que l’iPod shuffle lise les morceaux dans un ordre aléatoire : m Faites glisser le bouton de mode aléatoire sur la position aléatoire (¡). Pour changer l’ordre des morceaux de façon à les lire dans un autre ordre aléatoire, appuyez à trois reprises sur le bouton Lecture/Pause (’), rapidement. Pour que l’iPod shuffle lise les morceaux dans l’ordre : m Faites glisser le bouton de mode aléatoire sur la position de répétition (/). Pour revenir au premier morceau, appuyez à trois reprises sur le bouton Lecture/Pause (’), rapidement. Comment régler les morceaux pour qu’ils soient lus au même volume Le niveau sonore des morceaux et des autres données audio peut varier en fonction de leur mode d’enregistrement ou d’encodage. Avec iTunes, il est possible de régler le volume des morceaux de manière automatique ; de cette manière, ils sont lus au même niveau sonore. Vous pouvez configurer l’iPod shuffle de sorte qu’il utilise les réglages de volume d’iTunes. Pour régler iTunes de sorte qu’il lise les morceaux au même niveau sonore : 1 Dans iTunes, sélectionnez iTunes > Préférences si vous utilisez un Mac ou sélectionnez Édition > Préférences si vous utilisez un PC sous Windows. 2 Cliquez sur Lecture puis choisissez Égaliseur de volume. Pour régler l’iPod shuffle de manière à ce qu’il utilise les réglages de volume d’iTunes : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Cliquez sur l’onglet Réglages. 4 Sélectionnez « Activer l’Égaliseur de volume ». 5 Cliquez sur Appliquer. Important : si vous n’avez pas activé l’option Égaliseur de volume dans iTunes, la configurer sur l’iPod shuffle n’a aucun effet.Chapitre 2 Chargement et lecture de musique 21 Définition d’une limite de volume Il est possible d’établir une limite de volume sur l’iPod shuffle, mais aussi de définir un mot de passe dans iTunes afin d’empêcher toute autre personne de modifier ce réglage. Si vous avez défini une limite de volume sur l’iPod shuffle, le voyant d’état devient orange et clignote trois fois si vous essayez de monter le son au-delà de la limite établie. Pour définir la limite du volume pour l’iPod Shuffle : 1 Réglez le son sur l’iPod shuffle sur le niveau que vous souhaitez établir comme volume maximum. 2 Connectez l’iPod shuffle à votre ordinateur. 3 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 4 Cliquez sur l’onglet Réglages. 5 Sélectionnez « Limiter le volume maximum ». 6 Faites alors glisser le curseur pour définir le niveau sonore maximum. Il faut savoir que l’emplacement initial du curseur représente le volume qui était établi sur l’iPod shuffle au moment de cocher la case « Limiter le volume maximum ». 7 Pour qu’un mot de passe vous soit demandé avant de modifier ce réglage, cliquez sur le verrou et saisissez un mot de passe. Si vous définissez un mot de passe, vous devrez alors le saisir avant de modifier la llimite du volume ou de la supprimer. Remarque : le niveau sonore peut varier selon le type d’écouteurs ou de casque utilisé. Pour supprimer la limite de volume : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Cliquez sur l’onglet Réglages. 4 Désélectionnez « Limiter le volume maximum ». Au besoin, saisissez le mot de passe. Remarque : si vous avez oublié le mot de passe, vous avez la possibilité de restaurer l’iPod shuffle. Consultez « Mise à jour et restauration du logiciel de l’iPod shuffle » à la page 30 pour en savoir plus.22 Chapitre 2 Chargement et lecture de musique Activation et désactivation des boutons de l’iPod shuffle Il est possible de désactiver les boutons de l’iPod shuffle. De cette manière, si vous appuyez malencontreusement dessus, cela n’aura aucune incidence sur le fonctionnement de l’appareil. Pour désactiver les boutons de l’iPod shuffle : m Maintenez enfoncé le bouton Lecture/Pause (’) pendant trois secondes. Le voyant d’état devient vert, puis passe au orange et clignote trois fois lorsque la désactivation des boutons est effective. Si vous appuyez sur un bouton lorsque les boutons de l’iPod sont désactivés, le voyant d’état devient orange et clignote une fois. Pour réactiver les boutons : m Maintenez à nouveau le bouton Lecture/Pause (’) enfoncé pendant trois secondes. Le voyant d’état devient orange, puis passe au vert et clignote trois fois lorsque la réactivation des boutons est effective.3 23 3 Stockage de fichiers sur l’iPod shuffle L’iPod shuffle vous permet de transportez votre musique ainsi que vos données. Lisez ce chapitre pour savoir comment utiliser l’iPod shuffle en tant que disque externe. Utilisation de l’iPod shuffle en tant que disque externe Vous pouvez utiliser l’iPod shuffle comme disque externe pour y stocker des fichiers de données. Remarque : pour charger sur l’iPod shuffle la musique et les diverses données audio que vous souhaitez écouter, vous devez utiliser l’application iTunes. L’iPod shuffle ne pourra pas lire des fichiers audio copiés via le Finder de Macintosh ou l’explorateur Windows. Pour utiliser l’iPod shuffle comme disque externe : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Cliquez sur l’onglet Réglages. 4 Dans la section Options, sélectionnez « Activer l’utilisation comme disque dur ». Remarque : il vous sera peut-être nécessaire de faire défiler les éléments pour arriver aux réglages concernant le disque. 5 En faisant glisser le curseur, définissez la quantité d’espace réservée aux morceaux (par rapport à celle réservée aux données). 6 Cliquez sur Appliquer. Lorsque vous utilisez l’iPod shuffle comme disque externe, une icône de disque iPod shuffle apparaît sur le bureau si vous utilisez un Mac, tandis que si vous utilisez un PC sous Windows, la première lettre de disque disponible lui est attribuée dans l’explorateur Windows.24 Chapitre 3 Stockage de fichiers sur l’iPod shuffle Transfert de fichiers entre ordinateurs Lorsque l’utilisation de l’iPod shuffle en tant que disque dur est activée, vous pouvez transférer des fichiers d’un ordinateur à un autre. L’iPod shuffle est formaté en FAT-32, système pris en charge par les ordinateurs Mac et les PC sous Windows. De cette manière, vous pouvez utiliser l’iPod shuffle pour transférer des fichiers entre ordinateurs fonctionnant sous systèmes d’exploitation différents. Pour transférer des fichiers entre ordinateurs : 1 Après avoir activé la fonction d’utilisation de l’iPod shuffle en tant que disque dur, branchez-le à l’ordinateur qui contient les fichiers que vous souhaitez copier. Important : lorsque vous branchez l’iPod shuffle sur un ordinateur (ou un utilisateur de votre ordinateur) qui n’est pas l’habituel, un message s’affiche et vous demande si vous souhaitez effacer l’iPod shuffle et le synchroniser avec la nouvelle bibliothèque iTunes. Si vous ne voulez pas effacer la musique actuellement présente sur l’iPod shuffle, cliquez sur Annuler. 2 Faites glisser les fichiers désirés vers votre iPod shuffle via le système de fichiers de l’ordinateur (le Finder sur un Mac et l’explorateur Windows sur un PC). 3 Débranchez ensuite l’iPod shuffle puis branchez-le sur l’autre ordinateur. Cliquez à nouveau sur Annuler si vous ne voulez pas effacer la musique actuellement présente sur l’iPod shuffle. 4 Faites glisser les fichiers depuis l’iPod shuffle vers une des unités du nouvel ordinateur. Comment empêcher l’ouverture automatique d’iTunes Il est possible d’empêcher iTunes de s’ouvrir automatiquement quand vous connectez l’iPod shuffle à votre ordinateur. Pour empêcher iTunes de s’ouvrir automatiquement : 1 Connectez l’iPod shuffle à votre ordinateur. 2 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source. 3 Cliquez sur l’onglet Réglages. 4 Dans la section Options, désélectionnez « Ouvrir iTunes à la connexion de cet iPod ». 5 Cliquez sur Appliquer.Chapitre 3 Stockage de fichiers sur l’iPod shuffle 254 24 4 Accessoires de l’iPod shuffle Avec l’iPod shuffle sont fournis des écouteurs et un socle pour iPod shuffle. Obtenez des informations sur vos écouteurs Apple Earphones, sur le socle pour iPod shuffle et sur les autres accessoires disponibles pour l’iPod shuffle. Écouteurs Apple Earphones L’iPod shuffle est livré avec une paire d’écouteurs. Pour utiliser des écouteurs : m Branchez les écouteurs sur le port de sortie casque. Placez ensuite les écouteurs dans vos oreilles comme sur l’illustration. AVERTISSEMENT : avant d’utiliser les écouteurs, lisez les consignes de sécurité de la page 32 pour savoir comment éviter d’endommager votre audition. Le cordon des écouteurs est réglable.Chapitre 4 Accessoires de l’iPod shuffle 25 Le socle pour iPod shuffle L’iPod shuffle est livré avec un socle pour iPod shuffle (de deuxième génération) permettant de connecter l’iPod shuffle à votre ordinateur ou à d’autres périphériques USB. Consultez « Connexion et déconnexion de l’iPod shuffle » à la page 5. L’adaptateur secteur USB iPod Power Adapter L’adaptateur secteur iPod USB Power Adapter est un accessoire vendu en option qui vous permet de recharger l’iPod shuffle lorsque vous n’êtes pas devant votre ordinateur. Accessoires disponibles Pour acheter des accessoires iPod shuffle, rendez-vous sur www.apple.com/fr/ipodstore. Parmi les accessoires disponibles, citons :  les écouteurs ergonomiques iPod In-Ear Headphones d’Apple ;  le socle pour iPod shuffle (de deuxième génération) ;  l’adaptateur secteur USB iPod Power Adapter.5 26 5 Astuces et dépannage La plupart des problèmes de l’iPod shuffle peuvent être rapidement résolus si vous suivez les conseils de ce chapitre. Si l’iPod shuffle ne s’allume ou ne répond pas :  Si le voyant d’état devient orange et clignote lorsque vous appuyez sur un bouton, cela signifie que les boutons de l’iPod shuffle sont désactivés. Maintenez enfoncé le bouton Lecture/Pause (’) pendant environ trois secondes jusqu’à ce que le voyant d’état devienne vert et clignote.  Branchez l’iPod shuffle sur un port USB à forte alimentation de votre ordinateur. La batterie de votre iPod shuffle peut avoir besoin d’être rechargée.  Éteignez l’iPod shuffle, attendez cinq secondes et rallumez-le.  Il est possible que le logiciel de l’iPod shuffle ait besoin d’être restauré. Consultez « Mise à jour et restauration du logiciel de l’iPod shuffle » à la page 30. Les 5 R : Réinitialiser, Réessayer, Redémarrer, Réinstaller, Restaurer Souvenez-vous de ces conseils élémentaires si un problème survient avec l’iPod shuffle. Essayez de réaliser ces opérations l’une après l’autre jusqu’à ce que le problème soit résolu. Si l’une des suggestions suivantes ne permet pas de résoudre le problème, continuez à lire et consultez les solutions aux problèmes spécifiques.  Réinitialisez l’iPod shuffle en l’éteignant, en attendant cinq secondes puis en l’allumant à nouveau.  Réessayez avec un port USB différent si l’iPod shuffle n’apparaît pas dans iTunes.  Redémarrez votre ordinateur et assurez-vous que les mises à jour de logiciels les plus récentes sont installées.  Réinstallez le logiciel d’iTunes à partir de la dernière version disponible sur le web.  Restaurez l’iPod shuffle. Consultez « Mise à jour et restauration du logiciel de l’iPod shuffle » à la page 30.Chapitre 5 Astuces et dépannage 27 Si l’iPod shuffle ne lit pas de musique :  Assurez-vous que le connecteur du casque ou des écouteurs est complètement enfoncée dans la prise casque.  Assurez-vous que le volume est correctement réglé. Il est possible qu’une limite de volume ait été définie. Consultez « Définition d’une limite de volume » à la page 21.  Il se peut que l’iPod shuffle soit en pause. Tentez d’appuyer sur le bouton Lecture/ Pause (’). Si rien ne se produit lorsque vous branchez l’iPod shuffle sur votre ordinateur :  Branchez l’iPod shuffle sur un port USB à forte alimentation de votre ordinateur. L’iPod shuffle a peut-être besoin d’être rechargé.  Assurez-vous que vous avez installé la dernière version d’iTunes sur www.apple.com/fr/ipod/start.  Essayez de le brancher sur un autre port USB de votre ordinateur. Assurez-vous que l’iPod shuffle est bien placé sur le socle. Vérifiez que le connecteur USB est orienté correctement. Il ne peut être inséré que dans un sens.  L’iPod shuffle a peut-être besoin d’être réinitialisé. Éteignez l’iPod shuffle, attendez cinq secondes puis rallumez-le.  Si le voyant d’état ne s’allume pas (ou s’il s’allume faiblement) et que l’iPod shuffle n’apparaît pas dans iTunes ou dans le Finder, il est possible que la batterie soit entiè- rement déchargée. Laissez l’iPod shuffle se recharger pendant plusieurs minutes pour voir si cela lui permet de se réactiver.  Assurez-vous que vous disposez de l’ordinateur et du logiciel requis. Consultez « Si vous souhaitez effectuer une double vérification de la configuration requise : » à la page 29.  Essayez de redémarrer votre ordinateur.  Si aucune de ces suggestions n’aide à résoudre le problème, vous devrez éventuellement restaurer le logiciel de l’iPod. Consultez « Mise à jour et restauration du logiciel de l’iPod shuffle » à la page 30.  Si la restauration de l’iPod shuffle ne résout pas le problème, il se peut que l’iPod shuffle ait besoin d’être réparé. Vous pouvez obtenir des services en consultant le site web de service et d’assistance de l’iPod shuffle à l’adresse www.apple.com/fr/support/ipodshuffle/service. Si le chargement des morceaux est lent : Branchez l’iPod shuffle sur un port USB 2.0 de votre ordinateur pour réaliser des chargements plus rapides. Une connexion USB 2.0 permet de charger des morceaux et des données beaucoup vite qu’une connexion USB 1.1.28 Chapitre 5 Astuces et dépannage Si vous ne parvenez pas à charger un morceau ou un autre élément sur l’iPod shuffle : Le morceau peut être encodé dans un format que l’iPod shuffle ne prend pas en charge. Les formats de fichiers audio suivants sont pris en charge par l’iPod shuffle. Ils comprennent les formats des livres audio et des podcasts :  AAC (M4A, M4B, M4P) (jusqu’à 320 kbps)  MP3 (jusqu’à 320 kbps)  MP3 Variable Bit Rate (VBR)  WAV  AA (texte lu audible.com, formats 2, 3 et 4)  AIFF Un morceau encodé au format Apple Lossless possède la même qualité sonore qu’un CD tout en occupant deux fois moins d’espace qu’un morceau encodé au format AIFF ou WAV. Le même morceau encodé au format AAC ou MP3 utilise encore moins de place. Quand vous importez de la musique depuis un CD à l’aide d’iTunes, elle est convertie par défaut au format AAC. Vous pouvez faire en sorte que l’iPod shuffle convertisse automatiquement les fichiers encodés à des débits plus élevés (comme Apple Lossless) en fichiers AAC de 128 kbps lors de leur chargement sur l’iPod shuffle. Consultez « Comment faire tenir davantage de morceaux sur l’iPod shuffle » à la page 18. Si vous utilisez iTunes pour Windows, vous pouvez convertir les fichiers WMA non protégés en fichiers au format AAC ou MP3. Cela peut être utile si vous disposez d’une collection de musique encodée au format WMA. L’iPod shuffle ne prend pas en charge les fichiers audio Apple Lossless, WMA, MPEG Layer 1, MPEG Layer 2 ni le format 1 d’audible.com. Si vous possédez dans iTunes un morceau qui n’est pas pris en charge par l’iPod shuffle, vous pouvez le convertir en un format que l’iPod shuffle prend en charge. Pour en savoir plus, consultez l’Aide iTunes. Si les chapitres d’un livre audio ne se lisent pas dans l’ordre :  Assurez-vous que le bouton de mode aléatoire de l’iPod shuffle est placé sur la position de répétition (/), ce qui permet une lecture des chapitres dans l’ordre.  Si les chapitres n’ont pas été ajoutés à l’iPod shuffle dans l’ordre, branchez l’iPod shuffle à votre ordinateur puis réorganisez les pistes via iTunes. Consultez « Organisation des morceaux sur l’iPod shuffle » à la page 18.Chapitre 5 Astuces et dépannage 29 Si vous souhaitez effectuer une double vérification de la configuration requise : Pour utiliser l’iPod shuffle, vous devez disposer des éléments suivants :  Une des configurations d’ordinateur suivantes :  Un ordinateur Macintosh doté d’un port USB (USB 2.0 recommandé).  Un PC sous Windows doté d’un port ou d’une carte USB (USB 2.0 recommandé).  Un des systèmes d’exploitation suivants : Mac OS X v10.3.9 ou ultérieur, Windows 2000 avec Service Pack 4 ou ultérieur ou Windows XP Édition Familiale ou Professionnel avec Service Pack 2 ou ultérieur.  Un accès à Internet (une connexion à haut débit est recommandée).  iTunes 7.0.2 ou ultérieur (vous pouvez télécharger iTunes depuis l’adresse www.apple.com/fr/ipod/start). Si votre PC sous Windows n’est pas doté d’un port USB à forte alimentation, vous pouvez acheter une carte USB 2.0 et l’installer. Pour plus d’informations, rendez-vous sur le site www.apple.com/fr/ipodstore. Si vous souhaitez utiliser l’iPod shuffle avec un Mac et un PC sous Windows : Chaque fois que vous synchronisez l’iPod shuffle avec une nouvelle bibliothèque iTunes, vous devez effacer la musique déjà présente sur l’iPod shuffle, quel que soit le système d’exploitation. Lorsque vous branchez l’iPod shuffle sur un ordinateur ou un utilisateur de votre ordinateur qui n’est pas l’habituel, un message s’affiche et vous demande si vous souhaitez effacer l’iPod shuffle et le synchroniser avec la nouvelle bibliothèque iTunes. Toutefois, il est possible d’utiliser l’iPod shuffle comme disque externe à la fois avec les ordinateurs Macintosh et les PC sous Windows, ce qui vous permet de transférer des fichiers d’un système d’exploitation à l’autre. Consultez le chapitre 3, « Stockage de fichiers sur l’iPod shuffle, » à la page 23. Port USB 2.0 à forte alimentation30 Chapitre 5 Astuces et dépannage Mise à jour et restauration du logiciel de l’iPod shuffle Vous pouvez utiliser iTunes pour mettre à jour ou restaurer le logiciel de l’iPod shuffle. Il est recommandé de mettre à jour l’iPod shuffle et d’utiliser le logiciel le plus récent. Vous pouvez également restaurer le logiciel et rétablir ainsi l’iPod shuffle à son état d’origine.  Si vous choisissez de mettre à jour, le logiciel sera mis à jour, mais vos réglages et morceaux seront conservés.  Si vous choisissez de restaurer, toutes les données sont effacées de l’iPod shuffle, y compris les morceaux et toutes les autres données. Tous les réglages d’origine de l’iPod shuffle seront rétablis. Pour mettre à jour ou restaurer l’iPod shuffle : 1 Assurez-vous que vous disposez d’une connexion à Internet et que vous avez installé la dernière version d’iTunes disponible sur www.apple.com/fr/ipod/start. 2 Connectez l’iPod shuffle à votre ordinateur. 3 Dans iTunes, sélectionnez l’iPod shuffle dans la sous-fenêtre Source, puis cliquez sur l’onglet Réglages. La section Version indique si l’iPod shuffle est à jour ou nécessite une version plus récente du logiciel. 4 Procédez de l’une des manières suivantes :  Pour installer la toute dernière version du logiciel, cliquez sur Mettre à jour.  Pour restaurer l’iPod shuffle et rétablir ses réglages d’origine, cliquez sur Restaurer. Cette opération efface toutes les données de l’iPod shuffle. Suivez les instructions à l’écran pour terminer la restauration.6 31 6 Sécurité et manipulation Ce chapitre contient des informations importantes sur la sécurité et la manipulation de l’iPod shuffle. Conservez ce guide des fonctions de l’iPod shuffle à portée de main pour pouvoir vous y reporter facilement. Informations importantes relatives à la sécurité Manipulation de l’iPod shuffle Évitez de tordre, d’écraser, de perforer, d’incinérer, d’ouvrir ou de laisser tomber l’iPod shuffle. Utilisation près de l’eau et dans des endroits humides N’utilisez pas l’iPod shuffle sous la pluie ni à proximité d’un lavabo ou de tout autre endroit humide. Veillez à ne pas renverser d’aliments ou de liquides sur l’iPod shuffle. Si l’iPod shuffle est mouillé, débranchez tous les câbles et éteignez l’iPod shuffle avant de procéder au nettoyage. Laissez-le ensuite sécher entièrement avant de le rallumer. Réparation de l’iPod shuffle N’essayez jamais de réparer l’iPod shuffle vous-même. L’iPod shuffle ne contient aucune pièce démontable par l’utilisateur. Pour des informations sur le service, choisissez Aide iPod dans le menu Aide d’iTunes ou allez sur www.apple.com/fr/support/ipod/service. La batterie de l’iPod shuffle ne peut pas être remplacée par l’utilisateur. Pour plus d’informations sur les batteries, rendez-vous à l’adresse www.apple.com/fr/batteries. ± Pour éviter toute blessure, lisez toutes les informations relatives à la sécurité exposées ci-dessous, ainsi que le mode d’emploi, avant d’utiliser l’iPod shuffle. AVERTISSEMENT : ne pas suivre les présentes consignes de sécurité pourrait provoquer un incendie, un choc électrique ou un autre dommage.32 Chapitre 6 Sécurité et manipulation Utilisation de l’adaptateur secteur iPod USB Power Adapter (disponible séparément) Si vous utilisez l’adaptateur secteur iPod USB Power Adapter (vendu séparément sur www.apple.com/fr/ipodstore) pour recharger l’iPod shuffle, assurez-vous que l’adaptateur secteur est correctement assemblé avant de le brancher sur une prise de courant. Insérez ensuite fermement l’adaptateur dans la prise de courant. Ne branchez ou ne débranchez pas l’adaptateur secteur iPod USB Power Adapter en ayant les mains mouillées. N’utilisez pas d’adaptateur secteur autre qu’un adaptateur secteur iPod USB Power Adapter d’Apple pour recharger votre iPod shuffle. Il se peut que l’adaptateur secteur iPod USB Power Adapter chauffe pendant une utilisation normale. Veillez à toujours assurer une ventilation correcte autour de lui et à toujours le manipuler avec précaution. Débranchez l’adaptateur secteur iPod USB Power Adapter si l’une des conditions suivantes se présente :  Le câble d’alimentation ou la prise est effiloché ou endommagé.  L’adaptateur est exposé à la pluie ou à une humidité excessive.  Le boîtier de l’adaptateur est endommagé.  Vous pensez que l’adaptateur doit être réparé.  Vous voulez nettoyer l’adaptateur. Prévention de la diminution de l’acuité auditive Vous risquez une perte d’audition irréparable si vous utilisez un casque ou des écouteurs à volume sonore élevé. Réglez le volume à un niveau raisonnable. Vous pouvez vous habituer petit à petit à un volume de son plus élevé qui peut vous paraître normal mais entraîner une détérioration de votre audition. Si vos oreilles bourdonnent ou si les sons vous semblent sourds, arrêtez l’écoute et rendez-vous chez votre médecin pour vérifier votre audition. Plus le volume est élevé, plus vous risquez d’abîmer rapidement votre audition. Les spécialistes de l’audition suggèrent de protéger votre audition de la façon suivante :  Évitez au maximum d’écouter de la musique via des écouteurs ou un casque à un volume élevé.  Évitez de monter le son pour filtrer les bruits extérieurs.  Baissez le son si vous n’entendez pas ce que disent les gens à côté de vous. Pour en savoir plus sur la manière de définir un volume maximum sur l’iPod shuffle, consultez la section « Définition d’une limite de volume » à la page 21. Informations Importantes A pleine puissance, l’écoute prolongée du baladeur peut endommager l’oreille de l’utilisateur.Chapitre 6 Sécurité et manipulation 33 Utilisation d’un casque d’écoute en toute sécurité L’utilisation des écouteurs n’est pas recommandée lorsque vous conduisez et constitue par ailleurs une infraction au code de la route dans certains endroits. Soyez prudent et attentif au volant. Cessez d’utiliser l’iPod shuffle si vous vous rendez compte que cela vous distrait ou vous dérange lorsque vous conduisez un véhicule ou lorsque vous réalisez tout autre activité nécessitant toute votre attention. Informations importantes sur la manipulation Transport de l’iPod shuffle Les composants de l’iPod shuffle sont délicats. Ne tordez, n’écrasez ni ne laissez pas tomber l’iPod shuffle. Utilisation des connecteurs et des ports Ne forcez jamais un connecteur à entrer dans un port. Vérifiez que rien ne bloque l’entrée au port. Si le connecteur et le port ne s’assemblent pas facilement, c’est probablement parce qu’ils ne sont pas compatibles. Assurez-vous que le connecteur est compatible avec le port et que vous l’avez positionné correctement par rapport à ce dernier. Conservation de l’iPod shuffle à température normale Utilisez toujours l’iPod shuffle dans des endroits où la température se situe entre 0º et 35º C. Dans des conditions de basses températures, l’autonomie de l’iPod peut diminuer temporairement. Rangez l’iPod shuffle dans un endroit où la température est toujours comprise entre -20º et 45º C. La température dans les voitures en stationnement pouvant dépasser cette fourchette, ne laissez pas l’iPod shuffle dans votre voiture. Lorsque vous utilisez l’iPod shuffle ou rechargez sa batterie, il est normal que l’iPod shuffle chauffe. L’extérieur de l’iPod shuffle sert en effet de surface de refroidissement et transfère la chaleur de l’intérieur de l’appareil vers l’extérieur, où l’air est moins chaud. Nettoyage de la partie externe de l’iPod shuffle Pour nettoyer l’iPod shuffle, retirez-le du socle et éteignez-le. Utilisez ensuite un chiffon doux, légèrement humide et non pelucheux. Évitez toute pénétration d’humidité dans les orifices de l’appareil. N’utilisez pas de produits pour le nettoyage des vitres, de produits d’entretien ménager, d’aérosols, de solvants, d’alcool, d’ammoniac ni d’abrasifs pour nettoyer l’iPod shuffle. Respect des consignes en matière d’élimination pour l’iPod shuffle Pour obtenir des informations sur la mise au rebut de l’iPod shuffle, y compris d’importantes informations sur le respect des normes en vigueur, consultez la section « Regulatory Compliance Information » à la page 35. AVIS : ne pas suivre les présentes instructions sur la manipulation peut provoquer des dommages à l’iPod shuffle ou à d’autres objets.7 34 7 En savoir plus, service et assistance Vous trouverez plus d’informations sur l’utilisation de l’iPod shuffle dans l’aide à l’écran et sur le web. Le tableau suivant décrit à quel endroit trouver des informations sur les services et les logiciels de l’iPod. Pour en savoir plus sur : procédez ainsi : Les services et l’assistance, les forums de discussion, les guides d’initiation et les téléchargements de logiciels Apple Allez sur www.apple.com/fr/support/ipodshuffle. L’utilisation d’iTunes Ouvrez iTunes et choisissez Aide > Aide iTunes. Pour obtenir le guide d’initiation d’iTunes en ligne (uniquement disponible dans certains pays), allez sur www.apple.com/fr/ilife/tutorials/itunes. Les toutes dernières informations sur l’iPod shuffle Allez sur www.apple.com/fr/ipodshuffle L’enregistrement de l’iPod shuffle Pour enregistrer l’iPod shuffle, installez iTunes sur votre ordinateur et branchez-y l’iPod shuffle. La recherche du numéro de série de l’iPod shuffle Observez l’encoche située sous la pince de l’ iPod shuffleou bien sélectionnez l’iPod shuffle dans la sous-fenêtre Source d’iTunes (lorsque l’iPod shuffle est connecté à l’ordinateur) et cliquez sur l’onglet Réglages. L’obtention des services assurés dans le cadre de la garantie Suivez d’abord les conseils qui figurent dans le présent fascicule, l’aide à l’écran et les ressources en ligne, puis allez sur www.apple.com/fr/support/ipodshuffle/service 35 Regulatory Compliance 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 into 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. Important: Changes or modifications to this product not authorized by Apple 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 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 Korea Class B Statement36 Russia Communauté Européenne Conforme aux directives européennes 2006/95/EEC et 89/336/EEC. Informations sur l’élimination et le recyclage Votre iPod renferme une batterie. Débarrassez-vous de l’iPod en respectant les lois et les directives environnementales locales. Pour en savoir plus sur le programme de recyclage d’Apple, rendez-vous sur www.apple.com/environment. Deutschland: Dieses Gerät enthält Batterien. Bitte nicht in den Hausmüll werfen. Entsorgen Sie dieses Gerätes am Ende seines Lebenszyklus entsprechend der maßgeblichen gesetzlichen Regelungen. China: Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. Taiwan: Union Européenne-informations sur l’élimination : Le symbole ci-dessus signifie que vous devez vous débarasser de votre produit sans le mélanger avec les ordures ménagères, selon les normes et la législation de votre pays. Lorsque ce produit n’est plus utilisable, portez-le dans un centre de traitement des déchets agréé par les autorités locales. Certains centres acceptent les produits gratuitement. Le traitement et le recyclage séparé de votre produit lors de son élimination aideront à préserver les ressources naturelles et à protéger l’environnement et la santé des êtres humains. Apple et l’environnement Chez Apple, nous sommes conscients de la responsabilité qui nous incombe de réduire les impacts écologiques de nos activités et de nos produits. Pour plus d’informations, allez sur : www.apple.com/environment © 2007 Apple Inc. Tous droits réservés. Apple, le logo Apple, FireWire, iPod, iTunes, Mac, Macintosh et Mac OS sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder et Shuffle sont des marques d’Apple Inc. Apple Store est une marque de service d’Apple Inc. déposée aux États-Unis et dans d’autres pays. Les autres noms de produits et de sociétés peuvent être la propriété de leurs détenteurs respectifs. La mention de produits tierces est réservée à des fins d’information et n’équivaut pas à une approbation ou à une recommandation. La responsabilité d’Apple n’est pas engagée concernant les performances ou l’utilisation de ces produits. Tous les accords ou garanties éventuels sont directement évoqués entre le fournisseur et les éventuels utilisateurs. Apple s’est attaché à fournir aux utilisateurs les informations les plus justes possible dans ce manuel. Apple n’est pas responsable des erreurs d’impression ou d’écriture. F019-0996/2-2007 iPhone 4 Important Product Information GuideThis Important Product Information Guide contains safety and handling, regulatory, software license, and warranty information for iPhone. Look for recycling, disposal, and other environmental information in the iPhone User Guide at:??support.apple.com/manuals/iphone ±To avoid injury, read all operating instructions and the following safety information before using iPhone. For detailed operating instructions, read the iPhone User Guide on your iPhone by visiting help.apple.com/iphone or using the iPhone User Guide bookmark in Safari. For downloadable versions of the latest iPhone User Guide and this Important Product Information Guide, visit:??support.apple.com/manuals/iphone Important Safety and Handling Information WARNING:??Failure to follow these safety instructions could result in fire, electric shock, or other injury or damage to iPhone or other property. Carrying and Handling iPhone iPhone contains sensitive components. Do not drop, disassemble, microwave, burn, paint, or insert foreign objects into iPhone. Do not use iPhone if it has been damaged—for example, if iPhone is cracked, punctured, or damaged by water. The front and back covers of iPhone are made of glass. This glass could break if iPhone is dropped on a hard surface, is subjected to a substantial impact, or is crushed, bent, or deformed. If the glass chips or cracks, do not touch or attempt to remove the broken glass. Stop using iPhone until the glass is replaced by Apple or an Apple Authorized Service Provider. Glass cracked due to misuse or abuse is not covered under the warranty. If you are concerned about scratching or abrasion, use a case, sold separately. Keeping the Outside of iPhone Clean Clean iPhone immediately if it comes into contact with any contaminants that may cause stains—for example, ink, dyes, makeup, dirt, food, oils, and lotions. To clean iPhone, unplug all cables and turn off iPhone (press and hold the On/Off button, and then slide the onscreen slider). Then use a soft, slightly damp, lint-free cloth. Avoid getting moisture in openings. Don’t use window cleaners, household cleaners, aerosol sprays, solvents, alcohol, ammonia, or abrasives to clean iPhone. The front glass surface has an oleophobic coating. To remove fingerprints, simply wipe these surfaces with a soft, lint-free cloth. The ability of this coating to repel oil will diminish over time with normal usage, and rubbing the screen with an abrasive material will further diminish its effect and may scratch the glass. Avoiding Water and Wet Locations Do not expose iPhone to water or rain, or handle iPhone near wet locations—for example, near washbasins or toilets. Take care not to spill any food or liquid on iPhone. In case iPhone gets wet, unplug all cables, turn off iPhone before cleaning, and allow it to dry thoroughly before turning it on again. Do not attempt to dry iPhone with an external heat source, such as a microwave oven or hair dryer. Damage to iPhone caused by contact with liquid is not covered under the warranty.Repairing or Modifying iPhone Never attempt to repair or modify iPhone yourself. iPhone does not contain any user-serviceable parts, except (where applicable) for the SIM card and SIM tray. Disassembling iPhone, including the removal of external screws and back cover, may cause damage that is not covered under the warranty. If iPhone has been submerged in water, punctured, or subjected to a severe fall, do not use it until you take it to an Apple Authorized Service Provider. Service should only be provided by Apple or an Apple Authorized Service Provider. If you have questions, contact Apple or an Apple Authorized Service Provider. For service information, go to: www.apple.com/support/iphone/service/faq Battery Replacement Do not attempt to replace the rechargeable battery in iPhone yourself. The battery should be replaced only by Apple or an Apple Authorized Service Provider. For more information about battery replacement service, go to:?? www.apple.com/batteries/replacements.html Charging iPhone To charge iPhone, use only the Apple Dock Connector to USB Cable with the following: (i) an Apple USB Power Adapter, (ii) another Apple-branded product or accessory designed to work with iPhone, (iii) a third-party accessory certified to use the Apple “Works with iPhone” or “Made for iPhone” logo, (iv) a high-power USB port on another device that is compliant with the USB 2.0 or 1.1 standard, or (v) a power adapter compliant with one or more of the following standards EN 301489-34, IEC 62684, YD/T 1591-2009, CNS 15285, ITU L.1000, or another applicable mobile phone power adapter interoperability standard. An iPhone Micro USB Adapter (available separately in some areas) or other adapter may be needed to connect iPhone to some compatible power adapters. Note:??Only micro USB power adapters in certain regions that comply with applicable mobile phone power adapter interoperability standards are compatible. Please contact the power adapter manufacturer to find out if your micro USB power adapter complies with these standards. Read all safety instructions for any products and accessories before using with iPhone. Apple is not responsible for the operation of, or any damage caused by, third-party accessories or their compliance with safety and regulatory standards. When you use the Apple USB Power Adapter to charge iPhone, make sure that the power adapter is fully assembled before you plug it into a power outlet. Then insert the Apple USB Power Adapter firmly into the power outlet. Do not connect or disconnect the Apple USB Power Adapter with wet hands. The Apple USB Power Adapter may become warm during normal use. Always allow adequate ventilation around the Apple USB Power Adapter and use care when handling. Unplug the Apple USB Power Adapter if any of the following conditions exist:  The power cord or plug has become frayed or damaged.  The adapter is exposed to rain, liquid, or excessive moisture.  The adapter case has become damaged.  You suspect the adapter needs service or repair.  You want to clean the adapter. Avoiding Hearing Damage Permanent hearing loss may occur if the receiver, earbuds, headphones, speakerphone, or earpiece are used at high volume. Use only compatible receivers, earbuds, headphones, speakerphones, or earpieces with your device. Turn on the audio and check the volume before inserting anything in your ear. You can adapt over time to a higher volume of sound that may sound normal but can be damaging to your hearing. If you experience ringing in your ears or muffled speech, stop listening and have your hearing checked. The louder the volume, the less time is required before your hearing could be affected. Hearing experts suggest that to protect your hearing:  Limit the amount of time you use the receiver, earbuds, headphones, speakerphone, or earpieces at high volume.  Avoid turning up the volume to block out noisy surroundings.  Turn the volume down if you can’t hear people speaking near you. For information about how to set a maximum volume limit on iPhone, see the iPhone User Guide. Emergency Calls You should not rely on wireless devices for essential communications, such as medical emergencies. Use of iPhone to call emergency services may not work in all locations or all operating conditions. Emergency numbers and services vary by region, and sometimes an emergency call cannot be placed due to network availability or environmental interference. Some cellular networks may not accept an emergency call from iPhone if iPhone is not activated, if iPhone is not compatible with or configured to operate on a particular cellular network, or (when applicable) if iPhone does not have a SIM or if the SIM is PIN-locked. Driving and Riding Safely Use of iPhone while driving a vehicle or riding a bicycle may be distracting. If you find using iPhone disruptive or distracting while driving or riding, pull off the road and park before making or answering a call. Use of iPhone alone or with headphones (even if used only in one ear) while driving or riding is not recommended and is illegal in some areas. Consider using a compatible hands-free device with iPhone. Use of a hands-free device may be required in some areas. Check and obey the laws and regulations regarding the use of mobile devices like iPhone in the areas where you drive or ride. Navigating Safely Do not rely on iPhone applications that provide maps, digital compass headings, orientation information, traffic information, directions, or location-based navigation to determine precise locations, proximity, orientation, distance, traffic conditions or direction. These applications should only be used for basic navigation assistance. Maps, directions, and location-based applications depend on data services. These data services are subject to change and may not be available in all areas, resulting in maps, digital compass headings, directions, traffic conditions or location-based information that may be unavailable, inaccurate, or incomplete. iPhone contains an internal digital compass located in the upper-right corner of iPhone. The accuracy of digital compass headings may be negatively affected by magnetic or other environmental interference, including interference caused by the close proximity of the magnets contained in the iPhone earbuds. Never rely solely on the digital compass for determining direction. Compare the information provided on iPhone to your surroundings and defer to posted signs to resolve any discrepancies. Do not use location-based applications while performing activities that require your full attention. Always comply with posted signs and the laws and regulations in the areas where you are using iPhone. For Vehicles Equipped with an Air Bag An air bag inflates with great force. Do not store iPhone or any of its accessories in the area over the air bag or in the air bag deployment area. Seizures, Blackouts, and Eyestrain A small percentage of people may be susceptible to blackouts or seizures (even if they have never had one before) when exposed to flashing lights or light patterns such as when playing games or watching video. If you have experienced seizures or blackouts or have a family history of such occurrences, you should consult a physician before playing games (if available) or watching videos on your iPhone. Discontinue use of iPhone and consult a physician if you experience headaches, blackouts, seizures, convulsion, eye or muscle twitching, loss of awareness, involuntary movement, or disorientation. To reduce risk of headaches, blackouts, seizures, and eyestrain, avoid prolonged use, hold iPhone further away from your eyes, use iPhone in a well-lit room, and take frequent breaks. Choking Hazards iPhone and its accessories may contain small parts, which may present a choking hazard to small children. Keep such parts away from small children. Repetitive Motion When you perform repetitive activities such as typing or playing games on iPhone, you may experience occasional discomfort in your hands, arms, shoulders, neck, or other parts of your body. Take frequent breaks and if you have discomfort during or after such use, stop use and see a physician. Potentially Explosive Atmospheres Turn off iPhone when in any area with a potentially explosive atmosphere. Do not charge iPhone, and obey all signs and instructions. Sparks in such areas could cause an explosion or fire, resulting in serious injury or even death. Areas with a potentially explosive atmosphere are often, but not always, marked clearly. Potential areas may include: fueling areas (such as gas stations); below deck on boats; fuel or chemical transfer or storage facilities; vehicles using liquefied petroleum gas (such as propane or butane); areas where the air contains chemicals or particles (such as grain, dust, or metal powders); and any other area where you would normally be advised to turn off your vehicle engine. Using Connectors, Ports, and Buttons Never force a connector into a port or apply excessive pressure to a button, because this may cause damage that is not covered under the warranty. If the connector and port don’t join with reasonable ease, they probably don’t match. Check for obstructions and make sure that the connector matches the port and that you have positioned the connector correctly in relation to the port. Accessories and Wireless Performance Not all iPod accessories are fully compatible with iPhone. Turning on Airplane Mode on iPhone may eliminate audio interference between iPhone and an accessory. While Airplane mode is on, you cannot make or receive calls or use features that require wireless communication. Under some conditions, certain accessories may affect iPhone wireless performance. Reorienting or relocating iPhone and the connected accessory may improve wireless performance. Keeping iPhone Within Acceptable Temperatures iPhone is designed to be operated in temperatures between 0º and 35º C (32º to 95º F) and stored in temperatures between -20º and 45º C (-4º to 113º F). Low- or high-temperature conditions might temporarily shorten battery life or cause iPhone to temporarily stop working properly. Leaving iPhone in a parked vehicle or in direct sunlight can cause iPhone to exceed these storage or operating temperature ranges. Avoid dramatic changes in temperature or humidity when using iPhone as condensation may form on or within iPhone. When you’re using iPhone or charging the battery, it is normal for iPhone to get warm. The exterior of iPhone functions as a cooling surface that transfers heat from inside the unit to the cooler air outside. Exposure to Radio Frequency Energy iPhone transmits and receives radio frequency (RF) energy through its antennas. The iPhone cellular antennas are located at the top and bottom edges of iPhone. The Wi-Fi and Bluetooth® antenna is located near the top of iPhone. iPhone is designed and manufactured to comply with the limits for exposure to RF energy set by international regulatory agencies, including the FCC of the United States, IC of Canada, MIC of Japan, and the Counsel of the European Union, among others. “Specific Absorption Rate,” or SAR, refers to the rate at which the body absorbs RF energy. The SAR limits for mobile phones are 1.6 watts per kilogram (W/kg) for the FCC and IC, and 2.0 W/kg for the Council of the European Union. iPhone has been tested, 1 and meets the FCC, IC, and European Union RF exposure guidelines for cellular, Wi-Fi, and Bluetooth operation. During SAR testing, iPhone is held in standard operating positions (i.e., at the head and on the body) and its radios are set to transmit at the highest power level. iPhone’s maximum SAR levels on each frequency of operation are provided in a chart at the end of this section. The SAR levels experienced during normal use may be lower than the maximum SAR levels. In normal use, iPhone automatically adjusts radio transmission power to the lowest level necessary to communicate with the wireless network. When carrying iPhone, keep it 1.5 cm (5/8 inch) or more away from your body to ensure exposure levels remain at or below the maximum levels. Avoid cases with metal parts. 1 The device was tested according to measurement standards and procedures specified in FCC OET Bulletin 65, Supplement C (Edition 01-01) and IEEE 1528-2003, and Canada RSS 102, Issue 4, March 2010. iPhone adheres to the European Council Recommendation of 12 July 1999 on the Limitation of Exposure of the General Public to Electromagnetic Fields [1999/519/EC]. Exposure to RF energy is related to time and distance. If you are concerned about RF exposure, decrease your total talk time on iPhone and increase your distance to iPhone by using one of the many hands-free options available, including the built-in speakerphone, the supplied headphones with built-in mic, or other third-party accessories. For more information about RF energy exposure, see the FCC’s Radio Frequency Safety page at:??www.fcc.gov/oet/rfsafety For information about the scientific research related to RF energy exposure, see the World Health Organization’s EMF Research Database at: www.who.int/peh-emf/research/database Frequency Band 2 Body 3 Head FCC & IC 1g SAR Limit (W/kg) GSM 850 1.15 1.04 1.6 GSM 1900 0.99 1.08 1.6 UMTS II 1900 0.578 1.18 1.6 UMTS V 850 0.981 1.13 1.6 CDMA 800 MHz Band Class 0 1.11 1.15 1.6 CDMA 1900 MHz Band Class 1 0.649 1.18 1.6 2.4 GHz Wi-Fi 0.191 0.372 1.6 Frequency Band 2 Body 3 Head EU 10g SAR Limit (W/kg) EGSM 900 0.989 0.766 2.0 GSM 1800 0.695 0.959 2.0 UMTS I 2100 0.495 0.98 2.0 UMTS VIII 900 0.681 0.988 2.0 2.4 GHz Wi-Fi 0.106 0.267 2.0 Radio Frequency Interference Radio-frequency emissions from electronic equipment can negatively affect the operation of other electronic equipment, causing them to malfunction. Although iPhone is designed, tested, and manufactured to comply with regulations governing radio frequency emission in countries such as the United States, Canada, the European Union, and Japan, the wireless transmitters and electrical 2 Your iPhone may be configured to support one or more of the listed frequency bands, depending on carrier technology and network availability. The frequency band used by iPhone varies depending on wireless service provider, wireless technology, and region. 3 iPhone positioned 10 mm (13/32 inch) away from the body.circuits in iPhone may cause interference in other electronic equipment. Therefore, please take the following precautions: Aircraft Use of iPhone may be prohibited while traveling in aircraft. For more information about using Airplane Mode to turn off the iPhone wireless transmitters, see the iPhone User Guide. Vehicles Radio frequency emissions from iPhone may affect electronic systems in motor vehicles. Check with the manufacturer or its representative regarding your vehicle. Pacemakers The Health Industry Manufacturers Association recommends that a minimum separation of 15 cm (6 inches) be maintained between a handheld wireless phone and a pacemaker to avoid potential interference with the pacemaker. Persons with pacemakers:  Should always keep iPhone more than 15 cm (6 inches) from the pacemaker when the phone is turned on  Should not carry iPhone in a breast pocket  Should use the ear opposite the pacemaker to minimize the potential for interference If you have any reason to suspect that interference is taking place, turn iPhone off immediately. Hearing Aid Compatibility (HAC) iPhone has been tested and rated under the American National Standard Institute (ANSI) C63.19-2007 hearing aid compatibility standard. The ANSI standard measures radio frequency interference for acoustic coupling (“M” rating) and inductive coupling with hearing aids operating in telecoil mode (“T” rating). Phones must be rated M3 or greater and T3 or greater to be hearing aid compatible under FCC rules. For more information, see the “Hearing Aid Compatibility” section of the iPhone User Guide. For current iPhone hearing aid compatibility ratings, go to:??www.apple.com/support/hac iPhone may interfere with some hearing aids. If you experience interference, consult the hearing aid manufacturer or your physician for alternatives or remedies. Compatibility With Other Wireless Technologies This phone has been tested and rated for use with hearing aids for some of the wireless technologies that it uses. However, there may be some newer wireless technologies used in this phone that have not been tested yet for use with hearing aids. It is important to try the different features of this phone thoroughly and in different locations, using your hearing aid or cochlear implant, to determine if you hear any interfering noise. Consult your service provider or the manufacturer of this phone for information on hearing aid compatibility. If you have questions about return or exchange policies, consult your service provider or phone retailer. Other Medical Devices If you use any other personal medical device, consult the device manufacturer or your physician to determine if it is adequately shielded from radio frequency emissions from iPhone. Health Care Facilities Hospitals and health care facilities may use equipment that is particularly sensitive to external radio frequency emissions. Turn iPhone off when staff or posted signs instruct you to do so.Blasting Areas and Posted Facilities To avoid interfering with blasting operations, turn off iPhone when in a “blasting area” or in areas posted “Turn off two-way radio.” Obey all signs and instructions. Certification and Compliance See iPhone for the certification and compliance marks specific to that device. To view, choose Settings > General > About > Regulatory. Australia/ New Zealand Canada IC: 579C-E2430A E.U. Japan Mexico Singapore U.S. FCC ID: BCG-E2430A Important:??Changes or modifications to this product not authorized by Apple could void the electromagnetic compatibility (EMC) and wireless compliance and negate your authority to operate the product. This product has demonstrated EMC compliance under conditions that included the use of compliant peripheral devices and shielded cables between system components. It is important that you use compliant peripheral devices and shielded cables between system components to reduce the possibility of causing interference to radios, televisions, and other electronic devices. 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. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:  Reorient or relocate the receiving antenna.  Increase the separation between the equipment and receiver.  Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.  Consult the dealer or an experienced radio/TV technician for help. Canadian Compliance Statement Complies with the Canadian ICES-003 Class B specifications. Cet appareil numérique de la Classe B est conforme à la norme NMB-003 du Canada. This device complies with RSS 210 of Industry Canada. This Class B device meets all the 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. This device complies with Industry Canada license-exempt RSS standard(s). Operation is subject to the following two conditions: (1) this device may not cause interference, and (2) this device must accept any interference, including interference that may cause undesired operation of the device. Cet appareil est conforme aux normes CNR exemptes de licence d’Industrie Canada. Le fonctionnement est soumis aux deux conditions suivantes : (1) cet appareil ne doit pas provoquer d’interférences et (2) cet appareil doit accepter toute interférence, y compris celles susceptibles de provoquer un fonctionnement non souhaité de l’appareil. European Union Regulatory Conformance The equipment complies with the RF Exposure Requirement 1999/519/EC, Council Recommendation of 12 July 1999 on the limitation of exposure of the general public to electromagnetic fields (0–300 GHz). This equipment meets the following conformance standards: EN 300 328, EN 301 489-17, EN 301 511, EN 301 908, EN 50385 This wireless device complies with the R&TTE Directive. EU Declaration of Conformity ???????????Apple Inc. ?????????, ?? ???? ?????????? ? ????????, Wi-Fi ? Bluetooth ?????????? ? ? ???????????? ??? ???????????? ?????????? ? ??????? ????????? ??????? ?? ????????? 1999/5/??. Cesky??Spolecnost Apple Inc. tímto prohlašuje, že toto mobilní zarízení s technologií Wi-Fi a Bluetooth vyhovuje základním požadavkum a dalším príslušným ustanovením smernice 1999/5/ES. Dansk??Undertegnede Apple Inc. erklærer herved, at følgende udstyr cellular, Wi-Fi og Bluetooth overholder de væsentlige krav og øvrige relevante krav i direktiv 1999/5/EF. Deutsch??Hiermit erklärt Apple Inc., dasssich Mobiltelefon,Wi-Fi und Bluetooth in Übereinstimmung mit den grundlegenden Anforderungen und den übrigen einschlägigen Bestimmungen der Richtlinie 1999/5/EG befinden.Eesti??Käesolevaga kinnitab Apple Inc., et see mobiil-, Wi-Fi- ja Bluetooth-seade vastab direktiivi 1999/5/EÜ põhinõuetele ja nimetatud direktiivist tulenevatele teistele asjakohastele sätetele. English??Hereby, Apple Inc. declares that this cellular, Wi-Fi, and Bluetooth device is in compliance with the essential requirements and other relevant provisions of Directive 1999/5/EC. Español??Por medio de la presente Apple Inc. declara que este dispositivo celular, Wi-Fi y Bluetooth cumple con los requisitos esenciales y cualesquiera otras disposiciones aplicables o exigibles de la Directiva 1999/5/CE. ??????????Me t?? pa???sa, ? Apple Inc. d????e? ?t? a?t? ? s?s?e?? ????t??, Wi-Fi ?a? Bluetooth s?µµ??f??eta? p??? t?? ßas???? apa?t?se?? ?a? t?? ???p?? s?et???? d?at??e?? t?? ?d???a? 1999/5/??. Français??Par la présente Apple Inc. déclare que l’appareil cellulaire, Wi-Fi, et Bluetooth est conforme aux exigences essentielles et aux autres dispositions pertinentes de la directive 1999/5/CE. Islenska??Apple Inc. lýsir því hér með yfir að þetta tæki, sem er farsími, þráðlaus og með blátannartækni (e: cellular, Wi-Fi and Bluetooth,) fullnægir lágmarkskröfum og öðrum viðeigandi ákvæðum Evróputilskipunar 1999/5/EC. Italiano??Con la presente Apple Inc. dichiara che questo dispositivo cellulare, Wi-Fi e Bluetooth è conforme ai requisiti essenziali ed alle altre disposizioni pertinenti stabilite dalla direttiva 1999/5/CE. Latviski??Ar šo Apple Inc. deklare, ka cellular, Wi-Fi un Bluetooth ierice atbilst Direktivas 1999/5/EK butiskajam prasibam un citiem ar to saistitajiem noteikumiem. Lietuviu??Šiuo„Apple Inc.“ deklaruoja, kad korinio,„Wi-Fi“ ir„Bluetooth“ ryšio irenginys atitinka esminius reikalavimus ir kitas 1999/5/EB Direktyvos nuostatas. Magyar??Alulírott, Apple Inc. nyilatkozom, hogy a mobil, Wi-Fi és Bluetooth megfelel a vonatkozó alapvetõ követelményeknek és az 1999/5/EC irányelv egyéb elõírásainak. Malti??Hawnhekk, Apple Inc. tiddikjara li dan l-apparat cellulari, Wi-Fi, u Bluetooth huwa konformi mar-rekwiziti essenzjali u dispozizzjonijiet ohra relevanti tad-Direttiva 1999/5/KE. Nederlands??Hierbij verklaart Apple Inc. dat het toestel cellular, Wi-Fi, en Bluetooth in overeenstemming is met de essentiële eisen en de andere bepalingen van richtlijn 1999/5/EG. Norsk??Apple Inc. erklærer herved at dette mobiltelefon-, Wi-Fi- og Bluetooth-apparatet er i samsvar med de grunnleggende kravene og øvrige relevante krav i EU-direktivet 1999/5/EF. Polski??Niniejszym Apple Inc. oswiadcza, ze ten telefon komórkowy, urzadzenie Wi-Fi oraz Bluetooth sa zgodne z zasadniczymi wymogami oraz pozostalymi stosownymi postanowieniami Dyrektywy 1999/5/EC. Português??Apple Inc. declara que este dispositivo móvel, Wi-Fi e Bluetooth está em conformidade com os requisitos essenciais e outras disposições da Directiva 1999/5/CE. Româna??Prin prezenta, Apple Inc. declara ca acest aparat celular, Wi-Fi ?i Bluetooth este în conformitate cu cerintele esentiale si cu celelalte prevederi relevante ale Directivei 1999/5/CE. Slovensko??Apple Inc. izjavlja, da so celicne naprave ter naprave Wi-Fi in Bluetooth skladne z bistvenimi zahtevami in ostalimi ustreznimi dolocili direktive 1999/5/ES.Slovensky??Apple Inc. týmto vyhlasuje, že toto mobilné, Wi-Fi & Bluetooth zariadenie splna základné požiadavky a všetky príslušné ustanovenia Smernice 1999/5/ES. Suomi??Apple Inc. vakuuttaa täten, että tämä matkapuhelin-, Wi-Fija Bluetooth-tyyppinen laite on direktiivin 1999/5/EY oleellisten vaatimusten ja sitä koskevien direktiivin muiden ehtojen mukainen. Svenska??Härmed intygar Apple Inc. att denna mobiltelefoni-, Wi-Fi-, och Bluetooth-enhet står i överensstämmelse med de väsentliga egenskapskrav och övriga relevanta bestämmelser som framgår av direktiv 1999/5/EG. A copy of the EU Declaration of Conformity is available at: www.apple.com/euro/compliance iPhone can be used in the following countries: European Community Restrictions Français??Pour usage en intérieur uniquement. Consultez l’Autorité de Régulation des Communications Electroniques et des Postes (ARCEP) pour connaître les limites d’utilisation des canaux 1 à 13. www.arcep.fr Japan Compliance Statement—VCCI Class B Statement iPhone Terms and Conditions IMPORTANT:??BY USING YOUR iPHONE, iPAD or iPOD TOUCH (“iOS DEVICE”), YOU ARE AGREEING TO BE BOUND BY THE FOLLOWING APPLE AND THIRD PARTY TERMS: A.??APPLE iOS SOFTWARE LICENSE AGREEMENT B.??NOTICES FROM APPLE C.??GOOGLE MAPS TERMS AND CONDITIONS D.??YOUTUBE TERMS AND CONDITIONS APPLE INC. iOS SOFTWARE LICENSE AGREEMENT Single Use License PLEASE READ THIS SOFTWARE LICENSE AGREEMENT (“LICENSE”) CAREFULLY BEFORE USING YOUR iOS DEVICE OR DOWNLOADING THE SOFTWARE UPDATE ACCOMPANYING THIS LICENSE. BY USING YOUR iOS DEVICE OR DOWNLOADING A SOFTWARE UPDATE, AS APPLICABLE, YOU ARE AGREEING TO BE BOUND BY THE TERMS OF THIS LICENSE. IF YOU DO NOT AGREE TO THE TERMS OF THIS LICENSE, DO NOT USE THE iOS DEVICE OR DOWNLOAD THE SOFTWARE UPDATE. FOR iOS DEVICE PURCHASERS, IF YOU DO NOT AGREE TO THE TERMS OF THE LICENSE, YOU MAY RETURN THE iOS DEVICE WITHIN THE RETURN PERIOD TO THE APPLE STORE OR AUTHORIZED DISTRIBUTOR WHERE YOU OBTAINED IT FOR A REFUND, SUBJECT TO APPLE’S RETURN POLICY FOUND AT http://www.apple.com/legal/sales_policies/. 1. General. (a) The software (including Boot ROM code and other embedded software), documentation, interfaces, content, fonts and any data that came with your iOS Device (“Original iOS Software”), as may be updated or replaced by feature enhancements, software updates or system restore software provided by Apple (“iOS Software Updates”), whether in read only memory, on any other media or in any other form (the Original iOS Software and iOS Software Updates are collectively referred to as the “iOS Software”) are licensed, not sold, to you by Apple Inc. (“Apple”) for use only under the terms of this License. Apple and its licensors retain ownership of the iOS Software itself and reserve all rights not expressly granted to you. (b) Apple, at its discretion, may make available future iOS Software Updates for your iOS Device. The iOS Software Updates, if any, may not necessarily include all existing software features or new features that Apple releases for newer or other models of iOS Devices. The terms of this License will govern any iOS Software Updates provided by Apple that replace and/or supplement the Original iOS Software product, unless such iOS Software Update is accompanied by a separate license in which case the terms of that license will govern. 2. Permitted License Uses and Restrictions. (a) Subject to the terms and conditions of this License, you are granted a limited non-exclusive license to use the iOS Software on a single Apple-branded iOS Device. Except as permitted in Section 2(b) below, and unless as provided in a separate agreement between you and Apple, this License does not allow the iOS Software to exist on more than one Apple-branded iOS Device at a time, and you may not distribute or make the iOS Software available over a network where it could be used by multiple devices at the same time. This License does not grant you any rights to use Apple proprietary interfaces and other intellectual property in the design, development, manufacture, licensing or distribution of third party devices and accessories, or third party software applications, for use with iOS Devices. Some of those rights are available under separate licenses from Apple. For more information on developing third party devices and accessories for iOS Devices, please email madeforipod@apple.com. For more information on developing software applications for iOS Devices, please email devprograms@apple.com. (b) Subject to the terms and conditions of this License, you are granted a limited non-exclusive license to download iOS Software Updates that may be made available by Apple for your model of the iOS Device to update or restore the software on any such iOS Device that you own or control. This License does not allow you to update or restore any iOS Device that you do not control or own, and you may not distribute or make the iOS Software Updates available over a network where they could be used by multiple devices or multiple computers at the same time. If you download an iOS Software Update to your computer, you may make one copy of the iOS Software Updates stored on your computer in machine-readable form for backup purposes only, provided that the backup copy must include all copyright or other proprietary notices contained on the original. (c) You may not and you agree not to, or to enable others to, copy (except as expressly permitted by this License), decompile, reverse engineer, disassemble, attempt to derive the source code of, decrypt, modify, or create derivative works of the iOS Software or any services provided by the iOS Software, or any part thereof (except as and only to the extent any foregoing restriction is prohibited by applicable law or to the extent as may be permitted by licensing terms governing use of open-sourced components included with the iOS Software). Any attempt to do so is a violation of the rights of Apple and its licensors of the iOS Software. (d) By storing content on your iOS Device you are making a digital copy. In some jurisdictions, it is unlawful to make digital copies without prior permission from the rights holder. The iOS Software may be used to reproduce materials so long as such use is limited to reproduction of non-copyrighted materials, materials in which you own the copyright, or materials you are authorized or legally permitted to reproduce. (e) You agree to use the iOS Software and the Services (as defined in Section 5 below) in compliance with all applicable laws, including local laws of the country or region in which you reside or in which you download or use the iOS Software and Services. (f) Use of and access to certain features of the iOS Software and certain Services (as defined in Section 5) may require you to apply for a unique user name and password combination, known as an Apple ID. In addition, you acknowledge that many features and Services of the iOS Software transmit data and could impact charges to your data plan, and that you are responsible for any such charges. For more information, please consult the User Guide for your iOS Device. 3. Transfer. You may not rent, lease, lend, sell, redistribute, or sublicense the iOS Software. You may, however, make a one-time permanent transfer of all of your license rights to the iOS Software to another party in connection with the transfer of ownership of your iOS Device, provided that: (a) the transfer must include your iOS Device and all of the iOS Software, including all its component parts, original media, printed materials and this License; (b) you do not retain any copies of the iOS Software, full or partial, including copies stored on a computer or other storage device; and (c) the party receiving the iOS Software reads and agrees to accept the terms and conditions of this License. 4. Consent to Use of Data. (a) Diagnostic and Usage Data. If you opt in to diagnostic and usage collection, you agree that Apple and its subsidiaries and agents may collect, maintain, process and use diagnostic, technical, usage and related information, including but not limited to information about your iOS Device, computer, system and application software, and peripherals, that is gathered periodically to facilitate the provision of software updates, product support and other services to you (if any) related to the iOS Software, and to verify compliance with the terms of this License. Apple may use this information, as long as it is collected in a form that does not personally identify you, to provide and improve Apple’s products and services. If you have opted in and have Location Services turned on, the location of your device may also be sent to help Apple analyze wireless or cellular performance issues (e.g. the strength or weakness of a cellular signal in a particular location). To enable Apple’s partners and third party developers to improve their software, hardware and services designed for use with Apple products, Apple may also provide any such partner or third party developer with a subset of diagnostic information that is relevant to that partner’s or developer’s software, hardware and/or services, as long as the diagnostic information is in a form that does not personally identify you. (b) Location Data. Apple and its partners and licensees may provide certain services through your iOS Device that rely upon location information. To provide and improve these services, where available, Apple and its partners and licensees may transmit, collect, maintain, process and use your location data, including the real-time geographic location of your iOS Device, road travel speed information, and location search queries. The location data and queries collected by Apple are collected in a form that does not personally identify you and may be used by Apple and its partners and licensees to provide location-based products and services. By using any location-based services on your iOS Device, you agree and consent to Apple’s and its partners’ and licensees’ transmission, collection, maintenance, processing and use of your location data and queries to provide and improve location-based and road traffic-based products and services. You may withdraw this consent at any time by going to the Location Services setting on your iOS Device and either turning off the global Location Services setting or turning off the individual location settings of each location-aware item on your iOS Device. Disabling these location features will only impact the location-based functionality of your iOS Device. It will not affect iOS Device features unrelated to location services. When using third party applications or services on the iOS Device that use or provide location data, you are subject to and should review such third party’s terms and privacy policy on use of location data by such third party applications or services. (c) Siri. If your iOS Device supports Siri, which includes the dictation feature, these features allow you to make requests, give commands and dictate text to your device using your voice. When you use Siri, the things you say will be recorded and sent to Apple to process your requests. Your device will also send Apple other information, such as your first name and nickname; the names, nicknames, and relationship with you (e.g., “my dad”) of your address book contacts; and song names in your collection (collectively, your “User Data”). All of this data is used to help Siri understand you better and recognize what you say. It is not linked to other data that Apple may have from your use of other Apple services. By using Siri, you agree and consent to Apple’s and its subsidiaries’ and agents’ transmission, collection, maintenance, processing, and use of this information, including your voice input and User Data, to provide and improve Siri and other Apple products and services. If you have Location Services turned on, the location of your iOS Device at the time you make a request will also be sent to Apple to help Siri improve the accuracy of its response to your location-based requests. You may disable the location-based functionality of Siri by going to the Location Services setting on your iOS Device and turning off the individual location setting for Siri. You can also turn off Siri altogether at any time. To do so, open Settings, tap General, tap Siri, and slide the Siri switch to “off”. You may also restrict the ability to use Siri under the Restrictions Setting. (d) FaceTime. The FaceTime video calling feature of the iOS Software (“FaceTime”) requires Internet access and may not be available in all countries or regions. Your use of FaceTime is subject to your compliance with Section 2(e) above. In order to set up FaceTime, and to initiate and receive FaceTime calls between you and other FaceTime users, certain unique identifiers for your iOS Device and account are needed. These unique identifiers may include your email address(es), the Apple ID information you provide, a hardware identifier for your iOS Device, and your iPhone’s telephone number. By using the iOS Software, you agree that Apple may transmit, collect, maintain, process and use these identifiers for the purpose of providing and improving the FaceTime feature. You understand that your iPhone’s telephone number will be displayed to the other party on the video call (even if you have a blocked number) or your email address will be shown, depending on what setting you choose. If you are using a FaceTime-capable iPad or iPod touch, your email address will be displayed to the other party on the video call. You may turn off the FaceTime feature by going to the FaceTime setting on your iOS Device or by going to the Restrictions setting and enabling the FaceTime restriction. (e) iMessage. The messaging feature of the iOS Software (“iMessage”) may not be available in all countries or regions. Your use of iMessage is subject to your compliance with Section 2(e) above. In order to set up iMessage, and to initiate and receive iMessages between you and other iOS Device users, certain unique identifiers for your iOS Device and account are needed. These unique identifiers may include your email address(es), the Apple ID information you provide, a hardware identifier for your iOS Device, and your iPhone’s telephone number. By using the iOS Software, you agree that Apple may transmit, collect, maintain, process and use these identifiers for the purpose of providing and improving the iMessage service. The iMessage service requires a Wi-Fi or cellular data connection. To facilitate delivery of your iMessages and to enable you to maintain conversations across your devices, Apple may hold your iMessages in encrypted form for a limited period of time. If your message cannot be sent as an iMessage, your message may be sent as an SMS or MMS message, for which carrier messaging rates may apply. You understand that your iPhone’s telephone number will be displayed to the other party (even if you have a blocked number) or your email address will be shown, depending on what setting you choose. If you are using an iMessage-capable iPad or iPod touch your email address will be displayed to the other party. You may turn off the iMessage service by going to the Messages setting on your iOS Device. (f) Photo Stream. By using the Photo Stream feature of iCloud, you agree that Apple may store photos taken on your iOS Device or uploaded from your computer for a limited period of time and automatically send the photos to your other Apple iOS Devices or computers that are Photo Stream-enabled. Please note that a limited number of photos may be stored at any one time, and older photos will be automatically deleted from Photo Stream over time. Any photos you want to keep must be saved to your camera roll, another album or your computer. Photo resolution may vary depending on the device to which the photos are downloaded. If you do not wish to use Photo Stream, you can turn Photo Stream off on all of your iOS Devices or computers that are Photo Stream-enabled. All use of the Photo Stream feature is subject to the terms and conditions of this agreement and the iCloud Terms and Conditions located at: http://www.apple.com/legal/icloud/ww/. (g) Interest-Based Advertising. Apple may provide mobile, interest-based advertising to you. If you do not want to receive relevant ads on your iOS Device, you can opt out by going to this link on your iOS Device: http://oo.apple.com. If you opt out, you will continue to receive the same number of mobile ads, but they may be less relevant because they will not be based on your interests. You may still see ads related to the content on a web page or in an application or based on other non-personal information. This opt-out applies only to Apple advertising services and does not affect interest-based advertising from other advertising networks. (h) Privacy Policy. At all times your information will be treated in accordance with Apple’s Privacy Policy, which is incorporated by reference into this License and can be viewed at: www.apple.com/ privacy/. 5. Services and Third Party Materials. (a) The iOS Software enables access to Apple’s iTunes Store, App Store, Game Center, iCloud and other Apple and third party services and web sites (collectively and individually, “Services”). Such Services may not be available in all languages or in all countries. Use of these Services requires Internet access and use of certain Services may require an Apple ID, may require you to accept additional terms and may be subject to additional fees. By using this software in connection with an Apple ID, iTunes Store account, Game Center account, or iCloud account, you agree to the applicable terms of service for that account, such as the latest iTunes Store Terms and Conditions or Game Center Terms and Conditions, which you may access and review at http://www.apple.com/legal/itunes/ww/, or the iCloud Terms and Conditions which can be found at http://www.apple.com/legal/icloud/ww/, respectively. (b) If you sign up for iCloud, certain iCloud features like “Back Up” and “Find My iPhone” may be accessed directly from the iOS Software. You acknowledge and agree that your use of iCloud and these features is subject to the latest terms and conditions of the iCloud service, which you may access and review at: http://www.apple.com/legal/icloud/ww/ (c) You understand that by using any of the Services, you may encounter content that may be deemed offensive, indecent, or objectionable, which content may or may not be identified as having explicit language, and that the results of any search or entering of a particular URL may automatically and unintentionally generate links or references to objectionable material. Nevertheless, you agree to use the Services at your sole risk and that Apple shall have no liability to you for content that may be found to be offensive, indecent, or objectionable. (d) Certain Services may display, include or make available content, data, information, applications or materials from third parties (“Third Party Materials”) or provide links to certain third party web sites. By using the Services, you acknowledge and agree that Apple is not responsible for examining or evaluating the content, accuracy, completeness, timeliness, validity, copyright compliance, legality, decency, quality or any other aspect of such Third Party Materials or web sites. Apple, its officers, affiliates and subsidiaries do not warrant or endorse and do not assume and will not have any liability or responsibility to you or any other person for any third-party Services, Third Party Materials or web sites, or for any other materials, products, or services of third parties. Third Party Materials and links to other web sites are provided solely as a convenience to you. (e) Financial information displayed by any Services is for general informational purposes only and should not be relied upon as investment advice. Before executing any securities transaction based upon information obtained through the Services, you should consult with a financial or securities professional who is legally qualified to give financial or securities advice in your country or region. Location data provided by any Services is for basic navigational purposes only and is not intended to be relied upon in situations where precise location information is needed or where erroneous, inaccurate, time-delayed or incomplete location data may lead to death, personal injury, property or environmental damage. Neither Apple nor any of its content providers guarantees the availability, accuracy, completeness, reliability, or timeliness of stock information, location data or any other data displayed by any Services. (f) You agree that the Services contain proprietary content, information and material that is owned by Apple and/or its licensors, and is protected by applicable intellectual property and other laws, including but not limited to copyright. You agree that you will not use such proprietary content, information or materials other than for permitted use of the Services or in any manner that is inconsistent with the terms of this License or that infringes any intellectual property rights of a third party or Apple. No portion of the Services may be reproduced in any form or by any means. You agree not to modify, rent, lease, loan, sell, distribute, or create derivative works based on the Services, in any manner, and you shall not exploit the Services in any unauthorized way whatsoever, including but not limited to, using the Services to transmit any computer viruses, worms, trojan horses or other malware, or by trespass or burdening network capacity. You further agree not to use the Services in any manner to harass, abuse, stalk, threaten, defame or otherwise infringe or violate the rights of any other party, and that Apple is not in any way responsible for any such use by you, nor for any harassing, threatening, defamatory, offensive, infringing or illegal messages or transmissions that you may receive as a result of using any of the Services. (g) In addition, Services and Third Party Materials that may be accessed from, displayed on or linked to from the iOS Device are not available in all languages or in all countries or regions. Apple makes no representation that such Services and Materials are appropriate or available for use in any particular location. To the extent you choose to use or access such Services and Materials, you do so at your own initiative and are responsible for compliance with any applicable laws, including but not limited to applicable local laws. Apple and its licensors reserve the right to change, suspend, remove, or disable access to any Services at any time without notice. In no event will Apple be liable for the removal of or disabling of access to any such Services. Apple may also impose limits on the use of or access to certain Services, in any case and without notice or liability. 6. Termination. This License is effective until terminated. Your rights under this License will terminate automatically or otherwise cease to be effective without notice from Apple if you fail to comply with any term(s) of this License. Upon the termination of this License, you shall cease all use of the iOS Software. Sections 4, 5, 6, 7, 8, 9, 12 and 13 of this License shall survive any such termination. 7. Disclaimer of Warranties. 7.1 If you are a customer who is a consumer (someone who uses the iOS Software outside of your trade, business or profession), you may have legal rights in your country of residence which would prohibit the following limitations from applying to you, and where prohibited they will not apply to you. To find out more about rights, you should contact a local consumer advice organization. 7.2 YOU EXPRESSLY ACKNOWLEDGE AND AGREE THAT, TO THE EXTENT PERMITTED BY APPLICABLE LAW, USE OF THE iOS SOFTWARE AND SERVICES IS AT YOUR SOLE RISK AND THAT THE ENTIRE RISK AS TO SATISFACTORY QUALITY, PERFORMANCE, ACCURACY AND EFFORT IS WITH YOU. 7.3 TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, THE iOS SOFTWARE AND SERVICES PROVIDED BY THE iOS SOFTWARE ARE PROVIDED “AS IS” AND “AS AVAILABLE”, WITH ALL FAULTS AND WITHOUT WARRANTY OF ANY KIND, AND APPLE AND APPLE’S LICENSORS (COLLECTIVELY REFERRED TO AS “APPLE” FOR THE PURPOSES OF SECTIONS 7 AND 8) HEREBY DISCLAIM ALL WARRANTIES AND CONDITIONS WITH RESPECT TO THE iOS SOFTWARE AND SERVICES, EITHER EXPRESS, IMPLIED OR STATUTORY, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES AND/OR CONDITIONS OF MERCHANTABILITY, SATISFACTORY QUALITY, FITNESS FOR A PARTICULAR PURPOSE, ACCURACY, QUIET ENJOYMENT, AND NON-INFRINGEMENT OF THIRD PARTY RIGHTS. 7.4 APPLE DOES NOT WARRANT AGAINST INTERFERENCE WITH YOUR ENJOYMENT OF THE iOS SOFTWARE AND SERVICES, THAT THE FUNCTIONS CONTAINED IN OR SERVICES PERFORMED BY THE iOS SOFTWARE WILL MEET YOUR REQUIREMENTS, THAT THE OPERATION OF THE iOS SOFTWARE AND SERVICES WILL BE UNINTERRUPTED OR ERROR-FREE, THAT ANY SERVICE WILL CONTINUE TO BE MADE AVAILABLE, THAT DEFECTS IN THE iOS SOFTWARE OR SERVICES WILL BE CORRECTED, OR THAT THE iOS SOFTWARE WILL BE COMPATIBLE OR WORK WITH ANY THIRD PARTY SOFTWARE, APPLICATIONS OR THIRD PARTY SERVICES. INSTALLATION OF THIS SOFTWARE MAY AFFECT THE USABILITY OF THIRD PARTY SOFTWARE, APPLICATIONS OR THIRD PARTY SERVICES. 7.5 YOU FURTHER ACKNOWLEDGE THAT THE iOS SOFTWARE AND SERVICES ARE NOT INTENDED OR SUITABLE FOR USE IN SITUATIONS OR ENVIRONMENTS WHERE THE FAILURE OR TIME DELAYS OF, OR ERRORS OR INACCURACIES IN, THE CONTENT, DATA OR INFORMATION PROVIDED BY THE iOS SOFTWARE OR SERVICES COULD LEAD TO DEATH, PERSONAL INJURY, OR SEVERE PHYSICAL OR ENVIRONMENTAL DAMAGE, INCLUDING WITHOUT LIMITATION THE OPERATION OF NUCLEAR FACILITIES, AIRCRAFT NAVIGATION OR COMMUNICATION SYSTEMS, AIR TRAFFIC CONTROL, LIFE SUPPORT OR WEAPONS SYSTEMS. 7.6 NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY APPLE OR AN APPLE AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY. SHOULD THE iOS SOFTWARE OR SERVICES PROVE DEFECTIVE, YOU ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING, REPAIR OR CORRECTION. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES OR LIMITATIONS ON APPLICABLE STATUTORY RIGHTS OF A CONSUMER, SO THE ABOVE EXCLUSION AND LIMITATIONS MAY NOT APPLY TO YOU. 8. Limitation of Liability. TO THE EXTENT NOT PROHIBITED BY APPLICABLE LAW, IN NO EVENT SHALL APPLE BE LIABLE FOR PERSONAL INJURY, OR ANY INCIDENTAL, SPECIAL, INDIRECT OR CONSEQUENTIAL DAMAGES WHATSOEVER, INCLUDING, WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS, CORRUPTION OR LOSS OF DATA, FAILURE TO TRANSMIT OR RECEIVE ANY DATA, BUSINESS INTERRUPTION OR ANY OTHER COMMERCIAL DAMAGES OR LOSSES, ARISING OUT OF OR RELATED TO YOUR USE OF OR INABILITY TO USE THE iOS SOFTWARE AND SERVICES OR ANY THIRD PARTY SOFTWARE OR APPLICATIONS IN CONJUNCTION WITH THE iOS SOFTWARE, HOWEVER CAUSED, REGARDLESS OF THE THEORY OF LIABILITY (CONTRACT, TORT OR OTHERWISE) AND EVEN IF APPLE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME JURISDICTIONS DO NOT ALLOW THE LIMITATION OF LIABILITY FOR PERSONAL INJURY, OR OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THIS LIMITATION MAY NOT APPLY TO YOU. In no event shall Apple’s total liability to you for all damages (other than as may be required by applicable law in cases involving personal injury) exceed the amount of two hundred and fifty dollars (U.S.$250.00). The foregoing limitations will apply even if the above stated remedy fails of its essential purpose. 9. Digital Certificates. The iOS Software contains functionality that allows it to accept digital certificates either issued from Apple or from third parties. YOU ARE SOLELY RESPONSIBLE FOR DECIDING WHETHER OR NOT TO RELY ON A CERTIFICATE WHETHER ISSUED BY APPLE OR A THIRD PARTY. YOUR USE OF DIGITAL CERTIFICATES IS AT YOUR SOLE RISK. TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, APPLE MAKES NO WARRANTIES OR REPRESENTATIONS, EXPRESS OR IMPLIED, AS TO MERCHANTABILITY OR FITNESS FOR ANY PARTICULAR PURPOSE, ACCURACY, SECURITY, OR NON-INFRINGEMENT OF THIRD PARTY RIGHTS WITH RESPECT TO DIGITAL CERTIFICATES. 10. Export Control. You may not use or otherwise export or re-export the iOS Software except as authorized by United States law and the laws of the jurisdiction(s) in which the iOS Software was obtained. In particular, but without limitation, the iOS Software may not be exported or reexported (a) into any U.S. embargoed countries or (b) to anyone on the U.S. Treasury Department’s list of Specially Designated Nationals or the U.S. Department of Commerce Denied Person’s List or Entity List. By using the iOS Software, you represent and warrant that you are not located in any such country or on any such list. You also agree that you will not use the iOS Software for any purposes prohibited by United States law, including, without limitation, the development, design, manufacture or production of missiles, nuclear, chemical or biological weapons. 11. Government End Users. The iOS Software and related documentation are “Commercial Items”, as that term is defined at 48 C.F.R. §2.101, consisting of “Commercial Computer Software” and “Commercial Computer Software Documentation”, as such terms are used in 48 C.F.R. §12.212 or 48 C.F.R. §227.7202, as applicable. Consistent with 48 C.F.R. §12.212 or 48 C.F.R. §227.7202-1 through 227.7202-4, as applicable, the Commercial Computer Software and Commercial Computer Software Documentation are being licensed to U.S. Government end users (a) only as Commercial Items and (b) with only those rights as are granted to all other end users pursuant to the terms and conditions herein. Unpublished-rights reserved under the copyright laws of the United States. 12. Controlling Law and Severability. This License will be governed by and construed in accordance with the laws of the State of California, excluding its conflict of law principles. This License shall not be governed by the United Nations Convention on Contracts for the International Sale of Goods, the application of which is expressly excluded. If you are a consumer based in the United Kingdom, this License will be governed by the laws of the jurisdiction of your residence. If for any reason a court of competent jurisdiction finds any provision, or portion thereof, to be unenforceable, the remainder of this License shall continue in full force and effect. 13. Complete Agreement; Governing Language. This License constitutes the entire agreement between you and Apple relating to the iOS Software and supersedes all prior or contemporaneous understandings regarding such subject matter. No amendment to or modification of this License will be binding unless in writing and signed by Apple. Any translation of this License is done for local requirements and in the event of a dispute between the English and any non-English versions, the English version of this License shall govern, to the extent not prohibited by local law in your jurisdiction. 14. Third Party Acknowledgements. Portions of the iOS Software may utilize or include third party software and other copyrighted material. Acknowledgements, licensing terms and disclaimers for such material are contained in the electronic documentation for the iOS Software, and your use of such material is governed by their respective terms. Use of the Google Safe Browsing Service is subject to the Google Terms of Service (http://www.google.com/terms_of_service.html) and to Google’s Privacy Policy (http://www.google.com/privacypolicy.html). 15. Use of MPEG-4; H.264/AVC Notice. (a) The iOS Software contains MPEG-4 video encoding and/or decoding functionality. The iOS Software is licensed under the MPEG-4 Visual Patent Portfolio License for the personal and non-commercial use of a consumer for (i) encoding video in compliance with the MPEG-4 Visual Standard (“MPEG-4 Video”) and/or (ii) decoding MPEG-4 video that was encoded by a consumer engaged in a personal and non-commercial activity and/or was obtained from a video provider licensed by MPEG LA to provide MPEG-4 video. No license is granted or shall be implied for any other use. Additional information including that relating to promotional, internal and commercial uses and licensing may be obtained from MPEG LA, LLC. See http://www.mpegla.com. (b) The iOS Software contains AVC encoding and/or decoding functionality, commercial use of H.264/AVC requires additional licensing and the following provision applies: THE AVC FUNCTIONALITY IN THE iOS SOFTWARE IS LICENSED HEREIN ONLY FOR THE PERSONAL AND NON-COMMERCIAL USE OF A CONSUMER TO (i) ENCODE VIDEO IN COMPLIANCE WITH THE AVC STANDARD (“AVC VIDEO”) AND/OR (ii) DECODE AVC VIDEO THAT WAS ENCODED BY A CONSUMER ENGAGED IN A PERSONAL AND NON-COMMERCIAL ACTIVITY AND/OR AVC VIDEO THAT WAS OBTAINED FROM A VIDEO PROVIDER LICENSED TO PROVIDE AVC VIDEO. INFORMATION REGARDING OTHER USES AND LICENSES MAY BE OBTAINED FROM MPEG LA L.L.C. SEE HTTP://WWW.MPEGLA.COM. 16. Yahoo Search Service Restrictions. The Yahoo Search Service available through Safari is licensed for use only in the following countries and regions: Argentina, Aruba, Australia, Austria, Barbados, Belgium, Bermuda, Brazil, Bulgaria, Canada, Cayman Islands, Chile, China, Colombia, Cyprus, Czech Republic, Denmark, Dominican Republic, Ecuador, El Salvador, Finland, France, Germany, Greece, Grenada, Guatemala, Hong Kong, Hungary, Iceland, India, Indonesia, Ireland, Italy, Jamaica, Japan, Latvia, Lithuania, Luxembourg, Malaysia, Malta, Mexico, Netherlands, New Zealand, Nicaragua, Norway, Panama, Peru, Philippines, Poland, Portugal, Puerto Rico, Romania, Singapore, Slovakia, Slovenia, South Korea, Spain, St. Lucia, St. Vincent, Sweden, Switzerland, Taiwan, Thailand, The Bahamas, Trinidad and Tobago, Turkey, UK, Uruguay, US and Venezuela. 17. Microsoft Exchange Notice. The Microsoft Exchange mail setting in the iOS Software is licensed only for over-the-air synchronization of information, such as email, contacts, calendar and tasks, between your iOS and Microsoft Exchange Server or other server software licensed by Microsoft to implement the Microsoft Exchange ActiveSync protocol. EA0790 Rev. 8/15/11 NOTICES FROM APPLE If Apple needs to contact you about your product or account, you consent to receive the notices by email. You agree that any such notices that we send you electronically will satisfy any legal communication requirements. GOOGLE MAPS TERMS AND CONDITIONS Thank you for trying out the Google Maps for mobile software application! This page contains the terms and conditions (the “Terms and Conditions”) for Google Maps for mobile and the enterprise version of Google Maps for mobile. In order to use this software, including any third party software made available to you in conjunction with this software and/or the related service, (collectively referred to below as “Google Maps for mobile”) you agree to be bound by these Terms and Conditions, either on behalf of yourself or on behalf of your employer or other entity. If you are agreeing to be bound by these Terms and Conditions on behalf of your employer or other entity, you represent and warrant that you have full legal authority to bind your employer or such entity to these Terms and Conditions. If you don’t have the legal authority to bind, please press “No” when asked whether you agree to these Terms and Conditions, and do not proceed with use of this product. Additional Terms??Google Maps for mobile is designed to be used in conjunction with Google’s Maps services and other Google services. Accordingly, you agree and acknowledge that your use of Google Maps for mobile is also subject to (a) the specific terms of service for Google Maps (which can be viewed at http://local.google.com/help/terms_local. html) including the content notices applicable thereto (which can be viewed at http://local.google.com/help/legalnotices_local.html), (b) the general Google terms of service (which can be viewed at http://www.google.com/terms_of_service.html) and (c) Google’s overall privacy policy (which can be viewed at http://www.google.com/ privacypolicy.html), as well as specific privacy policies, such as the Google Maps for mobile privacy policy included with this application, such provisions being hereby incorporated into these Terms and Conditions by reference. To the extent that there is any inconsistency or conflict between such additional terms and these Terms and Conditions, the provisions of these Terms and Conditions take precedence. Network Charges??Google does not charge for downloading or using Google Maps for mobile, but depending on your plan and your carrier or provider, your carrier or other provider may charge you for downloading Google Maps for mobile or for use of your mobile phone when you access information or other Google services through Google Maps for mobile. Non-Commercial Use Only??Google Maps for mobile is made available to you for your non-commercial use only. This means that you may use it for your personal use only: you may use it at work or at home, to search for anything you want, subject to the terms set out in these Terms and Conditions. You need to obtain Google’s permission first, which you can do by contacting mobile-support@google.com, if you want to sell Google Maps for mobile or any information, services, or software associated with or derived from it, or if you want to modify, copy, license, or create derivative works from Google Maps for mobile. Unless you have our prior written consent, you agree not to modify, adapt, translate, prepare derivative works from, decompile, reverse engineer, disassemble or otherwise attempt to derive source code from Google Maps for mobile. Furthermore, you may not use Google Maps for mobile in any manner that could damage, disable, overburden, or impair Google’s services (e.g., you may not use the Google Maps for mobile in an automated manner), nor may you use Google Maps for mobile in any manner that could interfere with any other party’s use and enjoyment of Google’s services. If you have comments on Google Maps for mobile or ideas on how to improve it, please email mobile-support@google.com. Please note that by doing so, you also grant Google and third parties permission to use and incorporate your ideas or comments into Google Maps for mobile (or third party software) without further notice or compensation. Intellectual Property??As between you and Google, you agree and acknowledge that Google owns all rights, title and interest in and to Google Maps for mobile, including without limitation all associated Intellectual Property Rights. “Intellectual Property Rights” means any and all rights existing from time to time under patent law, copyright law, trade secret law, trademark law, unfair competition law, and any and all other proprietary rights, and any and all applications, renewals, extensions and restorations thereof, now or hereafter in force and effect worldwide. You agree to not remove, obscure, or alter Google’s or any third party’s copyright notice, trademarks, or other proprietary rights notices affixed to or contained within or accessed in conjunction with or through the Google Maps for mobile. Disclaimer of Warranties??Google and any third party who makes its software available in conjunction with or through Google Maps for mobile disclaim any responsibility for any harm resulting from your use of Google Maps for mobile and/or any third party software accessed in conjunction with or through Google Maps for mobile. GOOGLE MAPS FOR MOBILE IS PROVIDED “AS IS,” WITH NO WARRANTIES WHATSOEVER. GOOGLE AND SUCH THIRD PARTIES EXPRESSLY DISCLAIM TO THE FULLEST EXTENT PERMITTED BY LAW ALL EXPRESS, IMPLIED, AND STATUTORY WARRANTIES, INCLUDING, WITHOUT LIMITATION, THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NON-INFRINGEMENT OF PROPRIETARY RIGHTS. GOOGLE AND ANY SUCH THIRD PARTIES DISCLAIM ANY WARRANTIES REGARDING THE SECURITY, RELIABILITY, TIMELINESS, AND PERFORMANCE OF GOOGLE MAPS FOR MOBILE AND SUCH THIRD PARTY SOFTWARE. YOU UNDERSTAND AND AGREE THAT YOU DOWNLOAD AND/OR USE GOOGLE MAPS FOR MOBILE AT YOUR OWN DISCRETION AND RISK AND THAT YOU WILL BE SOLELY RESPONSIBLE FOR ANY DAMAGES TO YOUR COMPUTER OR MOBILE DEVICE SYSTEM OR LOSS OF DATA THAT RESULTS FROM THE DOWNLOAD OR USE OF GOOGLE MAPS FOR MOBILE. SOME STATES OR OTHER JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO THE ABOVE EXCLUSIONS MAY NOT APPLY TO YOU. YOU MAY ALSO HAVE OTHER RIGHTS THAT VARY FROM STATE TO STATE AND JURISDICTION TO JURISDICTION. Limitation of Liability??UNDER NO CIRCUMSTANCES SHALL GOOGLE OR ANY THIRD PARTY WHO MAKE THEIR SOFTWARE AVAILABLE IN CONJUNCTION WITH OR THROUGH THE GOOGLE MAPS FOR MOBILE BE LIABLE TO ANY USER ON ACCOUNT OF THAT USER’S USE OR MISUSE OF GOOGLE MAPS FOR MOBILE. SUCH LIMITATION OF LIABILITY SHALL APPLY TO PREVENT RECOVERY OF DIRECT, INDIRECT, INCIDENTAL, CONSEQUENTIAL, SPECIAL, EXEMPLARY, AND PUNITIVE DAMAGES WHETHER SUCH CLAIM IS BASED ON WARRANTY, CONTRACT, TORT (INCLUDING NEGLIGENCE), OR OTHERWISE, (EVEN IF GOOGLE AND/ OR A THIRD PARTY SOFTWARE PROVIDER HAVE BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES). SUCH LIMITATION OF LIABILITY SHALL APPLY WHETHER THE DAMAGES ARISE FROM USE OR MISUSE OF AND RELIANCE ON GOOGLE MAPS FOR MOBILE OR ON PRODUCTS OR SERVICES MADE AVAILABLE IN CONJUNCTION WITH OR THROUGH GOOGLE MAPS FOR MOBILE, FROM INABILITY TO USE GOOGLE MAPS FOR MOBILE OR PRODUCTS OR SERVICES MADE AVAILABLE IN CONJUNCTION WITH OR THROUGH THE GOOGLE MAPS FOR MOBILE, OR FROM THE INTERRUPTION, SUSPENSION, OR TERMINATION OF GOOGLE MAPS FOR MOBILE OR PRODUCTS OR SERVICES MADE AVAILABLE IN CONJUNCTION WITH OR THROUGH GOOGLE MAPS FOR MOBILE (INCLUDING SUCH DAMAGES INCURRED BY THIRD PARTIES). SUCH LIMITATION SHALL APPLY NOTWITHSTANDING A FAILURE OF ESSENTIAL PURPOSE OF ANY LIMITED REMEDY AND TO THE FULLEST EXTENT PERMITTED BY LAW. SOME STATES OR OTHER JURISDICTIONS DO NOT ALLOW THE EXCLUSION OR LIMITATION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATIONS AND EXCLUSIONS MAY NOT APPLY TO YOU. Miscellaneous Provisions??These Terms and Conditions will be governed by and construed in accordance with the laws of the State of California, without giving effect to the conflict of laws provisions of California or your actual state or country of residence. If for any reason a court of competent jurisdiction finds any provision or portion of these Terms and Conditions to be unenforceable, the remainder of these Terms and Conditions will continue in full force and effect. These Terms and Conditions constitute the entire agreement between you and Google with respect to the subject matter hereof and supersede and replace all prior or contemporaneous understandings or agreements, written or oral, regarding such subject matter. Any waiver of any provision of these Terms and Conditions will be effective only if in writing and signed by Google. September 2007 YOUTUBE TERMS AND CONDITIONS http://www.youtube.com/t/terms Apple One (1) Year Limited Warranty—iPhone For Apple Branded Products Only HOW CONSUMER LAW RELATES TO THIS WARRANTY. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS, AND YOU MAY HAVE OTHER RIGHTS THAT VARY FROM STATE TO STATE (OR BY COUNTRY OR PROVINCE). OTHER THAN AS PERMITTED BY LAW, APPLE DOES NOT EXCLUDE, LIMIT OR SUSPEND OTHER RIGHTS YOU MAY HAVE, INCLUDING THOSE THAT MAY ARISE FROM THE NONCONFORMITY OF A SALES CONTRACT. FOR A FULL UNDERSTANDING OF YOUR RIGHTS YOU SHOULD CONSULT THE LAWS OF YOUR COUNTRY, PROVINCE OR STATE. WARRANTY LIMITATIONS THAT MAY AFFECT CONSUMER LAW. TO THE EXTENT PERMITTED BY LAW, THIS WARRANTY AND THE REMEDIES SET FORTH ARE EXCLUSIVE AND IN LIEU OF ALL OTHER WARRANTIES, REMEDIES AND CONDITIONS, WHETHER ORAL, WRITTEN, STATUTORY, EXPRESS OR IMPLIED. APPLE DISCLAIMS ALL STATUTORY AND IMPLIED WARRANTIES, INCLUDING WITHOUT LIMITATION, WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE AND WARRANTIES AGAINST HIDDEN OR LATENT DEFECTS, TO THE EXTENT PERMITTED BY LAW. IN SO FAR AS SUCH WARRANTIES CANNOT BE DISCLAIMED, APPLE LIMITS THE DURATION AND REMEDIES OF SUCH WARRANTIES TO THE DURATION OF THIS EXPRESS WARRANTY AND, AT APPLE’S OPTION, THE REPAIR OR REPLACEMENT SERVICES DESCRIBED BELOW. SOME STATES (COUNTRIES AND PROVINCES) DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY (OR CONDITION) MAY LAST, SO THE LIMITATION DESCRIBED ABOVE MAY NOT APPLY TO YOU.WHAT IS COVERED BY THIS WARRANTY? Apple warrants the Applebranded hardware product and accessories contained in the original packaging (“Apple Product”) against defects in materials and workmanship when used normally in accordance with Apple’s published guidelines for a period of ONE (1) YEAR from the date of original retail purchase by the end-user purchaser (“Warranty Period”). Apple’s published guidelines include but are not limited to information contained in technical specifications, user manuals and service communications. WHAT IS NOT COVERED BY THIS WARRANTY? This warranty does not apply to any non-Apple branded hardware products or any software, even if packaged or sold with Apple hardware. Manufacturers, suppliers, or publishers, other than Apple, may provide their own warranties to you but Apple, in so far as permitted by law, provides their products “AS IS”. Software distributed by Apple with or without the Apple brand (including, but not limited to system software) is not covered by this warranty. Please refer to the licensing agreement accompanying the software for details of your rights with respect to its use. Apple does not warrant that the operation of the Apple Product will be uninterrupted or error-free. Apple is not responsible for damage arising from failure to follow instructions relating to the Apple Product’s use. This warranty does not apply: (a) to consumable parts, such as batteries or protective coatings that are designed to diminish over time, unless failure has occurred due to a defect in materials or workmanship; (b) to cosmetic damage, including but not limited to scratches, dents and broken plastic on ports; (c) to damage caused by use with another product; (d) to damage caused by accident, abuse, misuse, liquid contact, fire, earthquake or other external cause; (e) to damage caused by operating the Apple Product outside Apple’s published guidelines; (f) to damage caused by service (including upgrades and expansions) performed by anyone who is not a representative of Apple or an Apple Authorized Service Provider (“AASP”); (g) to an Apple Product that has been modified to alter functionality or capability without the written permission of Apple; (h) to defects caused by normal wear and tear or otherwise due to the normal aging of the Apple Product, or (i) if any serial number has been removed or defaced from the Apple Product. IMPORTANT RESTRICTION. Apple may restrict warranty service to the country where Apple or its Authorized Distributors originally sold the Apple Product. YOUR RESPONSIBILITIES. YOU SHOULD MAKE PERIODIC BACKUP COPIES OF THE INFORMATION CONTAINED ON THE APPLE PRODUCT’S STORAGE MEDIA TO PROTECT THE CONTENTS AND AS A PRECAUTION AGAINST POSSIBLE OPERATIONAL FAILURES. Before receiving warranty service, Apple or its agents may require that you furnish proof of purchase details, respond to questions designed to assist with diagnosing potential issues and follow Apple’s procedures for obtaining warranty service. Before submitting your Apple Product for warranty service you should maintain a separate backup copy of the contents of its storage media, remove all personal information that you want to protect and disable all security passwords.DURING WARRANTY SERVICE THE CONTENTS OF THE STORAGE MEDIA WILL BE DELETED AND REFORMATTED. APPLE AND ITS AGENTS ARE NOT RESPONSIBLE FOR ANY LOSS OF SOFTWARE PROGRAMS, DATA OR OTHER INFORMATION CONTAINED ON THE STORAGE MEDIA OR ANY OTHER PART OF THE APPLE PRODUCT SERVICED. Following warranty service your Apple Product or a replacement product will be returned to you as your Apple Product was configured when originally purchased, subject to applicable updates. Apple may install system software updates as part of warranty service that will prevent the Apple Product from reverting to an earlier version of the system software. Third party applications installed on the Apple Product may not be compatible or work with the Apple Product as a result of the system software update. You will be responsible for reinstalling all other software programs, data and information. Recovery and reinstallation of other software programs, data and information are not covered under this warranty. Important: Do not open the Apple Product. Opening the Apple Product may cause damage that is not covered by this warranty. Only Apple or an AASP should perform service on this Apple Product. WHAT WILL APPLE DO IN THE EVENT THE WARRANTY IS BREACHED? If during the Warranty Period you submit a valid claim to Apple or an AASP, Apple will, at its option, (i) repair the Apple Product using new or previously used parts that are equivalent to new in performance and reliability, (ii) replace the Apple Product with a product that is at least functionally equivalent to the Apple Product and is formed from new and/or previously used parts that are equivalent to new in performance and reliability, or (iii) exchange the Apple Product for a refund of your purchase price. Apple may request that you replace certain user-installable parts or products. A replacement part or product, including a user-installable part that has been installed in accordance with instructions provided by Apple, assumes the remaining warranty of the Apple Product or ninety (90) days from the date of replacement or repair, whichever provides longer coverage for you. When a product or part is replaced or a refund provided, any replacement item becomes your property and the replaced or refunded item becomes Apple’s property. HOW TO OBTAIN WARRANTY SERVICE. Please access and review the online help resources described below before seeking warranty service. If the Apple Product is still not functioning properly after making use of these resources, please contact an Apple representative or, if applicable, an Apple owned retail store (“Apple Retail”) or AASP, using the information provided below. An Apple representative or AASP will help determine whether your Apple Product requires service and, if it does, will inform you how Apple will provide it. When contacting Apple via telephone, other charges may apply depending on your location. Online information with details on obtaining warranty service is provided below. WARRANTY SERVICE OPTIONS. Apple will provide warranty service through one or more of the following options:(i) Carry-in service. You may return your Apple Product to an Apple Retail or AASP location offering carry-in service. Service will be performed at the location, or Apple Retail or an AASP may send your Apple Product to an Apple Repair Service (“ARS”) location to be serviced. Once you are notified that service is complete, you will promptly retrieve the Apple Product from the Apple Retail or AASP location, or the Apple Product will be sent directly to your location from the ARS location. (ii) Mail-in service. If Apple determines that your Apple Product is eligible for mail-in service, Apple will send you prepaid waybills and if applicable, packaging material, so that you may ship your Apple Product to an ARS or AASP location in accordance with Apple’s instructions. Once service is complete, the ARS or AASP location will return the Apple Product to you. Apple will pay for shipping to and from your location if all instructions are followed. (iii) Do-it-yourself (DIY) parts service. DIY parts service allows you to service your own Apple Product. If DIY parts service is available in the circumstances, the following process will apply. (a) Service where Apple requires return of the replaced product or part. Apple may require a credit card authorization as security for the retail price of the replacement product or part and applicable shipping costs. If you are unable to provide credit card authorization, DIY parts service may not be available to you and Apple will offer alternative arrangements for service. Apple will ship a replacement product or part to you with installation instructions, if applicable, and any requirements for the return of the replaced product or part. If you follow the instructions, Apple will cancel the credit card authorization, so you will not be charged for the product or part and shipping to and from your location. If you fail to return the replaced product or part as instructed or return a replaced product or part that is ineligible for service, Apple will charge your credit card for the authorized amount. (b) Service where Apple does not require return of the replaced product or part. Apple will ship you free of charge a replacement product or part accompanied by instructions on installation, if applicable, and any requirements for the disposal of the replaced product or part. (c) Apple is not responsible for any labor costs you incur relating to DIY parts service. Should you require further assistance, contact Apple at the telephone number listed below. Apple reserves the right to change the method by which Apple may provide warranty service to you, and your Apple Product’s eligibility to receive a particular method of service. Service will be limited to the options available in the country where service is requested. Service options, parts availability and response times may vary according to country. You may be responsible for shipping and handling charges if the Apple Product cannot be serviced in the country it is in. If you seek service in a country that is not the original country of purchase, you will comply with all applicable import and export laws and regulations and be responsible for all custom duties, V.A.T. and other associated taxes and charges. Where international service is available, Apple may repair or replace products and parts with comparable products and parts that comply with local standards.LIMITATION OF LIABILITY. EXCEPT AS PROVIDED IN THIS WARRANTY AND TO THE MAXIMUM EXTENT PERMITTED BY LAW, APPLE IS NOT RESPONSIBLE FOR DIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF WARRANTY OR CONDITION, OR UNDER ANY OTHER LEGAL THEORY, INCLUDING BUT NOT LIMITED TO LOSS OF USE; LOSS OF REVENUE; LOSS OF ACTUAL OR ANTICIPATED PROFITS (INCLUDING LOSS OF PROFITS ON CONTRACTS); LOSS OF THE USE OF MONEY; LOSS OF ANTICIPATED SAVINGS; LOSS OF BUSINESS; LOSS OF OPPORTUNITY; LOSS OF GOODWILL; LOSS OF REPUTATION; LOSS OF, DAMAGE TO, COMPROMISE OR CORRUPTION OF DATA; OR ANY INDIRECT OR CONSEQUENTIAL LOSS OR DAMAGE HOWSOEVER CAUSED INCLUDING THE REPLACEMENT OF EQUIPMENT AND PROPERTY, ANY COSTS OF RECOVERING, PROGRAMMING, OR REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH THE APPLE PRODUCT OR ANY FAILURE TO MAINTAIN THE CONFIDENTIALITY OF INFORMATION STORED ON THE APPLE PRODUCT. THE FOREGOING LIMITATION SHALL NOT APPLY TO DEATH OR PERSONAL INJURY CLAIMS, OR ANY STATUTORY LIABILITY FOR INTENTIONAL AND GROSS NEGLIGENT ACTS AND/OR OMISSIONS. APPLE DISCLAIMS ANY REPRESENTATION THAT IT WILL BE ABLE TO REPAIR ANY APPLE PRODUCT UNDER THIS WARRANTY OR REPLACE THE APPLE PRODUCT WITHOUT RISK TO OR LOSS OF INFORMATION STORED IN THE APPLE PRODUCT. SOME STATES (COUNTRIES AND PROVINCES) DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION OR EXCLUSION MAY NOT APPLY TO YOU. PRIVACY. Apple will maintain and use customer information in accordance with the Apple Customer Privacy Policy available at www. apple.com/legal/warranty/privacy. GENERAL. No Apple reseller, agent, or employee is authorized to make any modification, extension, or addition to this warranty. If any term is held to be illegal or unenforceable, the legality or enforceability of the remaining terms shall not be affected or impaired. This warranty is governed by and construed under the laws of the country in which the Apple Product purchase took place. Apple is identified at the end of this document according to the country or region in which the Apple Product purchase took place. Apple or its successor in title is the warrantor under this warranty. ONLINE INFORMATION. More information of the following is available online: International Support Information www.apple.com/support/country Authorized Distributors www.apple.com/iphone/countries Apple Authorized Service Providers support.apple.com/kb/HT1937 Apple Retail Store www.apple.com/retail/storelistApple Support and Service support.apple.com/kb/HE57 Apple Complimentary Support www.apple.com/support/country/index.html?dest=complimentary Warranty Obligor for Region or Country of Purchase Region/Country of Purchase Apple Address Americas Brazil Apple Computer Brasil Ltda Av. Cidade Jardim 400, 2 Andar, Sao Paulo, SP Brasil 01454-901 Canada Apple Canada Inc. 7495 Birchmount Rd.; Markham, Ontario, Canada; L3R 5G2 Canada Mexico Apple Operations México S.A. de C.V. Prolongación Paseo de la Reforma #600, Suite 132 Colonia Peña Blanca, Santa Fé Delegación Álvaro Obregón México D. F., CP 01210, México United States and Other Americas Countries Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, USA Europe, Middle East and Africa All countries Apple Sales International Hollyhill Industrial Estate Hollyhill, Cork, Republic of Ireland Asia Pacific Australia; New Zealand; Fiji, Papua New Guinea; Vanuatu Apple Pty. Limited. PO Box A2629, Sydney South, NSW 1235, Australia Hong Kong Apple Asia Limited 2401 Tower One, Times Square, Causeway Bay, Hong Kong India Apple India Private Ltd. 19th Floor, Concorde Tower C, UB City No 24, Vittal Mallya Road, Bangalore 560-001, India Japan Apple Japan Inc. 3-20-2 Nishishinjuku, Shinjuku-ku, Tokyo, Japan Korea Apple Korea Ltd. 3201, ASEM Tower; 159, Samsung-dong, Gangnam-Gu; Seoul 135-798, Republic of Korea Afghanistan, Bangladesh, Bhutan, Brunei, Cambodia, Guam, Indonesia, Laos, Singapore, Malaysia, Nepal, Pakistan, Philippines, Sri Lanka, Vietnam Apple South Asia Pte. Ltd. 7 Ang Mo Kio Street 64 Singapore 569086Region/Country of Purchase Apple Address People’s Republic of China Apple Computer Trading (Shanghai) Co. Ltd. Room 1815, No. 1 Jilong Road, Waigaoqiao Free Trade Zone, Shanghai 200131 China Thailand Apple South Asia (Thailand) Limited 25th Floor, Suite B2, Siam Tower, 989 Rama 1 Road, Pataumwan, Bangkok, 10330 Taiwan Apple Asia LLC 16A, No. 333 Tun Hwa S. Road. Sec. 2, Taipei, Taiwan 106 Other Asian Pacific Countries Apple Inc. 1 Infinite Loop; Cupertino, CA 95014, USA iPhone US Warranty v3.0© 2011 Apple Inc. All rights reserved. Apple, the Apple logo, FaceTime, iPhone, iPod, iPod touch, iTunes, Safari, Siri, the Made for iPod logo, and the Works with iPhone logo are trademarks of Apple Inc., registered in the U.S. and other countries. The Made for iPhone logo and iMessage are trademarks of Apple Inc. iTunes Store is a service mark of Apple Inc., registered in the U.S. and other countries. App Store and iCloud are service marks of Apple Inc. IOS is a trademark or registered trademark of Cisco in the U.S. and other countries and is used under license. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple Inc. is under license. 034-5992-A Printed in XXXX iPhone User Guide For iPhone OS 3.1 SoftwareContents 9 Chapter 1: Getting Started 9 Viewing the User Guide on iPhone 9 What You Need 10 Activating iPhone 10 Installing the SIM Card 10 Registering iPhone 11 Setting Up iPhone Using VoiceOver 11 Syncing 16 Mail, Contacts, and Calendar Accounts 18 Installing Configuration Profiles 19 Disconnecting iPhone from Your Computer 20 Chapter 2: Basics 20 iPhone at a Glance 23 Home Screen 26 Buttons 28 Touchscreen 31 Onscreen Keyboard 37 Searching 38 Voice Control 39 Stereo Headset 40 Connecting to the Internet 43 Battery 45 Security Features 46 Cleaning iPhone 46 Restarting and Resetting iPhone 47 Chapter 3: Phone 47 Phone Calls 51 Visual Voicemail 54 Contacts 54 Favorites 54 Ringtones and the Ring/Silent Switch 255 Bluetooth Devices 56 International Calls 59 Chapter 4: Mail 59 Setting Up Email Accounts 59 Sending Email 60 Checking and Reading Email 64 Searching Email 64 Organizing Email 66 Chapter 5: Safari 66 Viewing Webpages 69 Searching the Web 69 Bookmarks 70 Web Clips 71 Chapter 6: iPod 71 Getting Music, Video, and More 73 Music and Other Audio 81 Videos 84 Setting a Sleep Timer 85 Changing the Browse Buttons 86 Chapter 7: Messages 86 Sending and Receiving Messages 88 Sharing Photos and Videos 88 Sending Voice Memos 89 Editing Conversations 89 Using Contact Information and Links 90 Managing Previews and Alerts 91 Chapter 8: Calendar 91 About Calendar 91 Syncing Calendars 92 Viewing Your Calendar 93 Searching Calendars 93 Subscribing to and Sharing Calendars 94 Adding Calendar Events to iPhone 95 Responding to Meeting Invitations 96 Alerts 97 Chapter 9: Photos 97 About Photos 97 Syncing Photos and Videos with Your Computer Contents 398 Viewing Photos and Videos 99 Slideshows 100 Sharing Photos and Videos 102 Assigning a Photo to a Contact 102 Wallpaper 103 Chapter 10: Camera 103 About Camera 104 Taking Photos and Recording Videos 105 Viewing and Sharing Photos and Videos 105 Trimming Videos 106 Uploading Photos and Videos to Your Computer 107 Chapter 11: YouTube 107 Finding and Viewing Videos 108 Controlling Video Playback 109 Managing Videos 109 Getting More Information 110 Using YouTube Account Features 111 Changing the Browse Buttons 111 Sending Videos to YouTube 112 Chapter 12: Stocks 112 Viewing Stock Quotes 113 Getting More Information 114 Chapter 13: Maps 114 Finding and Viewing Locations 119 Bookmarking Locations 119 Getting Directions 121 Showing Traffic Conditions 121 Finding and Contacting Businesses 123 Chapter 14: Weather 123 Viewing Weather Summaries 124 Getting More Weather Information 125 Chapter 15: Voice Memos 125 Recording Voice Memos 126 Listening to Voice Memos 127 Managing Voice Memos 128 Trimming Voice Memos 128 Sharing Voice Memos 129 Syncing Voice Memos 4 Contents130 Chapter 16: Notes 130 Writing and Reading Notes 131 Searching Notes 131 Emailing Notes 131 Syncing Notes 132 Chapter 17: Clock 132 World Clocks 133 Alarms 133 Stopwatch 134 Timer 135 Chapter 18: Calculator 135 Using the Calculator 135 Standard Memory Functions 136 Scientific Calculator Keys 138 Chapter 19: Settings 138 Airplane Mode 139 Wi-Fi 140 VPN 140 Notifications 141 Carrier 141 Sounds and the Ring/Silent Switch 142 Brightness 142 Wallpaper 142 General 150 Mail, Contacts, Calendars 153 Phone 156 Safari 157 Messages 158 iPod 159 Photos 159 Store 159 Nike + iPod 160 Chapter 20: iTunes Store 160 About the iTunes Store 161 Finding Music, Videos, and More 162 Purchasing Ringtones 162 Purchasing Music or Audiobooks 163 Purchasing or Renting Videos 164 Streaming or Downloading Podcasts Contents 5165 Checking Download Status 165 Syncing Purchased Content 165 Changing the Browse Buttons 166 Viewing Account Information 166 Verifying Purchases 167 Chapter 21: App Store 167 About the App Store 167 Browsing and Searching 169 Info Screen 170 Downloading Applications 171 Deleting Applications 171 Writing Reviews 172 Updating Applications 172 Syncing Purchased Applications 173 Chapter 22: Compass 173 Getting Compass Readings 174 Compass and Maps 176 Chapter 23: Contacts 176 About Contacts 176 Adding Contacts 177 Searching Contacts 178 Managing Contacts on iPhone 180 Chapter 24: Nike + iPod 180 Activating Nike + iPod 181 Additional Nike + iPod Settings 182 Chapter 25: Accessibility 182 Accessibility Features 183 VoiceOver 189 Zoom 190 White on Black 190 Mono Audio 190 Speak Auto-text 191 Triple-click Home 191 Closed Captioning and Other Helpful Features 193 Appendix A: Troubleshooting 193 Apple iPhone Support Site 193 General 195 iTunes and Syncing 6 Contents196 Phone and Voicemail 197 Safari, Text, Mail, and Contacts 200 Sound, Music, and Video 201 iTunes Stores 201 Removing the SIM Card 202 Backing Up iPhone 204 Updating and Restoring iPhone Software 205 Appendix B: Other Resources 205 Safety, Software, and Service Information 206 Viewing the User Guide on iPhone 206 Disposal and Recycling Information 207 Apple and the Environment 208 Index Contents 7Getting Started 1 · WARNING: To avoid injury, read all operating instructions in this guide and safety information in the iPhone Important Product Information Guide at www.apple.com/support/manuals/iphone before using iPhone. Viewing the User Guide on iPhone The iPhone User Guide, optimized for viewing on iPhone, is available at help.apple.com/iphone. View the guide on iPhone: In Safari, tap , then tap the iPhone User Guide bookmark. Add an icon for the guide to the Home screen: When viewing the guide, tap , then tap “Add to Home Screen.” The iPhone User Guide is available in many languages. View the guide in a different language: Tap “Change Language” at the bottom of the screen on the main contents page, then choose the language you want. What You Need To use iPhone, you need: • A wireless service plan with a carrier that provides iPhone service in your area • A Mac or a PC with a USB 2.0 port and one of the following operating systems: • Mac OS X version 10.4.11 or later; version 10.5.7 or later is required for syncing Notes and for using iPhone as a modem • Windows XP Home or Professional with Service Pack 3 or later • Windows Vista Home Premium, Business, Enterprise, or Ultimate edition • Display resolution on your computer set to 1024 x 768 or higher • iTunes 8.2 or later, available at www.itunes.com/download (iTunes 9 or later required for certain features) • QuickTime 7.6.2 or later (for playing videos recorded by iPhone 3GS on your computer) 9• An iTunes Store account (for purchases from the iTunes Store or App Store) • An Internet connection for your computer (broadband recommended) Activating iPhone Before you can use any of iPhone’s features, you must activate iPhone by signing up for a service plan with an iPhone service carrier in your area and registering iPhone with the network. Your iPhone may have been activated at the time of purchase. If it isn’t activated, contact your iPhone retailer or cellular service provider. For more information about iPhone, go to www.apple.com/iphone. Installing the SIM Card If your SIM card was not preinstalled, you must install the SIM card before you can use iPhone. SIM card SIM tray SIM eject tool Install the SIM card: 1 Insert the end of the SIM eject tool into the hole on the SIM tray. Press firmly and push it straight in until the tray pops out. If you don’t have a SIM eject tool, you can use the end of a paper clip. 2 Pull out the SIM tray and place the SIM card in the tray. The angled corner of the SIM ensures that the card fits only the correct way in the tray. 3 With the tray aligned as shown, carefully replace the SIM tray containing the SIM card in iPhone. Registering iPhone Registering iPhone with iTunes enables iTunes to identify your iPhone when it’s connected to your computer and help you manage its contents. You can then sync information with your computer and media from iTunes, and create backups of iPhone’s contents and settings. You can create an iTunes Store account, or specify an existing account, to enable purchases with iPhone. iTunes also records iPhone’s serial number in the event you need it for service or in case of loss. 10 Chapter 1 Getting StartedRegister iPhone: 1 Download and install the latest version of iTunes from www.itunes.com/download. 2 Connect iPhone to a USB 2.0 port on your Mac or PC using the cable that came with iPhone. 3 Follow the onscreen instructions in iTunes to register iPhone and sync iPhone with your contacts, calendars, and bookmarks on your computer, and with music, video, and other content from your iTunes library. In the Set Up Your iPhone screen, select “Automatically sync contacts, calendars and bookmarks” to configure those items to sync automatically when you connect iPhone to your computer. You can also customize your sync settings in iTunes. See the following section. Setting Up iPhone Using VoiceOver If you’re visually impaired, VoiceOver (available only on iPhone 3GS) can help you set up iPhone without a sighted assistant. VoiceOver describes aloud what appears on the screen, so you can use iPhone without seeing it. When you connect iPhone to your computer, iTunes detects whether you’re using a compatible screen reader on your computer, such as VoiceOver on a Mac or GW Micro Window-Eyes on a PC, and automatically enables VoiceOver on iPhone. A sighted user can also enable VoiceOver on iPhone for you, using Accessibility settings. See “Using VoiceOver” on page 187. Note: VoiceOver isn’t available in all languages. Syncing With iPhone, you can have easy access to important information on your computer, including your contacts, calendars, and even your browser bookmarks, as well as to music, video, and other content in your iTunes library. About Syncing Syncing copies information and content between iPhone and your computer, keeping it current and up-to-date, whether you make changes on iPhone or on your computer. Chapter 1 Getting Started 11iTunes lets you specify the information and content on your computer that you want to sync with iPhone. By default, iTunes syncs automatically with iPhone whenever you connect iPhone to your computer. You can also set up iPhone to sync your MobileMe and Microsoft Exchange accounts, over the air. See “Mail, Contacts, and Calendar Accounts” on page 16. Syncing with iTunes You can set iTunes to sync any or all of the following: • Contacts—names, phone numbers, addresses, email addresses, and more • Calendars—appointments and events • Email account settings • Webpage bookmarks • Notes (requires Mac OS X version 10.5.7 or later on a Mac, or Microsoft Outlook 2003 or 2007 on a PC) • Ringtones • Music and audiobooks • Photos and videos (in your computer’s photo application or folder) • iTunes U collections • Podcasts • Movies, TV shows, and music videos • Applications downloaded from the iTunes Store You can adjust sync settings whenever iPhone is connected to your computer. Ringtones, music, audiobooks, podcasts, iTunes U collections, videos, and applications can be synced from your iTunes library. If you don’t already have content in iTunes, the iTunes Store (available in some countries) makes it easy to preview and download content to iTunes. You can also add music to your iTunes library from your CDs. To learn about iTunes and the iTunes Store, open iTunes and choose Help > iTunes Help. Contacts, calendars, notes, and webpage bookmarks are synced with applications on your computer, as described in the following section. Contacts and calendars are synced both ways between your computer and iPhone. New entries or changes you make on iPhone are synced to your computer, and vice versa. Notes and webpage bookmarks are also synced both ways. Photos and videos (Mac only) can be synced from an application or from a folder. Email account settings are synced only from your computer’s email application to iPhone. This allows you to customize your email accounts on iPhone without affecting email account settings on your computer. 12 Chapter 1 Getting StartedNote: You can also set up email accounts directly on iPhone. See “Mail, Contacts, and Calendar Accounts.” Purchases you make on iPhone in the iTunes Store or the App Store are synced back to your iTunes library. You can also purchase or download content and applications directly from the iTunes Store on your computer, and then sync them to iPhone. You can set iPhone to sync with only a portion of what’s on your computer. For example, you might want to sync only a group of contacts from your address book, or only unwatched video podcasts. Important: You should be logged in to your own computer user account before connecting iPhone. Set up iTunes syncing: 1 Connect iPhone to your computer, and open iTunes (if it doesn’t open automatically). 2 In iTunes, select iPhone in the sidebar. 3 Configure the sync settings in each of the settings panes. See the following section for descriptions of the panes. 4 Click Apply in the lower-right corner of the screen. By default, “Automatically sync when this iPhone is connected” is selected. iPhone Settings Panes in iTunes The following sections provide an overview of each of the iPhone settings panes. For more information, open iTunes and choose Help > iTunes Help. Summary Pane Select “Automatically sync when this iPhone is connected” to have iTunes sync iPhone automatically whenever you connect it to your computer. Deselect this option if you want to sync only by clicking the Sync button in iTunes. For more information about preventing automatic syncing, see “Preventing Automatic Syncing” on page 15. Chapter 1 Getting Started 13Select “Sync only checked songs and videos” if you want iTunes to skip unchecked items in your iTunes library when syncing. Select “Manually manage music and videos” to turn off automatic syncing in the Music and Video settings panes. See “Manually Managing Content” on page 72. Select “Encrypt iPhone backup” if you want to encrypt the information stored on your computer when iTunes makes a backup. Encrypted backups are indicated by a padlock icon, and a password is required to restore the information to iPhone. See “Backing Up iPhone” on page 202. Click Configure Universal Access to turn on Accessibility features (available only on iPhone 3GS). See Chapter 25,“Accessibility,” on page 182. Info Pane The Info pane lets you configure the sync settings for your contacts, calendars, email accounts, and web browser. • Contacts Sync contacts with applications such as Mac OS X Address Book, Yahoo! Address Book, and Google Contacts on a Mac, or with Yahoo! Address Book, Google Contacts, Windows Address Book (Outlook Express), Windows Vista Contacts, or Microsoft Outlook 2003 or 2007 on a PC. (On a Mac, you can sync contacts with multiple applications. On a PC, you can sync contacts with only one application at a time.) If you sync with Yahoo! Address Book, you only need to click Configure to enter your new login information when you change your Yahoo! ID or password after you’ve set up syncing. • Calendars Sync calendars from applications such as iCal on a Mac, or from Microsoft Outlook 2003 or 2007 on a PC. (On a Mac, you can sync calendars with multiple applications. On a PC, you can sync calendars with only one application at a time.) • Mail Accounts Sync email account settings from Mail on a Mac, and from Microsoft Outlook 2003 or 2007 or Outlook Express on a PC. Account settings are transferred only from your computer to iPhone. Changes you make to an email account on iPhone don’t affect the account on your computer. Note: The password for your Yahoo! email account isn’t saved on your computer, so it can’t be synced and must be entered on iPhone. In Settings, choose “Mail, Contacts, Calendars,” tap your Yahoo! account, and enter the password. • Web Browser You can sync bookmarks on iPhone with Safari on a Mac, or with Safari or Microsoft Internet Explorer on a PC. 14 Chapter 1 Getting Started• Notes Sync notes in the Notes application on iPhone with notes in Mail on a Mac or with Microsoft Outlook 2003 or 2007 on a PC. (On a Mac, you must have Mac OS version 10.5.7 or later installed to sync notes.) • Advanced These options let you replace the information on iPhone with the information on your computer during the next sync. Applications Pane Use the Applications pane to specify which App Store applications to sync on iPhone, or to arrange your Home screen (requires iTunes 9 or later). Any applications downloaded directly to iPhone are automatically backed up to your iTunes library when you sync. If you manually delete an application on iPhone, you can reinstall it from this pane as long as it was previously synced. Ringtones Pane Use the Ringtones pane to select the ringtones you want to sync to iPhone. Music, Movies, TV Shows, Podcasts, and iTunes U Panes Use these panes to specify the media you want to sync. You can sync all music, movies, TV shows, podcasts, and iTunes U collections, or select the content you want on iPhone. If you want to watch rented movies on iPhone, transfer them to iPhone using the Movies pane in iTunes. If there’s not enough room on iPhone for all the media you’ve specified, iTunes can create a special playlist and set it to sync with iPhone. Note: The iTunes U pane appears only in iTunes 9 or later. In earlier versions of iTunes, iTunes U content appeared in the Podcasts pane. Photos Pane You can sync photos and videos (Mac only, iTunes 9 required) with iPhoto 4.0.3 or later, or Aperture on a Mac; or with Adobe Photoshop Elements 3.0 or later on a PC. You can also sync photos and videos in any folder on your computer that contains images. Preventing Automatic Syncing You can prevent iPhone from syncing automatically when you connect iPhone to a computer other than the one you usually sync with. Turn off automatic syncing for iPhone: Connect iPhone to your computer. In iTunes, select iPhone in the sidebar, then click the Summary tab. Deselect “Automatically sync when this iPhone is connected.” You can still sync by clicking the Sync button. Chapter 1 Getting Started 15Prevent automatic syncing for all iPhones and iPods: In iTunes choose iTunes > Preferences (on a Mac) or Edit > Preferences (on a PC), click Devices, and select “Disable automatic syncing for all iPhones and iPods.” If this checkbox is selected, iPhone won’t sync automatically, even if “Automatically sync when this iPhone is connected” is selected in the Summary pane. Prevent automatic syncing one time, without changing settings: Open iTunes, connect iPhone to your computer, then press and hold Command-Option (on a Mac) or Shift-Control (on a PC) until you see iPhone appear in the sidebar. Sync manually: In iTunes, select iPhone in the sidebar, then click Sync in the bottomright corner of the window. Or, if you’ve changed any sync settings, click Apply. Mail, Contacts, and Calendar Accounts iPhone works with MobileMe, Microsoft Exchange, and many of the most popular email systems. Setting Up Accounts MobileMe and Microsoft Exchange provide not only email, but contact and calendar information that can be synced to iPhone automatically, over the air. MobileMe can also sync your bookmarks on iPhone with Safari on a Mac, or with Safari or Microsoft Internet Explorer on a PC. You set up MobileMe, Exchange, and other email accounts directly on iPhone. iPhone uses the Exchange ActiveSync protocol to sync email, calendars, and contacts with the following versions of Microsoft Exchange: • Exchange Server 2003 Service Pack 2 • Exchange Server 2007 Service Pack 1 For many popular email accounts, iPhone automatically enters most of the settings for you. If you don’t already have an email account, you can get a free account online at www.yahoo.com, www.google.com, or www.aol.com. You can also try MobileMe, free for 60 days. Go to www.me.com. Set up an account on iPhone: 1 From the iPhone Home screen, tap Settings. 2 Tap “Mail, Contacts, Calendars,” then tap Add Account. 3 Tap an account type: • Microsoft Exchange • MobileMe • Google email 16 Chapter 1 Getting Started• Yahoo! Mail • AOL • Other 4 Enter your account information and tap Save. Your service provider or system administrator can provide the account settings you need. Exchange accounts: Enter your complete email address, domain (optional), user name, password, and a description. The description can be whatever you like. iPhone supports Microsoft’s Autodiscovery service, which uses your user name and password to determine the address of the Exchange server. If the server’s address can’t be determined, you’re asked to enter it. (Enter the complete address in the Server field.) Once you connect to the Exchange server, you may be prompted to change your passcode to match the policies set on the server. 5 If you’re setting up a MobileMe or Microsoft Exchange account, tap the items you want to use on iPhone—mail, contacts, calendars, and bookmarks (MobileMe only). MobileMe includes the Find My iPhone feature that helps you locate iPhone if it’s been lost or stolen, and remotely lock, set a passcode, or erase the information on iPhone if necessary. See “Security Features” on page 45. If you enable Find My iPhone for your MobileMe account, make sure that Push is turned on for Fetch New Data. In Settings, choose “Mail, Contacts, Calendars” > Fetch New Data, and if Push is off, tap to turn it on. For Exchange accounts, you can set how many days of email you want to sync to iPhone. If you already have contact or calendar information on iPhone when you enable the account, iPhone asks what you want to do with existing information on iPhone. You can choose to merge the existing data into your MobileMe or Exchange account. If you don’t merge the data, you can choose to keep it in a separate account on iPhone (the account is labeled “On My iPhone”), or delete it. Existing bookmarks can only be merged or deleted. Similarly, when you disable contacts or calendars in an MobileMe or Exchange account, or if you delete an account, iPhone asks if you want to keep information or delete it. You can add contacts using an LDAP account if your company or organization supports it. See “Adding Contacts” on page 176. You can subscribe to CalDAV or iCal (.ics) calendars. See “Subscribing to and Sharing Calendars” on page 93. Chapter 1 Getting Started 17Push Accounts MobileMe, Microsoft Exchange, and Yahoo! Mail are known as “push” accounts. When new information is available, such as the arrival of an email message, the information is automatically delivered (pushed) to iPhone. (In contrast, “fetch” services require your email software to periodically check with your service provider to see if new messages have arrived, and then request them to be delivered.) MobileMe and Exchange also use push to sync your contacts, calendars, and bookmarks (MobileMe only) if you have those items selected in the account settings. Synced information is transferred automatically over your wireless connection; you don’t need to connect iPhone to your computer to sync. If you don’t have a cellular connection, iPhone can receive pushed data over a Wi-Fi connection when iPhone is awake (the screen is on, or iPhone is connected to your computer or a power adapter). Installing Configuration Profiles If you’re in an enterprise environment, you may be able to set up accounts and other items on iPhone by installing a configuration profile. Configuration profiles provide a way for system administrators to quickly set up your iPhone to work with the information systems at your company, school, or organization. For example, a configuration profile might set up your iPhone to access the Microsoft Exchange servers at work, enabling iPhone to access your Exchange email, calendars, and contacts. Configuration profiles can configure multiple settings on iPhone all at once. For example, a configuration profile can set up your Microsoft Exchange account, VPN account, and certificates for secure access to your company’s network and information. A configuration profile may turn on the Passcode Lock, requiring you to create and enter a passcode for using iPhone. Your system administrator may distribute configuration profiles by email or by putting them on a secure webpage. A system administrator may also install a configuration profile directly on iPhone for you. Install a configuration profile: 1 Using iPhone, open the email message or download the configuration profile from the website provided by your system administrator. 2 When the configuration profile opens, tap Install. 3 Enter passwords and other information as requested. Important: You may be asked to verify that the configuration profile is trusted. If in doubt, consult your system administrator before installing a configuration profile. 18 Chapter 1 Getting StartedSettings provided by a configuration profile cannot be altered. If you want to change these settings, you must first remove the configuration profile or install an updated configuration profile. Remove a profile: In Settings, choose General > Profile, then select the configuration profile and tap Remove. Removing a configuration profile deletes the settings and all other information installed by the configuration profile from iPhone. Disconnecting iPhone from Your Computer Unless iPhone is syncing with your computer, you can disconnect it from your computer at any time. When iPhone is syncing with your computer, iPhone shows “Sync in progress.” If you disconnect iPhone before it finishes syncing, some data may not get transferred. When iPhone finishes syncing, iTunes shows “iPhone sync is complete.” Cancel a sync: Drag the slider on iPhone. If you get a call during a sync, the sync is canceled automatically and you can unplug iPhone to answer the call. Connect iPhone after the call to finish syncing. Chapter 1 Getting Started 19Basics 2 iPhone at a Glance Headset jack Receiver Ring/Silent switch Camera (on back) SIM card tray Volume buttons Touchscreen Speaker Dock connector Home button Sleep/Wake button Microphone Application icons Status bar Your Home screen may look different, depending on the model of iPhone you have and whether you have rearranged its icons. iPhone Included Accessories Dock Connector to USB Cable Stereo headset USB power adapter SIM eject tool 20Item What you can do with it Apple Earphones with Remote and Mic (iPhone 3GS) iPhone Stereo Headset (iPhone 3G) Listen to music, videos, and phone calls. Use the built-in microphone to talk. Press the center button to answer or end a call. When listening to iPod, press the button once to play or pause a song, or press twice quickly to skip to the next track. Use the + and – buttons to adjust the volume (iPhone 3GS only). Press and hold the center button to use Voice Control (iPhone 3GS only). Dock Connector to USB Cable Use the cable to connect iPhone to your computer to sync and charge. The cable can be used with the optional dock or plugged directly into iPhone. USB power adapter Connect the power adapter to iPhone using the included cable, then plug it into a standard power outlet to charge iPhone. SIM eject tool Eject the SIM card. Status Icons The icons in the status bar at the top of the screen give information about iPhone: Status icon What it means Cell signal Shows whether you’re in range of the cellular network and can make and receive calls. The more bars, the stronger the signal. If there’s no signal, the bars are replaced with “No service.” Airplane mode Shows that airplane mode is on—you cannot use the phone, access the Internet, or use Bluetooth® devices. Non-wireless features are available. See “Airplane Mode” on page 138. 3G Shows that your carrier’s 3G network is available, and iPhone can connect to the Internet over 3G. Available on iPhone 3G or later. See “How iPhone Connects to the Internet” on page 40. Chapter 2 Basics 21Status icon What it means EDGE Shows that your carrier’s EDGE network is available, and iPhone can connect to the Internet over EDGE. See “How iPhone Connects to the Internet” on page 40. GPRS Shows that your carrier’s GPRS network is available, and iPhone can connect to the Internet over GPRS. See “How iPhone Connects to the Internet” on page 40. Wi-Fi Shows that iPhone is connected to the Internet over a Wi-Fi network. The more bars, the stronger the connection. See “Joining a Wi-Fi Network” on page 41. Network activity Shows over-the-air syncing or other network activity. Some third-party applications may also use this icon to indicate an active process. Call Forwarding Shows that Call Forwarding is set up on iPhone. See “Call Forwarding” on page 154. VPN Shows that you’re connected to a network using VPN. See “Network” on page 143. Lock Shows that iPhone is locked. See “Sleep/Wake Button” on page 26. TTY Shows that iPhone is set to work with a TTY machine. See “Using iPhone with a Teletype (TTY) Machine” on page 154. Play Shows that a song, audiobook, or podcast is playing. See “Playing Songs” on page 73. Alarm Shows that an alarm is set. See “Alarms” on page 133. Bluetooth Blue or white icon: Bluetooth is on and a device, such as a headset or car kit, is connected. Gray icon: Bluetooth is on, but no device is connected. No icon: Bluetooth is turned off. See “Bluetooth Devices” on page 55. Battery Shows battery level or charging status. See “Battery” on page 43. 22 Chapter 2 BasicsHome Screen Press the Home button at any time to go to the Home screen, which contains your iPhone applications. Tap any application icon to get started. iPhone Applications The following applications are included with iPhone: Phone Make calls, with quick access to recent callers, favorites, and all your contacts. Dial manually using the numeric keypad. Or just use voice dialing. Visual voicemail presents a list of your voicemail messages. Just tap to listen to any message you want, in any order you want. Mail iPhone works with MobileMe, Microsoft Exchange, and many of the most popular email systems—including Yahoo! Mail, Google email, and AOL—as well as most industrystandard POP3 and IMAP email systems. View PDFs and other attachments within Mail. Save attached photos and graphics to your Camera Roll album. Safari Browse websites over a cellular data network or over Wi-Fi. Rotate iPhone sideways for widescreen viewing. Double-tap to zoom in or out—Safari automatically fits the webpage column to the iPhone screen for easy reading. Open multiple pages. Sync bookmarks with Safari or Microsoft Internet Explorer on your computer. Add Safari web clips to the Home screen for fast access to favorite websites. Save images from websites to your Photo Library. iPod Listen to your songs, audiobooks, and podcasts. Create on-the-go playlists, or use Genius to create playlists for you. Listen to Genius Mixes of songs from your library. Watch movies and video podcasts in widescreen. Messages Send and receive SMS text messages. Conversations are saved in an iChat-like presentation, so you can see a history of messages you’ve sent and received. Send photos, video clips (iPhone 3GS only), contact information, and voice memos to MMS devices (iPhone 3G or later). Calendar View and search your MobileMe, iCal, Microsoft Entourage, Microsoft Outlook, or Microsoft Exchange calendars. Enter events on iPhone and they get synced back to the calendar on your computer. Subscribe to calendars. Set alerts to remind you of events, appointments, and deadlines. Photos View photos and videos (iPhone 3GS only) you’ve taken with iPhone, received in Mail or MMS (iPhone 3GS only) messages, or synced from your computer’s photo application. (Video syncing on Macs only.) View them in portrait or landscape orientation. Zoom in on photos for a closer look. Watch a slideshow. Email photos and videos, send them in MMS messages (iPhone 3G or later), or publish them to MobileMe galleries. Assign images to contacts, and use them as wallpaper. Chapter 2 Basics 23Camera Take photos, and record videos (iPhone 3GS only). View them on iPhone, email them, send them in an MMS message (iPhone 3G or later), or upload them to your computer. Trim and save video clips. Upload videos directly to YouTube. Take a friend’s picture and set iPhone to display it when that person calls you. YouTube Play videos from YouTube’s online collection. Search for any video, or browse featured, most viewed, most recently updated, and top-rated videos. Set up and log in to your YouTube account—then rate videos, sync your favorites, show subscriptions, and more. Upload your own videos taken with iPhone. Stocks Watch your favorite stocks, updated automatically from the Internet. View company news and current trading information, such as opening or average price, trading volume, or market capitalization. Rotate iPhone to see detailed charts in landscape orientation. Drag your finger along the charts to track price points, or use two fingers to see a range between points. Maps See a street map, satellite view, or hybrid view of locations around the world. Zoom in for a closer look, or check out the Google Street View. Find and track your current (approximate) location. See which way you’re facing (iPhone 3GS only, using its builtin compass). Get detailed driving, public transit, or walking directions and see current highway traffic conditions. Find businesses in the area and call with a single tap. Weather Get current weather conditions and a six-day forecast. Add your favorite cities for a quick weather report anytime. Voice Memos Record voice memos on iPhone. Play them back on iPhone or sync them with iTunes to listen to voice memos on your computer. Attach voice memos to email or MMS messages (iPhone 3G or later). Notes Jot notes on the go—reminders, grocery lists, brilliant ideas. Send them in email. Sync notes to Mail or Microsoft Outlook or Outlook Express. Clock View the time in cities around the world—create clocks for your favorites. Set one or more alarms. Use the stopwatch, or set a countdown timer. 24 Chapter 2 BasicsCalculator Add, subtract, multiply, and divide. Rotate iPhone sideways to use expanded scientific functions. Settings Set up accounts and adjust all iPhone settings in one convenient place. Set your own volume limit for listening comfort. Set your ringtone, wallpaper, screen brightness, and settings for network, phone, mail, web, music, video, photos, and more. Set autolock and a passcode for security. Restrict access to explicit iTunes content and certain applications. Reset iPhone. iTunes Search the iTunes Store for music, ringtones, audiobooks, TV shows, music videos, and movies. Browse, preview, purchase, and download new releases, top items, and more. Rent movies to view on iPhone. Stream and download podcasts. Read reviews or write your own reviews for your favorite store items. App Store Search the App Store for iPhone applications you can purchase or download using your Wi-Fi or cellular data network connection. Read reviews or write your own reviews for your favorite apps. Download and install the application on your Home screen. Compass Use the built-in digital compass (iPhone 3GS only) to determine your heading. Get your current coordinates. Choose between true north and magnetic north. Contacts Get contact information synced from MobileMe, Mac OS X Address Book, Yahoo! Address Book, Google Contacts, Windows Address Book (Outlook Express), Microsoft Outlook, or Microsoft Exchange. Search, add, change, or delete contacts, which get synced back to your computer. Nike + iPod Nike + iPod (which appears when you activate it in Settings) turns iPhone into a workout companion. Track your pace, time, and distance from one workout to the next and choose a song to power through your routine. (iPhone 3GS only. Requires select Nike shoes and a Nike + iPod Sensor, sold separately.) Note: Application functionality and availability may vary depending on the country or region where you purchase and use iPhone. Contact your carrier for more information. Customizing the Home Screen You can customize the layout of icons on the Home screen—including the Dock icons along the bottom of the screen. If you want, arrange them over multiple Home screens. Rearrange icons: 1 Touch and hold any Home screen icon until the icons begin to wiggle. 2 Arrange the icons by dragging them. 3 Press the Home button to save your arrangement. You can also add links to your favorite webpages on the Home screen. See “Web Clips” on page 70. Chapter 2 Basics 25You can also rearrange the Home screen icons and the order of the screens (in iTunes 9 or later) when iPhone is connected to your computer. Select iPhone in the iTunes sidebar, then click the Applications tab. Create additional Home screens: While arranging icons, drag an icon to the right edge of the screen until a new screen appears. You can flick to return to the original screen and drag more icons to the new screen. You can create up to 11 screens. The number of dots above the Dock shows the number of screens you have, and indicates which screen you’re viewing. Switch to another Home screen: Flick left or right, or tap to the left or right of the row of dots. Go to the first Home screen: Press the Home button. Reset your Home screen to the default layout: Choose Settings > General > Reset and tap Reset Home Screen Layout. Buttons A few simple buttons make it easy to turn iPhone on and off, adjust the volume, and switch between ring and silent modes. Sleep/Wake Button When you’re not using iPhone but you still want to receive calls and text messages, you can lock it. When iPhone is locked, nothing happens if you touch the screen. You can still listen to music and adjust the volume, and use the center button on your iPhone headset (or the equivalent button on your Bluetooth headset) to play or pause a song, or answer or end a call. 26 Chapter 2 BasicsBy default, if you don’t touch the screen for a minute, iPhone locks automatically. Sleep/Wake button Lock iPhone Press the Sleep/Wake button. Unlock iPhone Press the Home button or the Sleep/Wake button, then drag the slider. Turn iPhone completely off Press and hold the Sleep/Wake button for a few seconds until the red slider appears, then drag the slider. When iPhone is off, incoming calls go straight to voicemail. Turn iPhone on Press and hold the Sleep/Wake button until the Apple logo appears. For information about changing how long before iPhone locks, see “Auto-Lock” on page 145. For information about setting iPhone to require a passcode to unlock it, see “Passcode Lock” on page 145. Volume Buttons When you’re on the phone or listening to songs, movies, or other media, the buttons on the side of iPhone adjust the audio volume. Otherwise, the buttons control the volume for the ringer, alerts, and other sound effects. WARNING: For important information about avoiding hearing loss, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. To adjust the volume, use the buttons on the side of iPhone. Volume up Volume down To set a volume limit for music and videos on iPhone, see “Music” on page 158. Chapter 2 Basics 27Ring/Silent Switch Flip the Ring/Silent switch to change between ring and silent modes. Ring Silent When set to ring mode, iPhone plays all sounds. When set to silent mode, iPhone doesn’t ring or play alerts and other sound effects. Important: Clock alarms, audio-dependent applications such as iPod, and many games still play sounds through the built-in speaker when iPhone is set to silent mode. By default, when you get a call, iPhone vibrates whether it’s set to ring mode, or in silent mode. If iPhone is set to ring mode, you can silence a call by pressing the Sleep/ Wake button or one of the volume buttons once. Press a second time to send the call to voicemail. For information about changing sound and vibrate settings, see “Sounds and the Ring/ Silent Switch” on page 141. Touchscreen The controls on the iPhone touchscreen change dynamically depending on the task you’re performing. Opening Applications Open an application: Tap an icon. 28 Chapter 2 BasicsClose an application and return to the Home screen: Press the Home button below the display. Scrolling Drag up or down to scroll. On some screens such as webpages, you can also scroll side to side. Dragging your finger to scroll won’t choose or activate anything on the screen. Flick to scroll quickly. You can wait for the scrolling to come to a stop, or touch anywhere on the screen to stop it immediately. Touching the screen to stop scrolling won’t choose or activate anything. To quickly scroll to the top of a list, webpage, or email, just tap the status bar. Chapter 2 Basics 29Lists Some lists have an index along the right side, which helps you navigate quickly. Find items in an indexed list: Tap a letter to jump to items starting with that letter. Drag your finger along the index to scroll quickly through the list. Index Choose an item: Tap an item in the list. Depending on the list, tapping an item can do different things—for example, it may open a new list, play a song, open an email, or show someone’s contact information so you can call that person. Return to a previous list: Tap the back button in the upper-left corner. Zooming In or Out When viewing photos, webpages, email, or maps, you can zoom in and out. Pinch your fingers together or apart. For photos and webpages, you can double-tap (tap twice quickly) to zoom in, then double-tap again to zoom out. For maps, double-tap to zoom in and tap once with two fingers to zoom out. 30 Chapter 2 BasicsViewing in Landscape Many iPhone applications let you view the screen in either portrait or landscape orientation. Rotate iPhone and the display rotates too, adjusting automatically to fit the new screen orientation. You may prefer landscape for viewing webpages in Safari, or when entering text, for example. Webpages automatically scale to the wider screen in landscape, making the text and images larger. Similarly, the onscreen keyboard is larger in landscape, which may help increase your typing speed and accuracy. The following applications support both portrait and landscape orientation: • Mail • Safari • Messages • Notes • Contacts • Stocks • iPod • Photos • Camera • Calculator Movies viewed in iPod and YouTube appear only in landscape orientation. Street views in Maps also appear in landscape. Onscreen Keyboard Use the onscreen keyboard to enter text, such as contact information, text messages, and web addresses. Chapter 2 Basics 31Typing Depending on the application you’re using, the intelligent keyboard may automatically suggest corrections as you type to help prevent mistyped words. Enter text: 1 Tap a text field, such as in a note or new contact, to bring up the keyboard. 2 Tap keys on the keyboard. Start by typing with just your index finger. As you get more proficient, you can type more quickly using two thumbs. As you type, each letter appears above your thumb or finger. If you touch the wrong key, you can slide your finger to the correct key. The letter isn’t entered until you release your finger from the key. Type uppercase Tap the Shift key before tapping a letter. Or touch and hold the Shift key, then slide to a letter. Quickly type a period and space Double-tap the space bar. (You can turn this feature on or off in Settings > General > Keyboard.) Turn caps lock on Double-tap the Shift key. The Shift key turns blue, and all letters you type are uppercase. Tap the Shift key again to turn caps lock off. (You can turn this feature on or off in Settings > General > Keyboard.) Show numbers, punctuation, or symbols Tap the Number key. Tap the Symbol key to see additional punctuation and symbols. Type letters or symbols that aren’t on the keyboard Touch and hold the related letter or symbol, then slide to choose a variation. 32 Chapter 2 BasicsDictionary For many languages, iPhone has dictionaries to help you type. The appropriate dictionary is activated automatically when you select a supported keyboard. For a list of supported languages, see www.apple.com/iphone/specs.html. iPhone uses the active dictionary to suggest corrections or complete the word you’re typing. You don’t need to interrupt your typing to accept the suggested word. Suggested word Accept or reject dictionary suggestions: m To reject the suggested word, finish typing the word as you want it, then tap the “x” to dismiss the suggestion before typing anything else. Each time you reject a suggestion for the same word, iPhone becomes more likely to accept your word. m To use the suggested word, type a space, punctuation mark, or return character. Turn Auto-Correction on or off: Choose General > Keyboard and turn Auto-Correction on or off. Auto-Correction is on by default. Note: If you’re entering Chinese or Japanese, tap one of the suggested alternatives. Editing An onscreen magnifying glass helps you position the insertion point for typing and editing text. You can select text to cut, copy, and paste. Chapter 2 Basics 33Position the insertion point: Touch and hold to bring up the magnifying glass, then drag to position the insertion point. Select text: Tap the insertion point to display the selection buttons. Tap Select to select the adjacent word or tap Select All to select all text. When you’re typing, you can also double-tap to select a word. In read-only documents, such as webpages, or email or text messages you’ve received, touch and hold to select a word. Drag the grab points to select more or less text. Cut or copy text: Select text, then tap Cut or Copy. Paste text: Tap the insertion point and tap Paste. The last text that you cut or copied is inserted. Or select text and tap Paste to replace the text. Undo the last edit: Shake iPhone and tap Undo. 34 Chapter 2 BasicsInternational Keyboards iPhone provides keyboards that allow you to enter text in many different languages, including languages that read from right to left. For a complete list of supported keyboards, go to www.apple.com/iphone/specs.html. Turn international keyboards on or off: 1 In Settings, choose General > International > Keyboards. 2 Turn on the keyboards you want. Languages with more than one keyboard, such as Japanese and Chinese, indicate the number of keyboards available. Tap to choose a keyboard for that language. Switch keyboards if more than one keyboard is turned on Tap to switch keyboards. When you tap the symbol, the name of the newly activated keyboard appears briefly. Type letters, numbers, or symbols that aren’t on the keyboard Touch and hold the related letter, number, or symbol, then slide to choose a variation. On the Hebrew and Thai keyboards, for example, you can choose native numbers by touching and holding the related Arabic number. Enter Japanese Kana Use the Kana keypad to select syllables. For more syllable options, tap the arrow key and select another syllable or word from the window. Enter Japanese QWERTY Use the QWERTY keyboard to input code for Japanese syllables. As you type, suggested syllables appear. Tap the syllable to choose it. Enter Emoji picture characters Use the Emoji keyboard. Available only on iPhones purchased and used in Japan. Enter Korean Use the 2-Set Korean keyboard to type Hangul letters. To type double consonants or compound vowels, touch and hold the letter, then slide to choose the double letter. Enter Simplified or Traditional Chinese Pinyin Use the QWERTY keyboard to enter Pinyin for Chinese characters. As you type, suggested Chinese characters appear. Tap a character to choose it, or continue entering Pinyin to see more character options. Chapter 2 Basics 35Enter Traditional Chinese Zhuyin Use the keyboard to enter Zhuyin letters. As you type, suggested Chinese characters appear. Tap a character to choose it, or continue entering Zhuyin to see more character options. After you type an initial letter, the keyboard changes to show more letters. Enter handwritten Simplified or Traditional Chinese Use the touchpad to enter Chinese characters with your finger. As you write character strokes, iPhone recognizes them and shows matching characters in a list, with the closest match at the top. When you choose a character, its related characters appear in the list as additional choices. You can get some complex characters by entering two or more component characters. For example, enter ? (fish), then ? (bristle), to get ? (partial name of Hong Kong International Airport), which appears in the character list with an arrow next to it. Tap the character to replace the characters you entered. When Simplified or Traditional Chinese handwriting formats are turned on, you can enter Chinese characters with your finger, as shown: Touchpad 36 Chapter 2 BasicsSearching You can search many applications on iPhone, including Mail, Calendar, iPod, Notes, and Contacts. You can search an individual application, or search all the applications at once using Spotlight. Go to Spotlight: From the main page of the Home screen, flick left to right. If you’re on the main Home screen page, you can press the Home button to go to Spotlight. From the Spotlight page, press the Home button to return to the main Home screen page. You can also set iPhone to go to Spotlight when you double-click the Home button. See “Home” on page 147. Search iPhone: On the Spotlight page, enter text in the Search field. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Icons to the left of the search results let you know which application the results are from. Tap an item in the results list to open it. Application What’s searched Contacts First, last, and company names Mail To, From, and Subject fields of all accounts (the text of messages isn’t searched) Calendar Event titles, invitees, and locations (notes aren’t searched) iPod Music (names of songs, artists, and albums) and the titles of podcasts, video, and audiobooks Notes Text of notes Spotlight also searches the names of the native and installed applications on iPhone, so if you have a lot of applications you may want to use Spotlight as a way to locate and open applications. Open applications from Spotlight: Enter the application name, then tap to open the application directly from the search results. Use the Search Results settings to choose which applications are searched and the order in which they’re searched. See “Home” on page 147. Chapter 2 Basics 37Voice Control Voice Control (available only on iPhone 3GS) lets you make phone calls and control iPod music playback using voice commands. Note: Voice Control isn’t available in all languages. Use Voice Control: Press and hold the Home button until the Voice Control screen appears and you hear a beep. You can also press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Use the following commands to make calls or play songs. Call someone in contacts Say “call” or “dial,” then say the name of the person. If the person has more than one phone number, you can add “home” or “mobile,” for example. Dial a number Say “call” or “dial,” then say the number. Control music playback Say “play” or “play music.” To pause, say “pause” or “pause music.” You can also say “next song” or “previous song.” Play an album, artist, or playlist Say “play,” then say “album,” “artist,” or “playlist” and the name. Shuffle the current playlist Say “shuffle.” Find out more about the currently playing song Say “what’s playing,” “what song is this,” “who sings this song,” or “who is this song by.” Use Genius to play similar songs Say “Genius,” “play more like this,” or “play more songs like this.” Cancel Voice Control Say “cancel” or “stop.” For best results: • Speak into the iPhone microphone as if you were making a phone call. You can also use the microphone in your iPhone or Bluetooth headset. • Speak clearly and naturally. 38 Chapter 2 Basics• Say only iPhone commands and names, and numbers. Pause slightly between commands. • Use full names. By default, Voice Control expects you to speak voice commands in the language that’s set for iPhone (the General > International > Language setting). The Voice Control settings let you change the language for speaking voice commands. Some languages are available in different dialects or accents. Change language or country: In Settings, choose General > International > Voice Control and tap the language or country. Voice Control for the iPod application is always on, but for security you can prevent voice dialing when iPhone is locked. Prevent voice dialing when iPhone is locked: In Settings, choose General > Passcode Lock and turn Voice Dial off. Unlock iPhone to use voice dialing. See“Voice Dialing” on page 48 and“Using Voice Control with iPod” on page 77. Stereo Headset The headset included with iPhone features a microphone and an integrated button that allows you to answer and end calls easily, and control audio and video playback. The headset included with iPhone 3GS (shown here) also has volume buttons. Center button Plug in the headset to listen to music or make a phone call. Callers hear you through the built-in microphone. Press the center button to control music playback and answer or end calls, even when iPhone is locked. (You can also use the equivalent button on your Bluetooth headset to control these functions.) Pause a song or video Press the center button once. Press again to resume playback. Skip to the next song Press the center button twice quickly. Return to previous song Press the center button three times quickly. Fast-forward Press the center button twice quickly and hold. Chapter 2 Basics 39Rewind Press the center button three-times quickly and hold. Adjust the volume (iPhone 3GS only) Press the + or – button. Answer an incoming call Press the center button once. End the current call Press the center button once. Decline an incoming call Press and hold the center button for about two seconds, then let go. Two low beeps confirm you declined the call. Switch to an incoming or on-hold call and put the current call on hold Press the center button once. Press again to switch back to the first call. Switch to an incoming or on-hold call and end the current call Press and hold the center button for about two seconds, then let go. Two low beeps confirm you ended the first call. Use Voice Control (iPhone 3GS only) Press and hold the center button. See “Voice Control” on page 38. If you get a call while the headset is plugged in, you can hear the ringtone through both the iPhone speaker and the headset. Connecting to the Internet iPhone connects to the Internet automatically whenever you use Mail, Safari, YouTube, Stocks, Maps, Weather, the App Store, or the iTunes Store. How iPhone Connects to the Internet iPhone connects to the Internet using either a Wi-Fi network or a cellular data network. iPhone does the following, in order, until connected: • Connects over the last Wi-Fi network you used that’s available. • If no previously used Wi-Fi networks are available, iPhone shows a list of Wi-Fi networks in range. Tap a network and, if necessary, enter the password to join. Networks that require a password show next to them. You can prevent iPhone from automatically showing available networks. See “Wi-Fi” on page 139. • If no Wi-Fi networks are available or you choose not to join any, iPhone connects to the Internet over a cellular data network ( , , or ). If no Wi-Fi networks are available and a cellular data network isn’t available, iPhone cannot connect to the Internet. Note: If you don’t have a 3G connection, you cannot use the Internet over a cellular data network when you’re on a call. You must have a Wi-Fi connection to use Internet applications while also talking on the phone. 40 Chapter 2 BasicsMany Wi-Fi networks can be used free of charge including, in some regions, Wi-Fi hotspots provided by your iPhone carrier. Some Wi-Fi networks require a fee. To join a Wi-Fi network at a hotspot where charges apply, you can usually open Safari to see a webpage that allows you to sign up for service. Joining a Wi-Fi Network The Wi-Fi settings let you turn on Wi-Fi and join Wi-Fi networks. Turn on Wi-Fi: Choose Settings > Wi-Fi and turn Wi-Fi on. Join a Wi-Fi network: Choose Settings > Wi-Fi, wait a moment as iPhone detects networks in range, then select a network (fees may apply to join some Wi-Fi networks). If necessary, enter a password and tap Join (networks that require a password appear with a lock icon). Once you’ve joined a Wi-Fi network manually, iPhone automatically connects to it whenever the network is in range. If more than one previously used network is in range, iPhone joins the one last used. When iPhone is connected to a Wi-Fi network, the Wi-Fi icon in the status bar at the top of the screen shows the connection strength. The more bars you see, the stronger the connection. For information about configuring Wi-Fi settings, see “Wi-Fi” on page 139. Cellular Data Network Access 3G, EDGE, and GPRS allow Internet connectivity over the cellular network available through your iPhone carrier’s wireless service. Check the carrier’s network coverage in your area for availability. You can tell iPhone is connected to the Internet via the cellular data network if you see the 3G ( ), EDGE ( ), or GPRS ( ) icon in the status bar at the top of the screen. Note: If you don’t have a 3G connection, you may not be able to receive calls while iPhone is actively transferring data over a cellular network—downloading a webpage, for example. Incoming calls then go directly to voicemail. Turn 3G on: In Settings, choose General > Network and tap Enable 3G. If you’re outside your carrier’s network, you may be able to access the Internet through another carrier. To enable email, web browsing, and other data services whenever possible, turn Data Roaming on. Turn Data Roaming on: In Settings, choose General > Network and turn Data Roaming on. Important: Roaming charges may apply. To avoid data roaming charges, make sure Data Roaming is turned off. Chapter 2 Basics 41Internet Access on an Airplane Airplane mode turns off the iPhone radio transmitters to avoid interfering with aircraft operation. In some regions, where allowed by the aircraft operator and applicable laws and regulations, you can turn on Wi-Fi while airplane mode is on, to: • Send and receive email • Browse the Internet • Sync your contacts and calendars over the air • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Purchase music and applications For more information, see “Airplane Mode” on page 138. VPN Access VPN (virtual private network) provides secure access over the Internet to private networks, such as the network at your company or school. Use Network settings to configure and turn on VPN. See “Network” on page 143. VPN can also be automatically set up by a configuration profile. See “Installing Configuration Profiles” on page 18. When VPN is set up by a configuration profile, iPhone may turn on VPN automatically whenever it’s needed. Contact your system administrator for more information. Using iPhone as a Modem You can use iPhone 3G or later as a modem to connect, or tether, your computer to the Internet. You can connect iPhone to your computer using the Dock Connector to USB Cable, or via Bluetooth. Note: Additional fees may apply. Contact your carrier for more information. Tethering works over the cellular data network. You can’t share a Wi-Fi connection to the Internet. If you have a 3G connection, you can make and receive phone calls while tethering. Note: To use iPhone as a modem with a Mac computer, it must be running Mac OS X version 10.5.7 or later. Set up a tethering connection: 1 In Settings, choose General > Network > Internet Tethering. 2 Slide the Internet Tethering switch to On. 3 Connect iPhone to your computer: 42 Chapter 2 Basics• USB: Connect your computer to iPhone, using the Dock Connector to USB Cable. In your computer’s Network services settings, choose iPhone. On a Mac, a pop-up window appears the first time you connect, saying “A new network interface has been detected.” Click Network Preferences, configure the network settings for iPhone, then click Apply. On a PC, use the Network Control Panel to configure the iPhone connection. • Bluetooth: On iPhone, choose Settings > General > Bluetooth and turn on Bluetooth. Then refer to the documentation that came with your computer system software to pair and connect iPhone with your computer. When you’re connected, a blue band appears at the top of the screen. Tethering remains on when you connect with USB, even when you aren’t actively using the Internet connection. Monitor your cellular data network usage: In Settings, choose General > Usage. Battery iPhone has an internal rechargeable battery. Charging the Battery WARNING: For important safety information about charging iPhone, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. The battery icon in the upper-right corner shows the battery level or charging status. You can also display the percentage of the battery charge (iPhone 3GS only). Charging Charged Charge the battery: Connect iPhone to a power outlet using the included Dock Connector to USB Cable and USB power adapter. Chapter 2 Basics 43Charge the battery and sync iPhone: Connect iPhone to your computer using the included Dock Connector to USB Cable. Or connect iPhone to your computer using the included cable and the Dock, available separately. Unless your keyboard has a high-powered USB 2.0 port, you must connect iPhone to a USB 2.0 port on your computer. Important: The iPhone battery may drain instead of charge if iPhone is connected to a computer that’s turned off or is in sleep or standby mode. If you charge the battery while syncing or using iPhone, it may take longer to charge. Important: If iPhone is very low on power, it may display one of the following images, indicating that iPhone needs to charge for up to ten minutes before you can use it. If iPhone is extremely low on power, the display may be blank for up to two minutes before one of the low-battery images appears. or Maximizing Battery Life iPhone uses lithium-ion batteries. To learn more about how to maximize the lifespan and battery life of your iPhone, go to www.apple.com/batteries. Replacing the Battery Rechargeable batteries have a limited number of charge cycles and may eventually need to be replaced. The iPhone battery isn’t user replaceable; it can only be replaced by an authorized service provider. For more information, go to www.apple.com/support/iphone/service/battery. 44 Chapter 2 BasicsSecurity Features Security features help protect the information on iPhone from being accessed by others. You can set up a passcode that you must enter each time you turn on or wake up iPhone. Set a passcode: Choose General > Passcode Lock and enter a 4-digit passcode, then enter the passcode again to verify it. iPhone then requires you to enter the passcode to unlock it or to display the passcode lock settings. For addition information about using a passcode lock, see “Passcode Lock” on page 145. Prevent voice dialing when iPhone is locked: In Settings, choose General > Passcode Lock and turn Voice Dial off. Unlock iPhone to use voice dialing. The Find My iPhone feature helps you locate iPhone if it’s been lost or misplaced, and display a message on your iPhone to help someone return it to you. It includes Remote Wipe, which lets you erase all your information on iPhone in case you don’t recover it. The Remote Passcode Lock feature lets you remotely lock your iPhone and create a new or replacement 4-digit passcode. Find My iPhone requires a MobileMe account. MobileMe is an online service, available by subscription. Go to www.apple.com/mobileme for more information. To enable this feature, turn on Find My iPhone in your MobileMe account settings. See “Setting Up Accounts” on page 16. Find your iPhone: Log in to your MobileMe account at www.me.com and go to the Find My iPhone pane. Follow the onscreen instructions to locate your device on a map and display a message on its screen along with an optional sound to help you find it. Remotely wipe information on your iPhone: Log in to your MobileMe account at www.me.com, then go to the Find My iPhone pane. Click “Remote Wipe…,” and follow the onscreen instructions. A remote wipe is equivalent to the “Erase all content and settings” feature in Settings. It resets all settings to their defaults and erases all your information and media. See “Resetting iPhone” on page 149. Remotely lock your iPhone: Log in to your MobileMe account at www.me.com, then go to the Find My iPhone pane. Click Remote Passcode Lock, and follow the onscreen instructions. Chapter 2 Basics 45Cleaning iPhone To clean iPhone, unplug all cables and turn off iPhone (press and hold the Sleep/ Wake button, then slide the onscreen slider). Then use a soft, slightly damp, lint-free cloth. Avoid getting moisture in openings. Don’t use window cleaners, household cleaners, aerosol sprays, solvents, alcohol, ammonia, or abrasives to clean iPhone. If your iPhone has an oleophobic coating on the screen (iPhone 3GS only), simply wipe your iPhone’s screen with a soft, lint-free cloth to remove oil left by your hands and face. For additional information about handling iPhone, see the iPhone Important Product Information Guide at www.apple.com/support/manuals/iphone. Restarting and Resetting iPhone If something isn’t working right, try restarting, force quitting an application, or resetting iPhone. Restart iPhone: Press and hold the Sleep/Wake button until the red slider appears. Slide your finger across the slider to turn off iPhone. To turn iPhone back on, press and hold the Sleep/Wake until the Apple logo appears. If you can’t turn off iPhone or if the problem continues, you may need to reset. A reset should be done only if turning iPhone off and on doesn’t resolve the problem. Force quit an application: Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then press and hold the Home button until the application quits. Reset iPhone: Press and hold the Sleep/Wake button and the Home button at the same time for at least ten seconds, until the Apple logo appears. For more troubleshooting suggestions, see Appendix A,“Troubleshooting,” on page 193. 46 Chapter 2 BasicsPhone 3 Phone Calls Making a call on iPhone is as simple as tapping a name and number in your contacts, tapping one of your favorites, or tapping a recent call to return it. Making Calls Buttons at the bottom of the Phone screen give you quick access to your favorites, recent calls, your contacts, and a numeric keypad for dialing manually. WARNING: For important information about driving safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Number of missed calls Number of unheard voicemail messages Use Contacts to call someone Tap Contacts, choose a contact, then tap a phone number. Call a favorite Tap Favorites, then choose a contact. Return a recent call Tap Recents, then tap a name or number in the list. Dial a number Tap Keypad, enter the number, then tap Call. If you copy a phone number to the clipboard, you can paste it to the keypad and dial it. 47Paste a number to the keypad: Tap the screen above the keyboard, then tap Paste. If the phone number you copied included letters, iPhone automatically converts them to the appropriate digits. Jump to favorites from anywhere: Double-click the Home button. You can change this preference in Settings. See “Home” on page 147. Bring up the last number you dialed: Tap Keypad, then tap Call. Tap Call again to dial the number. Voice Dialing You can use Voice Control (iPhone 3GS only) to call someone in your contacts or dial a specific number. Note: Voice Control isn’t available in all languages. Use Voice Control to make phone calls: Press and hold the Home button until the Voice Control screen appears and you hear a beep. Then use the commands described below to make calls. You can also press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to use Voice Control. Call someone in contacts Say “call” or “dial” then say the name of the person. If the person has more than one number, specify which one you want to call. Examples:  Call John Appleseed  Call John Appleseed at home  Call John Appleseed, mobile Dial a number Say “call” or “dial,” then say the number. For best results, speak the full name of the person you’re calling. If you give only the first name, and you have more than one contact with that same name, iPhone asks which of those contacts you want to call. If there’s more than one number for the person you’re calling, specify which number to use. If you don’t specify which number, iPhone asks you which one to use. When voice dialing a number, speak each digit separately—for example, say “four one five, five five five, one two one two.” Note: For the “800” area code in the U.S., you can say “eight hundred.” Prevent voice dialing when iPhone is locked: In Settings, choose General > Passcode Lock and turn Voice Dial off. Unlock iPhone to use voice dialing. 48 Chapter 3 PhoneReceiving Calls When you receive a call, tap Answer. If iPhone is locked, drag the slider. You can also press the center button on your iPhone headset or the equivalent button on your Bluetooth headset to answer a call. Center button Silence a call: Press the Sleep/Wake button or either volume button. You can still answer the call after silencing it, until it goes to voicemail. Decline a call: Do one of the following to send a call directly to voicemail. • Press the Sleep/Wake button twice quickly. Sleep/Wake button • Press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) for about two seconds. Two low beeps confirm that the call was declined. • Tap Decline (if iPhone is awake when a call comes in). Block calls and maintain Wi-Fi access to the Internet: In Settings, turn on Airplane Mode, then tap Wi-Fi to turn it on. While On a Call When you’re on a call, the screen shows call options. Chapter 3 Phone 49Mute your line Tap Mute. You can still hear the caller, but the caller can’t hear you. Use the keypad to enter information Tap Keypad. Use the speakerphone or a Bluetooth device Tap Speaker. The Button is labeled Audio Source when a Bluetooth device is available, which lets you select the Bluetooth device, iPhone, or Speaker Phone. See contact information Tap Contacts. Put a call on hold Tap Hold. Neither party can hear the other. Make another call Tap Add Call. Use other applications during a call: Press the Home button, then tap an application icon. End a call: Tap End Call. Or press the center button on your iPhone headset (or the equivalent button on your Bluetooth headset). Second Calls During a call, you can make or receive another call. If you receive a second call, iPhone beeps and shows the caller’s information and a list of options. Note: Making and receiving a second call may be an optional service in some countries. Contact your carrier for more information. Respond to a second call: • To ignore the call and send it to voicemail, tap Ignore. • To hold the first call and answer the new one, tap Hold Call + Answer. • To end the first call and answer the new one, tap End Call + Answer. Make a second call: Tap Add Call. The first call is put on hold. Switch between calls: Tap Swap. The active call is put on hold. Create a conference call: Tap Merge Calls. See “Conference Calls” below. Conference Calls You can talk to more than one person at a time, and merge up to five calls, depending on your carrier. Note: Conference calling may be an optional service in some countries. Contact your carrier for more information. Create a conference call: 1 Make a call. 2 Tap Add Call and make another call. The first call is put on hold. 3 Tap Merge Calls. The calls are merged on one line and everyone can hear each other. 50 Chapter 3 Phone4 Repeat steps two and three to add up to five calls. Drop one call Tap Conference and tap next to a call. Then tap End Call. Talk privately with a call Tap Conference, then tap Private next to a call. Tap Merge Calls to resume the conference. Add an incoming call Tap Hold Call + Answer, then tap Merge Calls. If your service includes conference calling, iPhone always has a second line available in addition to the conference call. Emergency Calls If iPhone is locked with a passcode, you may still be able to make an emergency call. Make an emergency call when iPhone is locked: On the Enter Passcode screen, tap Emergency Call, then dial the number using the keypad. Important: Only emergency numbers valid in the region where you’re making the call will work. In some countries, you can’t make emergency calls unless your SIM card is installed and activated, and the SIM PIN has been correctly entered or turned off. In the U.S., location information (if available) is provided to emergency service providers when you dial 911. Important: You should not rely on wireless devices for essential communications, such as medical emergencies. Use of any cellular phone to call emergency services may not work in all locations. Emergency numbers and services vary by region, and sometimes an emergency call cannot be placed due to network availability or environmental interference. Some cellular networks may not accept an emergency call from iPhone if it doesn’t have a SIM, if you locked your SIM, or if you haven’t activated your iPhone. Visual Voicemail On iPhone, visual voicemail lets you see a list of your messages and choose which ones to listen to or delete, without having to listen to instructions or prior messages. Note: Visual voicemail may not be available in all regions, or may be an optional service. Contact your carrier for more information. If visual voicemail isn’t available, tap Voicemail and follow the voice prompts to retrieve your messages. Number of missed calls and unheard voicemail messages appears on the Home screen Phone icon. Chapter 3 Phone 51Setting Up Voicemail The first time you tap Voicemail, iPhone prompts you to create a voicemail password and record your voicemail greeting. Change your greeting: 1 Tap Voicemail, tap Greeting, then tap Custom. 2 Tap Record when you’re ready to start. 3 When you finish, tap Stop. To review, tap Play. To rerecord, repeat steps 2 and 3. 4 Tap Save. Use your carrier’s default greeting Tap Voicemail, tap Greeting, then tap Default. Set an alert sound for new voicemail In Settings, choose Sounds and turn New Voicemail on. The alert sounds once for each new voicemail. If the Ring/Silent switch is off, iPhone won’t sound alerts. Change the voicemail password In Settings, choose Phone > Change Voicemail Password. Checking Voicemail When you tap Phone, iPhone shows the number of missed calls and unheard voicemail messages. Number of missed calls Number of unheard voicemail messages 52 Chapter 3 PhoneTap Voicemail to see a list of your messages. Skip to any point in a message: Drag the playhead. Unheard messages Play/Pause Contact info Scrubber bar Speakerphone (Audio, when a Bluetooth device is connected. Tap to choose audio output.) Return the call Listen to a message: Tap the message. (If you’ve already heard the message, tap the message again to replay it.) Use and to pause and resume playback. Once you listen to a message, it’s saved until your carrier automatically erases it. Check voicemail from another phone: Dial your own number or your carrier’s remote access number. Deleting Messages Select a message, then tap Delete. Deleted visual voicemail messages are saved on iPhone until your carrier permanently erases them. Listen to a deleted message Tap Deleted Messages (at the end of the list), then tap the message. Undelete a message Tap Deleted Messages (at the end of the list), then tap the message and tap Undelete. Getting Contact Information Visual voicemail saves the date and time of the call, the length of the message, and any available contact information. See a caller’s contact information: Tap next to a message. You can use the information to email or text the caller, or update contact info. Chapter 3 Phone 53Contacts From a contact’s Info screen, a quick tap lets you make a phone call, create a new email message, find the location of their address, and more. See “Searching Contacts” on page 177. Favorites Favorites gives you quick access to your most-used phone numbers. Add a contact’s number to your favorites list: Tap Contacts and choose a contact. Then tap “Add to Favorites” and choose the number you want to add. Add a recent caller’s number to your favorites list: Tap Recents and tap next to a caller, then tap “Add to Favorites.” Go to favorites: Double-click the Home button. See “Home” on page 147. Call a contact from your favorites Tap Favorites and choose a contact. Delete a contact from your favorites Tap Favorites and tap Edit. Then tap next to a contact or number and tap Remove. Reorder your favorites list Tap Favorites and tap Edit. Then drag next to a contact to a new place in the list. Ringtones and the Ring/Silent Switch iPhone comes with ringtones you can use for incoming calls, Clock alarms, and the Clock timer. You can also create and purchase ringtones from songs in iTunes. Ring/Silent Switch and Vibrate Modes A switch on the side of iPhone makes it easy to turn the ringer on or off. Turn the ringer on or off: Flip the switch on the side of iPhone. Ring Silent Important: Clock alarms still sound even if you set the Ring/Silent switch to silent. Set iPhone to vibrate: In Settings, choose Sounds. Separate controls let you set vibrate for both ring mode and silent mode. 54 Chapter 3 PhoneFor more information, see Chapter 19,“Settings,” on page 138. Setting Ringtones You can set the default ringtone for calls and Clock alarms and timers. You can also assign individual ringtones to contacts so you know who’s calling. Set the default ringtone: In Settings, choose Sounds > Ringtone, then choose a ringtone. Assign a ringtone to a contact: From Phone, tap Contacts and choose a contact. Then tap Ringtone and choose a ringtone. Purchasing Ringtones You can purchase ringtones from the iTunes Store on your iPhone. See “Purchasing Ringtones” on page 162. Bluetooth Devices You can use iPhone with hands-free Bluetooth headsets and Bluetooth car kits. iPhone also supports Bluetooth stereo headphone devices when using iPod. Pairing a Device with iPhone You must first pair a Bluetooth device with iPhone before you can use it. Pair with iPhone: 1 Follow the instructions that came with the device to make it discoverable or to set it to search for other Bluetooth devices. 2 In Settings, choose General > Bluetooth and turn Bluetooth on. 3 Choose the device on iPhone and enter its passkey or PIN number. See the instructions about the passkey or PIN that came with the device. After you pair a Bluetooth device to work with iPhone, you must make a connection to have iPhone use the device for your calls. Connect with iPhone: See the documentation that came with the headset or car kit. When iPhone is connected to a Bluetooth device, outgoing calls are routed through the device. Incoming calls are routed through the device if you answer using the device, and through iPhone if you answer using iPhone. WARNING: For important information about avoiding hearing loss and about driving safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Chapter 3 Phone 55Bluetooth Status The Bluetooth icon appears in the iPhone status bar at the top of the screen: • (blue) or (white): Bluetooth is on and a device is connected to iPhone. (The color depends on the current color of the status bar.) • (gray): Bluetooth is on but no device is connected. If you’ve paired a device with iPhone, it may be out of range or turned off. • No Bluetooth icon: Bluetooth is turned off. Routing Calls Back Through iPhone When iPhone is connected to a Bluetooth device, you listen to calls through iPhone by doing one of the following: • Answer a call by tapping the iPhone screen. • During a call, tap Audio on iPhone. Choose iPhone to hear calls through iPhone or Speaker Phone to use the speakerphone. • Turn off Bluetooth. In Settings, choose General > Bluetooth and drag the switch to Off. • Turn off the Bluetooth device, or move out of range. You must be within about 30 feet of a Bluetooth device for it to be connected to iPhone. Unpairing a Device from iPhone If you’ve paired iPhone with a device and want to use another device instead, you must unpair the first device. Unpair a device: 1 In Settings, choose General > Bluetooth and turn Bluetooth on. 2 Choose the device and tap Unpair. International Calls iPhone 3G and iPhone 3GS are multi-band phones, supporting UMTS/HSDPA (850, 1900, 2100 MHz) and GSM (850, 900, 1800, 1900 MHz), ensuring broad international coverage. Making International Calls from Your Home Area For information about making international calls from your home area, including rates and other charges that may apply, contact your carrier or go to your carrier’s website. Using iPhone Abroad You can use iPhone to make calls in many countries around the world. Enable international roaming: Contact your carrier for information about availability and fees. 56 Chapter 3 PhoneSet iPhone to add the correct prefix when dialing from another country: In Settings, tap Phone, then turn International Assist on. This lets you make calls to your home country using the numbers in your contacts and favorites, without having to add a prefix or your country code. International Assist works for U.S. telephone numbers only. When you make a call using International Assist, “International Assist” appears on the iPhone screen, alternating with the “calling ...” message, until your call is connected. Note: International Assist is not available in all areas. Set the carrier to use: In Settings, tap Carrier, then select the carrier you prefer. This option is available only when you’re traveling outside your carrier’s network. You can make calls only on carriers that have roaming agreements with your iPhone service provider. For more information, see “Carrier” on page 141. Important: Voice and data roaming charges may apply. To avoid data roaming charges, turn Data Roaming off. Turn Data Roaming on or off: In Settings, choose General > Network and turn Data Roaming on or off. Data Roaming is turned off by default. Turning Data Roaming off helps to avoid data roaming charges when traveling outside your carrier’s network by disabling data transmission over the cellular network. You can still access the Internet if you have a Wi-Fi connection. If Wi-Fi network access isn’t available, however, you cannot: • Send or receive email • Browse the Internet • Sync your contacts, calendars, or bookmarks with MobileMe or Exchange • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Purchase music or applications Other third-party applications that use data roaming may also be disabled. If Data Roaming is turned off, you can still make and receive phone calls, and send and receive text messages. Voice roaming charges may apply. Visual voicemail is delivered if there’s no charge; if your carrier charges for delivery of visual voicemail when roaming, turning Data Roaming off prevents the delivery of visual voicemail. To enable email, web browsing, and other data services, turn Data Roaming on. Chapter 3 Phone 57Important: If Data Roaming is turned on, you may incur charges when roaming outside your carrier’s network for the use of any of the features listed above, as well as for delivery of visual voicemail. Check with your carrier for information about roaming charges. Get voicemail when visual voicemail isn’t available: Dial your own number, or touch and hold “1” on the keypad. You can use Airplane Mode to turn off cellular services and then turn Wi-Fi on to get access to the Internet, while preventing voice roaming charges. Use Airplane Mode to turn off cellular services: In Settings, tap Airplane Mode to turn it on, then tap Wi-Fi and turn Wi-Fi on. See “Airplane Mode” on page 138. Incoming phone calls are sent to voicemail. To make and receive calls again and get your voicemail messages, turn Airplane Mode off. 58 Chapter 3 PhoneMail 4 Mail works with MobileMe, Microsoft Exchange, and many of the most popular email systems—including Yahoo! Mail, Google email, and AOL—as well as other industrystandard POP3 and IMAP email systems. You can send and receive embedded photos and graphics, and view PDFs and other attachments. Setting Up Email Accounts You can set up email accounts on iPhone in either of the following ways: • Set up an account directly on iPhone. See “Setting Up Accounts” on page 16. • In iTunes, use the iPhone preference panes to sync email accounts settings from your computer. See “Syncing” on page 11. Sending Email You can send an email message to anyone who has an email address. Compose and send a message: 1 Tap . 2 Type a name or email address in the To field, or tap to add a name from your contacts. As you type an email address, matching email addresses from your contacts list appear below. Tap an address to add it. To add more names, tap Return or . Note: If you’re composing a message from your Microsoft Exchange account and have access to your enterprise Global Address List (GAL), matching addresses from the contacts on iPhone appear first, followed by matching GAL addresses. 3 Tap Cc/Bcc/From if you want to copy or blind copy the message to others, or change the account you send the message from. If you have more than one email account, you can tap the From field to change the account you’re sending from. 594 Enter a subject, then your message. You can tap Return to move from one field to another. 5 Tap Send. Send a photo or video (iPhone 3GS only) in an email message In Photos, choose a photo or video, tap , then tap Email Photo or Email Video. You can also copy and paste photos and videos. The photo or video is sent using your default email account (see “Mail” on page 152). Send a video in an email message (iPhone and iPhone 3G) In Photos, choose a video, then touch and hold the video until the Copy command appears. Tap Copy. Go to Mail and create a new message. Tap to place an insertion point where you want the video, then tap the insertion point to display the edit commands and tap Paste. The video is sent using your default email account (see “Mail” on page 152). Save a draft of a message to complete later Tap Cancel, then tap Save. The message is saved in the Drafts mailbox. Reply to a message Tap . Tap Reply to reply only to the sender or tap Reply All to reply to the sender and all recipients. Type your return message, then tap Send. Files or images attached to the initial message aren’t sent back. Forward a message Open a message and tap , then tap Forward. Add one or more email addresses, type your message, then tap Send. When you forward a message, you can include the files or images attached to the original message. Share contact information In Contacts, choose a contact, tap Share Contact at the bottom of the Info screen, then tap Email. Checking and Reading Email The Mail icon shows the total number of unread messages in all your inboxes. You may have other unread messages in other mailboxes. Number of unread emails in your inboxes Check for new messages: Choose a mailbox or tap at any time. 60 Chapter 4 MailOn each account screen, you can see the number of unread messages in each mailbox. Number of unread messages Tap to see all your email accounts Tap a mailbox to see its messages. Unread messages have a blue dot next to them. Unread messages When you open a mailbox, Mail loads the number of most recent messages specified in your Mail settings, if the messages haven’t already been loaded automatically. (See “Mail” on page 152.) Load additional messages: Scroll to the bottom of the list of messages and tap Load More Messages. Read a message: Tap a mailbox, then tap a message. Within a message, tap or to see the next or previous message. Zoom in on part of a message Double-tap an area of the message to zoom in. Double-tap again to zoom out. Resize any column of text to fit the screen Double-tap the text. Resize a message manually Pinch to zoom in or out. Chapter 4 Mail 61Follow a link Tap the link. Text links are typically underlined and blue. Many images are also links. A link can take you to a webpage, open a map, dial a phone number, or open a new preaddressed email message. Web, phone, and map links open Safari, Phone, or Maps on iPhone. To return to your email, press the Home button and tap Mail. See a link’s destination address Touch and hold the link. The address is displayed, and you can choose to open the link in Safari or copy the link address to the clipboard. iPhone displays picture attachments in many commonly used formats (JPEG, GIF, and TIFF) inline with the text in email messages. iPhone can play many audio attachments (such as MP3, AAC, WAV, and AIFF). You can download and view files (such as PDF, webpage, text, Pages, Keynote, Numbers, and Microsoft Word, Excel, and PowerPoint documents) attached to messages you receive. Open an attached file: Tap the attachment. It downloads to iPhone and then opens. Tap attachment to download You can view attachments in portrait or landscape orientation. If the format of an attached file isn’t supported by iPhone, you can see the name of the file but you can’t open it. iPhone supports the following document types: .doc Microsoft Word .docx Microsoft Word (XML) .htm webpage .html webpage .key Keynote .numbers Numbers .pages Pages 62 Chapter 4 Mail.pdf Preview, Adobe Acrobat .ppt Microsoft PowerPoint .pptx Microsoft PowerPoint (XML) .rtf Rich Text Format .txt text .vcf contact information .xls Microsoft Excel .xlsx Microsoft Excel (XML) Save an attached photo to your Camera Roll album: Tap the photo, then tap Save Image. If the photo hasn’t been downloaded yet, tap the download notice first. Save an attached video to your Camera Roll album: Touch and hold the attachment, then tap Save Video. If the video hasn’t been downloaded yet, tap the download notice first. See all the recipients of a message Tap Details. Tap a name or email address to see the recipient’s contact information. Then tap a phone number, email address, or text message to contact the person. Tap Hide to hide the recipients. Add an email recipient to your contacts list Tap the message and, if necessary, tap Details to see the recipients. Then tap a name or email address and tap Create New Contact or “Add to Existing Contact.” Mark a message as unread Open the message and tap “Mark as Unread.” A blue dot appears next to the message in the mailbox list until you open it again. Open a meeting invitation: Tap the invitation. You can get contact information for the organizer and other attendees, set an alert, add notes to the event, and add comments that are included in your response emailed to the organizer. You can accept, tentatively accept, or decline the invitation. See “Responding to Meeting Invitations” on page 95. Turn Push on or off: In Settings, choose “Mail, Contacts, Calendars” > Fetch New Data, then turn Push on or off. See “Fetch New Data” on page 151. Chapter 4 Mail 63Searching Email You can search the To, From, and Subject fields of email messages. Mail searches the downloaded messages in the currently open mailbox. For MobileMe, Exchange, and some IMAP mail accounts, you can also search messages on the server. Search email messages: Open a mailbox, scroll to the top, and enter text in the Search field. Tap From, To, Subject, or All (From, To, and Subject) to choose which fields you want to search. (Tap the status bar to scroll quickly to the top of the list and reveal the search field.) Search results for the messages already downloaded to iPhone appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Search messages on the server: Tap “Continue Search on Server” at the end of the search results. Note: Search results of messages on servers may vary depending on the type of account. Some servers may search only whole words. Organizing Email You can delete messages one at a time, or select a group to delete all at once. You can also move messages from one mailbox or folder to another. Delete a message: Open the message and tap . You can also delete a message directly from the mailbox message list by swiping left or right over the message title, then tapping Delete. To show the Delete button, swipe left or right over the message. 64 Chapter 4 MailDelete multiple messages: When viewing a list of messages, tap Edit, select the messages you want to delete, then tap Delete. Move a message to another mailbox or folder: When viewing a message, tap , then choose a mailbox or folder. Move multiple messages: When viewing a list of messages, tap Edit, select the messages you want to move, then tap Move and select a mailbox or folder. Chapter 4 Mail 65Safari 5 Viewing Webpages Safari lets you surf the web and view webpages on iPhone in the same way as if you were on your computer. You can create bookmarks on iPhone and sync bookmarks with your computer. Add web clips for quick access to your favorite sites directly from the Home screen. You can view webpages in either portrait or landscape orientation. Rotate iPhone and the webpage rotates too, automatically adjusting to fit the page. Opening Webpages Open a webpage: Tap the address field (on the left side of the title bar), then type the web address and tap Go. If the address field isn’t visible, tap the status bar at the top of the screen to quickly scroll to the address field at the top of the webpage. As you type, web addresses that start with those letters appear. These are bookmarked pages or recent pages you’ve opened. Tap an address to go to that page. Keep typing if you want to enter a web address that’s not in the list. Erase the text in the address field: Tap the address field, then tap . 66Zooming and Scrolling Zoom in or out: Double-tap a column on a webpage to expand the column. Doubletap again to zoom out. You can also pinch to zoom in or out manually. Scroll around a webpage Drag up, down, or sideways. When scrolling, you can touch and drag anywhere on the page without activating any links. Scroll within a frame on a webpage Use two fingers to scroll within a frame on a webpage. Use one finger to scroll the entire webpage. Scroll quickly to the top of a webpage Tap the status bar at the top of the iPhone screen. Navigating Webpages Links on webpages typically take you to another place on the web. Follow a link on a webpage: Tap the link. Links on iPhone can also initiate a phone call, display a location in Maps, or create a preaddressed Mail message. To return to Safari after a link opens another application, press the Home button and tap Safari. See a link’s destination address Touch and hold the link. The address pops up next to your finger. You can touch and hold an image to see if it has a link. Stop a webpage from loading Tap . Reload a webpage Tap . Return to the previous or next page Tap or at the bottom of the screen. Return to a recently viewed page Tap and tap History. To clear the history list, tap Clear. Send a webpage address via email Tap and tap “Mail Link to this Page.” Save an image or photo to your Camera Roll album Touch and hold the image, then tap Save Image. Chapter 5 Safari 67Opening Multiple Pages You can have up to eight pages open at a time. Some links automatically open a new page instead of replacing the current one. The number inside the pages icon at the bottom of the screen shows how many pages are open. If there’s no number inside, just one page is open. For example: = one page is open = three pages are open Open a new page: Tap and tap New Page. Go to another page: Tap and flick left or right. Tap the page you want to view. Close a page: Tap and tap . You can’t close a page if it’s the only one open. Entering Text and Filling Out Forms Some webpages have text fields and forms to fill out. You can set Safari to remember names and passwords of websites you visit and fill out text fields automatically with information from Contacts. See “Safari” on page 156. Bring up the keyboard Tap inside a text field. Move to another text field Tap another text field, or tap the Next or Previous button. Submit a form Once you finish filling out a form, tap Go or Search. Most pages also have a link you can tap to submit the form. Close the keyboard without submitting the form Tap Done. 68 Chapter 5 SafariEnable AutoFill to help you fill out web forms: In Settings, choose Safari > AutoFill, then do one of the following: • To use information from contacts, turn Use Contact Info on, then choose My Info and select the contact you want to use. Safari uses information from Contacts to fill in contact fields on web forms. • To use information from names and passwords, turn Names & Passwords on. When this feature is on, Safari remembers names and passwords of websites you visit and automatically fills in the information when you revisit the website. • To remove all AutoFill information, tap Clear All. Searching the Web By default, Safari searches using Google. You can search using Yahoo!, instead. Search the web: 1 Tap the search field (on the right side of the title bar). 2 Type a word or phrase that describes what you’re looking for, then tap Google. 3 Tap a link in the list of search results to open a webpage. Set Safari to search using Yahoo!: From the Home screen choose Settings > Safari > Search Engine, then choose Yahoo!. Bookmarks You can bookmark webpages you want to return to later. Bookmark a webpage: Open the page and tap . Then tap Add Bookmark. When you save a bookmark you can edit its title. By default, bookmarks are saved at the top level of Bookmarks. Tap Bookmarks to choose another folder. If you use Safari on a Mac, or Safari or Microsoft Internet Explorer on a PC, you can sync bookmarks with the web browser on your computer. Sync bookmarks with your computer: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 Click the Info tab, select “Sync … bookmarks” under Web Browser, then click Apply. See “Syncing” on page 11. Sync bookmarks with MobileMe: In Settings on iPhone, select Bookmarks in your MobileMe account. See “Setting Up Accounts” on page 16. Open a bookmarked webpage: Tap , then choose a bookmark or tap a folder to see the bookmarks inside. Chapter 5 Safari 69Edit a bookmark or bookmark folder: Tap , choose the folder that has the bookmark or folder you want to edit, then tap Edit. Then do one of the following: • To make a new folder, tap New Folder. • To delete a bookmark or folder, tap , then tap Delete. • To reposition a bookmark or folder, drag . • To edit the name or address, or to put it in a different folder, tap the bookmark or folder. When you’re finished, tap Done. Web Clips Add web clips to the Home screen for fast access to your favorite webpages. Web clips appear as icons on the Home screen, and you can arrange your web clips along with the other icons. See “iPhone Applications” on page 23. Add a web clip: Open the webpage and tap . Then tap “Add to Home Screen.” When you open a web clip, Safari automatically zooms and scrolls to the area of the webpage that was displayed when you saved the web clip. The displayed area is also used to create the icon for the web clip on your Home screen, unless the webpage comes with its own custom icon. When you add a web clip, you can edit its name. If the name is too long (more than about 10 characters), it may appear abbreviated on the Home screen. Web clips aren’t bookmarks, and aren’t synced by MobileMe or iTunes. Delete a web clip: 1 Touch and hold any icon on the Home screen until the icons start to wiggle. 2 Tap in the corner of the web clip you want to delete. 3 Tap Delete, then press the Home button to save your arrangement. 70 Chapter 5 SafariiPod 6 iPhone syncs with iTunes on your computer to get songs, videos, and other content you’ve collected in your iTunes library. For information about adding music and other media to your iTunes library, open iTunes and choose Help > iTunes Help. Getting Music, Video, and More To get music, video, and other content onto iPhone, you can set up iTunes on your computer to automatically sync content in your library, or you can manually manage the media you put on iPhone. Syncing Content from iTunes You can transfer music, video, and more onto iPhone by syncing content from iTunes. You can sync all of your media, or you can select specific songs, videos, podcasts, and iTunes U collections. Set iTunes to sync iPod content: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 On the Music, Movies, TV Shows, Podcasts, and iTunes U tabs, select the content you want to sync to iPhone. For example, you could set iTunes to sync selected music playlists and the three most recent episodes of your favorite video podcast. 4 Click Apply. To set iTunes to sync iPod content and other info automatically, click the Summary tab and select “Automatically sync when this iPhone is connected.” Important: If you delete an item from iTunes, it will also be deleted from iPhone the next time you sync. 71Only songs and videos encoded in formats that iPhone supports are transferred to iPhone. For information about which formats iPhone supports, see “Song, Video, or Other Items Won’t Play” on page 200. If there are more songs in your iTunes library than can fit on your iPhone, iTunes offers to create a special playlist to sync with iPhone. iTunes fills the playlist with random selections from your library. You can add or delete songs from the playlist and sync again. If you listen to part of a podcast or audiobook, your place in the story is included if you sync the content with iTunes. If you started listening to the story on iPhone, you can pick up where you left off using iTunes on your computer—or vice versa. For more information about using iTunes to get music and other media onto your computer, see “What You Need” on page 9. Manually Managing Content The manually managing feature lets you choose just the music, video, and podcasts you want to have on iPhone. Set up iPhone for manually managing content: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 Click the Summary tab and select “Manually manage music and videos.” 4 Click Apply. Add items to iPhone: Drag a song, video, podcast, or playlist in your iTunes library to iPhone (in the sidebar). Shift-click or Command-click (Mac) or Control-click (Windows) to select multiple items to add at the same time. iTunes syncs the content immediately. If you deselect “Manually manage music and videos,” the content you added manually is removed from iPhone the next time iTunes syncs content. Remove items from iPhone: With iPhone connected to your computer, select the iPhone icon in the iTunes sidebar. Click the disclosure triangle to the left of the icon to show the contents. Select a content area, such as Music or Movies, then select the items you want to delete and press the Delete key on the keyboard. Removing an item from iPhone doesn’t delete it from your iTunes library. Purchasing and Downloading Content from the iTunes Store You can use the iTunes Store on iPhone to purchase and download songs, albums, TV shows, movies, music videos, ringtones, and audiobooks directly to iPhone. You can also stream and download audio and video podcasts, as well as iTunes U content. See “About the iTunes Store” on page 160. 72 Chapter 6 iPodTransferring Purchased Content to Another Computer You can transfer content on iPhone that was purchased using iTunes on one computer to an iTunes library on another authorized computer. The computer must be authorized to play content from your iTunes Store account. To authorize the computer, open iTunes on the computer and choose Store > Authorize Computer. Transfer purchased content: Connect iPhone to the other computer. iTunes asks if you want to transfer purchased content. Converting Videos for iPhone You can add videos other than those purchased from the iTunes Store to iPhone, such as videos you create in iMovie on a Mac, or videos you download from the Internet and then add to iTunes. If you try to add a video from iTunes to iPhone and a message says the video can’t play on iPhone, you can convert the video. Convert a video to work with iPhone: Select the video in your iTunes library and choose Advanced > “Create iPod or iPhone Version.” Then add the converted video to iPhone. Music and Other Audio The high-resolution Multi-Touch display makes listening to songs on iPhone as much a visual experience as a musical one. You can scroll through your playlists, or use Cover Flow to browse through your album art. WARNING: For important information about avoiding hearing loss, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Playing Songs Browse your collection: Tap Playlists, Artists, or Songs. Tap More to browse Albums, Audiobooks, Compilations, Composers, Genres, iTunes U, or Podcasts. Browse Genius Mixes: Tap Genius. If Genius doesn’t appear, you need to turn on Genius in iTunes 9 or later, and then sync iPhone with iTunes. See “Using Genius on iPhone” on page 79. Play a song: Tap the song. Shake to shuffle: Shake iPhone to turn shuffle on and immediately change songs. Shake anytime to change to another song. You can turn the “Shake to Shuffle” feature on or off in Settings > iPod (it’s on by default). See “Music” on page 158. Chapter 6 iPod 73Controlling Song Playback When you play a song, the Now Playing screen appears. Next/Fast-forward Play/Pause Track List Back Previous/ Volume Rewind Pause a song Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Resume playback Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Raise or lower the volume Drag the volume slider or use the buttons on the side of iPhone. You can also use the volume buttons on the iPhone headset (iPhone 3GS only). Restart a song or a chapter in an audiobook or podcast Tap . Skip to the next song or chapter in an audiobook or podcast Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) twice quickly. Go to the previous song or chapter in an audiobook or podcast Tap twice, or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) three times quickly. Rewind or fast-forward Touch and hold or . The longer you hold the control, the faster the song rewinds or fastforwards. On the iPhone headset, press the center button (or the equivalent button on your Bluetooth headset) twice quickly and hold to fast forward, or three times quickly and hold to rewind. 74 Chapter 6 iPodReturn to the iPod browse lists Tap , or swipe to the right over the album cover. Return to the Now Playing screen Tap Now Playing. Display a song’s lyrics Tap the album cover when playing a song. (Lyrics appear if you’ve added them to the song using the song’s Info window in iTunes.) You can display playback controls at any time when you’re listening to music and using another application—or even when iPhone is locked—by double-clicking the Home button. See “Home” on page 147. If you’re using an application, the playback controls appear on top of the application. After using the controls, you can close them or tap Music to go to the Now Playing screen. If iPhone is locked, the controls appear onscreen, then disappear automatically after you finish using them. Additional Song Controls From the Now Playing screen, tap the album cover. The repeat, Genius, and shuffle controls appear along with the scrubber bar. You can see elapsed time, remaining time, and the song number. The song’s lyrics also appear, if you’ve added them to the song in iTunes. The scrubber bar lets you skip to any point along the timeline. You can adjust the scrub rate from high-speed to fine by sliding your finger down as you drag the playhead along the scrubber bar. Repeat Genius Shuffle Scrubber bar Playhead Chapter 6 iPod 75Set iPhone to repeat songs Tap . Tap again to set iPhone to repeat only the current song. = iPhone is set to repeat all songs in the current album or list. = iPhone is set to repeat the current song over and over. = iPhone isn’t set to repeat songs. Skip to any point in a song Drag the playhead along the scrubber bar. Slide your finger down to adjust the scrub rate. The scrub rate becomes slower the farther down you slide your finger. Make a Genius playlist Tap , and the Genius playlist appears. See “Using Genius on iPhone” on page 79. Set iPhone to shuffle songs Tap . Tap again to set iPhone to play songs in order. = iPhone is set to shuffle songs. = iPhone is set to play songs in order. Shuffle the tracks in any playlist, album, or other list of songs Tap Shuffle at the top of the list. For example, to shuffle all the songs on iPhone, choose Songs > Shuffle. Whether or not iPhone is set to shuffle, if you tap Shuffle at the top of a list of songs, iPhone plays the songs from that list in random order. Podcast and Audiobook Controls From the Now Playing screen, tap the cover. The email, 30-second repeat, and playback speed controls appear along with the scrubber bar. You can see elapsed time, remaining time, and the episode or chapter number. The scrubber bar lets you skip to any point along the timeline. You can adjust the scrub rate from high-speed to fine by sliding your finger down as you drag the playhead along the scrubber bar. Scrubber bar Playhead Playback speed Email 30-second repeat 76 Chapter 6 iPodSend an email link to this podcast Tap . Skip to any point Drag the playhead along the scrubber bar. Slide your finger down to adjust the scrub rate. The scrub rate becomes slower the farther down you slide your finger. Play back the last 30 seconds Tap . Set the playback speed Tap . Tap again to change the speed. = Play at double speed. = Play at half speed. = Play at normal speed. Using Voice Control with iPod You can use Voice Control (available only on iPhone 3GS) to control music playback on iPhone. Note: Voice Control isn’t available in all languages. Use Voice Control: Press and hold the Home button until the Voice Control screen appears and you hear a beep. Then use the commands described below to play songs. You can also press and hold the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to bring up Voice Control. Control music playback Say “play” or “play music.” To pause, say “pause” or “pause music.” You can also say “next song” or “previous song.” Play an album, artist, or playlist Say “play,” then say “album,” “artist,” or “playlist” and the name. Shuffle the current playlist Say “shuffle.” Find out more about the currently playing song Say “what’s playing,” “what song is this,” “who sings this song,” or “who is this song by.” Use Genius to play similar songs Say “Genius,” “play more like this,” or “play more songs like this.” Cancel Voice Control Say “cancel” or “stop.” Chapter 6 iPod 77Browsing Album Covers in Cover Flow When you’re browsing music, you can rotate iPhone sideways to see your iTunes content in Cover Flow and browse your music by album artwork. Browse album covers Drag or flick left or right. See the tracks on an album Tap a cover or . Play any track Tap the track. Drag up or down to scroll through the tracks. Return to the cover Tap the title bar. Or tap again. Play or pause the current song Tap or . You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). 78 Chapter 6 iPodViewing All Tracks on an Album See all the tracks on the album that contains the current song: From the Now Playing screen tap . Tap a track to play it. Tap the album cover thumbnail to return to the Now Playing screen. Rating bar Back to Now Playing screen Album tracks In track list view, you can assign ratings to songs. You can use ratings to create smart playlists in iTunes that dynamically update to include, for example, your highest rated songs. Rate a song: Drag your thumb across the rating bar to give the song zero to five stars. Searching Music You can search the titles, artists, albums, and composers of songs, podcasts, and other content you’ve synced to iPhone. Search music: Enter text in the search field at the top of a song list, playlist, artist list, or other view of your iPod content. (Tap the status bar to scroll quickly to the top of a list and reveal the search field.) Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. You can also use Spotlight to search for music. See “Searching” on page 37. Using Genius on iPhone Genius finds songs in your iTunes library that go great together. A Genius playlist is a collection of songs that are picked for you to go with a song you choose from your library. A Genius Mix is a selection of songs of the same kind of music. Genius Mixes are recreated each time you listen to them, so they’re always new and fresh. You can create Genius playlists in iTunes and sync them to iPhone. You can also create and save Genius playlists directly on iPhone. Chapter 6 iPod 79Genius Mixes are created in iTunes. iTunes creates different mixes depending on the variety of music you have in your iTunes library. For example, you may have Genius Mixes that highlight R&B songs, or Alternative Rock songs. To use Genius on iPhone, first turn on Genius in iTunes, then sync iPhone with iTunes. Genius Mixes are synced automatically, unless you manually manage your music and choose which mixes you want to sync in iTunes. Genius is a free service, but requires an iTunes Store account. Genius Mixes require iTunes 9 or later. When you sync a Genius Mix, iTunes may select and sync songs from your library that you haven’t otherwise chosen to sync. Browse Genius Mixes: Tap Genius. The number of dots at the bottom of the screen shows the number of mixes you’ve synced from iTunes, and indicates which mix you’re viewing. Flick left or right to access your other mixes. Play a Genius Mix: Tap the mix or tap . Make a Genius playlist on iPhone: 1 Tap Playlists and tap Genius. 2 Tap a song in the list. Genius creates a playlist with additional songs that go great with that song. You can also make a Genius playlist of songs that go great with the song you’re playing. From the Now Playing screen, tap the album cover to display additional controls, then tap . Save a Genius playlist: In the playlist, tap Save. The playlist is saved in Playlists with the title of the song you picked. You can make and save as many Genius playlists as you want. If you save a Genius playlist created on iPhone, it syncs back to iTunes the next time you connect. 80 Chapter 6 iPodRefresh a Genius playlist: In the playlist, tap Refresh. Refreshing a playlist creates a playlist of different songs that go great with the song you picked. You can refresh any Genius playlist, whether it was created in iTunes and synced to iPhone, or created directly on iPhone. Create a Genius playlist from a new song: In the playlist, tap New, then pick a new song. Delete a saved Genius playlist: In a playlist that you saved directly on iPhone, tap Edit, then tap Delete Playlist. Once a Genius playlist is synced back to iTunes, you won’t be able to delete it directly from iPhone. You can use iTunes to edit the playlist name, stop syncing, or delete the playlist. Making On-The-Go Playlists Make an on-the-go playlist: 1 Tap Playlists and tap On-The-Go. 2 Browse for songs using the buttons at the bottom of the screen. Tap any song or video to add it to the playlist. Tap Add All Songs at the top of any list of songs to add all the songs in the list. 3 When you finish, tap Done. When you make an on-the-go playlist and then sync iPhone to your computer, the playlist is saved on iPhone and in your iTunes library, then deleted from iPhone. The first is saved as “On-The-Go 1,” the second as “On-The-Go 2,” and so on. To put a playlist back on iPhone, select iPhone in the iTunes sidebar, click the Music tab, and set the playlist to sync. Edit an on-the-go playlist: Tap Playlists, tap On-The-Go, tap Edit, then do one of the following: • To move a song higher or lower in the list, drag next to the song. • To delete a song from the playlist, tap next to a song, then tap Delete. Deleting a song from the on-the-go playlist doesn’t delete it from iPhone. • To clear the entire playlist, tap Clear Playlist. • To add more songs, tap . Videos With iPhone, you can view video content such as movies, music videos, and video podcasts. If a video contains chapters, you can skip to the next or previous chapter, or bring up a list and start playing at any chapter that you choose. If a video provides alternate language features, you can choose an audio language or display subtitles. Chapter 6 iPod 81Playing Videos Play a video: Tap Videos and tap the video. Display playback controls: Tap the screen to show the controls. Tap again to hide them. Controlling Video Playback Videos play in widescreen to take full advantage of the display. The scrubber bar lets you skip to any point along the timeline. You can adjust the scrub rate by sliding your finger down as you drag the playhead along the scrubber bar. Scrubber bar Playhead Play/Pause Next/Fastforward Scale Restart/Rewind Volume Lovers in Japan by Coldplay is available in the iTunes Store Pause a video Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Resume playback Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Raise or lower the volume Drag the volume slider. You can also use the volume buttons on the iPhone headset (iPhone 3GS only). Start a video over Drag the playhead on the scrubber bar all the way to the left, or tap if the video doesn’t contain chapters. Skip to the next chapter (if available) Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) twice quickly. Go to the previous chapter (if available) Tap , or press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) three times quickly. Start playing at a specific chapter (if available) Tap , then choose a chapter from the list. 82 Chapter 6 iPodRewind or fast-forward Touch and hold or . Skip to any point in a video Drag the playhead along the scrubber bar. Slide your finger down to adjust the scrub rate. The scrub rate becomes slower the farther down you slide your finger. Stop watching a video before it finishes playing Tap Done. Or press the Home button. Scale a video to fill the screen or fit to the screen Tap to make the video fill the screen. Tap to make it fit the screen. You can also double-tap the video to toggle between fitting and filling the screen. When you scale a video to fill the screen, the sides or top may be cropped from view. When you scale it to fit the screen, you may see black bars on the sides or above and below the video. Select an alternate audio language (if available) Tap , then choose a language from the Audio list. Show or hide subtitles (if available) Tap , then choose a language, or Off, from the Subtitles list. Searching Video You can search the titles of movies, TV shows, and video podcasts you’ve synced to iPhone. Search video: Enter text in the search field at the top of the list of videos. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Watching Rented Movies You can rent movies in standard (480p) definition from the iTunes Store and watch them on iPhone. You can download rented movies directly to iPhone, or transfer them from iTunes on your computer to iPhone. You can also transfer rented movies back to iTunes from iPhone. (Rented movies aren’t available in all regions.) The movie must be fully downloaded before you can start watching. You can pause a download and resume it later. Rented movies expire after a certain number of days, and once you start a movie you have a limited amount of time to finish watching it. The time remaining appears near a movie’s title. Movies are automatically deleted when they expire. Check the iTunes Store for the expiration time before renting a movie. Chapter 6 iPod 83Transfer rented movies to iPhone: Connect iPhone to your computer. Then select iPhone in the iTunes sidebar, click Movies, and select the rented movies you want to transfer. Your computer must be connected to the Internet. View a rented movie: On iPhone, choose iPod > Videos and select a movie. Watching Videos on a TV You can connect iPhone to your TV and watch your videos on the large screen. Use the Apple Component AV Cable, Apple Composite AV Cable, or other authorized iPhone compatible cable. You can also use these cables with the Apple Universal Dock to connect iPhone to your TV. (The Apple Universal Dock includes a remote that lets you control playback from a distance.) Apple cables and docks are available for purchase separately in many countries. Go to www.apple.com/ipodstore (not available in all countries). Deleting Videos from iPhone You can delete videos from iPhone to save space. Delete a video: In the videos list, swipe left or right over the video, then tap Delete. When you delete a video (other than rented movies) from iPhone, it isn’t deleted from your iTunes library and you can sync the video back to iPhone later. If you don’t want to sync the video back to iPhone, set iTunes to not sync the video. See “What You Need” on page 9. Important: If you delete a rented movie from iPhone, it’s deleted permanently and cannot be transferred back to your computer. Setting a Sleep Timer You can set iPhone to stop playing music or videos after a period of time. Set a sleep timer: From the Home screen choose Clock > Timer, then flick to set the number of hours and minutes. Tap When Timer Ends and choose Sleep iPod, tap Set, then tap Start to start the timer. When the timer ends, iPhone stops playing music or video, closes any other open application, and then locks itself. 84 Chapter 6 iPodChanging the Browse Buttons You can replace the browse buttons at the bottom of the screen with buttons you use more frequently. For example, if you often listen to podcasts, you can replace the Songs button with Podcasts. Change the browse buttons: Tap More and tap Edit, then drag a button to the bottom of the screen, over the button you want to replace. You can drag the buttons at the bottom of the screen left or right to rearrange them. Tap Done when you finish. Tap More at any time to access the buttons you replaced. Chapter 6 iPod 85Messages 7 Sending and Receiving Messages WARNING: For important information about driving safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Messages lets you exchange text messages with anyone using an SMS-capable phone. Messages also supports MMS, so you can send photos, video clips (iPhone 3GS only), contact information, and voice memos to other MMS-capable devices. You can enter multiple addresses and send a message to several people at the same time. Note: MMS is available only on iPhone 3G or later. SMS or MMS support may not be available in all regions. Additional fees may apply for use of Messages. Contact your carrier for complete information. You can use Messages whenever you’re in range of the cellular network. If you can make a call, you can send a message. Depending on your phone plan, you may be charged for the messages you send or receive. Send a message: Tap , then enter a phone number or name, or tap and choose a contact from your contacts list. Tap the text field above the keyboard, type a message, and tap Send. The Messages icon on the Home screen shows the total number of unread messages you have. Number of unread messages 86Your conversations are saved in the Messages list. Conversations that contain unread messages have a blue dot next to them. Tap a conversation in the list to see that conversation or add to it. Text messages you sent Text messages from the other person iPhone displays the 50 most recent messages in the conversation. To see earlier messages, scroll to the top and tap Load Earlier Messages. Send a message to more than one person: Tap , then add recipients. If you enter a phone number manually (instead of selecting it from Contacts), tap Return before entering another entry. Replies from any of the recipients are sent only to you, not to the other people you texted. Reply or send a message to a person (or group) you’ve texted before: Tap an entry in the Messages list, then type a new message in the conversation and tap Send. Send a message to a favorite or to a recent call: 1 From the Home screen tap Phone, then tap Favorites or Recents. 2 Tap next to a name or number, then tap Text Message. 3 If multiple phone numbers appear, tap the one you want to text. When MMS is available, Messages allows you to include a subject in your text messages. You can turn this feature on or off in Messages settings. It is turned on by default. Include or remove the subject field: In Settings, tap Messages, then tap Show Subject Field to turn it on or off. Note: The subject field and the Show Subject Field setting don’t appear if MMS isn’t supported by your carrier. Chapter 7 Messages 87Turn MMS messaging on or off: In Settings, tap Messages, then tap MMS Messaging to turn it on or off. You may want to turn MMS Messaging off, for example, to prevent sending or receiving attachments when fees apply. Note: The MMS Messaging setting doesn’t appear if MMS isn’t supported by your carrier. Sharing Photos and Videos You can take a photo or make a video (iPhone 3GS only) from within Messages and include it in your conversation with another MMS-capable device. You can save photos or videos you receive in Messages to your Camera Roll album. If MMS isn’t supported by your carrier, the button doesn’t appear and you can’t send photos or videos. Send a photo or video: Tap and tap “Take Photo or Video” (iPhone 3GS only; on earlier models, tap “Take Photo”) or “Choose Existing” and select an item from a photo album and tap Choose. The limit to the size of attachments is determined by your carrier. If necessary, iPhone may compress the photo or video. To learn about taking photos and videos, see Chapter 10,“Camera,” on page 103. Save a photo or video attachment to your Camera Roll album: Tap the photo or video in the conversation, tap , then tap Save Image or Save Video. Copy a photo or video: Touch and hold the attachment, then tap Copy. You can paste the photo or video to an Mail message or another MMS message. Sending Voice Memos You can send voice memos in a message to another MMS-capable device. Send a voice memo: In Voice Memos, tap , tap the voice memo you want to send, then tap Share and tap MMS. Address the message and tap Send. 88 Chapter 7 MessagesEditing Conversations If you want to keep a conversation but not the entire thread, you can delete the parts you don’t want. You can also delete entire conversations from the Messages list. Edit a conversation: Tap Edit. Tap the circles along the left side to select the parts of the conversation you want to delete, then tap Delete. When you’re finished, tap Done. Clear all text and files, without deleting the conversation: Tap Edit, then tap Clear All. Tap Clear Conversation to confirm. Forward a conversation: Select a conversation, then tap Edit. Tap the circles on the left side of the screen to select the parts of the conversation you want to include, then tap Forward, enter one or more recipients, and tap Send. Delete a conversation: Tap Edit, then tap next to the conversation and tap Delete. You can also swipe left or right over the conversation and tap Delete. To show the Delete button, swipe left or right over the message. Using Contact Information and Links Call or email someone you’ve texted: Tap a message in the Text Messages list and scroll to the top of the conversation. (Tap the status bar to scroll quickly to the top of the screen.) • To call the person, tap Call. • To email the person, tap Contact Info, then tap an email address. Follow a link in a message: Tap the link. A link may open a webpage in Safari, initiate a phone call in Phone, open a preaddressed message in Mail, or display a location in Maps. To return to your text messages, press the Home button and tap Messages. Add someone you’ve texted to your contacts list: Tap a phone number in the Messages list, then tap “Add to Contacts.” Send contact information: In Contacts, tap the person whose information you want to share. Tap Share Contact at the bottom of the screen, then tap MMS. Address the message and tap Send. Save contact information received: Tap the contact bubble in the conversation and tap Create New Contact or “Add to Existing Contact.” Chapter 7 Messages 89Managing Previews and Alerts By default, iPhone displays a preview of new messages when iPhone is locked or you are using another application. You can turn this preview on or off in Settings. You can also enable alerts for text messages. Turn previews on or off: In Settings, choose Messages and tap Show Preview. Repeat previews: In Settings, choose Messages and tap Repeat Alert. If you don’t respond to the first preview of a new message, the preview will be displayed twice more. Set whether an alert sounds when you get a text message or preview: In Settings, choose Sounds, then tap New Text Message. Tap the alert sound you want, or None if you don’t want an audible alert. Important: If the Ring/Silent switch is off, text alerts won’t sound. 90 Chapter 7 MessagesCalendar 8 About Calendar Calendar lets you view individual calendars for your different accounts or a combined calendar for all accounts. You can view your events in a continuous list, by day, or by month, and search events by title, invitee, or location. You can sync iPhone with the calendars on your computer. You can also make, edit, or cancel appointments on iPhone, and have them synced back to your computer. You can subscribe to Google, Yahoo!, or Mac OS X iCal calendars using a CalDAV or iCalendar (.ics) account. If you have a Microsoft Exchange account, you can receive and respond to meeting invitations. Syncing Calendars You can sync Calendar in either of the following ways: • In iTunes, use the iPhone preference panes to sync with iCal or Microsoft Entourage on a Mac, or Microsoft Outlook 2003 or 2007 on a PC when you connect iPhone to your computer. See “Syncing” on page 11. • In Settings on iPhone, select Calendar in your MobileMe or Microsoft Exchange accounts to sync your calendar information over the air. See “Setting Up Accounts” on page 16. 91Viewing Your Calendar You can view individual calendars for your different accounts or a combined calendar for all accounts. View a different calendar: Tap Calendars, then select a calendar. Tap All Calendars to view combined events from all calendars. You can view your calendar events in a list, by day, or by month. The events for all of your synced calendars appear in the same calendar on iPhone. Switch views: Tap List, Day, or Month. • List view: All your appointments and events appear in a scrollable list. • Day view: Scroll up or down to see the events in a day. Tap or to see the previous or next day’s events. • Month view: Tap a day to see its events. Tap or to see the previous or next month. Add an event Days with dots have scheduled events Go to today Switch views Respond to calendar invitation Events for selected day See the details of an event: Tap the event. Set iPhone to adjust event times for a selected time zone: 1 In Settings, choose “Mail, Contacts, Calendars.” 2 Under Calendars, tap Time Zone Support, then turn Time Zone Support on. 3 Tap Time Zone and search for a major city in the time zone you want. When Time Zone Support is on, Calendar displays event dates and times in the time zone of the city you selected. When Time Zone Support is off, Calendar displays events in the time zone of your current location as determined by the network time. 92 Chapter 8 CalendarSearching Calendars You can search the titles, invitees, and locations of the events in your calendars. Calendar searches the calendar you’re currently viewing, or all calendars if you’re viewing them all. Search events: In list view, enter text in the search field. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more results. Subscribing to and Sharing Calendars You can subscribe to calendars that use the CalDAV or iCalendar (.ics) formats. Many calendar-based services, including Yahoo!, Google, and the Mac OS X iCal application, support either format. Subscribed calendars are read only. You can read events from subscribed calendars on iPhone, but can’t edit them or create new events. You also can’t accept invitations from CalDAV accounts. Subscribe to a CalDAV or .ics calendar: 1 In Settings, choose “Mail, Contacts, Calendars,” then tap Add Account. 2 Choose Other, then choose either Add CalDAV Account or Add Subscribed Calendar. 3 Enter your account information, then tap Next to verify the account. 4 Tap Save. Apple provides links to a number of free iCal calendars—for national holidays or sports events, for example—that you may want to subscribe to. The calendars are automatically added to iCal on your desktop when you download them. You can then sync them to iPhone as described in “Subscribing to and Sharing Calendars” on page 93. Go to /www.apple.com/downloads/macosx/calendars. Chapter 8 Calendar 93You can also subscribe to an iCal (or other .ics) calendar published on the web by tapping a link to the calendar you receive in an email or text message on iPhone. Adding Calendar Events to iPhone You can also enter and edit calendar events directly on iPhone. Add an event: Tap and enter event information, then tap Done. You can enter any of the following: • Title • Location • Starting and ending times (or turn on All-day if it’s an all-day event) • Repeat times—none, or every day, week, two weeks, month, or year • Alert time—from five minutes to two days before the event When you set an alert, the option to set a second alert appears. When an alert goes off, iPhone displays a message. You can also set iPhone to play a sound (see “Alerts” on page 96). Important: Some carriers don’t support network time in all locations. If you’re traveling, iPhone may not alert you at the correct local time. To manually set the correct time, see “Date and Time” on page 147. • Notes To select which calendar to add the event to, tap Calendar. Read-only calendars don’t appear in the list. Edit an event Tap the event, then tap Edit. Delete an event Tap the event, tap Edit, then scroll down and tap Delete Event. 94 Chapter 8 CalendarResponding to Meeting Invitations If you have a Microsoft Exchange account set up on iPhone with Calendars enabled, you can receive and respond to meeting invitations from people in your organization. When you receive an invitation, the meeting appears in your calendar with a dotted line around it. The icon in the lower-right corner of the screen indicates the total number of new invitations you have, as does the Calendar icon on the Home screen. Number of meeting invitations Respond to an invitation in Calendar: 1 Tap a meeting invitation in the calendar, or tap to display the Event screen and tap an invitation. • Tap “Invitation from” to get contact information for the meeting organizer. Tap the email address to send a message to the organizer. If the organizer is in your contacts, you can also tap to call or send a text message. Chapter 8 Calendar 95• Tap Attendees to see the other people invited to the meeting. Tap a name to see an attendee’s contact information. Tap the email address to send a message to the attendee. If the attendee is in your contacts, you can also tap to call or send a text message. • Tap Alert to set iPhone to sound an alert before the meeting. • Tap Add Comments to add comments in the email response to the meeting organizer. You comments will also appear in your Info screen for the meeting. Notes are made by the meeting organizer. 2 Tap Accept, Maybe, or Decline. When you accept, tentatively accept, or decline the invitation, a response email that includes any comments you added is sent to the organizer. If you accept or tentatively accept the meeting, you can change your response later. Tap Add Comments if you want to change your comments. Exchange meeting invitations are also sent in an email message, which lets you open the meeting’s Info screen from Mail. Open a meeting invitation in an email message: Tap the invitation. Alerts Set calendar alerts: In Settings, choose Sounds, then turn Calendar Alerts on. If Calendar Alerts is off when an event is about to occur, iPhone displays a message but makes no sound. Important: If the Ring/Silent switch is off, calendar alerts won’t sound. Sound alerts for invitations: In Settings, choose “Mail, Contacts, Calendar.” Under Calendars, tap New Invitation Alert to turn it on. 96 Chapter 8 CalendarPhotos 9 About Photos iPhone lets you carry photos and videos with you, so you can share them with your family, friends, and associates. You can sync photos and videos (Mac only) from your computer, view photos and videos (iPhone 3GS only) taken with the built-in camera, use photos as wallpaper, and assign photos to identify contacts when they call. You can also send photos and videos in email messages, send photos and videos (iPhone 3GS only) in MMS messages, and upload photos and videos to MobileMe galleries. Note: MMS is available only on iPhone 3G or later and if supported by your carrier. Syncing Photos and Videos with Your Computer iTunes can sync your photos and videos (Mac only) with the following applications: • Mac: iPhoto 4.0.3 or later, or Aperture • PC: Adobe Photoshop Elements 3.0 or later See “Syncing with iTunes” on page 12. iPhone supports H.264 and MPEG-4 video formats, with AAC audio. If you are having trouble syncing a video to iPhone, you might be able to use iTunes to create an iPhone version of the video. Create an iPhone version of a video: 1 Copy the video to your iTunes library. 2 In iTunes, select Movies in the Library list and select the video you want to sync. 3 Choose Advanced > “Create iPod or iPhone Version.” For additional information, go to support.apple.com/kb/HT1211. 97Viewing Photos and Videos Photos and videos (Mac only) synced from your computer’s photo application can be viewed in Photos. You can also view the photos and videos (iPhone 3GS only) you’ve taken with iPhone’s built-in camera or saved from an email or MMS message (iPhone 3GS only). View photos and videos: 1 In Photos, tap a photo album. 2 Tap a thumbnail to see the photo or video in full screen. Show or hide the controls: Tap the full-screen photo or video to show the controls. Tap again to hide the controls. Play a video: Tap in the center of the screen. To replay a video, tap at the bottom of the screen. If you don’t see , tap the screen to show the controls. View a photo or video in landscape orientation: Rotate iPhone sideways. The photo or video reorients automatically and, if it’s in landscape format, expands to fit the screen. 98 Chapter 9 PhotosZoom in on part of a photo: Double-tap where you want to zoom in. Double-tap again to zoom out. You can also pinch to zoom in or out. View video in full screen, or fit video to screen: Double tap the screen to scale the video to fill the screen. Double-tap again to fit the video to the screen. Pan around a photo: Drag the photo. See the next or previous photo or video: Flick left or right. Or tap the screen to show the controls, then tap or . Slideshows You can view photo albums as slideshows, complete with background music. View a photo album as a slideshow: Tap an album, then tap . Videos play automatically when they appear during the slideshow. Stop a slideshow: Tap the screen. Set slideshow settings: In Settings, choose Photos and set the following options: • To set the length of time each slide is shown, tap Play Each Slide For and choose a time. • To set transition effects when moving from photo to photo, tap Transition and choose a transition type. • To set whether slideshows repeat, turn Repeat on or off. • To set whether photos and videos are shown in random order, turn Shuffle on or off. Chapter 9 Photos 99Play music during a slideshow: In iPod, play a song, then choose Photos from the Home screen and start a slideshow. Sharing Photos and Videos You can send photos and videos in email and MMS messages, add photos and videos to MobileMe galleries, and publish videos to YouTube. You can also copy and paste photos and videos, save photos and videos from email messages to Photos, and save images from webpages to Photos. Note: MMS is available only on iPhone 3G or later and if supported by your carrier. MMS video attachments are supported only on iPhone 3GS. Sending a Photo or Video in an Email or MMS Message Send a photo or video: Choose a photo or video and tap , then tap Email Photo/ Video or MMS. If you don’t see , tap the screen to show the controls. The limit to the size of attachments is determined by your carrier. If necessary, iPhone may compress the photo or video. To learn about taking photos and videos, see Chapter 10,“Camera,” on page 103. Copying and Pasting Photos and Videos You can copy a photo or video from Photos and paste it to an email or MMS message. Some third-party applications may also support copying and pasting photos and videos. Copy a photo or video: Hold your finger on the screen until the Copy button appears, then tap Copy. Paste a photo or video: Tap to place an insertion point where you want to place the photo or video, then tap the insertion point and tap Paste. Adding a Photo or Video to a MobileMe Gallery If you have a MobileMe account, you can add photos and videos (iPhone 3GS only) directly from iPhone to a gallery you’ve created. You can also add photos and videos to someone else’s MobileMe gallery if that person has enabled email contributions. Before you can add photos or videos to a gallery in your MobileMe account, you must: • Set up your MobileMe account on iPhone • Publish a MobileMe gallery, and allow adding photos via email or iPhone For more information about creating a gallery and adding photos and videos to it, see MobileMe Help. 100 Chapter 9 PhotosAdd a photo or video to your gallery: Choose a photo or video and tap , then tap “Send to MobileMe.” Enter a title and description, if you like, then select the album to add the photo or video to and tap Publish. If you don’t see , tap the screen to show the controls. iPhone tells you when the photo or video has been published, and gives you options to view it on MobileMe or email a link to a friend. Adding a photo or video to someone else’s gallery: Choose a photo or video and tap , then tap “Email Photo/Video.” Enter the album’s email address, then click Send. Publishing Videos to YouTube If you have a YouTube account, you can publish videos directly from iPhone to YouTube (iPhone 3GS only). You can’t publish videos longer than than ten minutes. Publish a video to You Tube: 1 While viewing a video, tap , then tap “Send to YouTube.” 2 Sign in to your YouTube account. 3 Enter publishing information such as Title, Description, and Tags. 4 Tap Category to choose a category. 5 Tap Publish. Saving Photos and Videos from Email Messages, MMS Messages, and Webpages Save a photo in an email message to your Camera Roll album: Tap the photo, then tap Save Image. If the photo hasn’t been downloaded yet, tap the download notice first. Save a video in an email message to your Camera Roll album: Touch and hold the attachment, then tap Save Video. If the video hasn’t been downloaded yet, tap the download notice first. Save a photo on a webpage to your Camera Roll album: Touch and hold the photo, then tap Save Image. Save a photo or video in an MMS message to your Camera Roll album: Tap the image in the conversation, tap , and tap Save Image or Save Video. If you don’t see , tap the screen to show the controls. You can download the photos and videos in your Camera Roll album to your computer’s photo application by connecting iPhone to your computer. Chapter 9 Photos 101Assigning a Photo to a Contact You can assign a photo to a contact. When that person calls, iPhone displays the photo. Assign a photo to a contact: 1 Choose Camera from the Home screen and take someone’s picture. Or choose any photo already on iPhone and tap . 2 Tap “Assign to Contact” and choose a contact. 3 Position and size the photo until it looks the way you want. Drag the photo to pan, and pinch to zoom in or out. 4 Tap Set Photo. You can also assign a photo to a contact in Contacts by tapping Edit and then tapping the picture icon. Wallpaper You see a wallpaper background picture as you unlock iPhone or when you’re on a call with someone you don’t have a high-resolution photo for. Set a photo as wallpaper: 1 Choose any photo and tap , then tap Use As Wallpaper. 2 Drag the photo to pan, or pinch the photo to zoom in or out, until it looks the way you want. 3 Tap Set Wallpaper. You can also choose from several wallpaper pictures included with iPhone by choosing Settings > Wallpaper > Wallpaper from the Home screen. 102 Chapter 9 PhotosCamera 10 About Camera With the built-in camera, it’s easy to take photos and record videos with iPhone. The lens is on the back of iPhone, so you can use the screen to see the photo or video you’re taking. “Tap to focus” (iPhone 3GS only) lets you focus on a specific area of your shot and automatically adjust the exposure. You can quickly review—and keep or delete—photos and videos you’ve taken. Note: Video features are available only on iPhone 3GS. Camera photos are tagged with location data, including your current geographical coordinates provided by the built-in compass (iPhone 3GS only), if Location Services is turned on. You can use location data with some applications and photo-sharing websites to track and post where you took your pictures. If Location Services is turned off, you’ll be prompted to turn it on. If you don’t want to include location data with your photos and videos, you can still use Camera without having Location Services turned on. See “Location Services” on page 144. 103Taking Photos and Recording Videos Taking photos and recording videos with iPhone is as easy as point and tap. Photo/Video switch Focus area Thumbnail of last shot Click to take photo Take a photo: Aim iPhone and tap . Make sure the Camera/Video switch is set to . When you take a photo or start a video recording, iPhone makes a shutter sound. The sound isn’t played if you’ve set the Ring/Silent switch to silent. See “Sounds and the Ring/Silent Switch” on page 141. Note: In some regions, the sound effects for Camera are played even if the Ring/Silent switch is set to silent. Record a video: Slide the Camera/Video switch to . Tap to start recording. The record button blinks while Camera is recording. Tap again to stop recording. You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to start and stop recording. If you take a picture or record a video with iPhone rotated sideways, the picture is saved in landscape orientation. A rectangle on the screen shows the area where Camera is focusing the shot. Change the focus area and set exposure: Tap where you want to focus. Camera automatically adjusts the exposure for the selected area of the image. Review a photo or video you’ve just taken: Tap the thumbnail of your last shot, in the lower-left corner of the screen. Delete a photo or video: Tap . If you don’t see , tap the screen to display the controls. 104 Chapter 10 CameraTake a screenshot of the iPhone display: Quickly press and release the Sleep/ Wake and Home buttons at the same time. A flash of the screen lets you know the screenshot was taken. The screenshot is added to the Camera Roll album. Viewing and Sharing Photos and Videos The photos and videos you take with Camera are saved in the Camera Roll album on iPhone. You can view the Camera Roll album from either Camera or Photos. View photos and videos in the Camera Roll album: In Camera, tap the thumbnail image in the lower-left corner of the screen. In Photos, tap the Camera Roll album. Tap the left or right button, or flick left or right to flip through the photos and videos. When viewing a photo or video in the Camera Roll album, tap the screen to display the controls. For more information about viewing and sharing photos and videos, see: • “Viewing Photos and Videos” on page 98 • “Sharing Photos and Videos” on page 100 Trimming Videos You can trim the frames from the beginning and end of videos that you record. You can trim the original video or save the trim as a new clip. Chapter 10 Camera 105Trim a video: 1 While viewing a video, tap the screen to display the controls. 2 Drag either end of the frame viewer at the top of the video, then tap Trim. 3 Tap Trim Original or tap Save as New Clip. Important: Trimming the original video permanently deletes the frames you edit from the video. New clips are saved in the Camera Roll album along with the original video. Uploading Photos and Videos to Your Computer You can upload the photos and videos you take with Camera to photo applications on your computer, such as iPhoto on a Mac. Upload images to your computer: Connect iPhone to your computer. • Mac: Select the photos you want and click the Import or Download button in iPhoto or other supported photo application on your computer. • PC: Follow the instructions that came with your camera or photo application. If you delete the photos and videos from iPhone when you upload them to your computer, they’re removed from the Camera Roll album. You can use the iTunes Photos setup pane to sync photos and videos (Mac only, iTunes 9 or later required) back to the Photos application on iPhone. See “iPhone Settings Panes in iTunes” on page 13. 106 Chapter 10 CameraYouTube 11 Finding and Viewing Videos YouTube features short videos submitted by people from around the world. To use some features on iPhone, you need to sign in to a YouTube account when prompted. For information about requirements and how to get a YouTube account, go to www.youtube.com. Note: YouTube isn’t available in all languages and locations. Browse videos: Tap Featured, Most Viewed, or Favorites. Or tap More to browse by Most Recent, Top Rated, History, Subscriptions, or Playlists. • Featured: Videos reviewed and featured by YouTube staff. • Most Viewed: Videos most seen by YouTube viewers. Tap All for all-time most viewed videos, or Today or This Week for most-viewed videos of the day or week. • Favorites: Videos you’ve added to Favorites. When you sign in to a YouTube account, account favorites appear and any existing favorites can be synced to your account. • Most Recent: Videos most recently submitted to YouTube. • Top Rated: Videos most highly rated by YouTube viewers. To rate videos, go to www.youtube.com. • History: Videos you’ve viewed most recently. • Subscriptions: Videos from YouTube accounts to which you’ve subscribed. You must be signed in to a YouTube account to use this feature. • Playlists: Videos you’ve added to playlists. You must be signed in to a YouTube account to use this feature. Search for a video: 1 Tap Search, then tap the YouTube search field. 2 Type a word or phrase that describes what you’re looking for, then tap Search. 107YouTube shows results based on video titles, descriptions, tags, and user names. Listed videos show title, rating, number of views, length, and the account name that posted the video. Play a video: Tap the video. The video begins to download to iPhone and a progress bar appears. When enough of the video has downloaded, it begins to play. You can also tap to start the video. Controlling Video Playback When a video starts playing, the controls disappear so they don’t obscure the video. Show or hide the video controls: Tap the screen. Next/ Fast-forward Play/Pause Email Scale Download progress Volume Playhead Scrubber bar Bookmark Previous/rewind Play or pause a video Tap or . You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Adjust the volume Drag the volume slider, or use the volume buttons on the side of iPhone. You can also use the volume buttons on the iPhone headset (iPhone 3GS only). Start a video over Tap . Skip to the next or previous video in a list Tap twice to skip to the previous video. Tap to skip to the next video. Rewind or fast-forward Touch and hold or . Skip to any point in a video Drag the playhead along the scrubber bar. Stop watching a video before it finishes playing Tap Done, or press the Home button. Toggle between scaling a video to fill the screen or fit to the screen Double-tap the video. You can also tap to make the video fill the screen, or tap to make it fit the screen. Add a video to Favorites using video controls Start playing a video and tap . Email a link to the video using video controls Start playing a video and tap . 108 Chapter 11 YouTubeManaging Videos Tap next to a video to see related videos and more controls for managing videos. Add the video to Favorites Tap “Add to Favorites.” Add the video to a playlist Tap “Add to Playlist,” then select an existing playlist or tap to create a new playlist. Email a link to the video Tap Share Video. Browse and view related videos Tap a video in the list of related videos to view, or tap next to a video for more information. Getting More Information Tap next to the video to show the video’s comments, description, date added, and other information. Chapter 11 YouTube 109Rate the video or add a comment On the More Info screen, tap “Rate, Comment, or Flag,” then choose “Rate or Comment.” You must be signed in to a YouTube account to use this feature. See more videos from this account On the More Info screen, tap More Videos. Subscribe to this YouTube account On the More Info screen, tap More Videos, then tap “Subscribe to ” at the bottom of the video list. You must be signed in to a YouTube account to use this feature. Using YouTube Account Features If you have a YouTube account, you can access account features such as subscriptions, comments and ratings, and playlists. To create a YouTube account, go to www.youtube.com. Show favorites you’ve added to your account: In Favorites, tap Sign In, then enter your username and password to see your account favorites. Any existing favorites you’ve added to iPhone can be merged with your account favorites when you sign in. Delete a favorite: In Favorites, tap Edit, tap next to a video, then tap Delete. Show subscriptions you’ve added to your account: In Subscriptions, tap Sign In, then enter your username and password to see your account subscriptions. Tap an account in the list to see all videos for that account. Unsubscribe from a YouTube account: In Subscriptions, tap an account in the list, then tap Unsubscribe. View playlists: In Playlists, tap a playlist to see the list of videos you’ve added. Tap any video in the playlist to begin playing videos from that point in the playlist. Edit a playlist: In Playlists, tap Edit, then do one of the following: • To delete the entire playlist, tap next to a playlist, then tap Delete. • To create a new playlist, tap , then enter a name for the playlist. Add a video to a playlist: Tap next to a video, then tap “Add to Playlist” and choose a playlist. Delete a video from a playlist: 1 In Playlists, tap a playlist, then tap Edit. 2 Tap next to a playlist, then tap Delete. 110 Chapter 11 YouTubeChanging the Browse Buttons You can replace the Featured, Most Viewed, Bookmarks, and Search buttons at the bottom of the screen with ones you use more frequently. For example, if you watch top rated videos often but don’t watch many featured videos, you could replace the Featured button with Top Rated. Change the browse buttons: Tap More and tap Edit, then drag a button to the bottom of the screen, over the button you want to replace. You can drag the buttons at the bottom of the screen left or right to rearrange them. When you finish, tap Done. When you’re browsing for videos, tap More to access the browse buttons that aren’t visible. Sending Videos to YouTube If you have a YouTube account, you can send videos directly from iPhone 3GS to YouTube. See “Publishing Videos to YouTube” on page 101. Chapter 11 YouTube 111Stocks 12 Viewing Stock Quotes Stocks lets you see the latest available quotes for your selected stocks, funds, and indexes. Quotes are updated every time you open Stocks when connected to the Internet. Quotes may be delayed by up to 20 minutes or more depending upon the reporting service. Add a stock, fund, or index to the stock reader: 1 Tap , then tap . 2 Enter a symbol, company name, fund name, or index, then tap Search. 3 Select an item from the search results and tap Done. View charts in landscape orientation: Rotate iPhone sideways. Flick left or right to view the other charts in your stock reader. Show the progress of a stock, fund, or index over time: Tap the stock, fund, or index in your list, then tap 1d, 1w, 1m, 3m, 6m, 1y, or 2y. The chart adjusts to show progress over one day, one week, one month, three months, six months, one year, or two years. When you’re viewing a chart in landscape orientation, you can touch the chart to display the value for a specific point in time. 112Use two fingers to see the change in value over a specific period of time. Delete a stock: Tap and tap next to a stock, then tap Delete. Change the order of the list: Tap . Then drag next to a stock or index to a new place in the list. Switch the display to percentage change, price change, or market capitalization: Tap any of the values along the right side of the screen. Tap again to switch to another view. Or tap and tap %, Price, or Mkt Cap, then tap Done. Getting More Information See the summary, chart, or news page about a stock, fund, or index: Select the stock, fund, or index in your list, then flick the pages underneath the stock reader to view the summary, chart, or recent news page. On the news page, you can scroll up and down to read headlines, or tap a headline to view the article in Safari. See more information at Yahoo.com: Select the stock, fund, or index in your list, then tap . Chapter 12 Stocks 113Maps 13 Finding and Viewing Locations WARNING: For important information about driving and navigating safely, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Maps provides street maps, satellite photos, a hybrid view, and street views of locations in many of the world’s countries. You can get detailed driving, public transit, or walking directions and traffic information. Find and track your current (approximate) location, and use your current location to get driving directions to or from another place. The built-in digital compass lets you see which way you’re facing. (iPhone 3GS only). Important: Maps, digital compass (iPhone 3GS only), directions, and location-based applications provided by Apple depend on data collected and services provided by third parties. These data services are subject to change and may not be available in all geographic areas, resulting in maps, compass headings, directions, or locationbased information that may be unavailable, inaccurate, or incomplete. Compare the information provided on iPhone to your surroundings and defer to posted signs to resolve any discrepancies. In order to provide your location, data is collected in a form that doesn’t personally identify you. If you don’t want such data collected, don’t use the feature. Not using this feature won’t impact the non–location-based functionality of your iPhone. Find a location and see a map: 1 Tap the search field to bring up the keyboard. 2 Type an address, intersection, area, landmark, bookmark, contact, or zip code. 3 Tap Search. 114A pin marks the location. Tap the pin to see the name or description of the location. Tap to get information about the location, get directions, add the location to your bookmarks or contacts list, or email a link to Google Maps. Locations can include places of interest added by Google My Maps users (“Usercreated content”), and sponsored links that appear as special icons (for example, ). Zoom in to a part of a map Pinch the map with two fingers. Or double-tap the part you want to zoom in on. Double-tap again to zoom in even closer. Zoom out Pinch the map. Or tap the map with two fingers. Tap with two fingers again to zoom out further. Pan or scroll to another part of the map Drag up, down, left, or right. Find your current location and turn tracking mode on: Tap . Chapter 13 Maps 115Your current (approximate) location is indicated by a blue marker. If your location can’t be determined precisely, a blue circle also appears around the marker. The size of the circle depends on how precisely your location can be determined—the smaller the circle, the greater the precision. As you move around, iPhone updates your location, adjusting the map so that the location indicator remains in the center of the screen. If you tap again or drag the map, iPhone continues to update your location but stops centering it, so the location information may move off the screen. iPhone uses Location Services to determine your location. Location Services uses available information from cellular network data, local Wi-Fi networks (if you have Wi-Fi turned on), and GPS ( iPhone 3G or later; GPS not available in all locations). This feature isn’t available in all areas. If Location Services is turned off, you’ll be prompted to turn it on. You can’t find and track your current location if Location Services is turned off. See “Location Services” on page 144. To conserve battery life, turn Location Services off when you’re not using it. In Settings, choose General > Location Services. Get information about your current location: Tap the blue marker, then tap . iPhone displays the address of your current location, if available. You can use this information to: • Get directions • Add the location to contacts • Send the address via email or MMS (iPhone 3G or later) • Bookmark the location 116 Chapter 13 MapsShow which way you’re facing (iPhone 3GS only): Tap again. (The icon changes to .) Maps uses the built-in compass to determine which way you’re facing. The angle shows the accuracy of the compass reading—the smaller the angle, the greater the accuracy. Maps uses true north to determine your heading, even if you have magnetic north set in Compass. If the compass needs calibrating, iPhone asks you to wave the phone in a figure eight. If there’s interference, you may be asked to move from the source of interference. See Chapter 22,“Compass,” on page 173. Use the dropped pin: Tap , then tap Drop Pin. A pin drops down on the map, which you can then drag to any location you choose. Replace the pin: Tap , then tap Replace Pin. iPhone drops the pin in the area you’re currently viewing. Chapter 13 Maps 117See a satellite or hybrid view: Tap , then tap Satellite or Hybrid to see just a satellite view or a combined street map and satellite view. To return to map view, tap Map. See the Google Street View of a location: Tap . Flick left or right to pan through the 360° panoramic view. (The inset shows your current view.) Tap an arrow to move down the street. Tap to return to map view To return to map view, tap the map inset in the lower-right corner. Street View isn’t available in all areas. 118 Chapter 13 MapsSee the location of someone’s address in your contacts list Tap in the search field, then tap Contacts and choose a contact. To locate an address in this way, the contact must include at least one address. If the contact has more than one address, choose the one you want to locate. You can also find the location of an address by tapping the address directly in Contacts. Add a location to your contacts list Find a location, tap the pin that points to it, tap next to the name or description, tap “Add to Contacts,” then tap “Create New Contact” or “Add to Existing Contact.” Email a link to a Google Maps location Find a location, tap the pin that points to it, tap next to the name or description, then tap Share Location and tap Email. Send a link via MMS to a Google Maps location Find a location, tap the pin that points to it, tap next to the name or description, then tap Share Location and tap MMS (iPhone 3G or later). Bookmarking Locations You can bookmark locations that you want to find again later. Bookmark a location: Find a location, tap the pin that points to it, tap next to the name or description, then tap “Add to Bookmarks” at the bottom of the Info screen. See a bookmarked location or recently viewed location: Tap in the search field, then tap Bookmarks or Recents. Getting Directions You can get step-by-step directions for driving, taking public transit, or walking to a destination. Get directions: 1 Tap Directions. 2 Enter starting and ending locations in the Start and End fields. By default, iPhone starts with your current approximate location (if available). Tap in either field to choose a location in Bookmarks (including your current approximate location and the dropped pin, if available), Recents, or Contacts. For example, if a friend’s address is in your contacts list, you can tap Contacts and tap your friend’s name instead of having to type the address. To reverse the directions, tap . Chapter 13 Maps 1193 Tap Route (if you entered locations manually), then select driving ( ), public transit ( ), or walking ( ) directions. The travel options available depend on the route. 4 Do one of the following: • To view directions one step at a time, tap Start, then tap to see the next leg of the trip. Tap to go back. • To view all the directions in a list, tap , then tap List. Tap any item in the list to see a map showing that leg of the trip. Tap Route Overview to return to the overview screen. If you’re driving or walking, the approximate distance and travel time appear at the top of the screen. If traffic data is available, the driving time is adjusted accordingly. If you’re taking public transit, the overview screen shows each leg of the trip and the mode of transportation, including where you need to walk. The top of the screen shows the time of the bus or train at the first stop, the estimated arrival time, and the total fare. Tap to set your departure or arrival time, and to choose a schedule for the trip. Tap the icon at a stop to see the departure time for that bus or train, and to get a link to the transit provider’s website or contact info. When you tap Start and step through the route, detailed information about each leg of the trip appears at the top of the screen. You can also get directions by finding a location on the map, tapping the pin that points to it, tapping , then tapping Directions To Here or Directions From Here. Switch start and end points, for reverse directions: Tap . If you don’t see , tap List, then tap Edit. See recently viewed directions: Tap in the search field, then tap Recents. 120 Chapter 13 MapsShowing Traffic Conditions When available, you can show highway traffic conditions on the map. Show or hide traffic conditions: Tap , then tap Show Traffic or Hide Traffic. Highways are color-coded according to the flow of traffic: Green = more than 50 miles per hour Yellow = 25–50 miles per hour Gray = no data currently available Red = less than 25 miles per hour If you don’t see color-coded highways, you may need to zoom out to a level where you can see major roads, or traffic conditions may not be available for that area. Finding and Contacting Businesses Find businesses in an area: 1 Find a location—for example, a city and state or country, or a street address—or scroll to a location on a map. 2 Type the kind of business in the text field and tap Search. Pins appear for matching locations. For example, if you locate your city and then type “movies” and tap Search, pins mark movie theatres in your city. Tap the pin that marks a business to see its name or description. Find businesses without finding the location first: Type things like: • restaurants san francisco ca • apple inc new york Contact a business or get directions: Tap the pin that marks a business, then tap next to the name. From there, you can do the following: • Tap a phone number to call, an email address to send email to, or a web address to visit. • For directions, tap Directions To Here or Directions From Here. Chapter 13 Maps 121• To add the business to your contacts list, scroll down and tap “Create New Contact” or “Add to Existing Contact.” • Share the location of the business by email or text message See a list of the businesses found in the search: From the Map screen, tap List. Tap a business to see its location. Or tap next to a business to see its information. Get directions Visit website Tap to show contact info Call 122 Chapter 13 MapsWeather 14 Viewing Weather Summaries Tap Weather from the Home screen to get the current temperature and six-day forecast for one or more cities around the world. Six-day forecast Current temperature Current conditions Add and delete cities Number of cities stored Today’s high and low If the weather board is light blue, it’s daytime in that city—between 6:00 a.m. and 6:00 p.m. If the board is dark purple, it’s nighttime—between 6:00 p.m. and 6:00 a.m. Add a city: 1 Tap , then tap . 2 Enter a city name or zip code, then tap Search. 3 Choose a city in the search list. Switch to another city: Flick left or right, or tap to the left or right of the row of dots. The number of dots below the weather board shows how many cities are stored. Reorder cities: Tap , then drag next to a city to a new place in the list. 123Delete a city: Tap and tap next to a city, then tap Delete. Display temperature in Fahrenheit or Celsius: Tap , then tap °F or °C. Getting More Weather Information You can see a more detailed weather report, news and websites related to the city, and more. See information about a city at Yahoo.com: Tap . 124 Chapter 14 WeatherVoice Memos 15 Recording Voice Memos Voice Memos lets you use iPhone as a portable recording device using the built-in microphone, iPhone or Bluetooth headset mic, or supported external microphone. Note: External microphones must be designed to work with the iPhone headset jack or Dock Connector, such as Apple-branded earbuds or authorized third-party accessories marked with the Apple “Works with iPhone” logo. You can adjust the recording level by moving the microphone closer to or further away from what you’re recording. For better recording quality, the loudest level on the level meter should be between –3dB and 0 dB. Record button Audio level meter Go to voice memos 125Record a voice memo: 1 Tap to start recording. You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). 2 Tap to pause or to stop recording. You can also press the center button on the iPhone headset (or the equivalent button on your Bluetooth headset). Recordings using the built-in microphone are mono, but you can record stereo using an external stereo microphone. When you start a voice recording, iPhone makes a shutter sound. The sound isn’t played if you’ve set the Ring/Silent switch to silent. See “Sounds and the Ring/Silent Switch” on page 141. Note: In some regions, the sound effects for Voice Memos are played even if the Ring/ Silent switch is set to silent. To use other applications while recording your voice memo, you can lock iPhone or press the Home button. Play back a voice memo you just recorded: Tap . Listening to Voice Memos Scrubber bar Playhead Play a voice memo you’ve previously recorded: 1 Tap . Memos are listed in chronological order, with the most recent memo first. 2 Tap a memo, then tap . Tap to pause, then tap again to resume playback. Skip to any point in a memo: Drag the playhead along the scrubber bar. 126 Chapter 15 Voice MemosListen through the built-in speaker: Tap Speaker. Managing Voice Memos Delete a voice memo: Tap a memo in the list, then tap Delete. See more information: Tap next to the memo. The Info screen displays information about the length, recording time and date, and provides additional editing and sharing functions. Add a label to a memo: On the Info screen tap , then select a label in the list on the Label screen. To create a custom label, choose Custom at the bottom of the list, then type a name for the label. Chapter 15 Voice Memos 127Trimming Voice Memos You can trim the beginning or ending of a voice memo to eliminate unwanted pauses or noise. Trim a voice memo: 1 On the Voice Memos screen, tap next to the memo you want to trim. 2 Tap Trim Memo. 3 Using the time markers as a guide, drag the edges of the audio region to adjust the beginning and end of the voice memo. To preview your edit, tap . 4 Tap Trim Voice Memo. Important: Edits you make to voice memos can’t be undone. Sharing Voice Memos You can share your voice memos as attachments in email or MMS messages (iPhone 3G or later). Share a voice memo: 1 On the Voice Memos screen or Info screen, tap Share. 2 Choose Email Voice Memo to open a new message in Mail with the memo attached, or choose MMS to open a new message in Messages. A message appears if the file you’re trying to send is too large. 128 Chapter 15 Voice MemosSyncing Voice Memos iTunes automatically syncs voice memos to your iTunes library when you connect iPhone to your computer. This lets you listen to voice memos on your computer and provides a backup if you delete them from iPhone. Voice memos are synced to the Voice Memos playlist. iTunes creates the playlist if it doesn’t exist. When you sync voice memos to iTunes, they remain in the Voice Memos application until you delete them. If you delete a voice memo on iPhone, it isn’t deleted from the Voice Memos playlist in iTunes. However, if you delete a voice memo from iTunes, it is deleted from iPhone the next time you sync with iTunes. You can sync the iTunes Voice Memos playlist to the iPod application on iPhone using the Music pane in iTunes. Sync the Voice Memos playlist to iPhone: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 Select the Music tab. 4 Select the “Include voice memos” checkbox and click Apply. Chapter 15 Voice Memos 129Notes 16 Writing and Reading Notes Notes are listed in the order of the last modified date, with the most recently modified note at the top. You can see the first few words of each note in the list. Rotate iPhone to view notes in landscape orientation and type using a larger keyboard. Add a note: Tap , then type your note and tap Done. Read a note: Tap the note. Tap or to see the next or previous note. Edit a note: Tap anywhere on the note to bring up the keyboard. Delete a note: Tap the note, then tap . 130Searching Notes You can search the text of notes. Search for notes: 1 Drag the note list down or tap the status bar to expose the search window. 2 Enter text in the search field. Search results appear automatically as you type. Tap Search to dismiss the keyboard and see more of the results. Emailing Notes Email a note: Tap the note, then tap . To email a note, iPhone must be set up for email. See “Setting Up Email Accounts” on page 59. Syncing Notes You can set up iTunes to automatically sync your notes with email applications such as Mac OS X Mail (requires Mac OS X version 10.5.7 or later) or Microsoft Outlook 2003 or 2007 on a PC. See “Syncing with iTunes” on page 12. Chapter 16 Notes 131Clock 17 World Clocks You can add clocks to show the time in other major cities and time zones around the world. View clocks: Tap World Clock. If the clock face is white, it’s daytime in that city. If the clock face is black, it’s nighttime. If you have more than four clocks, flick to scroll through them. Add a clock: 1 Tap World Clock. 2 Tap , then type the name of a city. Cities matching what you’ve typed appear below. 3 Tap a city to add a clock for that city. If you don’t see the city you’re looking for, try a major city in the same time zone. Delete a clock: Tap World Clock and tap Edit. Then tap next to a clock and tap Delete. Rearrange clocks: Tap World Clock and tap Edit. Then drag next to a clock to a new place in the list. 132Alarms You can set multiple alarms. Set each alarm to repeat on days you specify, or to sound only once. Set an alarm: 1 Tap Alarm and tap . 2 Adjust any of the following settings: • To set the alarm to repeat on certain days, tap Repeat and choose the days. • To choose the ringtone that sounds when the alarm goes off, tap Sound. • To set whether the alarm gives you the option to hit snooze, turn Snooze on or off. If Snooze is on and you tap Snooze when the alarm sounds, the alarm stops and then sounds again in ten minutes. • To give the alarm a description, tap Label. iPhone displays the label when the alarm sounds. If at least one alarm is set and turned on, appears in the iPhone status bar at the top of the screen. Important: Some carriers don’t support network time in all locations. If you’re traveling, iPhone alerts may not sound at the correct local time. See “Date and Time” on page 147. Turn an alarm on or off: Tap Alarm and turn any alarm on or off. If an alarm is turned off, it won’t sound again unless you turn it back on. If an alarm is set to sound only once, it turns off automatically after it sounds. You can turn it on again to reenable it. Change settings for an alarm: Tap Alarm and tap Edit, then tap next to the alarm you want to change. Delete an alarm: Tap Alarm and tap Edit, then tap next to the alarm and tap Delete. Stopwatch Use the stopwatch to time an event: 1 Tap Stopwatch. 2 Tap Start to start the stopwatch. • To record lap times, tap Lap after each lap. • To pause the stopwatch, tap Stop. Tap Start to resume. • To reset the stopwatch, tap Reset when the stopwatch is pause. If you start the stopwatch and go to another iPhone application, the stopwatch continues running in the background. Chapter 17 Clock 133Timer Set the timer: Tap Timer, then flick to set the number of hours and minutes. Tap Start to start the timer. Choose the sound: Tap When Timer Ends. Set a sleep timer: Set the timer, then tap When Timer Ends and choose Sleep iPod. When you set a sleep timer, iPhone stops playing music or video when the timer ends. If you start the timer and then switch to another iPhone application, the timer continues running. 134 Chapter 17 ClockCalculator 18 Using the Calculator Tap numbers and functions in Calculator just as you would with a standard calculator. When you tap the add, subtract, multiply, or divide button, a white ring appears around the button to let you know the operation to be carried out. Rotate iPhone to get an expanded scientific calculator. Standard Memory Functions • C: Tap to clear the displayed number. • MC: Tap to clear the memory. • M+: Tap to add the displayed number to the number in memory. If no number is in memory, tap to store the displayed number in memory. • M-: Tap to subtract the displayed number from the number in memory. • MR: Tap to replace the displayed number with the number in memory. If the button has a white ring around it, there is a number stored in memory. The stored number remains in memory when you switch between the standard and scientific calculators. 135Scientific Calculator Keys Rotate iPhone to landscape orientation to display the scientific calculator. 2nd Changes the trigonometric buttons (sin, cos, tan, sinh, cosh, and tanh) to their inverse functions (sin -1 , cos -1 , tan -1 , sinh -1 , cosh -1 , and tanh -1 ). It also changes ln to log2, and e x to 2 x . Tap 2nd again to return the buttons to their original functions. ( Opens a parenthetical expression. Expressions can be nested. ) Closes a parenthetical expression. % Calculates percentages, adds markups, and subtracts discounts. To calculate a percentage, use it with the multiplication (x) key. For example, to calculate 8% of 500, enter 500 x 8 % = which returns 40. To add a markup or subtract a discount, use it with the plus (+) or minus (–) key. For example, to compute the total cost of a $500 item with an 8% sales tax, enter 500 + 8 % = which returns 540. 1/x Returns the reciprocal of a value in decimal format. x 2 Squares a value. x 3 Cubes a value. y x Tap between values to raise the first value to the power of the second value. For example, to compute 3 4 , enter 3 y x 4 = which returns 81. x! Calculates the factorial of a value. v Calculates the square root of a value. x vy Use between values to calculate the x root of y. For example to compute 4 v81, enter 81 x vy 4 = which returns 3. 136 Chapter 18 Calculatorlog Returns the log base 10 of a value. sin Calculates the sine of a value. sin -1 Calculates the arc sine of a value. (Available when the 2nd button is tapped.) cos Calculates the cosine of a value. cos -1 Calculates the arc cosine of a value. (Available when the 2nd button is tapped.) tan Calculates the tangent of a value. tan -1 Calculates the arc tangent of a value. (Available when the 2nd button is tapped.) ln Calculates the natural log of a value. log2 Calculates the log base 2. (Available when the 2nd button is tapped.) sinh Calculates the hyperbolic sine of a value. sinh -1 Calculates the inverse hyperbolic sine of a value. (Available when the 2nd button is tapped.) cosh Calculates the hyperbolic cosine of a value. cosh -1 Calculates the inverse hyperbolic cosine of a value. (Available when the 2nd button is tapped.) tanh Calculates the hyperbolic tangent of a value. tanh -1 Calculates the inverse hyperbolic tangent of a value. (Available when the 2nd button is tapped.) e x Tap after entering a value to raise the constant “e” (2.718281828459045...) to the power of that value. 2 x Calculates 2 to the power of the displayed value. For example, 10 2 x = 1024. (Available when the 2nd button is tapped.) Rad Changes the mode to express trigonometric functions in radians. Deg Changes the mode to express trigonometric functions in degrees. p Enters the value of p (3.141592653589793...). EE An operator that multiplies the currently displayed value by 10 to the power of the next value you enter. Rand Returns a random number between 0 and 1. Chapter 18 Calculator 137Settings 19 Settings allows you to customize iPhone applications, set the date and time, configure your network connection, and enter other preferences for iPhone. Airplane Mode Airplane mode disables the wireless features of iPhone to avoid interfering with aircraft operation and other electrical equipment. Turn on airplane mode: Tap Settings and turn airplane mode on. When airplane mode is on, appears in the status bar at the top of the screen. No phone, radio, Wi-Fi, or Bluetooth signals are emitted from iPhone and GPS reception is turned off, disabling many of iPhone’s features. You won’t be able to: • Make or receive phone calls • Get visual voicemail • Send or receive email • Browse the Internet • Sync your contacts, calendars, or bookmarks (MobileMe only) with MobileMe or Microsoft Exchange • Send or receive text messages • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Use the iTunes Store or the App Store If allowed by the aircraft operator and applicable laws and regulations, you can continue to use iPhone to: • Listen to music and watch video 138• Listen to visual voicemail previously received • Check your calendar • Take or view pictures • Hear alarms • Use the stopwatch or timer • Use the calculator • Take notes • Record voice memos • Use Compass • Read text messages and email messages stored on iPhone Where allowed by the aircraft operator and applicable laws and regulations, you can turn Wi-Fi back on, enabling you to: • Send and receive email • Browse the Internet • Sync your contacts, calendars, and bookmarks (MobileMe only) with MobileMe and Microsoft Exchange • Stream YouTube videos • Get stock quotes • Get map locations • Get weather reports • Use the iTunes Store or the App Store Wi-Fi Wi-Fi settings determine whether iPhone uses local Wi-Fi networks to connect to the Internet. If no Wi-Fi networks are available, or you’ve turned Wi-Fi off, then iPhone connects to the Internet via your cellular data network, when available. You can use Mail, Safari, YouTube, Stocks, Maps, Weather, the iTunes Store, and the App Store over a cellular data network connection. Turn Wi-Fi on or off: Choose Wi-Fi and turn Wi-Fi on or off. Join a Wi-Fi network: Choose Wi-Fi, wait a moment as iPhone detects networks in range, then select a network. If necessary, enter a password and tap Join. (Networks that require a password appear with a lock icon.) Once you’ve joined a Wi-Fi network manually, iPhone automatically joins it whenever the network is in range. If more than one previously used network is in range, iPhone joins the one last used. Chapter 19 Settings 139When iPhone is joined to a Wi-Fi network, the Wi-Fi icon in the status bar at the top of the screen shows signal strength. The more bars you see, the stronger the signal. Set iPhone to ask if you want to join a new network: Choose Wi-Fi and turn “Ask to Join Networks” on or off. When you’re trying to access the Internet, by using Safari or Mail for example, and you aren’t in range of a Wi-Fi network you‘ve previously used, this option tells iPhone to look for another network. iPhone displays a list of all available Wi-Fi networks that you can choose from. (Networks that require a password appear with a lock icon.) If “Ask to Join Networks” is turned off, you must manually join a network to connect to the Internet when a previously used network or a cellular data network isn’t available. Forget a network, so iPhone doesn’t join it automatically: Choose Wi-Fi and tap next to a network you’ve joined before. Then tap “Forget this Network.” Join a closed Wi-Fi network: To join a Wi-Fi network that isn’t shown in the list of scanned networks, choose Wi-Fi > Other, then enter the network name. If the network requires a password, tap Security, tap the type of security the network uses, and enter the password. You must already know the network name, password, and security type to connect to a closed network. Some Wi-Fi networks may require you to enter or adjust additional settings, such as a client ID or static IP address. Ask the network administrator which settings to use. Adjust settings to connect to a Wi-Fi network: Choose Wi-Fi, then tap next to a network. VPN This setting appears when you have VPN configured on iPhone, allowing you to turn VPN on or off. See “Network” on page 143. Notifications This setting appears when you’ve installed an application from the App Store that uses the Apple Push Notification service. Push notifications are used by applications to alert you of new information, even when the application isn’t running. Notifications differ depending upon the application, but may include text or sound alerts, and a numbered badge on the application’s icon on the Home screen. You can turn notifications off if you don’t want to be notified or want to conserve battery life. Turn all notifications on or off: Tap Notifications and turn notifications on or off. 140 Chapter 19 SettingsTurn sounds, alerts, or badges on or off for an application: Tap Notifications, then choose an application from the list and choose the types of notification you want to turn on or off. Carrier This setting appears when you’re outside of your carrier’s network and other local carrier data networks are available to use for your phone calls, visual voicemail, and cellular network Internet connections. You can make calls only on carriers that have roaming agreements with your carrier. Additional fees may apply. Roaming charges may be billed to you by the carrier of the selected network, through your carrier. For information about out-of-network coverage and how to enable roaming, contact your carrier or go to your carrier’s website. Select a carrier: Choose Carrier and select the network you want to use. Once you select a network, iPhone uses only that network. If the network is unavailable, “No service” appears on the iPhone screen and you can’t make or receive calls or visual voicemail, or connect to the Internet via cellular data network. Set Network Settings to Automatic to have iPhone select a network for you. Sounds and the Ring/Silent Switch Switch between ring and silent mode: Flip the Ring/Silent switch on the side of iPhone. When set to silent, iPhone doesn’t play any ring, alert, or effects sounds. It does, however, play alarms set using Clock. Note: In some regions, the sound effects for Camera and Voice Memos are played even if the Ring/Silent switch is set to silent. Set whether iPhone vibrates when you get a call: Choose Sounds. To set whether iPhone vibrates in silent mode, turn Vibrate under Silent on or off. To set whether iPhone vibrates in ring mode, turn Vibrate under Ring on or off. Adjust the ringer and alerts volume: Choose Sounds and drag the slider. Or, if no song or video is playing and you aren’t on a call, use the volume buttons on the side of iPhone. Set the ringtone: Choose Sounds > Ringtone. Set alert and effects sounds: Choose Sounds and turn items on or off under Ring . When the Ring/Silent switch is set to ring, iPhone plays sounds for alerts and effects that are turned on. You can set iPhone to play a sound whenever you: • Get a call Chapter 19 Settings 141• Get a text message • Get a voicemail message • Get an email message • Send an email message • Have an appointment that you’ve set up to alert you • Lock iPhone • Type using the keyboard Brightness Screen brightness affects battery life. Dim the screen to extend the time before you need to recharge iPhone, or use Auto-Brightness. Adjust the screen brightness: Choose Brightness and drag the slider. Set whether iPhone adjusts screen brightness automatically: Choose Brightness and turn Auto-Brightness on or off. If Auto-Brightness is on, iPhone adjusts the screen brightness for current light conditions using the built-in ambient light sensor. Wallpaper You see a wallpaper background picture when you unlock iPhone. You can select one of the images that came with iPhone, or use a photo you’ve synced to iPhone from your computer. Set wallpaper: Choose Wallpaper and choose a picture. General The General settings include date and time, security, network, and other settings that affect more than one application. This is also where you can find information about your iPhone, and reset iPhone to its original state. About Choose General > About to get information about iPhone, including: • Name of your phone network • Number of songs, videos, and photos • Total storage capacity • Space available • Software version • Serial and model numbers • Wi-Fi and Bluetooth addresses 142 Chapter 19 Settings• IMEI (International Mobile Equipment Identity) and ICCID (Integrated Circuit Card Identifier, or Smart Card) numbers • Modem firmware version of the cellular transmitter • Legal information • Regulatory information Usage Show battery percentage: Tap Usage and turn Battery Percentage on to display the percentage of battery charge next to the battery icon in the upper-right corner of iPhone (iPhone 3GS only). See your usage statistics: Choose Usage. There, you can see: • Usage—Amount of time iPhone has been awake and in use since the last full charge. iPhone is awake whenever you’re using it—including making or receiving phone calls, using email, sending or receiving text messages, listening to music, browsing the web, or using any other iPhone features. iPhone is also awake while performing background tasks such as automatically checking for and retrieving email messages. • Standby—Amount of time iPhone has been powered on since its last full charge, including the time iPhone has been asleep. • Current period call time and lifetime call time. • Amount of data sent and received over the cellular data network. Reset your usage statistics: Tap Usage and tap Reset Statistics to clear the data and cumulative time statistics. The statistics for the amount of time iPhone has been unlocked and in standby mode aren’t reset. Network Use the Network settings to configure a VPN (virtual private network) connection, access Wi-Fi settings, or turn Data Roaming on or off. Enable or disable 3G: Tap to turn 3G on or off. Using 3G loads Internet data faster in some cases, but may decrease battery performance. If you’re making a lot of phone calls, you may want to turn 3G off to extend battery performance. Turn Data Roaming on or off: Choose General > Network, then turn Data Roaming on or off. Data Roaming turns on Internet and visual voicemail access over a cellular data network when you’re in an area not covered by your carrier’s network. For example, when you’re traveling, you can turn off Data Roaming to avoid potential roaming charges. By default, Data Roaming is turned off. Chapter 19 Settings 143Turn Internet Tethering on or off: Choose General > Network > Internet Tethering, then turn Internet Tethering on or off. Internet Tethering lets you share iPhone’s Internet connection with a computer connected via USB or Bluetooth (not available in all regions). Follow the onscreen instructions to complete the setup. Additional fees may apply. See “Using iPhone as a Modem” on page 42. Add a new VPN configuration: Choose General > Network > VPN > Add VPN Configuration. VPNs used within organizations allow you to communicate private information securely over a non-private network. You may need to configure VPN, for example, to access your work email on iPhone. iPhone can connect to VPNs that use the L2TP, PPTP, or Cisco IPSec protocols. VPN works over both Wi-Fi and cellular data network connections. Ask your network administrator which settings to use. In most cases, if you’ve set up VPN on your computer, you can use the same VPN settings for iPhone. Once you’ve entered VPN settings, a VPN switch appears in the Settings menu that you can use to turn VPN on or off. VPN may also be automatically set up by a configuration profile. See “Installing Configuration Profiles” on page 18. Change a VPN configuration: Choose General > Network > VPN and tap the configuration you want to update. Turn VPN on or off: Tap Settings and turn VPN on or off. Delete a VPN configuration: Choose General > Network > VPN, tap the blue arrow to the right of the configuration name, and tap Delete VPN at the bottom of the configuration screen. Bluetooth iPhone can connect wirelessly to Bluetooth devices such as headsets, headphones, and car kits for music listening and hands-free talking. See “Bluetooth Devices” on page 55. Turn Bluetooth on or off: Choose General > Bluetooth and turn Bluetooth on or off. Location Services Location Services allows applications such as Maps Camera, and Compass to gather and use data indicating your location. Location Services doesn’t correlate the data it collects with your personally identifiable information. Your approximate location is determined using available information from cellular network data, local Wi-Fi networks (if you have Wi-Fi turned on), and GPS (iPhone 3G or later; GPS may not be available in all locations). 144 Chapter 19 SettingsYou can turn Location Services off if you don’t want to use this feature. If you turn Location Services off, you’ll be prompted to turn it on again the next time an application tries to use this feature. Turn Location Services on or off: Choose General > Location Services and turn location services on or off. To conserve battery life, turn Location Services off when you’re not using it. Auto-Lock Locking iPhone turns off the display to save your battery and to prevent unintended operation of iPhone. You can still receive calls and text messages, and you can adjust the volume and use the mic button on the iPhone stereo headset when listening to music or on a call. Set the amount of time before iPhone locks: Choose General > Auto-Lock and choose a time. Passcode Lock By default, iPhone doesn’t require you to enter a passcode to unlock it. Set a passcode: Choose General > Passcode Lock and enter a 4-digit passcode, then enter the passcode again to verify it. iPhone then requires you to enter the passcode to unlock it or to display the passcode lock settings. Turn passcode lock off: Choose General > Passcode Lock, enter your passcode, and tap Turn Passcode Off, then enter your passcode again. Change the passcode: Choose General > Passcode Lock, enter your passcode, and tap Change Passcode. Enter your passcode again, then enter and reenter your new passcode. If you forget your passcode, you must restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. Set how long before your passcode is required: Choose General > Passcode Lock and enter your passcode. Tap Require Passcode, then select how long iPhone can be idle before you need to enter a passcode to unlock it. Turn Voice Dial on or off: Choose General > Passcode Lock and turn Voice Dial on or off. Erase data after ten failed passcode attempts: Choose General > Passcode Lock, enter your passcode, and tap Erase Data to turn it on. After ten failed passcode attempts, your settings are reset to their defaults and all your information and media is erased: • On iPhone 3GS: by removing the encryption key to the data (which is encrypted using 256-bit AES encryption) • On iPhone and iPhone 3G: by overwriting the data Chapter 19 Settings 145Important: You can’t use iPhone while data is being overwritten. This can take up to two hours or more, depending on the model and storage capacity of your iPhone. (On iPhone 3GS, the removal of the encryption key is immediate.) Restrictions You can set restrictions for the use of some applications and for iPod content on iPhone. For example, parents can restrict explicit music from being seen on playlists, or turn off YouTube access entirely. Turn on restrictions: 1 Choose General > Restrictions, then tap Enable Restrictions. 2 Enter a four-digit passcode. 3 Reenter the passcode. Turn off restrictions: Choose General > Restrictions, then enter the passcode. Tap Disable Restrictions, then reenter the passcode. If you forget your passcode, you must restore your iPhone software from iTunes. See “Updating and Restoring iPhone Software” on page 204. Set application restrictions: Set the restrictions you want by tapping individual controls on or off. By default, all controls are on (not restricted). Tap an item to turn it off and restrict its use. Safari is disabled and its icon is removed from the Home screen. You cannot use Safari to browse the web or access web clips. Other third-party applications may allow web browsing even if Safari is disabled. YouTube is disabled and its icon is removed from the Home screen. The iTunes Store is disabled and its icon is removed from the Home screen. You cannot preview, purchase, or download content. The App Store is disabled and its icon is removed from the Home screen. You cannot install applications on iPhone. Camera is disabled and its icon is removed from the Home screen. You cannot take pictures. Location data isn’t provided to applications. Restrict purchases within applications: Turn In-App Purchases off. When enabled, this feature allows you to purchase additional content or features within applications downloaded from the App Store. Set content restrictions: Tap Ratings For, then select a country from the list. You can then set restrictions using that country’s ratings system for the following categories of content: 146 Chapter 19 Settings• Music & Podcasts • Movies • TV Shows • Apps In the United States for example, to allow only movies rated PG or below, tap Movies, then select PG from the list. Note: Not all countries have rating systems. Home Choose General > Home to set preferences for double-clicking the Home button and searching categories on the Spotlight page. You can set iPhone so that double-clicking the Home button goes to the Home screen, Search, Phone Favorites, Camera, or iPod. Set whether double-clicking the Home button shows iPod controls: Turn on iPod Controls to display iPod controls when you’re playing music and double-click the Home button. This feature works even when the display is turned off or iPhone is locked. Set what categories appear in search results: Tap Search Results. All search categories in the list are selected by default. Tap an item to deselect it. Set the order of search result categories: Tap Search Results, then drag next to a search category to a new place in the list. Date and Time These settings apply to the time shown in the status bar at the top of the screen, and in world clocks and calendars. Set whether iPhone shows 24-hour time or 12-hour time: Choose General > Date & Time and turn 24-Hour Time on or off. (Not available in all countries.) Set whether iPhone updates the date and time automatically: Choose General > Date & Time and turn Set Automatically on or off. If iPhone is set to update the time automatically, it gets the correct time over the cellular network, and updates it for the time zone you’re in. Some carriers don’t support network time in all locations. If you’re traveling, iPhone may not be able to automatically set the local time. Set the date and time manually: Choose General > Date & Time and turn Set Automatically off. Tap Time Zone and enter the name of a major city in your time zone. Tap the “Date & Time” return button, then tap “Set Date & Time” and enter the date and time. Chapter 19 Settings 147Keyboard Turn Auto-Correction on or off: Choose General > Keyboard and turn Auto-Correction on or off. By default, if the default keyboard for the language you select has a dictionary, iPhone automatically suggests corrections or completed words as you type. Turn Auto-Capitalization on or off: Choose General > Keyboard and turn AutoCapitalization on or off. By default, iPhone automatically capitalizes words after you type sentence-ending punctuation or a return character. Set whether caps lock is enabled: Choose General > Keyboard and turn Enable Caps Lock on or off. If caps lock is enabled and you double-tap the Shift key on the keyboard, all letters you type are uppercase. The Shift key turns blue when caps lock is on. Turn the “.” shortcut on or off: Choose General > Keyboard and turn “.” Shortcut on or off. The “.” shortcut lets you double-tap the space bar to enter a period followed by a space when you’re typing. It’s on by default. Turn international keyboards on or off: Choose General > Keyboards > International Keyboards and turn on the keyboards you want. If more than one keyboard is turned on, tap to switch keyboards when you’re typing. When you tap the symbol, the name of the newly active keyboard appears briefly. See “International Keyboards” on page 35. International Use International settings to set the language for iPhone, turn keyboards for different languages on or off, and set the date, time, and telephone number formats for your region. Set the language for iPhone: Choose General > International > Language, choose the language you want to use, then tap Done. Set the Voice Control language for iPhone: Choose General > International > Voice Control, then choose the language you want to use (available only on iPhone 3GS). Turn international keyboards on or off: Choose General > International > Keyboards, and turn on the keyboards you want. If more than one keyboard is turned on, tap to switch keyboards when you’re typing. When you tap the symbol, the name of the newly active keyboard appears briefly. See “International Keyboards” on page 35. Set date, time, and telephone number formats: Choose General > International > Region Format, and choose your region. 148 Chapter 19 SettingsThe Region Format also determines the language used for the days and months that appear in native iPhone applications. Accessibility To turn on accessibility features (available only on iPhone 3GS), choose Accessibility and choose the features you want. See Chapter 25,“Accessibility,” on page 182. Resetting iPhone Reset all settings: Choose General > Reset and tap Reset All Settings. All your preferences and settings are reset. Information, such as your contacts and calendars, and media, such as your songs and videos, aren’t deleted. Erase all content and settings: Connect iPhone to your computer or a power adapter. Choose General > Reset and tap “Erase All Content and Settings.” This resets all settings to their defaults and erases all your information and media: • On iPhone 3GS: by removing the encryption key to the data (which is encrypted using 256-bit AES encryption) • On iPhone and iPhone 3G: by overwriting the data Important: You can’t use iPhone while data is being overwritten. This can take up to two hours or more, depending on the model and storage capacity of your iPhone. (On iPhone 3GS, the removal of the encryption key is immediate.) Reset network settings: Choose General > Reset and tap Reset Network Settings. When you reset network settings, your list of previously used networks and VPN settings not installed by a configuration profile are removed. Wi-Fi is turned off and then back on, disconnecting you from any network you’re on. The Wi-Fi and “Ask to Join Networks” settings are left turned on. To remove VPN settings installed by a configuration profile, choose Settings > General > Profile, then select the profile and tap Remove. Reset the keyboard dictionary: Choose General > Reset and tap Reset Keyboard Dictionary. You add words to the keyboard dictionary by rejecting words iPhone suggests as you type. Tap a word to reject the correction and add the word to the keyboard dictionary. Resetting the keyboard dictionary erases all words you’ve added. Reset the Home screen layout: Choose General > Reset and tap Reset Home Screen Layout. Reset the location warnings: Choose General > Reset and tap Reset Location Warnings. Chapter 19 Settings 149Location warnings are the requests made by applications (such as Camera, Compass, and Maps) to use Location Services with those applications. iPhone stops presenting the warning for an application the second time you tap OK. Tap Reset Location Warnings to resume the warnings. Mail, Contacts, Calendars Use Mail, Contacts, Calendars settings to set up and customize accounts for iPhone: • Microsoft Exchange • MobileMe • Google email • Yahoo! Mail • AOL • Other POP and IMAP mail systems • LDAP accounts for Contacts • CalDAV or iCalendar (.ics) accounts for Calendars Accounts The Accounts section lets you set up accounts on iPhone. The specific settings that appear depend on the type of account you’re setting up. Your service provider or system administrator should be able to provide the information you need to enter. For more information, see: • “Setting Up Accounts” on page 16 • “Adding Contacts” on page 176 • “Subscribing to and Sharing Calendars” on page 93 Change an account’s settings: Choose “Mail, Contacts, Calendars,” choose an account, then make the changes you want. Changes you make to an account’s settings on iPhone are not synced to your computer, so you can configure your accounts to work with iPhone without affecting the account settings on your computer. Stop using an account: Choose “Mail, Contacts, Calendars,” choose an account, then turn Account off. If an account is off, iPhone doesn’t display the account and doesn’t send or check email from or sync other information with that account, until you turn it back on. Adjust advanced settings: Choose “Mail, Contacts, Calendars,” choose an account, then do one of the following: 150 Chapter 19 Settings• To set whether drafts, sent messages, and deleted messages are stored on iPhone or remotely on your email server (IMAP accounts only), tap Advanced and choose Drafts Mailbox, Sent Mailbox, or Deleted Mailbox. If you store messages on iPhone, you can see them even when iPhone isn’t connected to the Internet. • To set how long before messages are removed permanently from Mail on iPhone, tap Advanced and tap Remove, then choose a time: Never, or after one day, one week, or one month. • To adjust email server settings, tap Host Name, User Name, or Password under Incoming Mail Server or Outgoing Mail Server. Ask your network administrator or Internet service provider for the correct settings. • To adjust SSL and password settings, tap Advanced. Ask your network administrator or Internet service provider for the correct settings. Delete an account from iPhone: Choose “Mail, Contacts, Calendars,” choose an account, then scroll down and tap Delete Account. Deleting an account means you can no longer access the account with your iPhone. All email and the contacts, calendar, and bookmark information synced with the account are removed from iPhone. However, deleting an account doesn’t remove the account or its associated information from your computer. Fetch New Data This setting lets you turn Push on or off for MobileMe, Microsoft Exchange, Yahoo! Mail, and any other push accounts you’ve configured on iPhone. Push accounts automatically deliver new information to iPhone when new information appears on the server (some delays may occur). You might want to turn Push off to suspend delivery of email and other information, or to conserve battery life. When Push is off, and with accounts that don’t support push, data can still be fetched—that is, iPhone can check with the server and see if new information is available. Use the Fetch New Data setting to determine how often data is requested. For optimal battery life, don’t fetch too frequently. Turn Push on: Choose “Mail, Contacts, Calendars” > Fetch New Data, then tap to turn Push on. Set the interval to fetch data: Choose “Mail, Contacts, Calendars” > Fetch New Data, then choose how often you want to fetch data for all accounts. To conserve battery life, fetch less frequently. Setting Push to OFF or setting Fetch to Manually in the Fetch New Data screen overrides individual account settings. Chapter 19 Settings 151Mail The Mail settings, except where noted, apply to all accounts you’ve set up on iPhone. To turn alerts sounds for new or sent mail on or off, use the Sounds settings. Set the number of messages shown on iPhone: Choose “Mail, Contacts, Calendars” > Show, then choose a setting. Choose to see the most recent 25, 50, 75, 100, or 200 messages. To download additional messages when you’re in Mail, scroll to the bottom of your inbox and tap Load More Messages. Note: For Microsoft Exchange accounts, choose “Mail, Contacts, Calendars” and choose the Exchange account. Tap “Mail days to sync” and choose the number of days of mail you want to sync with the server. Set how many lines of each message are previewed in the message list: Choose “Mail, Contacts, Calendars” > Preview, then choose a setting. You can choose to see up to five lines of each message. That way, you can scan a list of messages in a mailbox and get an idea of what each message is about. Set a minimum font size for messages: Choose “Mail, Contacts, Calendars” > Minimum Font Size, then choose Small, Medium, Large, Extra Large, or Giant. Set whether iPhone shows To and Cc labels in message lists: Choose “Mail, Contacts, Calendars,” then turn Show To/Cc Label on or off. If Show To/Cc Label is on, To or Cc next to each message in a list indicates whether the message was sent directly to you or you received a copy. Set whether iPhone confirms that you want to delete a message: Choose “Mail, Contacts, Calendars” and turn Ask Before Deleting on or off. If Ask Before Deleting is on, to delete a message you must tap , then confirm by tapping Delete. Set whether iPhone automatically loads remote images: Choose “Mail, Contacts, Calendars” and turn Load Remote Images on or off. If Load Remote Images is off, you can load images manually when reading a message. Set whether iPhone sends you a copy of every message you send: Choose “Mail, Contacts, Calendars,” then turn Always Bcc Myself on or off. Set the default email account: Choose “Mail, Contacts, Calendars” > Default Account, then choose an account. This setting determines which of your accounts a message is sent from when you create a message from another iPhone application, such as sending a photo from Photos or tapping the email address of a business in Maps. To send the message from a different account, tap the From field in the message and choose another account. Add a signature to your messages: Choose “Mail, Contacts, Calendars” > Signature, then type a signature. 152 Chapter 19 SettingsYou can set iPhone to add a signature—your favorite quote, or your name, title, and phone number, for example—to the bottom of every message you send. Contacts Set how contacts are sorted: Choose “Mail Contacts, Calendars,” then under Contacts tap Sort Order and do one of the following: • To sort by first name first, tap First, Last. • To sort by last name first, tap Last, First. Set how contacts are displayed: Choose “Mail Contacts, Calendars,” then under Contacts tap Display Order and do one of the following: • To show first name first, tap First, Last. • To show last name first, tap Last, First. Import contacts from a SIM: Choose “Mail, Contacts, Calendars,” then tap Import SIM Contacts. The contact information on the SIM is imported to iPhone. If you have Contacts enabled for both MobileMe and Microsoft Exchange, you’re prompted to choose which account you want to add the SIM contacts to. Calendar Set alerts to sound when your receive meeting invitation: Choose “Mail, Contacts, Calendars,” and under Calendar tap “New Invitation Alerts” to turn it on. Set how far back in the past to show your calendar events on iPhone: Choose “Mail, Contacts, Calendars” > Sync, then choose a period of time. Turn on Calendar time zone support: Choose “Mail, Contacts, Calendars” > Time Zone Support, then turn Time Zone Support on. Select a time zone for calendars by tapping Time Zone and entering the name of a major city. When Time Zone Support is on, Calendar displays event dates and times in the time zone of the city you selected. When Time Zone Support is off, Calendar displays events in the time zone of your current location as determined by the network time. Important: Some carriers don’t support network time in all locations. If you’re traveling, iPhone may not display events or sound alerts at the correct local time. To manually set the correct time, see “Date and Time” on page 147. Phone Use Phone settings to forward incoming calls, turn call waiting on or off, change your password, and other things. Additional fees may apply. Contact your carrier for pricing and availability. Chapter 19 Settings 153Calling from Abroad Set iPhone to add the correct prefix when dialing from another country: In Settings, tap Phone, then turn International Assist on. This lets you make calls to your home country using the numbers in your contacts and favorites, without having to add a prefix or your country code. International Assist works for U.S. telephone numbers only. For more information, see “Using iPhone Abroad” on page 56. Call Forwarding You can set iPhone to forward incoming calls to another number. For example, you may be on vacation and want all calls to go somewhere else. If you’re going to an area with no cellular coverage, you may want to forward calls to a place where you can be reached. Set iPhone to forward your calls: 1 Choose Phone > Call Forwarding and turn Call Forwarding on. 2 Tap Forwarding To and enter the phone number you want calls forwarded to. When Call Forwarding is on, an icon appears in the status bar the top of the screen. You must be in range of the cellular network when you set iPhone to forward calls, or calls won’t be forwarded. Call Waiting Activate or deactivate call waiting: Choose Phone > Call Waiting, then turn Call Waiting on or off. If you turn call waiting off and someone calls you when you’re already on the phone, the call goes to voicemail. Show My Caller ID Show or hide your caller ID: Choose Phone > Show My Caller ID, then turn Show My Caller ID on or off. If Show My Caller ID is off, people you call can’t see your name or phone number on their phone. Using iPhone with a Teletype (TTY) Machine In some regions, Teletype (TTY) machines are used by deaf or hearing-impaired people to communicate by typing and reading text. You can use iPhone with a TTY machine if you have the iPhone TTY Adapter cable, available for purchase separately in many countries. Go to www.apple.com/store (not available in all countries). Connect iPhone to a TTY machine: Choose Phone, then turn TTY on. Then connect iPhone to your TTY machine using the iPhone TTY Adapter. For information about using a TTY machine, see the documentation that came with the machine. 154 Chapter 19 SettingsFor more information about other accessibility features of iPhone, go to Chapter 25,“Accessibility,” on page 182. Changing Your Voicemail Password A voicemail password helps prevent others from access your voicemail. You need to enter the password only when you’re calling in to get your messages from another phone. You won’t need to enter the password when using voicemail on iPhone. Change your voicemail password: Choose Phone > Change Voicemail Password. Locking Your SIM Card You can lock your SIM card, so it can’t be used without a Personal Identification Number (PIN). You must enter the PIN each time you turn iPhone off and turn it back on again. Some carriers require a SIM PIN in order to use iPhone. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. Some cellular networks may not accept an emergency call from iPhone if the SIM is locked. Turn the SIM PIN on or off: 1 Choose Phone > SIM PIN, then turn SIM PIN on or off. 2 Enter your PIN to confirm. Use the PIN assigned by your carrier, or your carrier’s default PIN. Change the PIN for your SIM card: 1 Choose Phone > SIM PIN. 2 Turn SIM PIN on, then tap Change PIN. 3 Enter your current PIN, then enter your new PIN. 4 Enter your new PIN again to confirm, then tap Done. Accessing Your Carrier’s Services Depending on your carrier, you may be able to access some of your carrier’s services directly from iPhone. For example, you may be able to check your bill balance, call directory assistance, and view how many minutes you have left. Access your carrier’s services: Choose Phone. Then scroll down and tap the button for your carrier’s services. When you request information such as your bill balance, your carrier may provide the information in a text message. Contact your carrier to find out if there are any charges for these services. Chapter 19 Settings 155Safari Safari settings let you select your Internet search engine, set security options, and for developers, turn on debugging. General You can use Google or Yahoo! to perform Internet searches. Select a search engine: Choose Safari > Search Engine and select the search engine you want to use. You can set Safari to automatically fill out web forms using contact information, names and passwords you previously entered, or both. Enable AutoFill: Choose Safari > AutoFill, then do one of the following: • To use information from contacts, turn Use Contact Info on, then choose My Info and select the contact you want to use. Safari uses information from Contacts to fill in contact fields on web forms. • To use information from names and passwords, turn Names & Passwords on. When this feature is on, Safari remembers names and passwords of websites you visit and automatically fills in the information when you revisit the website. • To remove all AutoFill information, tap Clear All. Security By default, Safari is set to show features of the web, such as some movies, animation, and web applications. You may wish to change security settings to help protect iPhone from possible security risks on the Internet. Change security settings: Choose Safari, then do one of the following: • To set whether you’re warned when visiting potentially fraudulent websites, turn Fraud Warning on or off. Fraud warning protects you from potentially fraudulent Internet sites. When you visit a suspicious site, Safari warns you about its suspect nature and doesn’t load the page. • To enable or disable JavaScript, turn JavaScript on or off. JavaScript lets web programmers control elements of the page—for example, a page that uses JavaScript might display the current date and time or cause a linked page to appear in a new pop-up page. • To enable or disable plug-ins, turn Plug-ins on or off. Plug-ins allow Safari to play some types of audio and video files and to display Microsoft Word files and Microsoft Excel documents. • To block or allow pop-ups, turn Block Pop-ups on or off. Blocking pop-ups stops only pop-ups that appear when you close a page or open a page by typing its address. It doesn’t block pop-ups that open when you tap a link. 156 Chapter 19 Settings• To set whether Safari accepts cookies, tap Accept Cookies and choose Never, “From visited,” or Always. A cookie is a piece of information that a website puts on iPhone so the website can remember you when you visit again. That way, webpages can be customized for you based on information you may have provided. Some pages won’t work correctly unless iPhone is set to accept cookies. • To clear the history of webpages you’ve visited, tap Clear History. • To clear all cookies from Safari, tap Clear Cookies. • To clear the browser cache, tap Clear Cache. The browser cache stores the content of pages so the pages open faster the next time you visit them. If a page you open doesn’t show new content, clearing the cache may help. Developer The debug console can help you resolve webpage errors. If it’s turned on, the console appears automatically when a webpage error occurs. Turn the debug console on or off: Choose Safari > Developer, and turn Debug Console on or off. Messages Use Messages settings to adjust settings for SMS and MMS messages. Note: MMS is available only on iPhone 3G or later. The MMS Messaging and Show Subject Field settings doesn’t appear if MMS isn’t supported by your carrier. Choose whether or not to see a preview of messages on the Home screen: Choose Messages and turn Show Preview on or off. Choose whether or not to repeat message alerts: Choose Messages and turn Repeat Alert on or off. If you ignore a message alert, you’ll be alerted two more times. Turn MMS messaging on or off: Choose Messages and turn MMS Messaging on or off. If MMS messaging is turned off, you won’t be able to receive MMS file attachments such as images or audio. Show a subject line for messages you send or receive: Choose Messages and turn Show Subject Field on. Chapter 19 Settings 157iPod Use iPod Settings to adjust settings for music and video playback on your iPod. Music The Music settings apply to songs, podcasts, and audiobooks. Turn Shake to Shuffle on or off: Choose iPod, then turn Shake to Shuffle on or off. When Shake to Shuffle is on, you can shake iPhone to turn shuffle on and immediately change the currently playing song. Set iTunes to play songs at the same sound level: In iTunes, choose iTunes > Preferences if you’re using a Mac, or Edit > Preferences if you’re using a PC, then click Playback and select Sound Check. Set iPhone to use the iTunes volume settings (Sound Check): Choose iPod and turn Sound Check on. Use the equalizer to customize the sound on iPhone: Choose iPod > EQ and choose a setting. Set a volume limit for music and videos: Choose iPod > Volume Limit and drag the slider to adjust the maximum volume. Tap Lock Volume Limit to assign a code to prevent the setting from being changed. Setting a volume limit only limits the volume of music (including podcasts and audiobooks) and videos (including rented movies), and only when headphones, earphones, or speakers are connected to the headset jack on iPhone. WARNING: For important information about avoiding hearing loss, see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Video Video settings apply to video content, including rented movies. You can set where to resume playing videos that you previously started, turn closed captioning on or off, and set up iPhone to play videos on your TV. Set where to resume playing: Choose iPod > Start Playing, then select whether you want videos that you previously started watching to resume playing from the beginning or where you left off. Turn closed captioning on or off: Choose iPod and turn Closed Captioning on or off. 158 Chapter 19 SettingsTV Out Use these settings to set up how iPhone plays videos on your TV. For more information about using iPhone to play videos on your TV, see “Watching Videos on a TV” on page 84. Turn widescreen on or off: Choose iPod and turn Widescreen on or off. Set TV signal to NTSC or PAL: Choose iPod > TV Signal and select NTSC or PAL. NTSC and PAL are TV broadcast standards. NTSC displays 480i and PAL displays 576i. Your TV might use either of these, depending on where you bought it. If you’re not sure which to use, check the documentation that came with your TV. Photos Use Photos settings to specify how slideshows display your photos. Set the length of time each slide is shown: Choose Photos > Play Each Slide For and select the length of time. Set a transition effect: Choose Photos > Transition and select a transition effect. Set whether to repeat slideshows: Choose Photos and turn Repeat on or off. Set photos to appear randomly or in order: Choose Photos and turn Shuffle on or off. Store Use Store settings to change or create an iTunes Store account. By default, the iTunes account you’re signed in to when you sync iPhone with your computer appears in Store settings. You can change accounts on iPhone to purchase music or applications from another account. If you don’t have an iTunes account, you can create one in Store settings. Sign in to an account: Choose Store and tap Sign in, then enter your user name and password. View your iTunes Store account information: Choose Store and tap View Account, then type your password and follow the onscreen instructions. Sign in to a different account: Choose Store and tap Sign out, then tap Sign in and enter your username and password. Create a new account: Choose Store and tap Create New Account, then follow the onscreen instructions. Nike + iPod Use Nike + iPod settings to activate and adjust settings for the Nike + iPod application (iPhone 3GS only). See Chapter 24,“Nike + iPod,” on page 180. Chapter 19 Settings 159iTunes Store 20 About the iTunes Store You can search for, browse, preview, purchase, and download music, ringtones, audiobooks, TV shows, movies, and music videos from the iTunes Store directly to iPhone. You can listen to audio or watch video podcasts from the iTunes Store, either by streaming them from the Internet or by downloading them directly to iPhone. Note: The iTunes Store is not available in all regions, and iTunes Store content may vary across regions. To access the iTunes Store, iPhone must be connected to the Internet. See “Connecting to the Internet” on page 40. To purchase songs or write reviews, you need an iTunes Store account. By default, iPhone gets your iTunes Store account settings from iTunes. If you don’t have an iTunes Store account, or if you want to make purchases from another iTunes Store account, go to Settings > Store. See “Store” on page 159. You don’t need an iTunes Store account to play or download podcasts. 160Finding Music, Videos, and More Browse content: Tap Music, Videos, Ringtones, or Podcasts. Or tap More to browse by Audiobooks, iTunes U, or Downloads. Choose a sorting method at the top of the screen to browse by lists such as Featured, Top Tens, or Genres. Search for content: Tap Search, tap the search field and enter one or more words, then tap Search. Search results are grouped by category, such as Movies, Albums, or Podcasts. Tap an item in a list to see more details on its Info screen. You can read reviews, write your own review, or email a link about the item to a friend. Depending on the item, you can also buy, download, or rent it. Note: If you join a Starbucks Wi-Fi network in a select Starbucks location (available in the U.S. only), the Starbucks icon appears at the bottom of the screen. You can preview and purchase the currently playing and other songs from featured Starbucks Collections. Chapter 20 iTunes Store 161Purchasing Ringtones You can preview and purchase ringtones from the iTunes Store and download them to iPhone. Note: Ringtones may not be available in all countries. Browse for ringtones: Tap Ringtones or use Search to find a specific song in the iTunes Store. Preview a ringtone: Tap the item to preview. Double-tap the item for more information. Purchase and download ringtones: 1 Tap the price, then tap Buy Now. 2 Sign in to your account as requested, then tap OK. When you purchase a ringtone, you can set it as your default ringtone, or assign it to a contact. If you don’t have an iTunes Store account, tap Create New Account to set one up. Your purchase is charged to your iTunes Store account. For additional purchases made within the next fifteen minutes, you don’t have to enter your password again. You can change your default ringtone or assign individual ringtones to contacts in Settings > Sounds. See “Sounds and the Ring/Silent Switch” on page 141. Ringtones you purchase on iPhone are synced to your iTunes library when you connect iPhone to your computer. You can sync purchased ringtones to more than one iPhone, if they’re all synced to the same account you used to purchase the ringtones. You can’t edit ringtones you purchase from the iTunes Store. You can create custom ringtones in Garage Band. For information, see Garage Band Help. Purchasing Music or Audiobooks When you find a song, album, or audiobook you like in the iTunes Store, you can purchase and download it to iPhone. You can preview an item before you purchase it to make sure it’s what you want. Preview a song or audiobook: Tap the item. Purchase and download a song, album, or audiobook: 1 Tap the price, then tap Buy Now. 2 Sign in to your account as requested, then tap OK. If you don’t have an iTunes Store account, tap Create New Account to set one up. 162 Chapter 20 iTunes StoreYour purchase is charged to your iTunes Store account. For additional purchases made within the next fifteen minutes, you don’t have to enter your password again. An alert appears if you’ve previously purchased one or more songs from an album. Tap Buy if you want to purchase the entire album including the songs you’ve already purchased, or tap Cancel if you want to purchase any remaining songs individually. Some albums include bonus content, which is downloaded to your iTunes library on your computer. Not all bonus content is downloaded directly to iPhone. Once you purchase an item it begins downloading and appears in the Downloads screen. See “Checking Download Status” on page 165. Purchased songs are added to a Purchased playlist on iPhone. If you delete the Purchased playlist, iTunes creates a new one when you buy an item from the iTunes Store. You can redeem iTunes Store gift cards, gift certificates, or other promotional codes to make purchases. When you’re signed in to your account, your remaining store credit appears with your account information at the bottom of most iTunes Store screens. Enter a redemption code: Tap Music, then tap Redeem at the bottom of the screen and follow the onscreen instructions. Purchasing or Renting Videos When you find a movie, TV show, or music video you like in the iTunes Store, you can purchase and download it to iPhone. You can purchase movies and TV shows in standard (480p) or high definition (720p) format. When you purchase a high-definition video on iPhone, a standard definition version compatible with iPod and iPhone immediately downloads for viewing. The high definition version appears in iTunes on your computer in the Downloads queue. You must be signed in to your iTunes Store account on your computer to view and download items from the Downloads queue. Rented movies are available in standard definition only (not available in all regions). See “Watching Rented Movies” on page 83. Preview a video: Tap Preview. Purchase or rent a video: 1 Tap Buy or Rent. 2 Sign in to your account as requested, then tap OK. If you don’t have an iTunes Store account, tap Create New Account to set one up. Your purchase is charged to your iTunes Store account. For additional purchases made within the next fifteen minutes, you don’t have to enter your password again. Chapter 20 iTunes Store 163Once you purchase an item it begins downloading and appears in the Downloads screen. Rented movies won’t begin playing until the download completes. See “Checking Download Status” on page 165. Purchased videos are added to a Purchased playlist on iPhone. If you delete the Purchased playlist, iTunes creates a new one the next time you buy an item from the iTunes Store. You can redeem iTunes Store gift cards, gift certificates, or other promotional codes to make purchases. When you’re signed in to your account, your remaining store credit appears with your account information at the bottom of most iTunes Store screens. Enter a redemption code: Tap Music, then tap Redeem at the bottom of the screen and follow the onscreen instructions. Streaming or Downloading Podcasts You can listen to audio podcasts or watch video podcasts streamed over the Internet from the iTunes Store. You can also download audio and video podcasts to iPhone. Podcasts you download to iPhone are synced to your iTunes library when you connect iPhone to your computer. Tap Podcasts to browse podcasts in the iTunes Store. To see a list of episodes, tap a podcast. Video podcasts are indicated by the icon. Stream a podcast: Tap the podcast title. Download a podcast: Tap the Free button, then tap Download. Downloaded podcasts appear in the Podcasts list in iPod. Listen to or watch a podcast you’ve downloaded: In iPod, tap Podcasts at the bottom of the screen (you may need to tap More first), then tap the podcast. Video podcasts also appear in your list of videos. Get more episodes of the podcast you’ve downloaded: In the Podcasts list in iPod, tap the podcast, then tap Get More Episodes. Delete a podcast: In the Podcasts list in iPod, swipe left or right over the podcast, then tap Delete. 164 Chapter 20 iTunes StoreChecking Download Status You can check the Downloads screen to see the status of in-progress and scheduled downloads, including purchases you’ve pre-ordered. See the status of items being downloaded: Tap Downloads. To pause a download, tap . If a download is interrupted, iPhone starts the download again the next time it has an Internet connection. Or, if you open iTunes on your computer, iTunes completes the download to your iTunes library (if your computer is connected to the Internet and signed in to the same iTunes account). See the status of pre-ordered items: Tap Downloads. Pre-ordered items appear in a list until the date the item is released. Tap the item for release date information. Once the item is available for download, a download icon appears next to the download. Download a pre-ordered item: Tap the item, then tap . Pre-ordered items don’t download automatically when they’re released. Return to the Downloads screen to begin the download. Syncing Purchased Content iTunes automatically syncs everything you’ve downloaded or purchased on iPhone to your iTunes library when you connect iPhone to your computer. This lets you access the downloads on your computer and provides a backup if you delete purchased content from iPhone. Purchased content is synced to the “Purchased on ” playlist. iTunes creates the playlist if it doesn’t exist. iTunes also copies your purchases to the Purchased playlist that iTunes uses for purchases you make on your computer, if that playlist exists and is set to sync with iPhone. Downloaded podcasts are synced to the Podcast list in your iTunes library. Changing the Browse Buttons You can replace the Music, Podcasts, Videos, and Search buttons at the bottom of the screen with ones you use more frequently. For example, if you download audiobooks often but don’t watch many videos, you could replace the Videos button with Audiobooks. Chapter 20 iTunes Store 165Change the browse buttons: Tap More and tap Edit, then drag a button to the bottom of the screen, over the button you want to replace. You can drag the buttons at the bottom of the screen left or right to rearrange them. When you finish, tap Done. When you’re browsing, tap More to access the browse buttons that aren’t visible. Viewing Account Information To view your iTunes Store account information on iPhone, tap your account (at the bottom of most iTunes Store screens). Or go to Settings > Store and tap View Account. You must be signed in to view your account information. See “Store” on page 159. Verifying Purchases You can use iTunes on your computer to verify that all the music, videos, applications, and other items you bought from the iTunes Store or App Store are in your iTunes library. You might want to do this if a download was interrupted. Verify your purchases: 1 Make sure your computer is connected to the Internet. 2 In iTunes, choose Store > Check for Available Downloads. 3 Enter your iTunes Store account ID and password, then click Check. Purchases not yet on your computer are downloaded. The Purchased playlist displays your purchases. However, because you can add or remove items in this list, it might not be accurate. To see all of your purchases, sign in to your account, choose Store > View My Account, and click Purchase History. 166 Chapter 20 iTunes StoreApp Store 21 About the App Store You can search for, browse, review, purchase, and download applications from the App Store directly to iPhone. Applications you download and install from the App Store on iPhone are backed up to your iTunes library the next time you sync iPhone with your computer. You can also install applications you’ve purchased or downloaded through iTunes on your computer when you sync with iPhone. Note: The App Store is not available in all regions. To use the App Store, iPhone must be connected to the Internet. See “Connecting to the Internet” on page 40. You also need an iTunes Store account (not available in some countries) to download applications. By default, iPhone gets your iTunes Store account settings from iTunes. If you don’t have an iTunes Store account, or if you want to make purchases from another iTunes Store account, go to Settings > Store. See “Store” on page 159. Browsing and Searching Browse the featured selections to see new, notable, or recommended applications, or browse Top 25 to see the most popular applications. If you’re looking for a specific application, use Search. 167Browse applications: Tap Featured, Categories, or Top 25. Choose a category, or choose a sorting method at the top of the screen to browse by lists such as New, What’s Hot, Genius, Top Paid, or Top Free. Browse using Genius: Tap Genius to see a list of recommended apps based on what’s already in your app collection. To turn Genius on, follow the onscreen instructions. Genius is a free service, but it requires an iTunes Store account. Search for applications: Tap Search, tap the search field and enter one or more words, then tap Search. 168 Chapter 21 App StoreInfo Screen Tap any application in a list to see more information, such as the application’s price, screenshots, ratings, and other information. If you’ve already installed the application, “Installed” appears instead of the price on the Info screen. Email a link to the application’s Info page in iTunes: Tap “Tell a Friend” near the bottom of the Info screen. View screenshots: Swipe left or right over a screenshot to view additional screenshot pages. Double-tap to zoom in. Get ratings and read reviews: Tap Ratings near the bottom of the Info screen. Report a problem: Tap “Report a Problem” near the bottom of the Info screen. Select a problem from the list or type optional comments, then tap Report. Chapter 21 App Store 169Downloading Applications When you find an application you want in the App Store, you can purchase and download it to iPhone. If the application is free, you can download it without charge after providing your iTunes account information. Once you download an application, it’s immediately installed on iPhone. Purchase and download an application: 1 Tap the price (or tap Free), then tap Buy Now. 2 Sign in to your account as requested, then tap OK. If you don’t have an iTunes Store account, tap Create New Account to set one up. Downloads for purchase are charged to your iTunes Store account. For additional downloads made within the next fifteen minutes, you don’t have to enter your password again. Some applications allow you to make purchases within the application. You can restrict in-app purchases in Settings. See “Restrictions” on page 146. Some applications use push notifications to alert you of new information, even when the application isn’t running. Notifications differ depending upon the application, but may include text or sound alerts, and a numbered badge on the application’s icon on the Home screen. See “Notifications” on page 140. You can redeem iTunes Store gift cards, gift certificates, or other promotional codes to make purchases. When you’re signed in to your account, your remaining store credit appears with your account information at the bottom of most App Store screens. Enter a redemption code: Tap Redeem near the bottom of the Featured screen, then follow the onscreen instructions. See the status of downloading applications: After you begin downloading an application, its icon appears on the Home screen and shows a progress indicator. If a download is interrupted, iPhone starts the download again the next time it has an Internet connection. Or, if you open iTunes on your computer, iTunes completes the download to your iTunes library (if your computer is connected to the Internet and signed in to the same iTunes account). 170 Chapter 21 App StoreDeleting Applications You can delete applications you’ve installed from the App Store. If you delete an application, data associated with the application will no longer be available to iPhone, unless you reinstall the application and restore its data from a backup. You can reinstall an application and restore its data as long as you backed up iPhone with iTunes on your computer. (If you try to delete an application that hasn’t been backed up to your computer, an alert appears.) To retrieve the application data, you must restore iPhone from a backup containing the data. See “Restoring from a Backup” on page 203. Delete an App Store application: 1 Touch and hold any application icon on the Home screen until the icons start to wiggle. 2 Tap in the corner of the application you want to delete. 3 Tap Delete, then press the Home button to save your arrangement. When you delete an application, its data is no longer accessible via the iPhone user interface, but it isn’t erased from your iPhone. For information about erasing all content and settings, see “Erase All Content and Settings” in iPhone settings. See “Resetting iPhone” on page 149. Writing Reviews You can write and submit your own application reviews directly on iPhone. Write a review: 1 Tap Ratings near the bottom of the Info screen. 2 On the Reviews screen, tap “Write a Review.” 3 Select the number of stars (1–5) for your rating of the application, and enter your nickname, a title for the review, and optional review comments. If you’ve written reviews before, the nickname field is already filled in. Otherwise, you’re asked to create a reviewer nickname. 4 Tap Send. You must be signed in to your iTunes Store account and have purchased or downloaded the item in order to submit reviews. Chapter 21 App Store 171Updating Applications Whenever you access the App Store, it checks for updates to applications you’ve installed. The App Store also automatically checks for updates every week. The App Store icon shows the total number of application updates available. If an update is available and you access the App Store, the Updates screen appears immediately. Application updates are downloaded and automatically installed when you choose to update them. Application upgrades are new releases that can be purchased or downloaded through the App Store on iPhone or the iTunes Store on your computer. Update an application: 1 At the bottom of the screen, tap Updates. 2 Tap an application to see more information about the update. 3 Tap Update. Update all applications: At the bottom of the screen, tap Updates, then tap Update All. If you try to update an application purchased from a different iTunes Store account, you’re prompted for that account’s ID and password in order to download the update. Syncing Purchased Applications iTunes automatically syncs applications you’ve downloaded or purchased on iPhone to your iTunes library when you connect iPhone to your computer. This lets you access the downloads on your computer and provides a backup if you delete applications from iPhone. Downloaded applications are backed up the next time you sync with iTunes. Afterwards, only application data is backed up when you sync with iTunes. Applications are synced to the Applications list in your iTunes library. iTunes creates the list if it doesn’t exist. 172 Chapter 21 App StoreCompass 22 Getting Compass Readings The built-in compass (iPhone 3GS only) shows which direction you’re facing, along with the geographical coordinates of your current location. You can choose magnetic north, or have Compass adjust the declination to show true north. Important: The accuracy of digital compass headings may be negatively affected by magnetic or other environmental interference, including interference caused by the close proximity of the magnets contained in the iPhone earbuds. The digital compass should only be used for basic navigation assistance and should not be solely relied on to determine precise locations, proximity, distance, or direction. The compass needs to be calibrated the first time you use it, and may need to be calibrated occasionally after that. iPhone alerts you whenever calibration is needed. Calibrate iPhone: Wave iPhone in a figure eight. You may be asked to move away from a source of interference. 173See which way you’re facing: Hold iPhone level to the ground. The compass needle rotates to point north. Your current direction appears at the top of the screen. The coordinates of your current location are displayed at the bottom of the screen. Switch between true north and magnetic north: Tap and tap the setting you want. Compass and Maps The icon at the bottom of the Compass screen lets you find your current location in Maps. Maps also takes advantage of the built-in compass to show which way you’re facing. See your current location in Maps: Tap . Maps opens and indicates your current location with a blue marker. 174 Chapter 22 CompassShow which way you’re facing: In Maps, tap again. (The icon changes to .) The angle shows the accuracy of the compass reading—the smaller the angle, the greater the accuracy. See “Finding and Viewing Locations” on page 114. Chapter 22 Compass 175Contacts 23 About Contacts Contact makes it easy to call, email, and text your friends and associates with iPhone. You can add contacts directly on iPhone, or sync contacts from applications on your computer, or with your MobileMe, Microsoft Exchange, Google, or Yahoo! accounts. You can open Contacts directly from the Home screen, or from within the Phone application. Adding Contacts You can add contacts to iPhone in the following ways: • In iTunes, sync contacts from Google or Yahoo!, or sync with applications on your computer (see “Syncing” on page 11) • Set up MobileMe or Microsoft Exchange accounts on iPhone, with Contacts enabled (see “Setting Up Accounts” on page 16) • Install a profile that sets up an Exchange account, with Contacts enabled (see “Installing Configuration Profiles” on page 18) • Set up an LDAP account on iPhone • Enter contacts directly on iPhone • Import contacts from a SIM The number of contacts you can add is limited only by the amount of memory on iPhone. 176Set up an LDAP account: 1 In Settings, tap “Mail Contacts, Calendars,” then tap Add Account. 2 Tap Other, then tap Add LDAP Account. 3 Enter your LDAP account information and tap Next to verify the account. 4 Tap Save. When you set up an LDAP account, you can view and search for contacts on your company or organization’s LDAP server. The server appears as a new group in Contacts. Since LDAP contacts aren’t downloaded to iPhone, you must have an Internet connection to view them. Check with your system administrator for specific account settings and other requirements (such as VPN). Import contacts from another phone’s SIM: In Settings, tap “Mail, Contacts, Calendars,” then tap Import SIM Contacts. The contact information on the SIM is imported to iPhone. If you have Contacts enabled for both MobileMe and Microsoft Exchange, you’re prompted to choose which account you want to add the SIM contacts to. Important: iPhone doesn’t store contacts on its SIM. Searching Contacts You can search first, last, and company names in your contacts on iPhone. If you have a Microsoft Exchange account set up on iPhone, you may also be able to search your enterprise Global Address List (GAL) for contacts in your organization. If you have an LDAP account set up on iPhone, you can search contacts on your organization’s LDAP server. When you enter search information, contacts with matching information appear immediately as you start to type. Search contacts: In Contacts, tap the search field at the top of any list of contacts and enter a first, last, or company name. (To scroll quickly to the top of the list, tap the status bar.) Search a GAL: Tap Groups, tap Directories at the bottom of the list, then enter a first, last, or company name. You can’t edit GAL contacts or save them to iPhone. Search an LDAP server: Tap Groups, tap the LDAP server name, then enter a first, last, or company name. You can’t edit LDAP contacts or save them to iPhone. Chapter 23 Contacts 177Managing Contacts on iPhone Add a contact on iPhone: Tap Contacts and tap . Delete a contact In Contacts, choose a contact, than tap Edit. Scroll down and tap Delete Contact. Add a contact from the keypad Tap Keypad, enter a number, then tap . Tap Create New Contact and enter the caller’s information, or tap “Add to Existing Contact” and choose a contact. Edit contact information In Contacts, choose a contact, then tap Edit. To add an item, tap . To delete an item, tap . Enter a pause in a number Tap , then tap Pause. One or more pauses may be required by a phone system before dialing an extension, for example. Pauses appear as commas when the number is saved. Add a recent caller’s phone number to your contacts Tap Recents and tap next to the number. Then tap Create New Contact, or tap “Add to Existing Contact” and choose a contact. Assign a photo to a contact: 1 Tap Contacts and choose a contact. 2 Tap Edit and tap Add Photo, or tap the existing photo. 3 Tap Take Photo to use the camera. Or tap Choose Existing Photo and choose a photo. 4 Drag and scale the photo as desired. 5 Tap Set Photo. 178 Chapter 23 ContactsUse a contact’s info screen: Tap Contacts and choose a contact. Then tap an item. Visit the website Call Send an email Send a text message Add a phone number to your favorites list See a map and get directions Note: The Contacts screen shown here includes the buttons across the bottom that are available when you view Contacts from within the Phone application. These buttons don’t appear if you open Contacts directly from the Home screen. A star next to a phone number means the number is in your favorites list. See your own phone number: Tap Contacts and scroll to the top of the list. (Not available in all regions.) Chapter 23 Contacts 179Nike + iPod 24 Activating Nike + iPod When activated in Settings, the Nike + iPod application appears on the Home screen (iPhone 3GS only). With a Nike + iPod Sensor (sold separately), the Nike + iPod application provides audible feedback on your speed, distance, time elapsed, and calories burned during a running or walking workout. When iPhone is connected to iTunes on your computer, you can send your workout information to Nikeplus.com, where you can track your progress, set goals, and participate in challenges. See the Nike + iPod documentation for information about activating and using Nike + iPod. Turn Nike + iPod on or off: In Settings, choose Nike + iPod and turn Nike + iPod on or off. When Nike + iPod is turned on, its icon appears on the Home screen. 180Additional Nike + iPod Settings In Settings, choose Nike + iPod to activate and adjust settings for the Nike + iPod application. Choose a PowerSong: Choose PowerSong and select a song from your music library. Turn spoken feedback on or off: Choose Spoken Feedback and select a male or female voice to accompany your workout, or Off to turn off spoken feedback. Set a distance preference: Choose Distance, then select Miles or Kilometers to measure your workout distance. Set your weight: Choose Weight, then flick to enter your weight. Set the screen orientation: Choose Lock Screen, then select a screen orientation preference. Set up the Nike + iPod Sensor: Choose Sensor, then follow the onscreen instructions to set up your sensor (sold separately). You can use a Nike+ compatible remote (sold separately) to control Nike + iPod wirelessly. Before using a remote for the first time, you must set it up on iPhone. Set up the Nike + iPod remote: Choose Remote, then follow the onscreen instructions to set up your remote (third-party product sold separately). Chapter 24 Nike + iPod 181Accessibility 25 Accessibility Features In addition to the many features that make iPhone easy to use for everyone, accessibility features (available only on iPhone 3GS) are designed to make it easier for users with visual, auditory, or other physical disabilities to use iPhone. These accessibility features include: • VoiceOver • Zoom • White on Black • Mono Audio • Speak Auto-text With the exception of VoiceOver, these accessibility features work with all iPhone applications, including third-party applications you download from the App Store. VoiceOver works with all applications that come preinstalled on iPhone. In addition, third-party developers can use the iPhone Accessibility API to make their applications accessible for VoiceOver users. For more information about the accessibility features of iPhone, go to www.apple.com/accessibility. Each accessibility feature can be turned on or off in the Accessibility settings on iPhone. You can also turn accessibility features on or off in iTunes when iPhone is connected to your computer. Turn accessibility features on or off in iTunes: 1 Connect iPhone to your computer. 2 In iTunes, select iPhone in the sidebar. 3 In the Summary pane, click Configure Universal Access in the Options section. 1824 Select the accessibility features that you want to use and click OK. VoiceOver VoiceOver describes aloud what appears onscreen, so that you can use iPhone without seeing it. VoiceOver speaks in the language specified in International settings, which may be influenced by the Region Locale setting. Note: VoiceOver isn’t available in all languages. VoiceOver tells you about each element on the screen as it’s selected. When an element is selected, it’s enclosed by a black rectangle (for the benefit of those who can see the screen) and VoiceOver speaks the name or describes the item. The enclosing rectangle is referred to as the VoiceOver cursor. If text is selected, VoiceOver reads the text. If a control (such as a button or switch) is selected and Speak Hints is turned on, VoiceOver may tell you the action of the item or provide instructions for you—for example, “double-tap to open.” When you go to a new screen, VoiceOver plays a sound and automatically selects and speaks the first element of the screen (typically, the item in the upper-left corner). VoiceOver also lets you know when the display changes to landscape or portrait, and when the screen is locked or unlocked. Setting Up VoiceOver Important: VoiceOver changes the gestures used to control iPhone. Once VoiceOver is turned on, you have to use VoiceOver gestures to operate iPhone—even to turn VoiceOver off again to resume standard operation. Turn VoiceOver on or off: In Settings, choose General > Accessibility > VoiceOver and tap the VoiceOver On/Off switch. You can also set Triple-click Home to turn VoiceOver on or off. See “Triple-click Home” on page 191. Note: You cannot use VoiceOver and Zoom at the same time. Chapter 25 Accessibility 183Turn spoken hints on or off: In Settings, choose General > Accessibility > VoiceOver, and tap the Speak Hints On/Off switch. Spoken hints are turned on by default. Set the VoiceOver speaking rate: In Settings, choose General > Accessibility > VoiceOver, and adjust the Speaking Rate slider. You can choose what kind of feedback you get when you type. You can set VoiceOver to speak characters, words, both, or nothing. If you choose to hear both characters and words, VoiceOver speaks each character as you type it, then speaks the whole word when you finish it by entering a space or punctuation. Choose typing feedback: In Settings, choose General > Accessibility > VoiceOver > Typing Feedback, then choose Characters, Words, Characters and Words, or Nothing. Change the language spoken by VoiceOver: In Settings, choose General > International > Language, then select a language and tap OK. Some languages may be influenced by the Region Local setting. In Settings, choose General > International > Region Format and select the format. Note: VoiceOver isn’t available in all languages. Practice gestures: In Settings, choose General > Accessibility > VoiceOver > Practice Gestures, then tap Practice VoiceOver Gestures. Practice the gestures described in “VoiceOver Gestures,” below. When you’re finished practicing, tap Done. VoiceOver Gestures When VoiceOver is turned on, the standard touchscreen gestures have different effects. These and some additional gestures allow you to move around the screen and to control the individual elements when they’re selected. VoiceOver gestures include using two and three fingers to tap or flick. For best results when using two- and threefinger gestures, relax and let your fingers touch the screen with some space between your fingers. You can use standard gestures when VoiceOver is turned on, by double-tapping and holding your finger on the screen. A series of tones indicates that normal gestures are in force. They remain in effect until you lift your finger. Then VoiceOver gestures resume. You can use many different techniques to enter VoiceOver gestures. For example, you can enter a two-finger tap using two fingers from one hand, or one finger from each hand. You can also use your thumbs. Try different techniques to discover which works best for you. If your gestures don’t work, try quicker movements, especially for double-tap and flicking gestures. To flick, try quickly brushing the screen with your finger or fingers. You can practice VoiceOver gestures in Settings: choose General > Accessibility > VoiceOver > Practice Gestures and tap the Practice VoiceOver Gestures button. Here’s a summary of key VoiceOver gestures: 184 Chapter 25 AccessibilityNavigate and Read • Tap: Speak item. • Flick right or left: Select the next or previous item. • Flick up or down: Depends on the Rotor Control setting. See “Rotor Control” on page 185. • Two-finger tap: Stop speaking the current item. • Two-finger flick up: Read all from top of screen. • Two-finger flick down: Read all from current position. • Three-finger flick up or down: Scroll one page at a time. • Three-finger flick right or left: Go to the next or previous page (such as the Home screen, Stocks, or Safari). • Three-finger tap: Speak the scroll status (which page or rows are visible). Select and Activate • Double-tap: Activate selected item. • Touch an item with one finger, tap the screen with another finger (“split-tapping”): Activate item. • Double-tap and hold (1 second) + standard gesture: Use a standard gesture. The double-tap and hold gesture tells iPhone to interpret the subsequent gesture as standard. For example, you can double-tap and hold, then without lifting your finger, drag your finger to slide a switch. • Two-finger double tap: Answer or end a call. Play or pause in iPod, YouTube, Voice Memos, or Photos. Take a picture (Camera). Start or pause recording in Camera or Voice Memos. Start or stop the stopwatch. • Three-finger double tap: Mute or unmute VoiceOver. • Three-finger triple tap: Turn the display on or off. Do single-finger flicking gestures quickly, to distinguish them from dragging gestures. Rotor Control The rotor control is an invisible dial that you can use to change the results of up and down flick gestures when VoiceOver is turned on. Operate the rotor: Rotate two fingers on the iPhone screen to “turn” the dial to choose between options. Chapter 25 Accessibility 185The effect of the rotor depends on what you’re doing. For example, if you’re reading text in an email you received, you can use the rotor to switch between hearing text spoken word-by-word or character-by-character when you flick up or down. If you’re browsing a webpage, use the rotor to choose whether you hear text word-by-word or character-by-character, hear just the headers, hear just the links (all of them, visited links, or links not yet visited), hear form elements, or hear descriptions of images. In other words, you can use the rotor setting to hear all the text, or to jump from one element to another of a certain type, such as headers or links. Rotor options depend on the context of what you’re doing. Reading text • Select and hear text character-by-character • Select and hear text word-by-word Browsing a webpage • Select and hear text character-by-character • Select and hear text word-by-word • Select and hear headers • Select and hear links • Select and hear form controls • Select and hear visited links • Select and hear links not visited • Select and hear images • Select and hear static text • Zoom in or out Entering text • Move insertion point and hear text character-by-character • Move insertion point and text word-by-word • Text editing functions • Auto-text Using a control (such as the spinner for setting the time in Clock) • Select and hear value character-by-character • Select and hear value word-by-word • Adjust the value of the control object 186 Chapter 25 AccessibilityUsing VoiceOver Select items on the screen: Drag your finger over the screen. VoiceOver identifies each element as you touch it. You can also move systematically from one element to the next by flicking left or right with a single finger. Elements are selected from leftto-right, top-to-bottom. Flick right to go to the next element, or flick left to go to the previous element. “Tap” a selected item when VoiceOver is turned on: Double-tap anywhere on the screen. Speak the text of an element, character by character or word by word: With the element selected, flick up or down with one finger. Flick down to read the next character, or flick up to read the previous character. Twist the rotor control to read word by word. Adjust a slider: With a single finger, flick up to increase the setting or down to decrease the setting. VoiceOver announces the setting as you adjust it. Scroll a list or area of the screen: Flick up or down with three fingers. Flick down to page down through the list, or flick up to page up through the list. When paging through a list, VoiceOver speaks the range of items displayed (for example, “showing rows 5 through 10”). You can also scroll continuously through a list, instead of paging through it. Doubletap and hold. When you hear a series of tones, you can move your finger up or down to scroll the list. Continuous scrolling stops when you lift your finger. Use a list index: Some lists have an alphabetical index along the right side. The index cannot be selected by flicking between elements; you must touch the index directly to select it. With the index selected, flick up or down to move along the index. You can also double-tap, then slide your finger up or down. Unlock iPhone: Select the Unlock switch, then double-tap the screen. Rearrange the Home screen: On the Home screen select the icon you want to move. Double-tap and hold, then drag the icon. VoiceOver speaks the row and column position as your drag the icon. Release the icon when it’s in the location you want. You can drag additional icons. Drag an item to the left or right edge of the screen to move it to another page of the Home screen. When you’re finished rearranging the icons, press the Home button. Chapter 25 Accessibility 187Mute VoiceOver Double-tap with three fingers. Double-tap again with three fingers to turn speaking back on. To turn off only VoiceOver sounds, set the Ring/Silent switch to Silent. Stop speaking an item Tap once with two fingers. Tap again with two fingers to resume speaking. Speaking automatically resumes when you select another item. Turn off the display while you use VoiceOver Triple-tap with three fingers. Triple-tap again with three fingers to turn on the display again. Speak entire screen from the top Flick up with two fingers. Speak from current item to bottom of screen Flick down with two fingers. Status information about iPhone can be heard by touching the top of the screen. This can include the time, battery life, Wi-Fi signal strength, and more. Entering and Editing Text When you select a text field with VoiceOver, you can use the onscreen keyboard to enter text. You can use the editing features of iPhone to cut, copy, or paste in the text field. Note: Safari doesn’t support copying webpage content. The editing features work only in editable text fields. Enter text: 1 Use VoiceOver to select an editable text field, then double tap to display the insertion point and bring up the onscreen keyboard. If the field already contains text, the insertion point is placed at the beginning or at the end of the text. Double-tap again to place the insertion point at the opposite end. VoiceOver tells you the position of the insertion point. The insertion point and onscreen keyboard may appear automatically when you select a text field. VoiceOver announces when you’re in editing mode. 2 To type, select a key on the keyboard by flicking left or right, then double-tap to enter the character. Or drag you finger around the keyboard to select a key, and, while holding the key with one finger, tap the screen with another finger to enter the character. VoiceOver speaks the key when it’s selected, and again when it’s entered. To enter an accented character, double-tap and hold until you hear a sound that indicates the alternate characters have appeared, then drag left or right to select and hear the choices. Release your finger to enter the current selection. 188 Chapter 25 AccessibilityMove the insertion point: Flick up or down to move the insertion point forward or backward in the text. VoiceOver makes a sound when the insertion point moves, and speaks the character that the insertion point moved across. Use the rotor to choose whether you want to move the insertion point by character or by word. Select text: Use the rotor to choose edit. Flick up or down to choose between the Select and Select All functions, then double tap. If you chose Select, the word closest to the insertion point is selected when you double-tap. If you chose Select All, the entire text is selected. Pinch to increase or decrease the selection. Cut, Copy, or Paste: Make sure the rotor is set to edit. With text selected, flick up or down to choose Cut, Copy, or Paste, then double-tap. Undo: Shake iPhone, flick left or right to choose the action to undo, then double-tap. Using Maps With VoiceOver, you can zoom in or out, select pins, and get information about locations. Zoom in or out: Use the rotor to choose zoom mode, then flick up or down to zoom in or out. Select a pin: Touch a pin, or flick left or right to move from one item to another. Get information about a location: With a pin selected, double-tap to display the information flag. Flick left or right to select the flag, then double-tap to display the information page. Editing Videos and Voice Memos You can use VoiceOver gestures to trim Camera videos and Voice Memo recordings. Trim a voice memo: On the Voice Memos screen, select the button to the right of the memo you want to trim, then double-tap. Then select Trim Memo and double-tap. Select the beginning or end of the trim tool. Flick up to drag to the right, or flick down to drag to the left. VoiceOver announces the amount of time the current position will trim from the recording. To execute the trim, select Trim Voice Memo and double-tap. Trim a video: While viewing a video, double-tap the screen to display the video controls. Select the beginning or end of the trim tool. Then flick up to drag to the right, or flick down to drag to the left. VoiceOver announces the amount of time the current position will trim from the recording. To execute the trim, select Trim and double-tap. Zoom Many iPhone applications let you zoom in and out specific elements. For example, you can double-tap or use the pinch gesture to expand webpage columns in Safari. Zoom is a special accessibility feature that lets you magnify the entire screen of any application you’re using to help you see what’s on the display. Chapter 25 Accessibility 189Turn Zoom on or off: In Settings, choose General > Accessibility > Zoom and tap the Zoom On/Off switch. Note: You cannot use VoiceOver and Zoom at the same time. Zoom in or out: Double-tap the screen with three fingers. By default, the screen is magnified by 200 percent. If you manually change the magnification (by using the tapand-drag gesture, described below), iPhone automatically returns to that magnification when you zoom in by double-tapping with three fingers. Increase magnification: With three fingers, tap and drag toward the top of the screen (to increase magnification) or toward the bottom of the screen (to decrease magnification). The tap-and-drag gesture is similar to a double-tap, except you don’t lift your fingers on the second tap—instead, drag your fingers on the screen. Once you start dragging, you can drag with a single finger. Move around the screen: When zoomed in, drag or flick the screen with three fingers. Once you start dragging, you can drag with a single finger so that you can see more of the screen. Hold a single finger near the edge of the display to pan to that side of the screen image. Move your finger closer to the edge to pan more quickly. When you open a new screen, Zoom always goes to the top-middle of the screen. White on Black Use White on Black to invert the colors on the iPhone display, which may make it easier to read the screen. The screen looks like a photographic negative when White on Black is turned on. Invert the screen’s colors: In Settings, choose General > Accessibility and tap the “White on Black” switch. Mono Audio Mono Audio combines the sound of the left and right channels into a mono signal played on both sides. This enables users with hearing impairment in one ear to hear the entire sound signal with the other ear. Turn Mono Audio on or off: In Settings, choose General > Accessibility and tap the Mono Audio switch. Speak Auto-text Speak Auto-text speaks the text corrections and suggestions iPhone makes when you’re typing. Turn Speak Auto-text on or off: In Settings, choose General > Accessibility and tap the Speak Auto-text switch. Speak Auto-text also works with VoiceOver or Zoom. 190 Chapter 25 AccessibilityTriple-click Home Triple-click Home provides an easy way to turn some of the Accessibility features on or off when you press the Home button quickly three times. You can set Triple-click Home to turn VoiceOver on or off, turn White on Black on or off, or present the options to: • Turn VoiceOver on or off • Turn Zoom on or off • Turn White on Black on or off Triple-click Home is turned off by default. Set the Triple-click Home function: In Settings, choose General > Accessibility > Triple-click Home and choose the function you want. Closed Captioning and Other Helpful Features Many features available on all models of iPhone help make iPhone accessible to all users, including those with visual or auditory impairments. Closed Captioning You can turn on closed captioning for videos in iPod settings. See “Video” on page 158. Voice Control Voice Control (available only on iPhone 3GS) lets you make phone calls and control iPod music playback by using voice commands. See “Voice Dialing” on page 48, and “Using Voice Control with iPod” on page 77. Large Phone Keypad Make phone calls simply by tapping entries in your contacts and favorites lists. When you need to dial a number, iPhone’s large numeric keypad makes it easy. See “Phone Calls” on page 47. Widescreen Keyboards Several applications let you rotate iPhone when you’re typing so that you can use a larger keyboard: • Mail • Safari • Messages • Notes • Contacts Chapter 25 Accessibility 191Visual Voicemail The play and pause controls in visual voicemail let you control the playback of messages. Drag the playhead on the scrubber bar to repeat a portion of the message that’s hard to understand. See “Checking Voicemail” on page 52. Assignable Ringtones You can assign distinctive ringtones to individuals in your contacts list for audible caller ID. You can purchase ringtones from the iTunes Store on iPhone. See “Purchasing Ringtones” on page 162. Instant Messaging (IM) Chat The App Store features many Internet Messaging (IM) applications such as AIM, BeejiveIM, ICQ, and Yahoo! Messenger that are optimized for iPhone. Minimum Font Size for Mail Messages To increase readability, set a minimum font size for Mail message text to Large, Extra Large, or Giant. See “Mail” on page 152. TTY Support (Available in Some Areas) Use iPhone in TTY mode with the iPhone TTY Adapter (available separately) to use a Teletype (TTY) machine. See “Using iPhone with a Teletype (TTY) Machine” on page 154. Universal Access in Mac OS X Take advantage of the Universal Access features in Mac OS X when you use iTunes to sync information and content from your iTunes library to iPhone. In the Finder, choose Help > Mac Help, then search for “universal access.” For more information about iPhone and Mac OS X accessibility features, go to www.apple.com/accessibility. 192 Chapter 25 AccessibilityTroubleshooting A Appendix Apple iPhone Support Site Comprehensive support information is available online at www.apple.com/support/iphone. General Low-Battery Image Appears iPhone is low on power and needs to charge for up to ten minutes before you can use it. For information about charging iPhone, see “Charging the Battery” on page 43. or iPhone Doesn’t Respond • iPhone may be low on power. Connect iPhone to your computer or to its power adapter to charge. See “Charging the Battery” on page 43. • Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then press and hold the Home button until the application you were using quits. • If that doesn’t work, turn iPhone off, then turn it on again. Press and hold the Sleep/ Wake button on top of iPhone for a few seconds until a red slider appears, and then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. • If that doesn’t work, reset iPhone. Press and hold both the Sleep/Wake button and the Home button for at least ten seconds, until the Apple logo appears. 193iPhone Still Doesn’t Respond After Reset • Reset iPhone settings. From the Home screen choose Settings > General > Reset > Reset All Settings. All your preferences are reset, but your data and media aren’t deleted. • If that doesn’t work, erase all content on iPhone. See “Resetting iPhone” on page 149. • If that doesn’t work, restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. “This accessory is not made to work with iPhone” Appears Make sure the dock connector is free of debris. If you connect iPhone to an accessory not specifically made for it, iPhone may ask if you want to turn on airplane mode. This is to eliminate radio interference from cellular signals coming from iPhone. You may be able to use iPhone with the accessory whether or not you turn on airplane mode. However, the accessory may not charge iPhone. If you turn on airplane mode, you won’t be able to make calls, send or receive text messages, access the Internet, or use Bluetooth devices with iPhone until you disconnect iPhone from the accessory or turn off airplane mode. “This accessory is not supported by iPhone” Appears The accessory you attached may not work with iPhone. Make sure the dock connector is free of debris. Connect-to-iTunes Screen Appears iPhone needs to be activated. Connect iPhone to your computer and open iTunes if it doesn’t open automatically. iPhone Is Too Warm If the interior temperature of iPhone 3G or later exceeds normal operating temperatures, you may experience the following as it attempts to regulate its temperature: • iPhone stops charging • the display dims • the cellular signal is weak • a temperature warning screen appears Important: You cannot use iPhone while the temperature warning screen is displayed except to make an emergency call. If none of the above measures succeeds in lowering the internal temperature, iPhone automatically goes into a deep sleep mode until it cools. You cannot make an emergency call when iPhone is in this mode. Move iPhone to a cooler location and wait a few minutes before trying to use iPhone again. 194 Appendix A TroubleshootingiTunes and Syncing iPhone Doesn’t Appear in iTunes • The iPhone battery might need to be recharged. For information about charging iPhone, see “Charging the Battery” on page 43. • Disconnect other USB devices from your computer and connect iPhone to a different USB 2.0 port on your computer (not on your keyboard). • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • Restart your computer and reconnect iPhone to your computer. • Download and install (or reinstall) the latest version of iTunes from www.apple.com/itunes. Syncing Doesn’t Work • The iPhone battery might need to be recharged. For information about charging iPhone, see “Charging the Battery” on page 43. • Disconnect other USB devices from your computer and connect iPhone to a different USB 2.0 port on your computer (not on your keyboard). • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • Restart your computer and reconnect iPhone to your computer. • Download and install (or reinstall) the latest version of iTunes from www.apple.com/itunes. Contacts, Calendars, or Bookmarks Don’t Sync • Download and install (or reinstall) the latest version of iTunes from www.apple.com/itunes. Appendix A Troubleshooting 195Yahoo! or Google Contacts Doesn’t Sync iTunes may not be able to connect with Yahoo! or Google. Make sure your computer is connected to the Internet, and that you’ve entered the correct ID and password in iTunes. Connect iPhone to your computer, click the Info tab in iTunes, click Configure in the Contacts section, then enter your current ID and password. Yahoo! Address Book Still Has Contacts Deleted From iPhone Yahoo! Address Book doesn’t allow contacts containing a Messenger ID to be deleted through syncing. To delete a contact containing a Messenger ID, log in to your Yahoo! account online and delete the contact using Yahoo! Address Book. Phone and Voicemail Can’t Make or Receive Calls • Check the cell signal icon in the status bar at the top of the screen. If there are no bars, or if it says “No service,” try moving to a different location. If you’re indoors, try going outdoors or moving closer to a window. • Check to make sure you’re in an area with network coverage. Go to your carrier’s website to see network coverage areas. • Make sure airplane mode isn’t on. From the Home screen choose Settings, then turn airplane mode off. If that doesn’t work, turn airplane mode on, wait 15 seconds, then turn airplane mode off again. • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • There may be a problem with your wireless service. Call your carrier or go to your carrier’s website. • Restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. Visual Voicemail Isn’t Available Visual Voicemail is delivered over the cellular data network. Because Data Roaming is turned off by default, you may not have access to the Internet when traveling abroad unless you turn Data Roaming on. In Settings choose General > Network, then tap Data Roaming. Important: Data roaming charges may apply when Data Roaming is on. 196 Appendix A TroubleshootingVisual Voicemail may be an optional service in some countries. Contact your carrier for more information. You Can’t Remember Your Voicemail Password If iPhone prompts you for your password when you tap Voicemail and you don’t remember your password, tap for instructions on resetting it. Voicemail Service Is Called When You Tap Voicemail If the voice instructions prompt you, enter your voicemail password. Otherwise, wait until you hear any voice instruction, then end the call. After a time, Voicemail should become available again. This may occur if you removed the SIM card from iPhone and replace it with another SIM card. Safari, Text, Mail, and Contacts Websites, Text, or Email Aren’t Available • Check the cell signal icon in the status bar at the top of the screen. If there are no bars, or if it says “No service,” try moving to a different location. If you’re indoors, try going outdoors or moving closer to a window. • Check to make sure you’re in an area with network coverage. Go to your carrier’s website to see network coverage areas. • If the cellular network isn’t available, connect to a Wi-Fi network if possible. • Make sure airplane mode isn’t on. From the Home screen choose Settings, then turn airplane mode off. If that doesn’t work, turn airplane mode on, wait 15 seconds, then turn airplane mode off again. • Make sure to include an area code for every phone number in your contacts list that you use to send or receive text messages. • Turn iPhone off and back on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. Tap Unlock and enter your SIM’s PIN if the SIM is locked. Important: If you enter the PIN incorrectly three times, you may need to enter a Personal Unlocking Key (PUK) to enable your SIM card again. Refer to the SIM card documentation or contact your carrier. • There may be a problem with your wireless service. Call your carrier or go to your carrier’s website. Appendix A Troubleshooting 197• If you’re traveling abroad, you may not have Internet access because Data Roaming is turned off (the default). Turn Data Roaming on or connect to a Wi-Fi network. To turn Data Roaming on, in Settings choose General > Network and tap Data Roaming. Data roaming charges may apply. Important: Data roaming charges may apply. To avoid data roaming charges, turn Data Roaming off. • Restore the iPhone software. See “Updating and Restoring iPhone Software” on page 204. Can’t Send Email If iPhone is unable to send email, try the following: • In Settings, choose “Mail, Contacts, Calendars” and select the account you’re trying to use. Tap Account Info, then tap SMTP under Outgoing Mail Server. Under Other SMTP Server, tap the SMTP server for your carrier, then tap to turn the server on. The Under Other SMTP settings also allow you to set up additional SMTP servers. Contact your carrier or Internet service provider for configuration information. • Set up your email account directly on iPhone instead of syncing it from iTunes. In Settings, choose “Mail, Contacts, Calendars,” tap Add Account and enter your account information. If iPhone is unable to locate your service provider’s settings when you enter your email address, go to www.apple.com/support and search for HT1277 to get additional help in setting up your account. • Turn iPhone off, then turn it on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. • Turn off Wi-Fi so iPhone is connecting to the Internet via the cellular data network. In Settings, choose Wi-Fi and turn off Wi-Fi. For additional troubleshooting information, go to www.apple.com/support and search for TS1426. If you still can’t send email, you can call an Apple Expert (not available in all countries). Go to www.apple.com/support/expert for information. If Apple Expert is not available in your country, get a free GMail, Yahoo!, or AOL account and try forwarding your mail to that account. Can’t Receive Email If iPhone is unable to receive email, try the following: • If you’re using one or more computers to check the same email account, that may be creating a lock-out issue. For more information, go to www.apple.com/support and search for TS2621. 198 Appendix A Troubleshooting• Set up your email account directly on iPhone instead of syncing it from iTunes. In Settings, choose “Mail, Contacts, Calendars,” tap Add Account and enter your account information. If iPhone is unable to locate your service provider’s settings when you enter your email address, go to www.apple.com/support and search for HT1277 to get additional help in setting up your account. • Turn iPhone off, then turn it on again. Press and hold the Sleep/Wake button on top of iPhone for a few seconds until a red slider appears, and then drag the slider. Then press and hold the Sleep/Wake button until the Apple logo appears. • Turn off Wi-Fi so iPhone is connecting to the Internet via the cellular data network. In Settings, choose Wi-Fi and turn off Wi-Fi. For additional troubleshooting information, go to www.apple.com/support and search for TS1426. If you still can’t receive email, you can call an Apple Expert (not available in all countries). Go to www.apple.com/support/expert for information. If Apple Expert is not available in your country, get a free GMail, Yahoo!, or AOL account and try forwarding your mail to that account. Email Attachment Won’t Open The file type may not be supported. iPhone supports the following email attachment file formats: .doc Microsoft Word .docx Microsoft Word (XML) .htm webpage .html webpage .key Keynote .numbers Numbers .pages Pages .pdf Preview, Adobe Acrobat .ppt Microsoft PowerPoint .pptx Microsoft PowerPoint (XML) .rtf Rich Text Format .txt text .vcf contact information .xls Microsoft Excel .xlsx Microsoft Excel (XML) Appendix A Troubleshooting 199GAL Contacts Don’t Appear Check your Microsoft Exchange settings to make sure you’re on the right server. In Settings, tap “Mail, Contacts, Calendars” and choose an account to display its settings. If you’re trying to search for GAL contacts in Contacts, tap Groups and tap Directories at the bottom of the list. Sound, Music, and Video No Sound • Unplug and reconnect the headset. Make sure the connector is pushed in all the way. • Make sure the volume isn’t turned down all the way. • Music on iPhone might be paused. Try pressing the center button on the iPhone headset (or the equivalent button on your Bluetooth headset) to resume playback. Or from the Home screen, tap iPod, tap Now Playing, then tap . • Check to see if a volume limit is set. From the Home screen choose Settings > iPod > Volume Limit. For more information, see “Music” on page 158. • Make sure you’re using the latest version of iTunes (go to www.apple.com/itunes). • If you’re using the optional dock’s line out port, make sure your external speakers or stereo are turned on and working properly. Pressing Mic Button Doesn’t Resume Music Playback iPhone goes to sleep after music has been paused for five minutes. Press the Home or Sleep/Wake button to wake up iPhone. Song, Video, or Other Items Won’t Play The song may have been encoded in a format that iPhone doesn’t support. The following audio file formats are supported by iPhone. These include formats for audiobooks and podcasting: • AAC (M4A, M4B, M4P, up to 320 Kbps) • Apple Lossless (a high-quality compressed format) • MP3 (up to 320 Kbps) • MP3 Variable Bit Rate (VBR) • WAV • AA (audible.com spoken word, formats 2, 3, and 4) • AAX (audible.com spoken word, AudibleEnhanced format) • AIFF 200 Appendix A TroubleshootingThe following video file formats are supported by iPhone: • H.264 (Baseline Profile Level 3.0) • MPEG-4 (Simple Profile) A song encoded using Apple Lossless format has full CD-quality sound, but takes up only about half as much 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’s converted to AAC format by default. Using iTunes for Windows, 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. iPhone doesn’t support WMA, MPEG Layer 1, MPEG Layer 2 audio files, or audible.com format 1. If you have a song or video in your iTunes library that isn’t supported by iPhone, you may be able to convert it to a format iPhone supports. See iTunes Help for more information. iTunes Stores iTunes Store Isn’t Available To use the iTunes Store, iPhone must be connected to the Internet. See “Connecting to the Internet” on page 40. The iTunes Store isn’t available in all countries. Can’t Purchase Content To purchase content from the iTunes Store or App Store, you must have an iTunes Store account. Open iTunes on your computer and choose Store > Create Account. You can also set up an account on iPhone. See “Viewing Account Information” on page 166. Note: The iTunes Store is available only in some countries. Removing the SIM Card If you need to send your iPhone in for service, or if you want to loan your iPhone to someone and you still want to be able to make calls, you may be able to use the SIM card inside iPhone with another phone. Appendix A Troubleshooting 201Remove the SIM card: Insert the end of the SIM eject tool (or a small paper clip) into the hole on the SIM tray. Press firmly and push it straight in until the tray pops out. SIM eject SIM tray tool SIM card Backing Up iPhone iTunes creates backups of settings, downloaded applications and data, and other information on iPhone. You can use a backup to restore these items to your iPhone after a software restore or to transfer the information to another iPhone. Backing up iPhone or restoring from a backup is not the same as syncing content and other items (such as music, podcasts, ringtones, photos, videos, and applications that you download via iTunes) with your iTunes library. Backups include settings, downloaded applications and data, and other information that resides on iPhone. You can restore these items from a backup using iTunes, but you may also have to sync your iTunes library content again. Applications downloaded from the App Store are backed up the next time you sync with iTunes. Afterwards, only application data is backed up when you sync with iTunes. Creating Backups Backups can be created in the following ways: • Once iPhone has been configured to sync with a particular computer, iTunes automatically makes a backup of iPhone on that computer when you sync. iTunes won’t automatically back up an iPhone that isn’t configured to sync with that computer. If you’ve configured iPhone to automatically sync with iTunes on a specific computer, iTunes will back up iPhone every time you connect it to that computer. Automatic syncing is turned on by default. iTunes only makes one backup each time you connect, even if you sync multiple times before disconnecting. • If you choose to update the software on iPhone, iTunes will back up iPhone automatically, even if it isn’t configured to sync with iTunes on that computer. • If you choose to restore the software on iPhone, iTunes asks if you want to back up iPhone before restoring. If you use a Bluetooth headset or car kit with iPhone and you restore settings, you must pair the Bluetooth device with iPhone again to use it. 202 Appendix A TroubleshootingFor more information about backups, including the settings and information stored in a backup, go to www.apple.com/support and search for HT1766. Restoring from a Backup You can restore the settings, application data, and other information from a backup, or use this feature to transfer these items to another iPhone. Restore iPhone from a backup: 1 Connect iPhone to the computer you normally sync with. 2 In iTunes, Control-click iPhone in the sidebar and choose “Restore from Backup” from the menu that appears. 3 Choose the backup that you want to restore from the pop-up menu, then click Restore. If your backup is encrypted, you’ll need to enter your password. After restoring from a backup, previous data is no longer accessible via the iPhone user interface, but it isn’t erased from your iPhone. For information about erasing all content and settings, see “Resetting iPhone” on page 149. Important: Restoring iPhone from a backup restores all data in the backup, including data for other applications. If you choose an old backup, restoring from it could replace the data for applications with data that is not current. Removing a Backup You can remove a backup of iPhone from the list of backups in iTunes. You may want to do this, for example, if a backup was created on someone else’s computer. Remove a backup: 1 In iTunes, open iTunes Preferences. • Windows: Choose Edit > Preferences. • Mac: Choose iTunes > Preferences. 2 Click Devices (iPhone does not need to be connected). 3 Select the backup you want to remove, then click Delete Backup. 4 Confirm you wish to remove the selected backup by clicking Delete Backup. 5 Click OK to close the iTunes Preferences Window. Appendix A Troubleshooting 203Updating and Restoring iPhone Software You can use iTunes to update or reinstall iPhone software, restore default settings, and delete all data on iPhone. • If you update, the iPhone software is updated. Your downloaded applications, settings, and data aren’t affected. Note: In some cases, an update may also include restoring iPhone. • If you restore, the latest version of iPhone software is reinstalled, settings are restored to their defaults, and data stored on iPhone is deleted, including downloaded applications, songs, videos, contacts, photos, calendar information, and any other data. If you’ve backed up iPhone with iTunes on your computer, you can restore data from the backup at the end of the restore process. Deleted data is no longer accessible via the iPhone user interface, but isn’t erased from your iPhone. For information about erasing all content and settings, see “Resetting iPhone” on page 149. Update or restore iPhone: 1 Make sure you have an Internet connection and have installed the latest version of iTunes from www.apple.com/itunes. 2 Connect iPhone to your computer. 3 Select iPhone in the iTunes sidebar and click the Summary tab. 4 Click “Check for Update.” iTunes tells you if there’s a newer version of the iPhone software available. 5 Click Update to install the latest version of the software. Or click Restore to restore. Follow the onscreen instructions to complete the restore process. For more information about updating and restoring iPhone software, go to www.apple.com/support and search for HT1414. 204 Appendix A TroubleshootingOther Resources B Appendix Safety, Software, and Service Information The following table describes where to get more iPhone-related safety, software, and service information. To learn about Do this Using iPhone safely See the Important Product Information Guide at www.apple.com/support/manuals/iphone for the latest safety and regulatory information. iPhone service and support, tips, forums, and Apple software downloads Go to www.apple.com/support/iphone. Service and support from your carrier Contact your carrier or go to your carrier’s website. The latest information about iPhone Go to www.apple.com/iphone. Using iTunes Open iTunes and choose Help > iTunes Help. For an online iTunes tutorial (available in some areas only), go to www.apple.com/support/itunes. MobileMe Go to www.me.com. Using iPhoto on Mac OS X Open iPhoto and choose Help > iPhoto Help. Using Address Book on Mac OS X Open Address Book and choose Help > Address Book Help. Using iCal on Mac OS X Open iCal and choose Help > iCal Help. 205To learn about Do this Microsoft Outlook, Windows Address Book, Adobe Photoshop Album, and Adobe Photoshop Elements See the documentation that came with those applications. Finding your iPhone serial number or International Mobile Equipment Identity (IMEI) number You can find your iPhone serial and IMEI numbers on the iPhone packaging. Or, on iPhone, choose Settings > General > About from the Home screen. In iTunes on your computer, hold down the Control key and choose Help > About iTunes (Windows) or iTunes > About iTunes (Mac), then release the Control key. (Press the Space bar to pause the scrolling.) Obtaining warranty service First follow the advice in this guide and online resources. Then go to www.apple.com/support or see the Important Product Information Guide at www.apple.com/support/manuals/iphone. Battery replacement service Go to www.apple.com/support/iphone/service/ battery. Using iPhone in an enterprise environment Go to www.apple.com/iphone/enterprise. Viewing the User Guide on iPhone The iPhone User Guide, optimized for viewing on iPhone, is available at help.apple.com/iphone. View the guide on iPhone: In Safari, tap , then tap the iPhone User Guide bookmark. Add an icon for the guide to the Home screen: When viewing the guide, tap , then tap “Add to Home Screen.” The iPhone User Guide is available in many languages. View guide in a different language: Tap “Change Language” at the bottom of the screen on the main contents page, then choose the language you want. Disposal and Recycling Information Apple Used Mobile Phone Recycling Program (available in some areas): For free recycling of your old mobile phone, a prepaid shipping label, and instructions, see: www.apple.com/environment/recycling 206 Appendix B Other ResourcesiPhone Disposal and Recycling: You must dispose of iPhone properly according to local laws and regulations. Because iPhone contains electronic components and a battery, iPhone must be disposed of separately from household waste. When iPhone reaches its end of life, contact local authorities to learn about disposal and recycling options, or simply drop it off at your local Apple retail store or return it to Apple. The battery will be removed and recycled in an environmentally friendly manner. For more information, see: www.apple.com/environment/recycling European Union—Electronics and Battery Disposal Information: This symbol means that according to local laws and regulations your product and its battery should be recycled separately from household waste. When this product reaches its end of life, take it to a collection point designated by local authorities for the recycling of electronic equipment. The improper disposal of waste electronic equipment from the consumer may be subject to fines. The separate collection and recycling of your product and its battery at the time of disposal will help conserve natural resources and ensure that it is recycled in a manner that protects human health and the environment. For collection and recycling schemes for iPhone, go to: www.apple.com/environment/recycling/nationalservices/europe.html Battery Replacement for iPhone: The rechargeable battery in iPhone should be replaced only by an authorized service provider. For battery replacement services go to: www.apple.com/support/iphone/service/battery 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. Türkiye: EEE yönetmelig?ine (Elektrikli ve Elektronik Es¸yalarda Bazi Zararli Maddelerin Kullaniminin Sinirlandirilmasina Dair Yönetmelik) uygundur. 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 Appendix B Other Resources 207Index 3G 21, 41 12-hour time 147 24-hour time 147 A accessibility features 182 Mono Audio 190 setting up iPhone using VoiceOver 11 settings 149 Speak Auto-text 190 Triple-click Home 191 VoiceOver 183 White on Black 190 Zoom 189 accounts 16, 150 “push” 18, 151 activating iPhone 10 adjusting brightness 142 Adobe Photoshop 97 Adobe Photoshop Elements 15 airplane mode settings 138 status icon 21 turning on 138 alarms deleting 133 setting 133 status icon 22 turning on or off 133 album covers 78 album tracks 79 alert voicemail 52 alerts adjusting volume 27, 141 calendar 96 turning on or off 141 alternate audio language 83 answering calls 39 anti-phishing. See Safari fraud warning App Store about 167 browsing 167 deleting applications 171 Genius 168 store account 159, 167 syncing 12 syncing purchased content 172 updating applications 172 verifying purchases 166 applications 23 deleting 171 attachments email 62 audio alternate language 83 mono 190 audio file formats, supported 201 audiobooks syncing 12 Auto-Brightness 142 AutoFill 69, 156 auto-lock, setting time for 145 AV cables 84 B backing up iPhone 14 backups creating 202 removing 203 restoring from 203 battery charging 43 low on power 44, 193 maximizing life 44 replacing 44, 206 status icon 22 Bluetooth finding address 143 headset 26, 38, 39, 48, 49, 50, 74, 77, 78, 82, 104, 108, 126, 200, 202 routing calls back through iPhone 56 status icon 22 turning on or off 144 unpairing device 56 Index 208bookmarking map locations 119 webpages 69 YouTube videos 108, 109 bookmarks, syncing 12, 14, 69 brightness adjusting 142 setting to adjust automatically 142 browser cache, clearing 157 browsing album covers 78 App Store 167 iTunes Music Store 161 YouTube videos 107 businesses, finding 121 buttons, changing 85 C cable, Dock Connector to USB 11, 21 cache, clearing browser 157 Calculator 135 scientific 136 Calendar about 91 searching 93 views 92 See also events calendars, syncing 12, 14, 91 call forwarding 154 call options 49 call waiting, turning on or off 154 caller ID, hiding or showing 154 calls no service 196 See also phone Camera deleting pictures 104 exposure 104 focus 104 seeing photos and videos you’ve taken 104, 105 taking pictures 104 upload pictures to your computer 106 caps lock, enabling 148 carrier services 155 Cc 152 cell signal, status icon 21 cellular network 41 charging battery 43 cleaning iPhone 46 Clock 132 clocks, adding 132 closed captioning, turning on or off 158 Compass current coordinates 174 heading 174 True and Magnetic North 174 component AV cable 84 composite AV cable 84 computer requirements 9 conference calls 50 configuration profiles 18 connecting to Internet 40 contacts adding and editing 178 adding from Maps 119 adding from text messages 89 assigning photo to 102 favorite 54 GAL (Global Address List) 59, 177, 200 LDAP (Lightweight Directory Access Protocol) 177 seeing location of 119 send info by email 60 setting how displayed 153 setting how sorted 153 syncing 12, 13, 14, 176 using to call someone 47 Yahoo! Address Book 14 controls, using 28 converting videos 73 converting unprotected WMA files 201 cookies 157 copying images 100 photos and videos in MMS messages 88 text 33 Cover Flow 78 current approximate location 119, 174 cutting and pasting text 33 D data, erasing 17, 45, 145, 149 date and time, setting 147 date format 148 debug console 157 declining calls 49 deleting alarms 133 all content and settings 45, 149 applications from the App Store 171 clocks 132 contacts 178 contacts from Favorites 54 email account 151 email messages 64 notes 130 pictures 104 playlists 81 removing 203 songs from a playlist 81 videos 84 Index 209YouTube playlists 110 YouTube videos from a playlist 110 developer settings 157 Dialing a phone number 47 directions, getting 119 disconnecting iPhone from computer 19 display freezes 194 Dock Connector 125 Dock Connector to USB cable 11, 21 downloading applications 170 podcasts 164 E EDGE 40 editing text 33 text conversations 89 videos 106 effects sounds, turning on or off 141 email accounts syncing 12 emergency calls 51 ending calls 39 enterprise, using iPhone 206 equalizer 158 erasing data 17, 45, 145, 149 events, calendar 94 Exchange. See Microsoft Exchange exposure 104 F favorites calling a contact from 47, 54 managing 54 sending text messages 87 Fetch New Data 151 file formats, supported 62, 199, 200, 201 Find My iPhone 17, 45 focus 104 force quit an application 46 formats date, time, and telephone number 148 forwarding messages 60 G GAL (Global Address List) 59, 177, 200 Genius Mixes 73, 80 Genius playlists 76, 79 Genius, App Store 168 gestures, VoiceOver 184 getting help 205 getting started 9 Google search engine 156 Google Contacts 14, 196 searching the web 69 GPRS 40 GPS 116 grab points 34 H hands-free phone calls 50, 144 headset about 21, 39 center button 21, 26, 38, 39, 48, 49, 50, 74, 77, 78, 82, 104, 108, 126, 200 using with Voice Memos 125 headset button. See mic button help, getting 205 hold, putting calls on 50 Home screen 23, 29 adding web clips 70 customizing 25 hybrid view 118 I iCal 14, 205 ICCID number 143 icons applications 23 status 21 See also buttons images copying 100 pasting 100 IMAP accounts 59 searching email 64 IMEI number 143 installing applications from the App Store 170 configuration profiles 18 international keyboards 35, 148 Internet, connecting to 40 iPhoto 15, 205 iPod changing browse buttons 85 converting videos for iPhone 73 deleting videos 84 Genius Mixes 80 Genius playlists 79 headset controls 39 on-the-go playlists 81, 110 playing songs using Voice Control 77 repeating or shuffling songs 76 searching 79, 83 settings 158 Shake to Shuffle 73, 158 sleep timer 84 210 IndexiTunes Store about 160 account 10, 159, 160, 163, 167 browsing 161 checking download status 165 purchasing ringtones 162 purchasing songs and albums 162 streaming or downloading podcasts 164 syncing purchased content 165 verifying purchases 166 iTunes U syncing 12, 15, 71 iTunes getting help 205 iPhone doesn’t appear in 195 settings panes 13 K keyboards Emoji 35 international 35, 148 typing on 32 keypad, numbers 50 L LDAP (Lightweight Directory Access Protocol) 177 links in email 62 on webpages 67 location. See Maps Location Services 144 location warnings 150 locking iPhone 22, 26, 27 lyrics, displaying 75 M Mac system requirements 9 magnetic north 173 Mail account setup 59, 150 attachments 62, 199 Cc 152 checking for new messages 60, 64 deleting email account 151 deleting messages 64 forwarding messages 60 links 62 load additional messages 61 marking messages as unread 63 organizing email 65 password settings 151 problems opening an attachment 199 reading messages 61 replying to messages 60 resizing text column 61 saving drafts 60 searching 64 seeing recipients 63 sending email to someone you’ve texted 89 sending messages 59 sending photos and videos 60 sending webpage addresses 67 sending YouTube video links 108, 109 settings 150, 151 share contact information 60 signatures 152 storing email on iPhone or server 151 syncing email account settings 12 Yahoo! email account 18 zooming in a message 61 Maps adding location to a contact 119 bookmarking location 119 current approximate location 116, 119 dropped pin 117 finding businesses 121 finding location 114 getting directions 119 GPS 116 hybrid view 118 satellite view 118 seeing location of a contact 119 share location 119 traffic conditions 121 zooming 115 Messages contacting someone you’ve texted 89 editing conversations 89 following links in messages 89 previews 90 replying to messages 87 saving a photo or video clip 88 saving conversations 87 sending a photo or video clip 88 sending messages 86 setting alert sounds 90 settings 157 show earlier messages 87 mic button 39 microphone about 39 built-in 125 muting 50 microphone, external 125 Microsoft Excel 156 Microsoft Exchange 16, 23, 25, 59, 176 push accounts 18 searching email 64 setting up account 16 syncing 16, 57, 91 Microsoft Internet Explorer 14, 69 Index 211Microsoft Outlook 14, 15 Microsoft Word 156 missed calls number of 52 returning 47 MMS 23, 24, 86, 88, 89, 97, 98, 100, 101, 116, 119, 128, 157 See also Messages MobileMe 16, 23, 25, 176 getting help 205 push accounts 18 searching email 64 security features 17, 45 sending photos to a gallery 100 setting up account 16 syncing 57, 69, 91 model number 142 modem firmware version 143 Mono Audio 190 movies rented 15, 83 syncing 12 music lyrics 75 managing manually 14 previewing 162 purchasing 162 searching 79 syncing 12, 15, 71 See also iPod music videos syncing 12 muting a call 50 N navigating. See panning, scrolling Network activity status icon 22 networks 139 Nike + iPod settings 159, 181 north, true and magnetic 173 Notes 130 searching 131 syncing 12 NTSC 159 O on-the-go playlists 81 orientation, changing 66 Outlook Express. See Windows Address Book Outlook. See Microsoft Outlook overview, iPhone applications 23 P pairing with Bluetooth headset 55 PAL 159 panning maps 115 webpages 67 parental controls. See Restrictions passcode 145 password changing 155 voicemail 197 pasting images 100 photos and videos in MMS messages 88 text 33 pausing songs and videos 39 PC system requirements 9 phone network name 142 Phone adding and editing contacts 178 answering calls 39, 40, 49 call waiting 154 calling internationally 56 calling someone you’ve texted 89 carrier services 155 changing voicemail password 155 conference calls 50 declining calls 40, 49 emergency calls 51 ending calls 39, 40, 50 forwarding calls 154 hands-free 50 hiding or showing caller ID 154 locking SIM card 155 making calls 47 missed calls 52 muting calls 50 putting calls on hold 50 ring mode 54 routing calls back through iPhone 56 second calls 50 setting up voicemail 52 settings 153 silencing calls 49 silent mode 54 switching between calls 40, 50 turning on vibrate 54 unpairing Bluetooth device 56 using favorites 54 using speakerphone 50 using TTY machine 154 voice dialing 48 voicemail 51, 52 voicemail alerts 52 photo albums 99 212 Indexphotos saving MMS attachments 88 sending in MMS messages 88 Photos assigning photos to contacts 102 emailing photos 100 playing music during slideshow 100 sending in email messages 60 settings 99, 159 syncing 12, 15, 97 using photos as wallpaper 102 viewing slideshows 99 zooming photos 99 See also Camera pictures taking 104 See also Camera, Photos PIN number 155 playlists, making 81 plug-ins 156 podcasts downloading 164 streaming 164 syncing 12, 15, 71 pop-ups 156 power adapter 21 power, low 44 previewing music 162 ringtones 162 videos 163 previewings text messages 90 problems. See troubleshooting purchased content syncing 165, 172 purchasing applications 167 iTunes content 72 music 160, 162 ringtones 162 videos 163 push accounts 18, 151 R reading email 61 Recents, using to call someone 47 rechargeable batteries 44 removing backups 203 SIM card 201 rented movies 83 renting movies 15 videos 163 repeating 76 replacing battery 44, 206 replying to messages 60 requirements for using iPhone 9 reset iPhone 46 resizing webpage columns 67 restarting 46 restoring iPhone software 204 restoring settings and information 203 restrictions, setting 146 ring mode 28, 54, 141 ringer adjusting volume 27, 141 turning on or off 141 Ring/Silent switch 28, 54 ringtones previewing 162 purchasing 162 setting 55, 141 syncing 12 rotor control 185 routing calls back through iPhone 56 S Safari AutoFill 69, 156 bookmarking webpages 69 clearing cache 157 cookies 157 Debug Console 157 developer settings 157 fraud warning 156 Home screen web clips 70 navigating 67 opening webpages 66, 68 plug-ins 156 pop-ups 156 reloading webpages 67 resizing columns to fit screen 67 saving images to your Photo Library 67 searching the web 69 security 156 sending webpage addresses in email 67 settings 156 stopping webpages from loading 67 syncing bookmarks 12, 14 typing in text fields 68 zooming webpages 67 satellite view 118 screen 142 setting to adjust automatically 142 using 28 screen reader 11 scrolling about 29 maps 115 webpages 67 Index 213search engine 156 searching App Store 167 calendars 93 global 37 iTunes Music Store 161 Mail messages 64 music 79 notes 131 videos 83 searching the web 69 searching YouTube videos 107 security erase data after ten failed passcode attempts 145 features 45 Find My iPhone 17, 45 setting passcode for iPhone 145 web 156 selecting text 34 sending email 59 photos and video clips 88 photos from Photos 100 text messages 86 voice memos 88 serial number, finding 142, 206 service and support information 205 settings accessibility 149 accounts 150 airplane mode 138 alarms 133 alerts 90, 96 auto-capitalization 148 auto-correction 33, 148 auto-lock 145 Bluetooth 144 brightness 142 Calendar 92, 96 date and time 92, 147 developer 157 email server 151 Fetch New Data 151 international 148 iPod 158 language 148 location services 144 Mail, Contacts, Calendars 150 Mail 150 messages 157 Nike + iPod 159, 181 notifications 140 passcode lock 145 Phone 153 Photos 99, 159 resetting 149 restrictions 146 Safari 69, 156 screen brightness 142 security 156 Shake to Shuffle 158 slideshow 99 sound 90, 96 Store 159 temperature 124 TV out 159 usage statistics 143 vibrate 54 video 158 VoiceOver 182 VPN 144 wallpaper 102, 142 Wi-Fi 139 Shake to Shuffle 73, 158 sharing photos and videos in email messages 60 photos and videos in MMS messages 88 shuffling songs 76 signatures, email 152 silencing calls 49 silent mode 28, 54, 141 SIM card, locking 155 sleep. See locking iPhone sleep timer 84 slideshows 99, 100 settings 159 SMS 86 See also Messages software getting help 205 updating and restoring 204 version 142 sound adjusting ringer and alerts volume 141 adjusting volume 27 no sound 200 setting limit 158 Sound Check 158 sound effects 27 sounds adjusting volume 40 calendar alert 96 setting ringtone 141 turning on or off 141 Speak Auto-text 190 speakerphone 50 SSL 151 star next to a phone number 179 Starbucks, browsing and purchasing music 161 status icons 21 stock information, Yahoo! 113 Stocks, adding and deleting quotes 112 214 Indexstopwatch, using 133 storage capacity 142 Store, settings 159 streaming podcasts 164 subtitles 83 surfing the web 66 switching between calls 50 syncing calendars 91 getting calls during 19 Google Contacts 14, 196 iTunes library contents 12 Microsoft Exchange 16, 57, 91 MobileMe 16, 57, 91 photos 97 preventing 15 purchased songs 165 “Sync in progress” message 19 webpage bookmarks 69 Yahoo! Address Book 196 syncing voice memos 129 system requirements 9 T taking pictures 104 telephone. See Phone telephone number format 148 text cutting or copying 33 pasting 33 typing 32 text messaging. See Messages Text typing in webpages 68 time format 148 time zone support 92, 93, 147, 153 time, setting 147 timer setting 134 sleep 134 touchscreen, using 28 traffic conditions, checking 121 transfer settings and information 202 transferring purchased content 73, 165 transferring purchased content 172 transferring settings and information 203 transition effects, setting 159 trimming videos 106 Triple-click Home setting 191 troubleshooting backing up 202 can’t browse websites 197 can’t make a call 196 can’t open an attachment 199 can’t purchase music or applications 201 can’t text 197 display freezes 193 email not available 197 GAL contacts don’t appear 200 iPhone calls voicemail service 197 iPhone doesn’t appear in iTunes 195 iPhone doesn’t respond 193 iPhone doesn’t turn on 193 no sound 200 problems playing songs or other content 200 removing the SIM card 201 restarting 46 software update and restore 204 true north 173 TTY machine, using 154 turning iPhone on or off 26 TV shows syncing 15 TV shows, syncing 12 TV signal settings 159 typing keyboard 32 in webpage text fields 68 U undoing edits 34 unlocking iPhone 27 unpairing Bluetooth device 56 unread messages, marking 63 unsupported audio file formats 201 updating iPhone software 204 usage statistics battery percentage 143 resetting 143 seeing 143 USB cable 11, 21 port 11 power adapter 21 V vibrate, setting 54, 141 video settings 158 videos alternate audio language 83 converting for iPhone 73 deleting 84 editing 106 previewing 163 purchasing 163 saving MMS attachments 88 searching 83 sending in MMS messages 88 subtitles 83 syncing 12, 15, 71 trimming 106 Index 215watching on a TV 84 See also iPod, Music, YouTube virtual private network. See VPN Voice Control making phone calls 38, 48 playing songs 38, 77 using with headset 40 Voice Memos attaching to MMS messages 128 emailing 128 recording 125 syncing 129 trimming 128 voicemail about 51 alerts 52 changing password 155 checking and managing 52 forgotten password 197 greeting 52 setting up 52 VoiceOver about 183 entering and editing text 188 gestures 184 rotor control 185 setting up iPhone using 11 volume adjusting 27, 40 adjusting for ringer and alerts 141 setting limit 158 VPN accessing networks using 42 configuring 144 set up by configuration profile 18 turning on or off 144 W waking iPhone 27 wallpaper choosing 142 settings 102 using photo as 102 warranty service 206 watching videos on a TV 84 weather information, Yahoo! 124 Weather adding cities 123 deleting cities 124 temperature settings 124 viewing 123 web. See Safari web clips, adding to Home screen 70 webpages bookmarking 69 syncing 12, 14 White on Black 190 Wi-Fi addresses 143 forgetting a network 140 joining networks 41, 139 settings 139 status icon 22 turning on or off 139 Windows Address Book 14 Windows XP 9 WMA files, converting 201 “Works with iPhone” logo 125 World Clock 132 Y Yahoo! Address Book 14, 196 search engine 156 search using 69 searching using 69 stock information 113 weather information 124 YouTube bookmarking videos 108, 109 browsing videos 107 emailing links 108, 109 playing videos 108 searching for videos 107 Z Zoom (Accessibility feature) 189 zooming email messages 61 maps 115 photos 99 webpages 67 216 IndexK Apple Inc. © 2009 Apple Inc. All rights reserved. Apple, the Apple logo, Cover Flow, iCal, iPhoto, iPod, iTunes, Keynote, Mac, Macintosh, Mac OS, Numbers, Pages, Safari, and Spotlight are trademarks of Apple Inc., registered in the U.S. and other countries. Finder, iPhone, Multi-Touch, and Shuffle are trademarks of Apple Inc. iTunes Store is a service mark of Apple Inc., registered in the U.S. and other countries. App Store and MobileMe are service marks of Apple Inc. The Nike + iPod Sport Kit is covered by one or more of U.S. patent numbers 6,018,705, 6,052,654, 6,493,652, 6,298,314, 6,611,789, 6,876,947, and 6,882,955, either alone or when used in combination with a Nike + iPod enabled iPod media player or iPhone 3GS. The Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Apple Inc. is under license. Adobe and Photoshop are trademarks or registered trademarks of Adobe Systems Incorporated in the U.S. and/or other countries. Other company and product names mentioned herein may be 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. All understandings, agreements, or warranties, if any, take place directly between the vendors and the prospective users. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. 019-1650/2009-09 ð Macintosh User’s Guide the Includes setup, troubleshooting, and important health-related information for the Macintosh LC 630 DOS Compatible K Apple Computer, Inc. © 1995 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 is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-2084 (408) 996-1010 Apple, the Apple logo, AppleShare, AppleTalk, ImageWriter, LaserWriter, Macintosh, MacTCP, ProDOS, QuickTime, and StyleWriter are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Apple Desktop Bus, AppleScript, Balloon Help, Disk First Aid, Finder, Macintosh PC Exchange, PlainTalk, PowerTalk, and QuickDraw GX are trademarks of Apple Computer, Inc. Adobe, Adobe Illustrator, Adobe Photoshop, and PostScript are trademarks of Adobe Systems Incorporated, which may be registered in certain jurisdictions. Epson is a registered trademark of Seiko Epson Corporation. ExposurePro is a registered trademark of Baseline Publishing, Inc. Helvetica and Times are registered trademarks of Linotype-Hell AG and/or its subsidiaries. Hewlett-Packard, LaserJet, and PCL are registered trademarks of Hewlett-Packard Company. MacLink Plus is a trademark of Data Viz., Inc. Microsoft and MS-DOS are registered trademarks of Microsoft Corporation.Windows is a trademark of Microsoft Corporation and SoftWindows is a trademark used under license. NetWare is a registered trademark of Novell, Inc. QMS is a registered trademark of QMS, Inc. QuarkXPress is a registered trademark of Quark, Inc. Sound Blaster is a trademark of Creative Technology, Ltd. SuperPaint is a trademark of Aldus Corporation, a subsidiary of Adobe Systems Incorporated which may be registered in certain jurisdictions. Tektronix is a registered trademark of Tektronix, Inc. Simultaneously published in the United States and Canada. 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.iii Communications regulation information vii Preface Your DOS-compatible Macintosh computer ix 1 Getting Started 1 Plugging in the computer 1 Installing an expansion card 3 Connecting a monitor 3 Connecting the mouse and keyboard 6 Connecting other equipment 7 Turning the computer on 8 Problems turning your computer on? 10 What’s next? 11 Learning the basics 12 Reviewing the basics 13 Turning the computer off 14 Where to find answers 15 Contents2 Getting Help 17 Getting answers to your questions 18 Identifying objects on the screen 26 Learning useful shortcuts 27 3 Connecting Additional Equipment 29 Where to connect additional equipment 30 Connecting an Apple PlainTalk Microphone 31 Connecting external stereo speakers 32 Connecting a game controller 33 Expanding memory 34 Installing internal drives 34 4 Installing and Using Application Programs in the Macintosh Environment 35 Installing Macintosh application programs 36 Working with several programs at a time 37 Backing up your files 38 5 Operating in the PC Environment 39 Switching between the Macintosh and PC environments 40 Setting up the PC environment 42 Working in the PC environment 44 Running network software 53 Using multimedia, MIDI, and game application programs 54 Using Macintosh peripherals in the PC environment 55 Using PC peripherals 59 iv Contents6 Configuring the PC Environment 61 Choosing settings 62 Configuring the PC serial ports 63 Setting the monitor 64 Setting the time and date 64 Setting shared memory 65 Choosing shared folders or volumes 67 Turning on PC sounds 69 Configuring drives C and D 70 Managing PC files from the Mac OS 71 Changing the size of the drive container 72 Understanding the status line 76 7 Troubleshooting in the Macintosh Environment 77 When you have questions 77 When you run into trouble 77 Solutions to common problems 80 Initializing a hard disk 93 Repairing a damaged disk 97 Installing or reinstalling Mac OS system software 102 8 Troubleshooting in the PC Environment 113 When you have questions 113 Reinstalling the DOS-Compatibility Software 119 Contents vAppendix A Health, Safety, and Maintenance Tips 129 Health-related information about computer use 129 Safety instructions 134 Handling your computer equipment 135 Cleaning your equipment 139 Locking and unlocking the mouse 141 Appendix B Installing an Expansion Card or Memory for the PC Environment 143 Opening the computer 145 Installing a communication card 148 Installing a SIMM for the PC environment 149 Closing the computer 154 Appendix C Special Keys on Your Keyboard 157 Appendix D Installing Macintosh Easy Open 159 Choosing an application to open a document 159 Using the Macintosh Easy Open control panel 161 Appendix E Installing Network Management Software 163 Installing NetWare client software 163 Installing Novell’s LAN Workplace for DOS TCP/IP software 167 Installing NetManage’s Chameleon TCP/IP software 169 Installing Windows for Workgroups 173 Installing Spry’s Air Series TCP/IP software 173 Installing Mosaic 177 Index 179 vi ContentsCommunications regulation information FCC statement 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. See instructions if interference to radio or television reception is suspected. Radio and television interference The equipment described in this manual 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: m Turn the television or radio antenna until the interference stops. m Move the computer to one side or the other of the television or radio. m Move the computer farther away from the television or radio. m Plug the computer into 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. You may find the following booklet helpful: Interference Handbook (stock number 004-000-00493-1). This booklet, prepared by the Federal Communications Commission, is available from the U.S. Government Printing Office, Washington, DC 20402. IMPORTANT Changes or modifications to this product not authorized by Apple Computer, Inc., could void the FCC Certification and negate your authority to operate the product. This product was tested for FCC 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 dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Communications regulation information viiDOC statement DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus as set out in the interference-causing equipment standard entitled “Digital Apparatus,” ICES-003 of the Department of Communications. Observation des normes—Classe B Cet appareil numérique respecte les limites de bruits radioélectriques applicables aux appareils numériques de Classe B prescrites dans la norme sur le matériel brouilleur : “Appareils Numériques”, NMB-003 édictée par le ministre des Communications. VCCI statement CD-ROM drive WARNING Making adjustments or performing procedures other than those specified in your equipment’s manual may result in hazardous exposure. WARNING Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential hazard to your eyes. For your safety, have this equipment serviced only by an Apple-authorized service provider. If you have an internal Apple CD-ROM drive in your computer, your computer is a Class 1 laser product. The Class 1 label, located on the computer, indicates that the drive meets minimum safety requirements. A service warning label is on the CD-ROM drive inside the computer. viii Communications regulation informationYour Macintosh includes hardware and software that let you use DOS and Windows application programs directly on your Macintosh computer. It contains a high-performance microprocessor that’s fully compatible with the latest DOS and Windows software. You can m simultaneously run Macintosh operating system (Mac OS) and PC application programs m switch between the Mac OS and PC environment at any time without quitting the applications you’re using m view the current environment on a single monitor m use the same hard disk for both Mac OS and PC software m share files and folders (directories) between the Mac OS and the PC environment m cut, copy, and paste data between Mac OS and DOS or Windows documents m use your Macintosh keyboard and mouse with PC software m use your Macintosh modem, monitor, and printer with PC software, or connect PC-compatible equipment m use a joystick or other game controller with PC application programs ix Your DOS-Compatible Macintosh Computerm share the random-access memory (RAM) in your Macintosh with the PC environment, or use a memory module (SIMM) for the exclusive use of the PC environment m use the built-in Macintosh serial ports with PC software m access PC CD-ROM discs using an Apple CD-ROM drive m play Sound Blaster-compatible sounds m communicate with network servers and other computers running PC software To begin, follow the instructions in Chapters 1 and 2 to set up your computer and get started using it. Read Chapters 3 and 4 when you are ready to connect additional equipment to your computer and install Mac OS application programs. Read Chapters 5 and 6 to start using DOS and Windows application programs on your Macintosh computer. Turn to Chapters 7 and 8 if you have questions or problems using your Macintosh. x Your DOS-Compatible Macintosh ComputerMonitor cable (sometimes built into the monitor) Monitor power cord (sometimes built into the monitor) Computer power cord Keyboard Monitor Macintosh DOS-compatible computer Mouse Keyboard cable (sometimes built into the keyboard as shown here)The illustration on the facing page shows all the equipment you need to set up your computer and begin using it. Place your equipment on a sturdy, flat surface near a grounded wall outlet. Before following the setup instructions in this chapter, you may want to read “Arranging Your Office” in Appendix A (in the section on health-related information) for tips on adjusting your work furniture so that you’re comfortable when using the computer. Plugging in the computer Before you plug your Macintosh into a wall socket, carefully read all the setup instructions in this chapter. Then, before you connect anything to your Macintosh, follow the instructions in this section to plug it in. The plug grounds the computer and protects it from electrical damage while you are setting up. 1 1 Getting Started Follow the instructions in this chapter to set up your computer and learn the basics.When you are ready to begin, follow these steps: 1 Plug the socket end of the computer’s power cord into the recessed power cord socket (marked with the symbol ²) on the back of the computer. 2 Plug the other end of the power cord into a three-hole grounded outlet or power strip. Choose a power outlet to which you have easy access. IMPORTANT Be sure that at least one end of the power cord is within easy reach so that you can unplug the computer when you need to. If the computer starts up: If you hear a tone, the computer has started up and you need to turn it off before proceeding. Press the power button (also called the standby power button) located on the back of the computer to turn the computer off. Power cord plug Power cord socket Standby power button WARNING This equipment is intended to be electrically grounded.Your Macintosh is equipped with a three-wire grounding plug—a plug that has a third (grounding) pin. This plug will fit only a grounded AC outlet. This is a safety feature. If you are unable to insert the plug into the outlet, contact a licensed electrician to replace the outlet with a properly grounded outlet. Do not defeat the purpose of the grounding plug! 2 Chapter 1Installing an expansion card If you purchased any expansion cards for your Macintosh or extra memory for use in the PC environment, install the cards or memory now. (For instructions, see Appendix B, “Installing an Expansion Card or Memory for the PC Environment,” as well as the documentation that came with the cards or memory module.) If you don’t have an expansion card or memory to install, go on to the next section, “Connecting a Monitor.” Connecting a monitor You can connect many types of monitors to your Macintosh. To connect a monitor from a manufacturer other than Apple, refer to the instructions that came with the monitor. Connecting the monitor power cord Monitors have two cords to connect—a power cord and a monitor cable. To connect the monitor power cord, follow these steps: 1 Place the monitor where you will be using it. You can place a monitor with a 15-inch or smaller screen on top of your computer. Don’t place larger monitors on the computer. Keep these considerations in mind: m Allow a few inches for air circulation around the sides of the computer and monitor. m Make sure that the top of the screen is slightly below eye level when you’re sitting at the keyboard. m Position the monitor to minimize glare and reflections on the screen from overhead lights and windows. m Consult “Arranging Your Office” in the section “Health-Related Information About Computer Use” in Appendix A for suggestions on locating your computer equipment. Getting Started 32 Connect the monitor power cord to the monitor. On some monitors, the cord is already attached. 3 Plug in the monitor power cord. Be sure to plug the power cord into a three-hole grounded outlet or power strip. Monitor power cord Monitor power socket 4 Chapter 1Connecting the monitor cable After you plug in the monitor power cord, you connect the monitor cable to the computer’s monitor port. To connect the monitor cable, follow these steps: 1 Attach the monitor cable to the monitor. On some monitors, the cable is already attached (as shown below). 2 Attach the monitor cable to the monitor port on the back panel of the computer. The monitor port is on the upper-right corner of the back panel. It is marked with the ª icon (symbol). Be sure you plug the cable into the correct port. Monitor cable ª Monitor port Getting Started 5Connecting the mouse and keyboard You have a choice of several keyboards for your Macintosh. The way you connect the mouse and keyboard depends on whether the keyboard has a separate cable or a built-in cable. Connecting a keyboard with a separate cable 1 Plug the mouse cable into the port on either side of the keyboard. Most right-handed people prefer to use the mouse with their right hand; most left-handed people prefer to use their left hand. Plug the mouse into the port on the side you prefer. The plug and the port are marked with the × icon (symbol). Align the symbols before you insert the plug. (The positions of the port and icon on your keyboard may be different from those pictured here.) By the way: A port marked with the × icon is called an Apple Desktop Bus (ADB) port. 2 Plug the keyboard cable (both ends are the same) into the other port on the keyboard. If you plugged the mouse cable in on the right, for example, plug the keyboard cable in on the left. 3 Plug the keyboard cable into the port marked with the × icon on the back of the computer. Some monitors have a port to which you can connect the keyboard or mouse. See the information that came with your monitor. ADB icon 6 Chapter 1Connecting a keyboard with a built-in cable 1 Plug the mouse cable into the recessed port on the back of the keyboard. The plug and the port are marked with the × icon (symbol). The positions of the port and icon on your keyboard may be different from those pictured. By the way: A port marked with the × icon is called an Apple Desktop Bus (ADB) port. 2 Plug the keyboard cable into the port marked with the × icon on the back of the computer. Some monitors have a port to which you can connect the keyboard or mouse. See the information that came with your monitor. Connecting other equipment If you are new to the Macintosh, it’s a good idea to get some experience using your computer before you connect other equipment, such as a printer or scanner. To learn basic Macintosh skills, continue with the instructions in this chapter. When you’re ready to connect other equipment to your Macintosh, see the instructions in Chapter 3. This cable plugs into the Apple Desktop Bus (ADB) port on the back of the computer. The ADB port on the computer is marked with the × icon. Plug the mouse into the recessed port on the keyboard. The flat part of the plug should be pointing down, as shown here. Getting Started 7Turning the computer on Follow these steps to turn the computer on: 1 Turn on the monitor. See the information that came with your monitor for the location of the power button. 2 Turn on your computer by pressing the Power key. The Power key is at the top of the keyboard. You can recognize this key by the triangle outline on it (P). You hear a tone from the computer as it starts up. 8 Chapter 13 Check to see what’s on your screen. m If you see the Macintosh desktop, as in the illustration below, your system software has already been installed, and your computer is ready to use. Skip now to the section “What’s Next?” later in this chapter. m If you see a blinking question mark, you need to install system software on your computer’s hard disk. (System software is the set of programs your computer uses to start itself up.) See “Installing or Reinstalling Mac OS System Software” in Chapter 7 for information on how to install system software. m If you see anything else on your screen, or nothing at all, see the next section, “Problems Turning Your Computer On?” Getting Started 9 Macintosh desktop Hard disk iconProblems turning your computer on? If you don’t see anything on the screen, check these items to see if you can identify the problem: m Is the computer plugged into a power source? If it is plugged into a power strip, is the power strip turned on? m Is the computer turned on? The power-on light on the front panel should be on. If it isn’t on, press the standby power button on the computer’s back panel (marked with the symbol ¨). m Are the keyboard and mouse cables connected correctly? (Don’t disconnect the keyboard or mouse cable while the computer is on. You could damage your equipment.) m Is the monitor power cord plugged in? m Is the monitor turned on? (Check the power-on light on the front of the monitor.) m Is the monitor cable attached firmly to both the monitor and computer? m Is the brightness control on the monitor adjusted correctly? (On Apple monitors, the brightness control is marked with the symbol Û.) 10 Chapter 1What’s next? Congratulations! You’ve finished setting up your computer. Now continue with one of the following steps: m If you are new to the Macintosh, turn to the next section, “Learning the Basics.” m If you are an experienced Macintosh user, turn to Chapter 2, “Getting Help,” to learn about Macintosh Guide, your main source of information when you’re working with the Mac OS (the Macintosh environment). m If you want to connect other equipment, such as a printer, to your computer, see Chapter 3, “Connecting Additional Equipment.” m If you want to start using DOS or Windows application programs on your Macintosh, turn to Chapter 5, “Operating in the PC Environment.” Before you begin working with your computer, be sure to read the important health and safety information in Appendix A. IMPORTANT If you need to turn off your computer at any point, please see “Turning the Computer Off” later in this chapter. It is very important to use the correct procedure for shutting down your Macintosh before turning it off. Getting Started 11Learning the basics If you are new to the Macintosh, you should begin by looking at the easy-touse program called the Macintosh Tutorial. The tutorial teaches you the basic skills you’ll need to use your computer in the Macintosh environment. To start the tutorial, follow these steps: 1 Slide the mouse along your mouse pad or desk. Hold the mouse as shown, with the cable pointing away from you. Don’t press the mouse button (under your index finger). Notice that the arrow (8) on the screen moves in the same direction that you move the mouse. If the arrow doesn’t move, make sure that the cables connecting the mouse and keyboard are secure and that your mouse is positioned as shown in the illustration. 2 Move the tip of the arrow (8) to the question mark (h) in the upper-right portion of the screen. If you run out of room on your mouse pad or desk while moving the mouse, pick up the mouse and place it where there’s more room. (The arrow on the screen moves only when the mouse is in contact with the mouse pad or desk.) 3 With the tip of the arrow on the question mark, press and hold down the mouse button. A list of choices (called a menu) appears. This is the Guide (h) menu, which is the place to go when you have a question about how to use your computer in the Macintosh environment (Mac OS). (The Guide [h] menu is not available when you’re in the PC environment.) Mouse button 12 Chapter 14 While holding down the mouse button, move the arrow until the words “Macintosh Tutorial” are highlighted, then release the mouse button. A window appears welcoming you to the tutorial. You can set this book aside for now and follow the instructions on the screen. When you have completed the tutorial, return to this book. Reviewing the basics The following illustration summarizes many of the basic skills and terms you learned from the tutorial. Getting Started 13 To throw away an item you no longer want, drag it to the Trash and choose Empty Trash from the Special menu. This icon represents your computer’s internal hard disk. To change the size or shape of a window, drag the size box. To bring hidden portions of a window’s contents into view, click the scroll arrows. The strip across the top of the screen is called the menu bar. The symbols and words in it represent menus of commands. Icons are small pictures that represent disks, folders, programs, and documents. To open an icon, click the icon twice quickly. Windows are boxes that display text, graphics, or icons. To bring a partially covered window to the front, click anywhere in the window. To close a window, click the close box. You can have several application programs open at once. To see which program is active or to switch from one program to another, use this menu (called the Application menu). To find an answer to a question about the Macintosh environment, look in the Guide (h) menu. To move a window, drag it by the title bar.Turning the computer off To turn the computer off, you choose Shut Down from the Special menu. Detailed instructions follow. 1 Move the tip of the arrow to the word “Special” at the top center of the screen. If the word “Special” does not appear at the top of the screen, you’re working in the wrong program. Pull down the Application menu (to the right of the Guide [h] menu) and choose Finder. Then try step 1 again. 2 With the tip of the arrow on the word “Special,” press and hold down the mouse button. 3 While holding down the mouse button, move the arrow down the list of choices until the words “Shut Down” are highlighted, then release the mouse button. You can also shut down your computer from the keyboard. 1 Press the Power key (marked with a triangle) on the keyboard. You will see a message asking whether you want to shut down or continue working. 2 Click Shut Down. To turn the computer on, simply press the Power key again. WARNING Do not turn the computer off by pressing the standby power button on the back panel. If you do so, you may lose any work you haven’t previously saved to a disk. You also risk losing any open documents. 14 Chapter 1Where to find answers When you have questions about using your Macintosh, there are several places you can look for answers. In this book Use this book to help you set up your computer and learn about it, or to find solutions to problems. In the Guide menu The Guide menu (marked with the h icon) is your main source of information about the Macintosh environment. To learn how to get different kinds of help from the Guide menu, see Chapter 2 in this book. In other manuals For answers to questions about other equipment or about application programs you have purchased, see the manuals that came with the equipment or programs. Manuals for DOS and Windows are included with your computer. From Apple’s customer support hotline If you can’t find an answer in any of the materials provided, call the customer support hotline. (The phone number for the hotline is in the service and support information that came with your computer.) User’s Guide Macintosh Getting Started 15The Guide menu is your main source of information when you’re working with your computer in the Macintosh environment. The menu is identified by a question mark (h) in the upper-right corner of the screen. (If you need instructions on using DOS or Windows, see the appropriate manual.) 17 2 Getting Help Use the instructions in this chapter to learn about the help available to you in the Guide menu.Getting answers to your questions When you have a question while working in the Macintosh environment, you can get the answer by choosing Macintosh Guide from the Guide menu. 1 Pull down the Application menu (in the upper-right corner of the screen) and choose Finder to make it the active application program. A checkmark in the menu indicates that the Finder is the active program. 2 Pull down the Guide menu (marked with the h icon) and choose Macintosh Guide. The Macintosh Guide window appears. Whenever you use Macintosh Guide, its window remains in front of other windows. If the window gets in your way, you can move it by dragging its title bar (the gray bar across the top of the window). 18 Chapter 23 Notice the three buttons at the top of the window: Topics, Index, and Look For. Macintosh Guide gives you three ways of finding information: m Topics lets you choose from a list of general subjects; it is like the table of contents in a book. m Index lets you choose from an alphabetical list of more specific subjects; it is like the index in a book. m Look For lets you search for information related to a specific word or phrase that you type. In the following sections you will practice using each method. If you have problems while using Macintosh Guide, see “Tips for Using Macintosh Guide” later in this chapter. Getting answers with the Topics button 1 In the Macintosh Guide window, click the Topics button. A list of general topics appears on the left side of the Macintosh Guide window. (Depending on the hardware and software you have, the list of topics may look different.) Getting Help 192 Click “Setting Options” in the list of topics. When you click any topic area, a list of related questions appears on the right side of the Macintosh Guide window. 3 Click the question “How do I set the time and date?” and then click OK. Or double-click the question. A small window appears with instructions for you to follow. 4 Read and follow the instructions in this window. Macintosh Guide provides step-by-step instructions to answer the question you selected. When you have completed each step, click the right arrow in the lower-right corner to see the next step. 5 When you have completed all the steps, click the Topics button in the lower-left corner to return to the main Macintosh Guide window. Now continue with the next section. 20 Chapter 2 Click here to see the next step (if there is one). To get instructions, click a question… …and then click OK. If you want to return to the main Macintosh Guide window, click here.Getting answers with the Index button 1 In the Macintosh Guide window, click the Index button. An alphabetical list of subjects appears on the left side of the window. 2 Scroll through the alphabetical list until the phrase “background pattern” is visible. You can scroll through the list either by dragging the slider to the letter B or by using the scroll bar at the right of the list. 3 Click the phrase “background pattern” in the alphabetical list. When you click any index entry, a list of related questions appears on the right side of the Macintosh Guide window. Getting Help 21 Scroll bar Slider To get instructions, click a question… …and then click OK.4 Click the question “How do I change the background pattern?” and then click OK. Or double-click the question. A small window appears with instructions for you to follow. 5 Read and follow the instructions in the window. Macintosh Guide provides step-by-step instructions to answer the question you selected. When you have completed each step, click the right arrow in the lower-right corner to see the next step. 6 When you have completed all the steps, click the Topics button in the lower-left corner to return to the main Macintosh Guide window. Now continue with the next section. 22 Chapter 2 Click here to see the next step (if there is one). If you want to return to the main Macintosh Guide window, click here.Getting answers with the Look For button 1 In the Macintosh Guide window, click the Look For button. A small box appears on the left side of the window, where you can type text. 2 Click the arrow button to activate the text box. 3 Type “sound” in the text box and then click Search. When you click Search, a list of questions related to the word or phrase you typed appears on the right side of the Macintosh Guide window. Getting Help 23 To activate the text box, click here. Type a word or phrase in the text box… …and then click here. To get instructions, click a question… …and then click OK.4 Click the question “How do I change the beep sound?” and then click OK. Or doubleclick the question. A small window appears with instructions for you to follow. 5 Read and follow the instructions in the window. Macintosh Guide provides step-by-step instructions to answer the question you selected. When you have completed each step, click the right arrow in the lower-right corner to display the next step. 6 When you have completed all the steps, click the close box in the upper-left corner to close Macintosh Guide. 24 Chapter 2 If you want to close Macintosh Guide, click here. Click here to see the next step (if there is one).Tips for using Macintosh Guide Here are a few tips for using Macintosh Guide effectively: m Macintosh Guide is available only in the Macintosh environment, and only when you are in the Finder—the desktop area where you can see the icons of disks, folders, and files. (Other programs may also have help available in the Guide menu, however.) If you don’t see Macintosh Guide in the Guide menu, pull down the Application menu (to the right of the Guide menu) and choose Finder. m Follow the steps when you’re instructed to; don’t skip ahead or read ahead. That way the computer can check to make sure you’ve done a step correctly. m Unlike most windows, the Macintosh Guide window stays in front of other windows on the screen so that your instructions are never covered. If you need to move the Guide window out of the way, drag it by the title bar at the top of the window. You can also move the window out of the way by clicking the zoom box. Click the box once to shrink the window; click it a second time to expand the window to its original size. m If you need more information about an instruction or a term, click the button labeled “Huh?” to get further explanation. (The “Huh?” button is dimmed when no additional information is available.) m If you want to return to the main Macintosh Guide window, click the Topics button in the lower-left corner of the Guide window. m When you’re finished using Macintosh Guide, click the close box in the upper-left corner of the window. Getting Help 25 Zoom box Close box Title bar Topics button “Huh?” button Right arrowIdentifying objects on the screen Sometimes you’ll see an unfamiliar item on the screen and ask yourself, “What’s that?” You can get an answer by using a Macintosh feature known as Balloon Help. Balloon Help explains the function of icons, menus, commands, and other items in the Macintosh environment using balloons like those you see in comic strips. Follow these steps to use Balloon Help: 1 Pull down the Guide menu (marked with the h icon) and choose Show Balloons. 2 Point to any object on the screen that you want to identify. A balloon appears next to the object. In the following illustration, for example, pointing to the Trash displays a balloon that explains how to use the Trash to throw items away. Although balloons appear next to items when you point to them, the way you work does not change; you can still select icons, choose commands, and so on. 3 When you’re finished using Balloon Help, choose Hide Balloons from the Guide menu. 26 Chapter 2Learning useful shortcuts You can perform many tasks in the Finder more quickly if you use keyboard or mouse shortcuts. For example, instead of clicking an icon and choosing Open from the File menu, you can simply double-click the icon to open it. Follow these steps to learn keyboard and mouse shortcuts: 1 Pull down the Guide menu (marked with the h icon) and choose Shortcuts. The main Macintosh Shortcuts window appears. Getting Help 272 Click one of the category buttons. Another window appears, describing shortcuts for that category. 3 Read about the shortcuts available for the category you selected. Click the right arrow in the lower-right corner of the window to display the next window (if there is one). 4 When you finish reading about the shortcuts for your category, click the Topics button in the lower-left corner to return to the main Macintosh Shortcuts window. Or click the close box in the upper-left corner to close the window. 28 Chapter 2 If you want to close the window, click here. Click here to see the next window (if there is one). Click here to return to the main Macintosh Shortcuts window for more categories.The illustration below shows a basic Macintosh system. You can expand your computer system by connecting additional hardware (such as a printer, modem, or external audio speakers). Mouse Monitor Computer Keyboard Hard disk drive (internal) Floppy disk drive CD-ROM drive (optional) Volume buttons Use these buttons to change the volume of the computer’s sound. CD-ROM drive Open/Close button Power-on light Headphone jack Remote control sensor - f 29 3 Connecting Additional Equipment Read this chapter for information on expanding your computer system with additional hardware.Where to connect additional equipment The illustration on this page shows where equipment should be connected to your computer. For instructions on connecting additional equipment such as a printer or scanner, see the manual that came with the equipment. - W Modem port [ Printer port Connects your Macintosh to a printer or LocalTalk network. V ADB port Connects your Macintosh to input equipment, such as a keyboard or a trackball. Å g SCSI port Connects your Macintosh to SCSI equipment, such as hard disk drives and scanners. Connects an external modem to your Macintosh. Sound output port Connects your Macintosh to headphones, externally powered (amplified) speakers, or other audio output equipment. Sound input port Connects your Macintosh to a professional-quality microphone or other audio input equipment. F Security lock port Standby power button ² Power socket ª Monitor port Connects your monitor to your Macintosh. Communication card access cover Covers port for optional communication card. Joystick port Connects your Macintosh to a joystick or other game controller. (For the PC environment only.) Video input card (optional) Connects your Macintosh to a video camera, VCR, or other video equipment. TV tuner card (optional) Connects your Macintosh to an external TV antenna or cable TV service. ¨ 30 Chapter 3Connecting an Apple PlainTalk Microphone Your computer has a sound input port, which you can use to connect an Apple PlainTalk Microphone. Use PlainTalk only: You should connect only the Apple PlainTalk Microphone. Other models of microphone will not work with your Macintosh. To connect the microphone, do this: m Plug the microphone’s connector into the sound input port (marked with the icon X) on the back of the computer. Sound input port Sound output port Connecting Additional Equipment 31Connecting external stereo speakers You can take advantage of your computer’s stereo sound output by attaching externally powered (amplified) speakers. (Only externally powered speakers will work with your Macintosh.) 1 Assemble the speakers and the cable you need. You need a cable with stereo miniplugs at each end to connect one or both speakers to the computer. (Some speakers require a dual-plug adapter. Others, like those shown here, accept a single stereo miniplug and are joined by standard speaker wires.) The following illustration shows the equipment configuration and the connections for a computer sound system. 2 Turn off the Macintosh. 3 Plug a stereo miniplug into the sound output port on the Macintosh. 4 Plug a stereo miniplug into the Audio In port on one of the speakers. If the speakers take a dual-plug cable, connect both plugs to the speakers’ Audio In ports. Stereo miniplug Audio In port - Sound output port Externally powered speakers 32 Chapter 35 Connect the speakers together with speaker wires, if necessary. 6 Turn on the computer. You hear the computer’s sound through the external speakers. Note: To control the volume of your external speakers, use the volume button on the front of the computer. If you are playing an audio compact disc (CD), you may also need to adjust the volume control in the program you’re using to play CDs. For more information on sound and playing audio CDs, see the “Sound” topic of Macintosh Guide, available in the Guide (h) menu. For information on hearing sounds in the PC environment, see “Turning On PC Sounds” in Chapter 6. Connecting a game controller Connect a game controller, such as a joystick, as shown. m Attach the joystick’s connector to the joystick port on the lower-right corner of the computer’s back panel. Tighten the thumbscrews securely. Joystick port Connecting Additional Equipment 33Expanding memory The random-access memory (RAM) in your computer can be expanded. Installing additional RAM adds more memory chips to your computer and expands its capabilities. The Technical Information booklet that came with your computer describes how much additional memory can be installed in your Macintosh. You can also add up to 32 megabytes (MB) of RAM for use exclusively in the PC environment. See Appendix B, “Installing an Expansion Card or Memory for the PC Environment,” for further information. Memory for your computer is provided in packages called Single Inline Memory Modules (SIMMs). The SIMMs must be the correct type for your computer. It is very important that the SIMMs be correctly installed in your Macintosh. Incorrect installation can result in errors, unpredictable results, and damage to your equipment and data. Installing internal drives Your Macintosh can hold up to three internal storage devices, including a floppy disk drive, a CD-ROM (compact disc read-only memory) drive, and a hard disk drive (several capacities are available). These drives may already be installed. If you want to add or replace an internal drive, see your Appleauthorized dealer. WARNING To avoid damage to your computer, Apple recommends that only an Apple-certified technician install additional RAM. Consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for service. If you attempt to install additional RAM yourself, any damage you may cause to your equipment will not be covered by the limited warranty on your computer. See an Apple-authorized dealer or service provider for information about this or any other warranty question. 34 Chapter 3Your computer has several Macintosh application programs already installed, as well as some Macintosh programs that must installed before you can use them. You will need to run an application program’s Installer program before the application program will work. You’ll find these programs on your hard disk. You may want to experiment with AppleScript, one of the programs on your hard disk. With AppleScript you can automate tasks in the Finder and other scriptable programs (programs that support AppleScript). Instructions for using AppleScript are included in the AppleScript folder. If your computer has enough memory, you can install QuickDraw GX and PowerTalk. QuickDraw GX gives your computer more powerful printing and font capabilities. PowerTalk provides an open collaboration environment with a universal mailbox and other electronic mail services. To install each of these programs, open the folder of the item you want to install and double-click the Installer icon. Another program, Video Monitor, is for use with computers that have audiovisual (AV) capabilities. For information on using Video Monitor, see the “Video” topic of Macintosh Guide, available in the Guide (h) menu. If you want to install DOS application programs, see Chapter 5, “Operating in the PC Environment,” and refer to your DOS manual. 35 4 Installing and Using Application Programs in the Macintosh Environment Read this chapter for information on installing and using application programs in the Mac OS.Installing Macintosh application programs You’ll probably want to buy and install additional application programs. See the manuals you receive with your programs for instructions on installing and using them. In most cases, you’ll install a Macintosh application program on your internal hard disk from floppy disks that contain the program. The following illustration shows how to insert a floppy disk in your computer’s floppy disk drive. To use your programs most effectively, follow these guidelines: m Put only one copy of each program on your hard disk. Having more than one copy can cause errors. m Whenever you copy a program disk to your hard disk, be careful not to copy a System Folder. Always check to see what you’ve copied, and drag any extra System Folders to the Trash. m If a program malfunctions consistently, try installing a fresh copy. If that doesn’t help, find out from the software manufacturer whether your version of the program is compatible with the system software you’re using. For instructions on how to eject floppy disks, see the “Disks” topic of Macintosh Guide, available in the Guide (h) menu. Insert the floppy disk, metal end first, into the floppy disk drive of your computer. 36 Chapter 4Working with several programs at a time You can open as many application programs and desk accessories as your computer’s memory allows. All open programs in the Mac OS are listed in the Application menu at the right end of the menu bar. The name of the active program (the one you’re using right now) has a checkmark next to it, and its icon appears in the menu bar. You can have programs open in both the Macintosh and PC environments at the same time, but only your Macintosh programs appear in the Application menu. Finding out which programs are open If you have several programs and windows open, you can find out which program is active and which other programs are open by pulling down the Application menu. Switching programs You can switch to another open program or desk accessory by choosing its name from the Application menu. If a program’s icon is dimmed in the menu, that means its windows are hidden. Choosing the program from the Application menu displays its windows. You can also switch to another program by clicking in a window that belongs to an open program, or by double-clicking a program icon (or the icon of a document that was created with the program). Installing and Using Application Programs in the Macintosh Environment 37 The Finder icon Commands to hide or display open windows Open programs A checkmark indicates the active program.For instructions on switching from the Macintosh environment to the PC environment, see the section “Switching Between the Macintosh and PC Environments” in Chapter 5. Hiding and showing windows on the desktop You can hide all windows except those of the active program by choosing Hide Others from the Application menu. The other programs remain open even though their windows are hidden. When you switch to another program, its windows become visible again. If you want to see all the open windows, choose Show All from the Application menu. Backing up your files Making backup copies of important files is good protection against possible damage to the originals. m You can back up files stored on your hard disk by copying them to floppy disks. m You can back up an entire floppy disk by copying it to another floppy disk, or to a hard disk. m You can use a commercial backup program to copy new and changed files from a hard disk to another hard disk, to a tape drive, or to a series of floppy disks. m If your computer is on a network, you can back up files by copying them to a shared disk on the network. To back up files in the Macintosh environment, copy the files to a disk manually or use a Macintosh backup program. Do not use PC backup programs in the Mac OS. 38 Chapter 4Your DOS-compatible Macintosh comes with standard versions of DOS and Windows already installed. Also installed is software you can use to work in both the Macintosh and PC environments and share data between the two environments. This software is described in this chapter and the next. This chapter covers how to m switch between the Mac OS and the PC environment m set up and operate in the PC environment m use floppy disks and disk drives m cut, copy, and paste data between Mac OS and DOS or Windows documents m run network software m use multimedia, MIDI, and game applications m use both Macintosh and PC peripheral devices in the PC environment 39 5 Operating in the PC Environment Follow the instructions in this chapter to start working in the PC environment on your Macintosh.Switching between the Macintosh and PC environments You switch between the Mac OS and the PC environment using the PC Setup control panel. Follow these steps: 1 Choose Control Panels from the Apple (K) menu. 2 Double-click the PC Setup icon to open the control panel 3 Click Switch to PC to switch to the PC environment. 4 To switch back to the Mac OS, press x-Return. 40 Chapter 5Switching with a keyboard command You can set a keyboard command, or hot key, to switch between the Mac OS and the PC environment. To set the hot key, you must be in the Macintosh environment (if you are in the PC environment, press x-Return). m To choose a hot key, open the PC Setup control panel and press the Tab key to select the Hot Key text field; then type the keys you want to use. The x key is automatically included. You can use any alphanumeric or special key. You can also include other modifier keys (Option, Control, and/or Shift). x-Return always switches from the PC to the Mac OS, regardless of the control panel setting. You can also switch to the PC by clicking Switch to PC in the control panel. Ejecting disks in the PC environment Here are a few commands you will find useful while you work in the PC environment. m To eject a disk from the Macintosh disk drive while you’re in the PC environment, press x-E. m To eject a CD-ROM disc in the PC environment, press x-Y. For more details, see the section “Working in the PC Environment,” later in this chapter. Turning the PC on and off You use the buttons near the bottom of the control panel to switch environments, to restart the PC, or to shut the PC off. m Switch to PC immediately switches to the PC environment. m Start/Restart PC starts the PC if it’s off, or restarts it if it’s running (but doesn’t switch to the PC environment). m Shut down PC turns off the PC. IMPORTANT Clicking Off at the top of the PC Setup control panel prevents you from switching to the PC environment. When you restart the computer, the PC environment is turned off and any RAM you requested for it is available to the Mac OS. Operating in the PC Environment 41Starting the PC automatically To have the PC start automatically when you turn on your Macintosh: m Click the checkbox next to Auto-start PC. To make the PC environment appear when you turn on your Macintosh: 1 Click the checkbox next to Switch at Startup. 2 In the Control Panels folder, double-click the General Controls icon to open it. 3 Turn off the Shutdown Warning option in the General Controls panel. If Shutdown Warning is turned on when you switch from the Mac OS to the PC environment, you will not be able to switch back again for a few minutes. Fading the screen To have the screen fade briefly before switching environments, click the checkbox next to Fade Screens. Setting up the PC environment In order to take advantage of certain utilities, you may need to modify your DOS CONFIG.SYS file. For information about how to edit DOS files, see your DOS manual. For information about the kinds of changes you might need to make, read the information below. Note: Your DOS system software also includes alternate versions of the CONFIG.SYS and AUTOEXEC.BAT files that allow you to select from a variety of memory management options each time you start DOS. For information on how to install these alternate files, see “Replacing the CONFIG.SYS and AUTOEXEC.BAT Files” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. 42 Chapter 5Memory management utilities If you use a memory management utility such as EMM386 or QEMM, you need to configure it to be compatible with your DOS-compatibility hardware and software. IMPORTANT Apple does not recommend using automated memory configuration utilities with your DOS-compatible Macintosh because they can require more memory than management utilities you configure manually. Additionally, some memory configuration utilities may not be able to determine the exact nature of the DOS-compatibility hardware, and therefore may not be compatible. If you want to use EMM386 (included as part of DOS) and don’t require expanded memory, set CONFIG.SYS to the following: DEVICE=C:\DOS\EMM386.EXE NOEMS RAM=D000-EFFF If you require expanded memory, set CONFIG.SYS to the following: DEVICE=C:\DOS\EMM386.EXE RAM=D000-EFFF FRAME=D000 If you want to use QEMM, use the frame option (ST:F): DEVICE=C:\QEMM\QEMM386.SYS RAM ST:F ARAM=B080-B7FF ARAM=C900-DFFF R:1 If you want to use the Stealth mapping option (ST:M), set CONFIG.SYS to DEVICE=C:\QEMM\QEMM386.SYS RAM ST:M X=C800-CFFF X=FC00- FCFF X=FE00-FFFF ARAM=B080-B7FF ARAM=C900-DFFF R:2 Configure other memory management utilities such that D000 through EFFF is the only area in the BIOS that can be mapped to upper memory. To prevent the ROM BIOS from becoming corrupted when the DOS-compatibility card is configured for 2 MB of memory, set the switch in the CONFIG.SYS file to turn memory testing off. DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF For more information on making the best use of memory, read the sections on memory management in your DOS manual, or refer to the documentation for your memory manager if you are using something other than EMM386. Operating in the PC Environment 43Working in the PC environment When you switch to DOS or Windows, you’re operating in a real PC world. The floppy disk drive, mouse, and keyboard all act as they would with a standard PC. There are, however, some mapping issues you need to be aware of. Floppy disk drives and floppy disks m The Macintosh floppy disk drive is drive A. To eject a disk from this disk drive while you’re in the PC environment, press x-E. m If you insert a Mac OS-format floppy disk while you’re in the PC environment, it is ejected. You can access an unlocked floppy disk only in the environment that was in the foreground when the floppy disk was inserted. When you insert a locked PC disk, both environments have access to it. Blank disks are formatted as DOS disks in the PC environment. In the Mac OS, you can format disks for DOS or the Mac OS (among other choices). Some blank disks are preformatted by the manufacturer. If you insert a new, blank disk in the PC environment and it is ejected, it may have been preformatted as a Macintosh disk. To use the disk in the PC environment, you must first return to the Mac OS and reformat (reinitialize) the disk as a DOS disk. The Mac OS Disk Copy application program cannot read a DOS-formatted floppy disk unless the disk is unlocked. Floppy disks formatted in the PC environment in DOS 720K format are not readable by some DOS computers. Instead, format the disk in the Macintosh environment, choosing “DOS 720K” as the format. See “How do I prepare a disk for use?” in the “Disks” topic of Macintosh Guide, available in the Guide (h) menu. Restarting the PC from a floppy disk To restart (reboot) the PC environment from a floppy disk, insert the disk into the floppy drive. Press x-Control-Alt-[keypad] period. When the floppy disk is ejected, immediately reinsert it into the disk drive. 44 Chapter 5CD-ROM discs and drives You can use DOS and Windows CD-ROM discs in Apple CD-ROM drives. To eject a CD-ROM disc in the PC environment, press x-Y. If the CD-ROM disc cannot be ejected (because a file is in use or the CD-ROM disc is being shared), the Macintosh beeps. You can listen to audio CDs in either the PC environment or Mac OS, but you cannot control them from both environments at the same time. For example, if you began listening to an audio CD while working in the PC environment and then switched to the Mac OS, you would have to return to the PC environment in order to adjust the CD’s volume. Playing an audio CD in Windows while running low-level media tools, such as PC Tools or Microsoft Anti-Virus, may cause your system to crash. It is best to reduce computer activity to a minimum while using such tools. You cannot use more than one CD-ROM drive at a time in the PC environment. The PC sets up a drive letter (E) for a CD-ROM drive even if no drive is connected. If no CD-ROM drive is connected to your system, you can use this drive letter and free some memory by editing the AUTOEXEC.BAT and CONFIG.SYS files. In the AUTOEXEC.BAT file, add REM to the beginning of the line LH C:\DOS\MSCDEX /D:CDDRVR /L:E In the CONFIG.SYS file, add REM to the beginning of the line DEVICE=C:\Apple\CDROM.SYS /D:CDDRVR Prefacing these commands with REM makes DOS ignore them. Operating in the PC Environment 45Pointing device The standard Macintosh pointing device has one button; most PC devices have two. The button on the Macintosh pointing device behaves like the left button on a PC device. m To simulate the right button, press the = key on the keypad. m To press the left and right buttons at the same time, press the mouse button and the = key simultaneously. If you have Windows installed, you can use its Mouse control panel to switch the button assignment. Note: DOS does not come with a mouse driver. A mouse driver for Windows is installed on your system along with Windows, however. Keyboard The DOS-compatible Macintosh supports all Apple keyboards. The Option key on an Apple keyboard can be used as the Alt key in the PC environment. The Apple Extended Keyboard and the Apple Design Keyboard can be used normally. With the Apple Keyboard II, use the following equivalents for keys on a PC keyboard. These equivalents also apply to the Apple Adjustable Keyboard if the function key keyboard isn’t plugged in. 46 Chapter 5PC key Equivalent on Macintosh keyboard F1 through F9 x-1 through 9 F10 x-0 F11 x-(minus) F12 x-(equals) F13 x-[ F14 x-] F15 x-\ Home x-[keypad] 7 PageUp x-[keypad] 9 End x-[keypad] 1 PageDown x-[keypad] 3 Insert x-[keypad] 0 Del x-[keypad] (period) Using the Apple Adjustable keyboard: If you are using the Apple Adjustable keyboard, you cannot use key combinations made up of keys from the main keyboard and function keys (for example, Shift-F1). This means you cannot restart the PC using the x-Control-Alt-[keypad] period key combination. Click Restart PC in the PC Setup control panel instead. MacShare MacShare is a PC application program that lets the PC view Mac OS folders and volumes as drive letters. You can have as many shared drives as there are drive letters. m To specify the number of drive letters, modify your CONFIG.SYS file to include a LASTDRIVE statement. LASTDRIVE=x where x is a letter between E and Z. (The PC reserves drives A through D for its floppy and hard disk drives.) Operating in the PC Environment 47For example, if you use M as your LASTDRIVE value, you could have up to nine extra drives using drives labeled E through M. A CD-ROM drive, if installed, uses E. Each additional drive letter uses 100 bytes of PC memory. Clipboard You can exchange clipboard information between the PC environment and the Mac OS. The type of information you can exchange depends on whether you’re running DOS or Windows. Windows Clipboard You can exchange text, PICT, RTF, and bitmap files between the Mac OS and Windows using the Copy and Paste commands from the Edit menu. You can also purchase additional third-party software to provide translations for other data types. DOS “Clipboard” If you’re running DOS, you can capture text or a PICT file from a region of the screen that you define using the DOSCLIP TSR (Terminate-and-StayResident program). The memory-resident program is loaded automatically each time you switch to DOS. You activate DOSCLIP by pressing a keyboard combination, or keystroke, (preset to Shift-Control-C) and then selecting a region to copy. Keystroke starts process: On the PC side, enter the keystroke first; then, holding down the mouse button, select a region to copy. (This process works only if a DOS mouse driver is installed.) Releasing the mouse button sends the selection to the Clipboard. In the Mac OS, you select the area first and then issue the keystroke. 48 Chapter 5To capture text or a PICT file from a region on the screen if you don’t have a DOS mouse driver installed, follow these instructions: 1 Activate DOSCLIP. The DOSCLIP activation keystroke is preset to Shift-Control-C. A cursor appears in the center of the screen. 2 Use the keyboard arrow keys to move the cursor to the upper-left corner of the region you want to copy. 3 Holding down the Shift key, use the arrow keys to move the cursor to the lower-right corner of the region. 4 Release the Shift key. The selected area is copied to the Clipboard. m You can paste text into DOS from the Mac OS. The preset keystroke is Shift-Control-V. Changing the predefined keystrokes in DOS You change the preset keystrokes for copying and pasting by editing the AUTOEXEC.BAT file. m To change the keystroke for the Copy command, use the form C:\APPLE\DOSCLIP/Cnm… m To change the keystroke for the Paste command, use the form C:\APPLE\DOSCLIP/Pnm… In both cases, n is a number representing a key scan code from the following table, and m… is one or more of the characters A, C, and S (for Alt, Control, and Left- or Right-shift). For example, the preset code for Copy is /C46CA—/C[opy using the key] 46 [which is C, plus the] C[ontrol key plus the] A[lt key]. To change the keystroke to F3, you’d type the following: C:\APPLE\DOSCLIP/C61 Note: To get on-screen help about other DOSCLIP options, type DOSCLIP /? at the DOS prompt. Operating in the PC Environment 49Key Scan code Key Scan code 0 11 ' " 40 1 2 , < 51 2 3 - _ 12 3 4 . > 52 4 5 / ? 53 5 6 ; : 39 6 7 = + 13 7 8 [ { 26 8 9 \ | 43 9 10 ] } 27 ` ~ 41 + (keypad) 78 tab 15 - (keypad) 74 alt 56 arrow (down) 80 bksp 14 arrow (left) 75 caps 58 arrow (right) 77 center 76 arrow (up) 72 ctrl 29 del 83 pgdn 81 end 79 pgup 73 enter 28 prtsc 55 esc 1 scroll 70 home 71 shift (left side) 42 ins 82 shift (right side) 54 num 69 space 57 continues . 50 Chapter 5Key Scan code Key Scan code F1 59 F7 65 F2 60 F8 66 F3 61 F9 67 F4 62 F10 68 F5 63 F11 87 F6 64 F12 88 A 30 N 49 B 48 O 24 C 46 P 25 D 32 Q 16 E 18 R 19 F 33 S 31 G 34 T 20 H 35 U 22 I 23 V 47 J 36 W 17 K 37 X 45 L 38 Y 21 M 50 Z 44 Operating in the PC Environment 51Tips for using the Clipboard When the PC environment is running, you have three separate clipboards to work with—the Mac OS Clipboard, the Windows Clipboard, and DOSCLIP. Translation between the clipboards takes place each time you switch between the PC and Macintosh environments. When using these clipboards there are a few things to keep in mind. m If you copy an item to the Macintosh Clipboard, switch to Windows, and then copy an item to the Windows Clipboard, the original Macintosh Clipboard contents will be deleted. To prevent this, remove the PC Clipboard extension from the Extensions folder (inside the System Folder in the Mac OS). m In order to translate the contents of the Macintosh Clipboard to the Windows Clipboard, Windows must be already running when you switch environments. If you switch to DOS and then launch Windows, the Macintosh Clipboard will be translated into DOSCLIP, and the Windows Clipboard will be blank. m In order to translate the contents of the Macintosh Clipboard to DOSCLIP, Windows must not be running when you switch environments. If Windows is running when you switch to the PC, the Macintosh Clipboard will be translated into the Windows Clipboard, and DOSCLIP will be blank. m DOSCLIP contents cannot be pasted into Windows, or vice versa. m Graphics can be copied from a DOS application program to DOSCLIP, but graphics cannot be pasted into a DOS program from DOSCLIP. m After copying a graphic from DOS using DOSCLIP, you may experience difficulty in pasting the graphic into a Macintosh application program. If this happens, try increasing the Macintosh program’s memory. (See the question “How do I change a program’s memory size?“ in the “Working with Programs” topic of Macintosh Guide, available in the Guide [h] menu.) m Sounds cannot be copied between the Macintosh and the PC. m Plain text is automatically translated from one environment to another, but in order to retain font and style information, additional Macintosh Easy Open translators must be used (for example, MacLink Plus from DataViz). 52 Chapter 5m When using DOSCLIP from within certain application programs, it may not be possible to select the text using the mouse. In these cases, either use the keyboard to select your text, or check that the standard DOS mouse driver is not loaded. m When the PC environment is active, all Macintosh programs are put in the background to allow the PC Clipboard to run in the foreground. If you do not want your Macintosh programs to run in the background while you are in the PC environment, you must disable the Clipboard translation by removing the PC Clipboard Extension from the Extensions folder (inside the System Folder in the Mac OS). Running network software The DOS-Compatibility Software on your computer supports any networking protocols, operating systems, or application programs that are compatible with Novell’s Open Data-Link Interface specification (ODI). m To set up the software, install your networking client software in the PC environment. Networking client software such as Netware is not included with the DOScompatible Macintosh. Compatible and incompatible protocols You can run NetWare in the PC environment at the same time that you’re running AppleTalk in the Mac OS. To use IPX or TCP networking protocols, you must have an Ethernet card installed in your computer’s communication slot. (The Ethernet card is not a standard feature.) You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. Operating in the PC Environment 53If you want to use the TCP protocol in the PC environment, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. Network performance is improved by adding memory to the DOScompatibility card installed in your computer, as described in Appendix B. For more information, see Appendix E, “Installing Network Management Software.” Using multimedia, MIDI, and game application programs These types of programs, whether they are run in the PC or Macintosh environment, see a marked performance improvement when there is a memory SIMM on the DOS-compatibility card for the exclusive use of the PC environment. See the Technical Specifications booklet to determine whether your computer has a SIMM installed on the DOS-compatibility card. You can also install a SIMM with greater memory capacity, as described in Appendix B, “Installing an Expansion Card or Memory for the PC Environment.” QuickTime application performance is especially improved with a SIMM. Some DOS-based MPEG players require a VGA monitor to output video. All VGA modes can be displayed on Macintosh monitors supported by the DOScompatible Macintosh. If the monitor specified to display the PC is a VGA monitor, select VGA in the Display box in the PC Setup control panel. You cannot select VGA for a shared monitor configuration from the PC Setup control panel if your monitor is not capable of displaying VGA. Multiscan monitors can display VGA. 54 Chapter 5Using Macintosh peripherals in the PC environment You use the serial ports of your Macintosh just like the serial ports of any PC-compatible computer. The maximum data transfer rate supported by the DOS-compatible hardware when a COM port is mapped to a Macintosh serial port is 19,200 bits per second (bps). If you’re capturing serial output to a Mac OS text file, there is no limit. Using printers For DOS or Windows printing, use the LPT1.DOS or LPT1 serial port. In general, you must use printers that are Macintosh-compatible and use their corresponding printer extension for the Macintosh. However, in a PC Novell NetWare environment you can print to a PC-compatible printer attached to a Novell network. See Appendix E, “Installing Network Management Software.” DOS uses the printer selected in the Macintosh Chooser as the default LPT1 device. If you have a serial printer directly connected to a COM port, however, DOS uses that printer instead. The DOS-compatible software can process output for Epson and PostScript printers, and for all printers that use Hewlett-Packard’s page control language (PCL). QuickDraw printers such as the StyleWriter or ImageWriter work only with Epson emulation. (If a printer is not a PostScript or PCL printer, it’s considered to be a QuickDraw printer.) For non-PostScript PCL printers, use the appropriate PCL driver in the PC environment. For non-PostScript, non-PCL printers, configure your DOS application program to use the Epson LQ-2500 driver. If this driver isn’t available, try another Epson LQ or LX series driver. Be sure to turn on the PCL option if it’s available for your printer. Operating in the PC Environment 55The Epson emulator works by first translating the DOS text to a similar Macintosh font, then interpreting that text into a series of QuickDraw commands. Some characters in the original DOS character set may not have exact translations to a Macintosh font. The use of a PostScript font is recommended in these cases, because the PostScript standard requires no translation. About color: Color printing is not supported under Epson emulation. When printing from the PC to a color or grayscale QuickDraw printer, be sure to select the Black & White option in the Print dialog box. If you have a PCL printer, printing is limited to text-only or graphics-only when printing over an AppleTalk network. To print text only, select your printer’s driver in the Windows Control Panel. To print graphics only, choose the LaserJet III driver from the Windows Control Panel. If you need to print mixed graphics and text, many Windows programs bit-map their text so that it becomes a graphic. Additionally, PCL printing of text and graphics together is possible when printing over a Novell network, where a PC print server is connected to the PCL printer and handles the print job. Select your printer’s own driver in the Windows Control Panel. For PostScript printers, use the Apple LaserWriter II NT driver (or another PostScript driver if the Apple LaserWriter II NT driver is not available) or the Windows PostScript driver. IMPORTANT Be sure to make settings in the Mac OS PC Print Spooler that match the drivers you use in the PC environment, or your printer will not work correctly. See “Setting Preferences in the PC Print Spooler” for details. Turning off Background Printing in the Macintosh Chooser may increase the performance of some printers. Configuring a printer for Windows: For better performance when you configure a printer for Windows, select LPT1.DOS instead of LPT as the port. 56 Chapter 5IMPORTANT If you try to print a file using a PostScript printer driver for a non-PostScript printer, and the preferences are set to Epson, your file will not be printed. Instead, the file will be moved to a folder called “Spooler Rejected” in the Mac OS. To print the file, choose the proper printer driver in the PC environment and try again. Note: Data sent to the LPT1 port is automatically routed to the printer selected in the Chooser in the Mac OS. There is no actual parallel port on the DOS-compatible Macintosh. AppleShare Print Server The AppleShare Print Server should not be installed in a DOS-compatible Macintosh because the server’s software conflicts with the PC Print Spooler. You can, however, connect your DOS-compatible Macintosh to a network that uses an AppleShare Print Server. Setting preferences in the PC Print Spooler You can set preferences in the PC Print Spooler to control a variety of print functions. To choose your Print Spooler settings, follow these steps: 1 In the Macintosh environment, open the Extensions folder inside the System Folder. 2 Find the PC Print Spooler icon and open it. Operating in the PC Environment 573 Choose Preferences from the File menu. A dialog box appears. 4 Choose your settings as appropriate. The selection you make for “Interpret non-PostScript as” must match the type of printer you have specified in the PC environment. If the settings are mismatched, your printer may produce gibberish. In addition, the PCL option works only if the printer is set up to accept PCL commands. The selection you make for “When emulating an Epson printer” determines how much of a page is available for printing. If you use the option that allows gaps between pages, configure your application programs to print to a 60-line page, rather than a 66-line page, or your margins will be off and your pages will not print correctly. 5 Click OK. 66 lines maximum for Epson: Page sizes greater than 66 lines (standard letter size paper) are not supported by the Epson driver. Legal and other larger sizes will be cut off after either 60 or 66 lines, depending on the setting you’ve chosen. If you find that your printing is clipped at either the top or bottom of the page, click the No Gaps option. 58 Chapter 5Using PC peripherals Because of the RS-422 implementation of the Macintosh, the following RS-232 signals are not available to the PC: m Carrier Detect (CD) m Data Set Ready (DSR) m Request to Send (RTS) m Ring Indicator (RI) Applications or serial devices requiring these signals won’t work. While the DOS-compatible Macintosh does not support Carrier Detect (CD), you can set most communications application programs to respond to the CARRIER string sent back by most modems. For more information about accessing serial ports from DOS, see the documentation that came with your DOS software. IMPORTANT The following chart lists the various signals present on the Macintosh Mini DIN-8 connector, and on what pins these signals are present on PC-style DB-9 and DB-25 connectors. This information may be of use if you are planning to have a custom cable built. Refer to the manual for the serial device that you plan to attach to the Macintosh for the recommended serial connection, and use the chart below to find out what the proper Macintosh wiring should be. Macintosh signal Macintosh Mini DIN-8 DB-9 DB-25 RS-232 name HSK0 1 4 20 DTR HSK1 2 8 5, 8 CTS, DCD TXD- 3 3 2 TXD GND 4 5 7 GND RXDA- 5 2 3 RXD TXDA+ 6 N/C N/C GP1 7 N/C N/C RXD+ 8 5 7 GND Operating in the PC Environment 59This chapter covers how to configure the PC environment and change PC options using the PC Setup control panel. Your Macintosh comes with the PC environment already configured and ready to use. Read this chapter only if you want to change the way the PC environment is set up, or if you have reinstalled the DOS-compatibility software and need to reconfigure it. You can control how your Macintosh and your DOS-compatible hardware and software work together with the PC Setup control panel. You use the control panel to accomplish the following tasks: m choose folders or volumes to be shared between the Mac OS and the PC environment m turn the PC card on and off m configure PC serial ports m set display options m set the shared memory size m turn PC sounds on and off and use Sound Blaster sound capabilities m configure PC drives You also use the control panel to switch environments immediately and to start, restart, or shut down the PC. 61 6 Configuring the PC Environment Use the instructions in this chapter if you need to change settings for the PC environment.Choosing settings To choose settings, follow these steps: 1 Choose Control Panels from the Apple (K) menu. 2 Double-click the PC Setup control panel to open it. 3 When you have specified the settings you want, close the control panel. All settings except RAM take effect as soon as you make them. If you change the RAM setting, you must restart the Macintosh before the change takes effect. Online help available: To get brief on-screen explanations of items in the control panel, choose Show Balloons from the Guide (h) menu. To get detailed step-by-step help, see the “DOS Compatibility Software” topic of Macintosh Guide, available in the Guide (h) menu. 62 Chapter 6Configuring the PC serial ports Your DOS-compatible Macintosh supports two serial ports, COM1 and COM2. You can map these ports to an unused Macintosh printer port or modem port, to a text file for later processing, or to a setting of None. m To assign a Macintosh serial port to a COM port, make a selection in the COM port’s pop-up menu. When you map a port to a text file, a dialog box appears that you use to specify a name and location for the file. Macintosh serial ports already in use appear dimmed in the menu. (The printer port may be in use by AppleTalk, which may be used for a network or LaserWriter connection; the modem port may be in use by communications or fax software.) Changes to these selections take place immediately. Assigned ports may not be available to the Mac OS: Mac OS programs may no longer be able to access ports that you’ve assigned to DOS. Allocate these ports only when they’re needed, and deallocate them when they’re no longer required by your DOS programs. (You won’t have to restart the computer to have the changes take effect.) The maximum baud rate supported by the DOS-compatible Macintosh when a COM port is mapped to a Macintosh serial port is 19,200. However, when the MODE command is issued in DOS and the serial port is set at 19,200 baud, the incorrect message “Function not supported on this computer” is displayed. This occurs because DOS is looking for specific hardware (a PC UART) that is not emulated by the DOS-compatible Macintosh. The Macintosh actually does support 19,200 baud, and can be set by a number of communication application programs. Configuring the PC Environment 63Setting the monitor The monitor connected to your Macintosh DOS-compatible system displays the environment (Mac OS or PC) you’re working in. Even though you see only one environment at a time, the other environment can still be active in the background. To set the monitor for the PC environment: m Choose a monitor type in the Display pop-up menu. See the Technical Information booklet that came with your computer for a list of supported Macintosh monitors and for VGA and SVGA monitor specifications. If the DOS-compatibility software recognizes the monitor connected to your computer as a non-multiscan display, it makes the appropriate selection for you; other menu options are dimmed. 16" monitor requires driver: If you have a 16" monitor, the PC doesn’t use the entire screen unless you install a display driver for the program that you’re using. (DOS can’t use a video driver, so there will always be a large black border around the DOS screen.) See “Reinstalling Video Drivers” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8 for instructions. Setting the time and date The PC environment uses the same date and time settings as the Mac OS. If you change the time and date on the PC, it will not affect the time and date on the Mac OS. When you restart the PC, it synchronizes its time and date with the settings you’ve chosen in the Mac OS. (The PC may lag up to 10 seconds behind the Mac OS.) 64 Chapter 6Setting shared memory You can install a 72-pin SIMM (memory module) on the DOS-compatible card in your computer to give the card up to 32 MB of RAM for its exclusive use. When no SIMM is installed, the card uses a portion of the RAM installed in your Macintosh. If your computer came with a SIMM already installed on the DOS-compatible card, you cannot share memory between the Mac OS and the PC environment. The PC uses the memory installed on the DOS-compatible card exclusively. The shared memory options in the PC Setup control panel will be dimmed (unavailable). See the Technical Specifications booklet to determine whether your computer contains a SIMM installed on the DOS-compatible card. m Choose the amount of memory you want for your PC in the RAM pop-up menu. In the RAM pop-up menu, a small square (M) shows the RAM that the PC is currently using and a bullet (•) indicates how much RAM you assigned. When the Macintosh starts up, it claims RAM for its own use before it sets aside RAM for the PC. If the PC has less RAM than you installed, turn off the Mac OS RAM disk (if you’re using one) in the Memory control panel. You may also need to lower the disk cache size in the Memory control panel to 128K or less. Memory changes take place when you restart the Macintosh. IMPORTANT Memory that you set aside for the PC environment is not available to the Mac OS. To make this memory available, you must turn off the PC (click the Off button at the top of the PC Setup control panel) and restart the Macintosh. Configuring the PC Environment 65Changing the amount of conventional memory Many DOS and Windows programs require conventional memory to run. At the same time, many device drivers and TSRs may be loaded into conventional memory. If you find that you do not have enough conventional memory to run some of your DOS or Windows programs, take the following steps. To increase Upper Memory Block (UMB) space to 122K instead of 64K, add the following line to your CONFIG.SYS file: DEVICE=C:\WINDOWS\EMM386.EXE RAM=D000-EFFF FRAME=D000 To load DOS into the UMB (high memory) also add the following to your CONFIG.SYS file: DOS=HIGH, UMB Insert the LOADHIGH (LH) command before all TSRs and device drivers in the AUTOEXEC.BAT file. For example: LH C:\DOS\SMARTDRV.EXE /X This will load these into UMB (high memory). If you run out of UMB space, you may see an error message like this during the boot process: Run time error R6009 -not enough space for environment. In this case, remove LH from TSRs and device drivers one or two at a time, and try again until the error message does not appear. If a DOSCLIP copy command is executed from within Harvard Graphics 3.0, then the PC crashes when Harvard Graphics is quit. To prevent this, use the steps outlined above, making sure that SMARTDRV is one of the drivers preceded with LH. IMPORTANT To prevent the System BIOS from becoming corrupted when the PC is configured for 2 MB of memory, set the switch in the CONFIG.SYS file to turn memory testing off: DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF 66 Chapter 6Choosing shared folders or volumes You can set up a Mac OS folder, Macintosh hard disk, shared disk, or CD-ROM disc on a network to act as a PC drive. Sharing a folder on your Macintosh hard disk is a convenient way to transfer files between the Mac OS and the PC environment, especially if you are dealing with many files, or large files. You can share entire disks, or volumes. This is especially useful for network volumes, CD-ROM drives, or other volumes that otherwise would not be readily available to the PC environment. DOS treats all shared volumes as network volumes. Some DOS commands, such as FORMAT, CHKDSK, UNDELETE, and SUBST will not work on shared volumes. m Choose an available drive letter from the Sharing pop-up menu in the PC Setup control panel. A dialog box appears, letting you select a folder or disk (volume) for the drive. Shared folders and volumes revert to their usual unshared status when you shut down your Macintosh. To have a folder or volume automatically assigned to a drive letter at startup, click the checkbox next to Attach at Startup. The name of an automatically attached folder or volume appears underlined in the Sharing pop-up menu. To turn off an assignment, choose the underlined item in the menu. IMPORTANT For the sharing functions to work properly, DOS must be running, MacShare should be loaded as part of the AUTOEXEC.BAT file, and a LASTDRIVE=x statement should appear in the CONFIG.SYS file, where x is the highest drive letter available for sharing. AUTOEXEC.BAT and CONFIG.SYS have x preset to M. See “MacShare” in the section “Working in the PC Environment” in Chapter 5 for more information. See the “Using DOS Files & Disks” topic of Macintosh Guide, available in the Guide (h) menu, for more information on transferring files between the PC environment and the Mac OS using floppy disks and other media. IMPORTANT Use caution when handling the drive file. Erasing one of these is equivalent to reformatting the hard drive it is emulating. The drive file is locked when it is installed on your computer. If you must unlock it, be very careful not to erase it. Configuring the PC Environment 67Using shared folders Because two operating systems have access to each shared folder, there may be a noticeable slowdown in performance when using these folders for highspeed PC applications such as multimedia programs, or during large file transfers between them. For optimum performance, place PC application programs and their files in the C or D drive rather than in a shared folder. The performance of Macintosh programs is unaffected by placing them in shared folders. Since the PC doesn’t understand the concept of resource forks the same way the Macintosh does, information in a Macintosh file’s “resource fork” is lost when it is copied by the PC. For example, if a Macintosh file is copied between two shared folders using the COPY command in DOS, that file’s original icon will be lost, and the file itself may be unusable in the Mac OS. Many document files do not have resource forks and can be copied between shared folders with no problems. The applications that created the files contain the resource information for these files. However, QuickTime files cannot be successfully copied between shared folders. In some Microsoft application programs, there is a misrepresentation of the shared drive icons. When you open a file from a shared folder in Microsoft Excel or Microsoft Word, the shared drive icon may appear as a floppy disk or CD. This does not affect the file’s content, and the file is still usable. Do not attempt to use shared folders from a DOS shell run from Windows. Strange text characters in a document When using shared folders to exchange documents between the Mac OS and the PC, in some cases a Macintosh application program may not be able to interpret the file format of a PC document. When this happens, the document’s formatting is displayed incorrectly and you may see strange characters in the document. m Try using a different application program. m Translate the document into a different file format using one of the file format translation utilities available for the Macintosh (such as MacLink Plus Easy Open Translators from DataViz). m Transfer the text using DOSCLIP. m Use the Export feature found in many programs. m Use a PC-Macintosh translation utility. 68 Chapter 6Turning on PC sounds To have Sound Blaster and other PC sounds played through the Macintosh speaker or through headphones, you need to make settings in both the PC Setup control panel and in the Sound control panel. Choosing a setting in the Sound pop-up menu The Sound pop-up menu in the PC Setup control panel gives you three choices: m To hear PC sounds in both the PC environment and the Mac OS, choose Enabled. m To hear PC sounds only when you’re in the PC environment, choose Auto Enabled. m To shut off PC sounds entirely, choose Disabled. Sound control panel takes precedence: The setting in the PC Setup control panel’s Sound pop-up menu has no effect on sounds generated in the Mac OS. If the volume is set to 0 in the Sound control panel, however, you won’t hear any PC sounds no matter what the setting is in the PC Setup control panel’s Sound menu. For sounds generated by the Sound Blaster card and for sounds from the PC, the Sound control panel must be set with the Internal CD playthrough option turned on. For instructions, see the “Sound” topic of Macintosh Guide, available in the Guide (h) menu. The PC Sound control in the PC Setup control panel does not affect sounds produced by the Sound Blaster card. Only PC-generated sounds such as the system beep are affected by this control. To turn off both PC and Sound Blaster-generated sounds, use the master volume control of the Mixer Control application from the Audio program group, or turn off the Internal CD playthrough in the Sound control panel in the Mac OS. (For instructions, see the “Sound” topic of Macintosh Guide, available in the Guide (h) menu.) The Sound Blaster hardware installed in your DOS-compatible Macintosh is not able to record sounds. The DOS-compatible Macintosh does not fully support Sound Blaster 8-bit, Sound Blaster 2.0, or Sound Blaster Pro drivers. If problems occur, use the Sound Blaster 16 driver that comes with your computer. Configuring the PC Environment 69Configuring drives C and D You use the C: and D: pop-up menus to create or select PC drives. Drive C is required; drive D is optional. You can use a PC-formatted SCSI hard drive attached to your Macintosh, or you can create a drive container—a virtual PC drive—on any Macintosh hard drive. You can even use a drive container created by SoftPC or SoftWindows. To use a PC-formatted SCSI drive as a startup (boot) drive, format the drive to be bootable by using the FORMAT C: /S command. m To create a drive container for drive C or D, choose New Drive File from the C: or D: pop-up menu. Set a location for the drive container, and give it a name and a size. Then click Initialize Drive File. When using a PC-formatted SCSI device as the PC’s C or D drive, ensure that the driver for that device is not loaded by PC Exchange. This would cause PC Exchange to mount the drive instead of the PC environment. Open the PC Exchange control panel and click the Options button. Make sure the SCSI driver for the device you want to use is not checked. Then click OK. This ensures that the PC will be able to load the C drive. Single versus multiple partitions: When you initialize a container this way, it contains a single partition. To initialize a container with multiple partitions, prepare it in DOS using the FDISK command instead of initializing it through the PC Setup control panel. Then format it using the FORMAT command. Use the /S parameter in the FORMAT command to make the container bootable (for example, type FORMAT C: /S at the DOS prompt). See the DOS manual for further instructions on using these commands. m To change the drive container for drive C or D, choose Other Drive File from the C: or D: pop-up menu, then locate the new drive container in the dialog box that appears. The change takes effect the next time you restart the PC. To have the change take place immediately, click the Restart button at the bottom of the control panel. 70 Chapter 6m To use a PC drive or partition, choose Drive Partition from the C: or D: pop-up menu. A dialog box appears with a list of available partitions. If you use a PC drive or partition and you have a utility that mounts these devices on the Macintosh, unmount the drive or partition before starting the PC by dragging its icon to the Trash. If you intend to mount your PC drive file, partition, or disk on the Macintosh using Macintosh PC Exchange, do not use a PC compression program. Drives that are compressed cannot be mounted. Managing PC files from the Mac OS You can gain access to files in a drive container even if you’re in the Mac OS. Follow these steps: 1 Double-click the drive container in the Finder. The drive container appears as a disk icon on the Mac OS desktop. 2 Double-click the container’s disk icon. The icon opens and you have access to the files inside it. You can now manipulate these files as you would any Mac OS files. Drive container may be read-only: If the PC is running, you won’t be able to add anything to the drive container from the Mac OS. To do so, shut down the PC from the PC Setup control panel and then do steps 1 and 2 above. WARNING If you don’t unmount the drive or partition, you may lose data because both the Macintosh and the PC may write to the device at the same time. Configuring the PC Environment 71Changing the size of the drive container You may find, after installing software in a drive container, that the container is too small or too large for your needs. You cannot change the size of an existing drive container, but you can create a new one in the appropriate size and move the software to it. You can also create an additional drive container to supplement the existing one. Two active containers maximum: For the following procedure to work, drive D must be available for assignment to a new drive container. If both drives C and D have been assigned, you must first set drive D to None and drive C to the container you need to replace. (The contents of the container mapped to drive D are unaffected.) Calculating the proper size To determine the proper size for the new container, follow these steps: 1 Make sure you’re in the Mac OS, then open the PC Setup control panel. You see a small apple at the upper-left corner of the screen when you’re in the Mac OS. 2 Check the name of the container associated with drive C. The name of the container appears above the C: pop-up menu. 3 Locate the container in the Finder. 72 Chapter 64 Open the container’s Get Info window and note the container’s size. To open the container’s Get Info window, select the container’s icon and choose Get Info from the File menu. 5 Close the Get Info window by clicking its close box. 6 Switch to the PC environment. 7 At the DOS C: prompt, type DIR. Note how much space is available. 8 Subtract the amount of available space on the drive from the container size. The number you get is the current size you need for storage. 9 Add 10 percent to the result of the calculation in step 8. It’s a good idea to have extra space available, because some applications may need to write temporary work files to the drive, or you may need to add software to the drive at a later time. The 10 percent figure, however, is arbitrary; use a number that suits your needs. If the current container is too large, the result of this calculation is the size that the new container should be. Skip to step 12. 10 Determine the amount of storage needed by the additional software you want to install. To do so, add together the individual storage space required for each program you want to install. This information is probably available in the documentation that came with your software. 11 Add the sums from steps 9 and 10. The resulting sum is the size that the new container should be. 12 Press x-Return to switch back to the Mac OS. Configuring the PC Environment 73Creating the new container Now that you know what size the container should be, you’re ready to create it. 1 Follow the instructions under “Configuring Drives C and D” earlier in this chapter to create a new container for drive D. You may need to remove some files from your hard disk to free enough space for the new container. 2 Click Restart PC at the bottom of the PC Setup control panel. 3 Click Switch to PC. You now have two drives available—drive C, your original container, and drive D, the container you just created. Moving the files You can transfer your files from the old container to the new one in either the Mac OS or the PC environment. m To move files in the Mac OS, drag all the files from the existing drive container to the new one. To move the files in the PC environment, follow these steps: 1 At the DOS prompt, type FORMAT D: /S and press Return. This command makes the new drive container bootable. Answer Y when DOS asks if you’re sure. 2 When the DOS prompt returns, type the following command: XCOPY C:\*.* D:\*.* /E /V This command copies all the files and directories from your drive C container to your drive D container. 3 Press x-Return to switch back to the Mac OS when copying is complete. 74 Chapter 64 In the PC Setup control panel, choose None from the D: pop-up menu. Doing so deallocates drive D. 5 Choose Other Drive File from the C: pop-up menu and select the container you just created. Your new container is now associated with drive C. 6 Click Restart PC at the bottom of the PC Setup control panel. 7 Click Switch to PC. 8 At the DOS prompt, type DIR. You should see a list of all the files you copied. You may want to run some of your programs to verify that everything has been copied correctly. m To throw away the original drive container, first switch to the Mac OS. Then drag the original container to the Trash and choose Empty Trash from the Special menu. Doing so frees up the space on your hard disk that the container held in reserve. Configuring The PC Environment 75Understanding the status line The status line at the bottom of the control panel gives you messages about the status of the PC hardware and software. Messages can include any of the following: m DOS-compatibility card not present Your computer’s system software did not recognize the DOS-compatible card installed in your computer. Reinstall the PC software according to the directions in Chapter 8. If reinstalling the software doesn’t help, contact an Apple-authorized service provider for assistance, or call Apple’s customer support hotline. (The phone number for the hotline is in the service and support information that came with your computer.) m PC Setup software not loaded An error occurred during the start-up process and the DOS environment won’t run. m PC is running You’ve clicked Start PC and the card is active. m PC is shut down The card is installed but not running. To start the card, click Start PC, or select Auto-Start PC and restart the computer. m PC is turned off The Off button at the top of the PC Setup control panel is selected. m Not enough memory Your computer must have at least 8 megabytes (MB) of RAM installed, and the PC requires at least 2 MB of free RAM if you don’t have a SIMM installed on the DOS-compatible card for the exclusive use of the PC. Turn off the RAM disk, if you’re using one, in the Memory control panel, and restart your Macintosh. 76 Chapter 577 Consult this chapter if you experience problems using the Mac OS. When you have questions If you want to know how to do a particular task in the Mac OS, refer to Macintosh Guide in the Guide (h) menu. For instructions on using Macintosh Guide, see Chapter 2 of this manual. If you have problems working in the PC environment on your Macintosh, see Chapter 8, “Troubleshooting in the PC Environment.” If you have questions about using DOS, see your DOS manual. When you run into trouble While you’re using your computer, you may occasionally see a bomb icon or an error message, or you may have a problem such as the pointer (8) “freezing” on the screen. If you have trouble with your computer, take a few minutes to read the information in this chapter. If your problem is related to a particular procedure, you should also look for information on that procedure in Macintosh Guide, available in the Guide (h) menu. For additional troubleshooting information and a list of common questions relating to the Mac OS, see the “Troubleshooting” topic of Macintosh Guide. If you are unable to access Macintosh Guide (for example, if your screen is “frozen”), refer to this chapter to see if you can resolve the problem. 7 Troubleshooting in the Macintosh EnvironmentTake your time When you see an error message, you don’t have to take action immediately. The message stays on the screen until you click the OK button or turn off the Macintosh. To help diagnose and correct the problem, gather as much information on the situation as you can before starting over. m Make a note of exactly what you were doing when the problem occurred. Write down the message on the screen and its ID number (if any). Also list the programs you were using and the names of any items you know have been added to the System Folder since the system software was installed. This information will help a service person diagnose the problem. (It is helpful to keep a printed copy of the items in your System Folder. For instructions on printing the contents of a folder, see the “Printing & Fonts” topic of Macintosh Guide, available in the Guide [h] menu.) m Check the screen for any clues. Is a menu selected? What programs and document icons are open? Note anything else that seems relevant. m If you were typing text and were not able to save it before the problem occurred, you can write down the parts of the text still visible on the screen so that some of your work will be easy to replace. m Ask other Macintosh users about the problem you’re having; they may have a solution for it. If you need repair service, consult the service and support information that came with your computer for instructions on how to contact an Appleauthorized service provider or Apple for assistance. 78 Chapter 7Start over Often you can eliminate a problem simply by clearing the computer’s memory and starting over. If you can, save any open documents before restarting the Macintosh. If your system is frozen and does not respond to anything you do, or if you have a “bomb” message on the screen, saving may not be possible. You can try pressing x-Option-Esc to quit the program in use when the problem occurred; if this works, you can then save the documents open in other programs before restarting. To restart your Macintosh, try the following steps: 1 If you can, choose Restart from the Special menu or from the dialog box that’s on the screen. Dialog boxes contain messages from the computer. If something goes wrong, a message may appear on the screen, asking you to restart the computer. 2 If you can’t choose Restart, hold down the x and Control keys while you press the Power key (marked with a triangle). This key combination restarts the computer. (Use this key combination only when you can’t choose Restart from the Special menu.) 3 If nothing happens, turn off your computer with the standby power button, wait at least 10 seconds, and then turn it on again. 4 If the standby power button doesn’t turn off the computer, unplug your Macintosh. If you suspect that the problem is with other equipment, such as a printer or an external hard disk that’s attached to your computer, turn that equipment off for 10 seconds or longer, then turn it on again and restart the Macintosh. Troubleshooting in the Macintosh Environment 79Rebuild your desktop regularly A process known as “rebuilding the desktop” helps your Macintosh keep track of data on your startup disks. Although you usually use the hard disk in your computer as a startup disk, you can also start up from any other disk that has system software installed. It’s a good idea to rebuild the desktop of your startup disks once a month or so. To rebuild the desktop of a startup disk, follow these steps: 1 Hold down the Option and x keys while you start up your computer. Do not release the keys until you see a message asking whether you want to rebuild the desktop. 2 Click OK. Solutions to common problems The computer is turned on but the screen is dark. One of the following is probably the cause: m You have a screen saver program that darkens the screen when the computer has not been used for a certain period. Press a key or move the mouse to turn off the screen saver. m The monitor’s brightness control (Û) is not adjusted properly. Check the monitor’s brightness control and turn it up if necessary. m The Macintosh or the monitor is not getting power. Make sure the monitor is plugged in and turned on, and that the monitor cable is firmly connected to both the computer and the monitor. Make sure the computer’s power cord is firmly connected to the computer and plugged into a grounded electrical outlet, and that the outlet has power. If you have more than one monitor and only one is dark, check that it is set up correctly in the Monitors control panel. For information on using more than one monitor, see the “Monitors” topic of Macintosh Guide, available in the Guide (h) menu. 80 Chapter 7m The monitor is plugged into the wrong port on the computer. Make sure the monitor is plugged into the monitor port (marked with the ª icon) on the upper-right corner of the computer’s back panel. If the monitor is plugged into another port, it will not work. If you are displaying video from your computer on a television screen, it is normal for your computer monitor to be dark. The computer won’t start up. m The game controller is plugged into the wrong port. Make sure the game controller is plugged into the joystick port on the lower-right corner of the computer’s back panel. If the game controller is plugged into another port, the computer will not start up. The computer’s clock keeps time inaccurately. Your computer has a clock that runs continuously. When the computer is turned off, a battery keeps the clock running. If your clock begins to keep time inaccurately, have your Apple-authorized service provider replace the battery. When you start up, a disk icon with a blinking question mark appears in the middle of the screen. This icon indicates that your Macintosh cannot find the system software it needs to start up. One of the following is probably the cause: m Your computer may be having a problem recognizing external equipment that uses the Small Computer System Interface (SCSI). Turn off all external SCSI equipment and disconnect the first SCSI device in the chain from your computer’s SCSI port. Then restart the computer. If the computer starts up after you disconnect your SCSI equipment, refer to the manuals that came with the equipment for information on the proper way to connect SCSI equipment and assign SCSI ID numbers. If you have a printer connected to your computer’s SCSI port, make sure your printer is not supposed to be connected to the printer port instead. Check the manuals that came with your printer for information on how to connect it properly. Troubleshooting in the Macintosh Environment 81m System software is not installed on the startup hard disk, the system software is damaged, or the hard disk is not working properly. Start up your computer using the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) Then follow the instructions in “Repairing a Damaged Disk” later in this chapter to test your startup hard disk and repair any damage. If repairing the disk doesn’t help, follow the instructions in “Installing or Reinstalling Mac OS System Software” later in this chapter to reinstall system software on your startup hard disk. When you try to start up from a floppy disk, a disk icon with an X appears in the middle of the screen and the floppy disk is ejected. This icon indicates that the floppy disk you tried to start up from is not a startup disk. Wait a few seconds. The computer should start up from its internal hard disk. Make sure you insert floppy disks only after the computer has begun starting up. 82 Chapter 7A “sad Macintosh” icon appears and the computer won’t start up. This icon indicates that your Macintosh cannot start up because of a problem with the system software or the computer hardware. Eject any floppy disks by turning off the computer and then holding down the mouse button while you turn the computer on again. Try starting up with the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) If the “sad Macintosh” icon appears again, consult the service and support information that came with your computer for information on contacting an Appleauthorized service provider or Apple for assistance. The Macintosh “hangs” or freezes during startup. If the Mac OS is sharing 16MB or more of memory with the PC environment and Disklight of Norton Utilities 3.1.1 is installed, the computer will freeze during startup. This does not occur with 8MB or less shared memory. Restart the Macintosh using one of the techniques described in “Start Over” in the section “When You Run Into Trouble,” earlier in this chapter. Open the PC Setup control panel and change the shared memory setting to 8 MB or less. The hard disk icon does not appear on the desktop. If you don’t see a hard disk icon on the desktop, try the following: m If the hard disk is internal, shut down your computer, wait at least 10 seconds, and then turn it on again. m If the hard disk is external, make sure that it is turned on and that its cable is connected firmly; then restart the Macintosh. m Check the ID numbers of all SCSI equipment connected to your computer. See the manuals that came with your SCSI equipment for information on setting SCSI ID numbers. Troubleshooting in the Macintosh Environment 83m If the hard disk is your startup disk, start your computer using the Disk Tools floppy disk or (if you have a built-in CD-ROM drive) with the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) Then follow the instructions in “Repairing a Damaged Disk” later in this chapter to test your startup hard disk and repair any damage. If repairing the disk doesn’t help, follow the instructions in “Installing or Reinstalling Mac OS System Software” later in this chapter to reinstall system software on your startup hard disk. Icons do not appear correctly on your screen. You need to rebuild the desktop—a process that helps your Macintosh keep track of files and folders on your hard disks. For instructions, see “Rebuild Your Desktop Regularly” in the section “When You Run Into Trouble” earlier in this chapter. If icons do not appear correctly after you rebuild the desktop, restart your computer while pressing the Shift key to temporarily turn off system extensions. When you see the “Welcome to Macintosh—extensions off” message, release the Shift key and press the Option and x keys until you see a message asking if you want to rebuild the desktop. Your Macintosh can’t read a floppy disk. If you see a message that a floppy disk is unreadable, try one of the following: m If the disk has never been used, you may simply need to initialize it. For instructions, see the “Disks” topic of Macintosh Guide, available in in the Guide (h) menu. m The disk may be damaged. See “Repairing a Damaged Disk” later in this chapter for information on testing and repairing disks. m The disk may be a DOS disk that the Macintosh environment cannot use. Try switching to the PC environment and inserting the disk again. 84 Chapter 7If you are trying to use a DOS disk in the Macintosh environment, consider the following: m The disk may have been formatted incorrectly on a DOS computer (or in the PC environment on your Macintosh). On DOS computers it’s possible to format a standard double-sided disk in a high-density (1440K) format, and vice versa. Disks formatted in this way cannot be read by a Macintosh computer. When formatting disks in the DOS environment for use in both the Mac OS and DOS, always format standard double-sided disks in the 720K format. Always format high-density disks in the 1440K format. If a disk has been formatted incorrectly, switch to the PC environment and copy the disk’s contents onto another disk that has been properly formatted. The pointer (8) freezes on the screen. Your system has a software problem. m Press x-Option-Esc to quit the application program in use when the problem occurred. If this works, you can save the documents open in other programs before restarting. m Restart your Macintosh. (For instructions, see “Start Over” in the section “When You Run Into Trouble” earlier in this chapter.) Most software problems are temporary, and restarting usually corrects the problem. m Check the startup disk and program you were using when the problem occurred. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. m Sometimes incompatible system extensions or control panels can cause system software problems. Restart while holding down the Shift key; this temporarily turns off all system extensions. If your computer works normally after you do this, remove all extensions from the Extensions folder (inside the System Folder) and put them back into the Extensions folder one at a time. Restart after you add each extension. This procedure should identify any incompatible extensions. You can also use the Extensions Manager control panel to turn off individual extensions. For information on using this control panel to manage system extensions, see the “Setting Options” topic of Macintosh Guide, available in the Guide (h) menu. Troubleshooting in the Macintosh Environment 85m If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling System Software” later in this chapter for instructions. A dialog box with a bomb appears. Your system has a software problem. m Write down what you were doing when the message appeared, the text of the message, and the message number, if there is one. m Restart your Macintosh. (See “Start Over” in the section “When You Run Into Trouble” earlier in this chapter for instructions.) Most software problems are temporary, and restarting usually corrects the problem. m Check the startup disk and application program you were using when the dialog box appeared. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. Reinstalling the system software may correct the problem. m Sometimes incompatible system extensions or control panels can cause system software problems. Restart while holding down the Shift key; this temporarily turns off all system extensions. If your computer works normally after you do this, remove all extensions from the Extensions folder (inside the System Folder) and put them back into the Extensions folder one at a time. Restart after you add each extension. This procedure should identify any incompatible extensions. You can also use the Extensions Manager control panel to turn off individual extensions. For information on using this control panel to manage system extensions, see the “Setting Options” topic of Macintosh Guide, available in the Guide (h) menu. m If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling Mac OS System Software” later in this chapter for instructions. 86 Chapter 7The pointer (8) doesn’t move when you move the mouse. One of the following situations is probably the cause: m Your system has a software problem. Press x-Option-Esc to quit the application program in use when the problem occurred. If this works, you can save the documents open in other programs before restarting. Restart your Macintosh. See “Start Over” in the section “When You Run Into Trouble” earlier in this chapter for instructions. Check the startup disk and program you were using when the problem occurred. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. Try starting up the computer from the Disk Tools disk or the CD-ROM disc that contains system software. (For instructions on how to start up your computer from the CD-ROM disc, see “Starting Up From a CD-ROM Disc” in the section “Initializing a Hard Disk” later in this chapter.) If your computer starts up normally, there may be an extension conflict. If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling Mac OS System Software” later in this chapter for instructions. m The mouse is not connected properly. Turn the computer off using the standby power button, check that the mouse and keyboard cables are connected properly, and then restart the computer. m Signals from the mouse are not reaching the computer, either because the mouse needs cleaning or because there is something wrong with the mouse. Clean the mouse according to the instructions in Appendix A of this book. If you have another mouse or pointing device, try connecting and using it. (Turn off the computer before connecting it.) If the new device works, there is probably something wrong with the mouse you replaced. If none of these procedures solves the problem, consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. Troubleshooting in the Macintosh Environment 87Typing on the keyboard produces nothing on the screen. One of the following is probably the cause: m Your system has a software problem. Restart your Macintosh. For instructions, see “Start Over” in the section “When You Run Into Trouble” earlier in this chapter. Check the startup disk and application program you were using when the problem occurred. Make sure that all programs, desk accessories, and system extensions you’re using are compatible with the system software. If the problem recurs, you may need to reinstall system software. See “Installing or Reinstalling System Software” later in this chapter for instructions. m You haven’t selected any text or set the insertion point (i). Make sure the program you want to type in is the active program. Then place the pointer (8) in the active window and click to set an insertion point (i) or drag to select text (if you want to replace the text with your typing). m The keyboard is not connected properly. Turn off the computer using the standby power button, then check that the keyboard cable is connected properly at both ends. If you have a keyboard with an ADB port (marked with the × icon) on each end, turn off the Macintosh using the standby power button and plug the keyboard cable into the other ADB port on the keyboard. (You may have to unplug the mouse to do this.) Then restart the computer. m The keyboard is damaged. If you have access to another keyboard, try using it instead. (Turn the computer off before connecting it.) If the new keyboard works, there is probably something wrong with the one you replaced. If none of these procedures solves the problem, consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. 88 Chapter 7You can’t start an application program or it quits unexpectedly. Or, when you try to open a program, you see a message that not enough memory is available. One of the following is probably the cause: m The Macintosh ran out of memory. Quit the programs that you have open and then open the program you want to use, or restart your Macintosh. Use the Memory control panel to turn on virtual memory. For more information on virtual memory, see the “Memory” topic of Macintosh Guide, available in the Guide (h) menu. m The program needs more memory. Use the program’s Info window to give it more memory. For more information on increasing a program’s memory, see the “Memory” topic of Macintosh Guide, available in the Guide (h) menu. m The program requires special hardware, such as a floating-point unit (FPU), and your computer doesn’t have the hardware installed. Check the documentation that came with the program to find out if the program requires a Macintosh with special hardware, such as an FPU. Then check the Technical Information booklet that came with your Macintosh to find out if your computer is equipped with such special hardware, or if the hardware can be installed. Consult your Apple-authorized service provider for information on installing special hardware in your computer. Troubleshooting in the Macintosh Environment 89You see a message that an application program can’t be found. The following dialog box appears if you try to open a document that was created with software that is not on your hard disk. Normally, you see this message if you try to open a document that came from another Macintosh with software that is different from yours. m The Macintosh Easy Open control panel is not installed. This is a control panel that you can use to open documents when you don’t have the program that created them. Reinstall the control panel from the system software disks or CD-ROM disc containing system software that came with your computer. (See the section “Installing or Reinstalling Mac OS System Software” later in this chapter for instructions.) See Appendix D for instructions on using Macintosh Easy Open. m Some documents can be opened by more than one application program. Try starting a program that you think might be able to open the document, and then choose Open from the program’s File menu to try to open the document. m Purchase and install the correct software to use the document, or find out if the creator of the document can convert it to a form that one of your programs can use. m Don’t try to open the files in the System Folder. Most of the files in the System Folder are used by your computer for internal purposes and are not intended to be opened. m Rebuild the desktop by holding down the Option and x keys while starting up your computer. Keep holding down the keys until you see a message asking whether you want to rebuild the desktop. Click OK. 90 Chapter 7m If the document is from a DOS computer and you want to open it in the Macintosh environment, use the PC Exchange control panel to specify which Macintosh program will open the document. For information about working with DOS documents in the Mac OS, see the “Using DOS Files & Disks” topic of Macintosh Guide, available in the Guide (h) menu. You experience problems using a DOS document. If you can’t open a DOS document using a Macintosh program, try the following: m Open the document from within the program by choosing Open in the program’s File menu. m Use the PC Exchange control panel to change the document’s type to one that can be opened by the program. If a DOS document is displayed incorrectly, or you see strange codes or characters in the document, try one of the following: m Your application program may have special procedures for opening and saving documents with different file formats. See the information that came with your program. m Try opening the document in another program. Note: Some characters that can be displayed on the Macintosh are not accurately displayed on DOS computers. For more information about working with DOS documents in the Mac OS, see the “Using DOS Files & Disks” topic of Macintosh Guide, available in the Guide (h) menu. Troubleshooting in the Macintosh Environment 91The Mac OS is running out of memory even though I’m not running any PC programs. When sharing memory with the PC environment, the Macintosh allocates a portion of its memory to the PC. Because of this, the Mac OS may not be able to load all your system extensions, including the PC Setup control panel. If this problem occurs, try the following: m Add memory to the DOS-compatibility card, as described in Appendix B. m Decrease the shared memory setting. m Remove PowerTalk and QuickDraw GX from the Extensions folder inside the System Folder. m Remove any other system extensions you don’t need. m Change the name of the PC Setup control panel to !PC Setup so that it loads first. Shared memory assigned to the PC isn’t available to the Mac OS until you turn off the PC. If the previous suggestions don’t solve your problem, click the Off button at the top of the PC Setup control panel and restart the Macintosh. 92 Chapter 7Initializing a hard disk Before you can use a new disk, the disk must be prepared so that the computer knows where to store information on the disk. This preparation is called initializing (or formatting) the disk. When do you need to initialize a hard disk? The hard disk inside your computer was initialized at the factory, so you shouldn’t need to initialize it. You need to initialize a hard disk only if m you purchase a hard disk that has not been initialized at the factory m your hard disk is damaged If a hard disk needs to be initialized, the disk’s icon does not appear on the desktop when you start up the computer using another disk. Starting up from a CD-ROM disc To initialize, test, or repair a hard disk, or to install system software on a hard disk, you need to start up your computer from another disk. If your computer has a CD-ROM drive, you can start up your computer using the CD-ROM disc containing system software that came with the computer. To start up the computer using the CD-ROM disc, follow these steps: 1 Turn your computer on. 2 Press the Open/Close button on your CD-ROM drive, and quickly insert the CD-ROM disc containing system software into the drive. 3 Immediately press and hold down the C key on your keyboard. Continue to hold down the key until you see the “Welcome to Macintosh” message. WARNING Initializing a disk erases any information that may be on it. Before you initialize a damaged disk, try to repair it as described in “Repairing a Damaged Disk” later in this chapter. Troubleshooting in the Macintosh Environment 93If a blinking question mark appears, or if the computer starts up from your hard disk: You did not insert the CD-ROM disc quickly enough for the computer to recognize it as a startup disk. Follow these steps: 1 Shut down your computer. The CD-ROM disc will remain in the CD-ROM drive. 2 Turn the computer on. 3 Immediately press and hold down the C key on the keyboard. Continue to hold down the key until you see the “Welcome to Macintosh” message. Starting up from a floppy disk To initialize, test, or repair a hard disk, or to install system software on a hard disk, you need to start up your computer from another disk. If you don’t have a built-in CD-ROM drive, you can start up the computer using either the Disk Tools or Install Disk 1 floppy disk that came with your computer. To start up your computer using a floppy disk, follow these steps: 1 Shut down your computer. 2 Insert the floppy disk into the disk drive. If you want to initialize, test, or repair your hard disk, use the Disk Tools disk to start up your computer. If you want to install Mac OS system software, use the Install Disk 1 disk. 3 Turn the computer on. 94 Chapter 7Reinitializing your computer’s internal hard disk You initialize the internal hard disk using a program called Internal HD Format, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer came with a CD-ROM drive and you didn’t receive floppy disks, you can find Internal HD Format on the CD-ROM disc that contains system software. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” earlier in this section. 2 Double-click the Internal HD Format icon to open it. You may need to look in a folder called Utilities to find Internal HD Format. 3 Type a name for your disk in the name box. 4 If you want to make sure that none of the hard disk’s original information is recognizable after reinitialization, choose Zero Data in the Options menu. If you choose Zero Data, initialization may take a few minutes. (If you don’t choose Zero Data, initialization will take less than 30 seconds.) 5 Click Initialize. A message informs you that initializing the disk erases all information on it. 6 Click OK. During initialization, a status bar shows you the progress of the initialization. 7 When the initialization is complete, click Done. If a message reports that initialization failed, try again. If initialization fails a second time, take the disk to your Apple-authorized service provider for repair. Troubleshooting in the Macintosh Environment 95Initializing an external SCSI hard disk You initialize an Apple external SCSI hard disk using a program called Apple HD SC Setup, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer came with a CD-ROM drive and you didn’t receive floppy disks, you can find Apple HD SC Setup on the CD-ROM disc that contains system software. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” earlier in this section. 2 Open the Apple HD SC Setup icon. You may need to look in a folder called Utilities to find Apple HD SC Setup. 3 Click Drive until the disk you want to initialize appears. You cannot initialize the disk that you used to start up your computer or the disk that contains the Apple HD SC Setup program. 4 Click Initialize. 96 Chapter 7 SCSI ID number of the currently selected hard disk Name of the currently selected hard disk5 Click Init to initialize the hard disk. 6 If a message appears asking you to name the disk, type a name and then click OK. 7 Click Quit when you see a message reporting that initialization was successful. If a message reports that initialization failed, try again. If initialization fails a second time, take the disk to your Apple-authorized service provider for repair. Repairing a damaged disk Disks can become damaged by repeated use and handling. When do you need to repair a disk? If you see a message reporting that a disk is damaged or unreadable, you may need to repair the disk. Try these suggestions first If you can’t start up from a hard disk or you don’t see the hard disk icon on the desktop, try the following: m If the hard disk is internal, shut down your Macintosh, wait at least 10 seconds, and then turn it on again. m If the hard disk is external, make sure that it is turned on and that its cable is connected firmly; then restart the Macintosh. m If the hard disk is your startup disk, start up with a different startup disk. If the hard disk’s icon appears on your desktop, reinstall system software on the hard disk (see “Installing or Reinstalling System Software” later in this chapter). Troubleshooting in the Macintosh Environment 97 Click here to initialize the disk. m Check the ID numbers of all SCSI equipment connected to your computer. Each device must have a unique ID number (the computer itself has the ID number 7). Also check that the chain of devices is terminated properly. For information on setting SCSI ID numbers and terminating a SCSI chain, see the manuals that came with your SCSI equipment. m Test the disk following the instructions that come next. Checking for damage on your internal hard disk You can check for damage on your internal hard disk with the Internal HD Format program, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer has a built-in CD-ROM drive and you didn’t receive floppy disks, you can find the Internal HD Format program on the CD-ROM disc that contains system software. You can use Internal HD Format at any time to check for damaged blocks (segments of the hard disk that cannot reliably be used to store information). 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Open the Internal HD Format icon. You may need to look in a folder called Utilities to find Internal HD Format. 3 Choose Scan All Blocks in the Functions menu. If the program finds damaged blocks, it marks them so the computer will not store information in them. This process does not harm any information on the hard disk. 98 Chapter 7Testing an external SCSI hard disk You can test an external Apple SCSI hard disk with the Apple HD SC Setup program, which is on the floppy disk labeled Disk Tools that came with your computer. If your computer has a built-in CD-ROM drive, and you didn’t receive floppy disks, you can find the Apple HD SC Setup program on the CD-ROM disc that contains system software. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Open the Apple HD SC Setup icon. You may need to look in a folder called Utilities to find Apple HD SC Setup. 3 Click Drive until the disk you want appears. 4 Click Test. 5 When a message tells you that testing is complete, click Quit. Troubleshooting in the Macintosh Environment 99 SCSI ID number of the currently selected hard disk Name of the currently selected hard diskIf the test reveals a problem, you may be able to correct it by using Disk First Aid or another disk repair program (see the instructions in the next section), or you may need to reinitialize the disk (see “Initializing a Hard Disk” earlier in this chapter). Consult an Apple-authorized service provider for assistance, if necessary. How to repair a hard disk or floppy disk You can repair some types of disk damage by using the Disk First Aid program, which is included either on the Disk Tools floppy disk or on the CD-ROM disc containing system software that came with your computer. 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Open the Disk First Aid icon. You may need to look in a folder called Utilities to find Disk First Aid. 3 Click the icon of the disk you want to test. Disk icons appear in a box at the top of the Disk First Aid window. 100 Chapter 74 Click Repair to begin testing and repairing the disk. You can’t repair the startup disk or the disk that contains the Disk First Aid program, but you can test these disks by clicking Verify. If the program reveals a problem with either of these disks, start up the computer from another disk so that you can repair the damaged disk. If you want to test and repair another disk, click its icon and then click Repair. 5 When testing and repair are finished, choose Quit from the File menu. If Disk First Aid cannot correct the problem m Try repairing the disk again. Sometimes repeating the process corrects the problem. m Use another disk repair or recovery program. Some disk repair programs let you recover information from a damaged disk. m Consult a computer repair specialist for help. m Once you have recovered all the information you can, erase (reinitialize) the disk. If initialization doesn’t work, discard the damaged disk (if it’s a floppy disk), or take it to your Apple-authorized service provider for repair (if it’s a hard disk). Troubleshooting in the Macintosh Environment 101Installing or reinstalling Mac OS system software System software is the set of programs and other files that the Mac OS uses to start itself up, keep track of your files, and run the application programs you use. System software is kept in the folder called the System Folder. When you turn on your computer, it looks for a startup disk, which is a disk that contains the system software. The startup disk is usually the hard disk that’s inside your computer, although another hard disk or a floppy disk can also be a startup disk. The accessory kit that came with your Macintosh provides system software on either a set of floppy disks or a CD-ROM disc. You can use the floppy disks or the CD-ROM disc to install the system software on your Macintosh if you need to do so. When should you install system software? Your Macintosh came with all the necessary system software installed on its internal hard disk, so you don’t need to install system software on that disk unless you encounter software problems. If you have a new hard disk or a newly initialized hard disk that doesn’t contain system software, or if you want to upgrade to a more recent version of system software on a hard disk, follow the instructions in “Installing System Software” later in this chapter. If you want to install DOS on a drive container or another volume that you’re using as a PC drive, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. When should you reinstall system software? If you have a problem with your system software, you may see this icon in the middle of the screen: If this icon appears, follow the instructions in “Repairing a Damaged Disk” earlier in this chapter to test your startup hard disk and repair any damage. 102 Chapter 7If repairing the disk doesn’t help, follow the instructions in the next section, “Installing System Software,” to reinstall system software on your startup hard disk. Installing system software Follow the steps in this section to do what is commonly called a “normal” installation of system software. If you’re installing system software on a hard disk for the first time, make sure that your hard disk has been initialized, a process that prepares the disk to store information. If you see the hard disk’s icon on the desktop when you start up the computer, the disk has been initialized. If no disk icon appears when you start up, see “Initializing a Hard Disk” earlier in this chapter for instructions. To do a normal installation, follow these steps: 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Find and open the Disk First Aid icon. You may need to look in a folder called Utilities to find Disk First Aid. After Disk First Aid starts, follow the instructions on the screen. Disk First Aid checks your hard disk for any problems. 3 When Disk First Aid has finished checking your hard disk, choose Quit from the File menu. 4 Shut down your computer. Troubleshooting in the Macintosh Environment 1035 Start up your computer from the Install Disk 1 disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. The Installer’s Welcome screen appears. You may have to double-click the System Software Installer icon to open the Installer program. 6 Click OK. The Easy Install dialog box appears. 7 Make sure that the hard disk named in the box is the one on which you want to install system software. If it isn’t, click Switch Disk until the correct disk name appears. 8 Click Install. 9 Follow the instructions that appear on the screen. If you’re installing system software from floppy disks, you see messages asking you to insert different disks. 104 Chapter 7 Parts of system software to be installed Disk on which system software will be installed Click here to install the software you need. Click here to install on a different disk.10 When you see a message reporting that the installation was successful, click Restart. If a message reports that installation was not successful, try installing again. (Follow the instructions on the screen.) If, after reinstalling system software by doing a normal installation, you still experience problems with your computer, follow the steps in the next section for doing a “clean” installation of system software. IMPORTANT Certain system extensions or application programs that were originally on your hard disk may not be installed with the Installer program. If you notice that a certain extension or program was not installed, you may need to install it separately. You can find these additional extensions and programs on the CD-ROM disc that contains system software. If you don’t have a CD-ROM drive, see the service and support information that came with your computer for information on how to contact Apple directly for assistance. Doing a clean installation of system software The steps in this section outline what is commonly called a “clean” installation of system software. Do a clean installation if you can’t determine what is damaged in your System Folder (especially if you think any special software, such as control panels, system extensions, or custom utilities, may be causing the problems you’re experiencing). You should also do a clean installation if you’re still having problems with your computer after you’ve reinstalled system software by doing a normal installation. Troubleshooting in the Macintosh Environment 105Testing your hard disk To prepare your hard disk for a clean installation, follow these steps: 1 Start up your computer from the Disk Tools disk or the CD-ROM disc that contains system software. See “Starting Up From a CD-ROM Disc” or “Starting Up From a Floppy Disk” in the section “Initializing a Hard Disk” earlier in this chapter. 2 Find and open the Disk First Aid icon. You may need to look in a folder called Utilities to find Disk First Aid. After Disk First Aid starts, follow the instructions on the screen. Disk First Aid checks your hard disk for any problems. 3 When Disk First Aid has finished checking your hard disk, choose Quit from the File menu. Preparing an external SCSI hard disk for reinstallation of system software If you’re reinstalling system software on an Apple external SCSI hard disk, follow these additional steps. If you’re reinstalling system software on your internal hard disk, skip to the next section, “Installing New System Software.” 1 Find and open the Apple HD SC Setup icon. You may need to look in a folder called Utilities to find Apple HD SC Setup. 2 Click Drive until the disk on which you want to reinstall system software appears. 3 Click Update and follow the instructions on the screen. 106 Chapter 74 When you see a message that the update (preparation for reinstalling system software) was successful, click Quit. The external SCSI hard disk is now prepared for reinstalling system software, and you can proceed with the installation. Installing new system software 1 Insert the Install Disk 1 disk into the floppy disk drive, or insert the CD-ROM disc that contains system software into the CD-ROM drive. The Installer’s Welcome screen appears. You may have to double-click the System Software Installer icon to open the Installer program. 2 Click Continue. The Easy Install dialog box appears. 3 Make sure that the hard disk named in the Destination Disk box is the one on which you want to install system software. If it isn’t, click Switch Disk until the correct disk name appears. Troubleshooting in the Macintosh Environment 107 Parts of system software to be installed Disk on which system software will be installed Click here to install the software you need. Click here to install on a different disk.4 Hold down Shift–x–K to start the clean installation. The following dialog box appears. 5 Click the Install New System Folder button and click OK. The Easy Install dialog box appears. The Install button has changed to Clean Install, and the contents of your old System Folder have been moved to a new folder named Previous System Folder. 6 Click Clean Install. 7 Follow the instructions that appear on the screen. It takes a few minutes to complete the installation. 8 When you see a message reporting that the installation was successful, you may need to click Restart. You need to click Restart only if you installed software onto the startup disk. If a message reports that installation was not successful, try repeating the clean installation procedure. 108 Chapter 7 Click here to install the software you need.Replacing special software 1 Copy any special software items from the Previous System Folder back to your System Folder one item at a time, restarting the computer after copying each item. Special software consists of items such as control panels, system extensions, or custom utilities that you may have added to your System Folder. IMPORTANT Be very careful not to replace (copy over) any of the files in the System Folder with files from the Previous System Folder. 2 Check after each restart to make sure your computer is not having any software problems. If any of your special software items causes software problems, contact the software manufacturer for assistance or an upgrade. Doing a custom installation For most Macintosh users, the Easy Install procedure described in the previous sections is appropriate, because it automatically installs all the items you need. However, if you’d like to select a combination of system software files for your specific needs, you can customize your system software installation. You use custom installation to install or update one or more specific files, or to save space on your hard disk by installing only the files you want. To install customized system software, follow these steps: 1 Insert the Install Disk 1 disk into the floppy disk drive, or insert the CD-ROM disc that contains system software into the CD-ROM drive. The Installer’s Welcome screen appears. You may have to double-click the System Software Installer icon to open the Installer program. Troubleshooting in the Macintosh Environment 1092 Click OK. The Easy Install dialog box appears. 3 Choose Custom Install from the pop-up menu. The Custom Install dialog box appears, listing all available system software components. 4 Scroll through the list of components, clicking the checkbox next to each component you want to install. 110 Chapter 7To get additional information about a component, click the box with the letter i in it to the right of the component. 5 Click Install. 6 Follow the instructions that appear on the screen. 7 When you see a message reporting that the installation was successful, click Quit. If a message reports that installation was not successful, try installing again. (Follow the instructions on the screen.) 8 Restart your Macintosh. The system software is installed and your computer is ready to use. Troubleshooting in the Macintosh Environment 111When you have questions Read this chapter when you have questions about using the PC environment on your Macintosh. If you have questions about using DOS or DOS application programs, see your DOS manual or the manuals that came with your programs. WARNING If you have a problem with your DOS-compatibility hardware or software and nothing presented in this manual solves it, consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. If you attempt to repair the DOS-compatibility hardware yourself, any damage you may cause to the DOS-compatibility hardware will not be covered by the limited warranty on your DOScompatible Macintosh. Contact an Apple-authorized dealer or service provider for additional information about this or any other warranty question. 113 8 Troubleshooting in the PC Environment Consult this chapter if you have problems using the PC environment on your Macintosh.When I try to switch to DOS, my screen is blank or has no synchronization. If the monitor has never worked in DOS, it is most likely not able to synchronize properly to the DOS video signal. Refer to the information in the Technical Information booklet on monitor specifications and video modes, and check with your monitor vendor to see if your monitor conforms to these specifications. If your monitor was working previously, verify that its type is selected in the Display pop-up menu of the PC Setup control panel. If its type doesn’t show, use the Display pop-up menu to select the correct type. Restart the computer and, immediately after the chime sounds, hold down the x-Option-P-R keys. When you hear another chime, release the keys. Then open the PC Setup control panel again. You’ll get a message that PC Setup is not properly installed. This is normal. Verify the settings, and restart the computer again. The Macintosh “hangs” or freezes during startup. If the Mac OS is sharing 16 MB or more of memory with the PC environment, and Disklight of Norton Utilities 3.1.1 is installed, the computer will freeze during startup. This does not occur with 8 MB or less shared memory. Restart the Macintosh using one of the techniques described in “Start Over” in the section “When You Run Into Trouble” in Chapter 7. Open the PC Setup control panel and change the shared memory setting to 8 MB or less. The DOS-compatibility software doesn’t seem to be installed. Open the Control Panels folder and look for the PC Setup control panel. If you find it, the DOS-compatibility software is installed. If not, or if you find it but it doesn’t work, there may be a problem with the software. Reinstall the software according to the instructions in “Reinstalling the DOS-compatibility Software,” later in this chapter. If you do find the PC Setup control panel, open it. If drive C is mapped to a drive container, a drive container has been created. If drive C is not mapped to a drive container, follow the instructions in “Creating a Drive Container” in the section “Reinstalling the DOS-Compatibility Software” later in this chapter. 114 Chapter 8When I switch to the PC environment, I see this message: “Non-system disk or disk error. Replace and strike any key when ready.” The DOS-compatibility hardware can’t find DOS. Switch to the Mac OS by pressing x-Return, open the PC Setup control panel, and make sure drive C is mapped to a drive container. If not, follow the instructions under “Configuring Drives C and D” in Chapter 6. If drive C is mapped to a drive container, it may not be the drive container that holds DOS. If other drive containers have been created, double-click each one in the Mac OS and look for DOS folders and files. If you locate a container with DOS in it, map it to drive C. If no drive container exists, the PC software may not be installed. First, create a drive container by following the instructions under “Configuring Drives C and D” in Chapter 6. Then follow the instructions under “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” later in this chapter. I’m running applications in both environments and they seem sluggish. You may be sharing Macintosh RAM with the PC. Performance may improve if you give the PC environment its own memory by installing a SIMM (memory module) on the DOS-compatibility card in your computer. For instructions, see Appendix B. Additionally, significant drive access in one environment (including file sharing) can cause a slowdown in the other. There is a delay when switching between environments. When switching would interfere with a Mac OS system task, there is a slight delay until the task is completed. There also may be a delay while clipboard information is transferred between the two environments. (If there’s a large amount of information on the clipboard, you may actually see the translator window.) If Shutdown Warning is turned on in the General Controls panel in the Mac OS, you cannot switch back to the Mac OS immediately after switching to the PC. Wait a few minutes and try switching again. To fix the problem, open the General Controls panel in the Mac OS and turn off the Shutdown Warning option. Troubleshooting in the PC Environment 115I switched to the PC environment and I can’t figure out how to switch back to the Mac OS. Press x-Return at any time to switch to the Mac OS. Inserting a PC-format disk in the Mac OS brings up an initialization message. Macintosh PC Exchange may not be installed. Look in the Control Panels folder for a control panel called Macintosh PC Exchange. If you don’t find it, reinstall Macintosh PC Exchange from the floppy disks or CD-ROM disc that contains system software. I’m in the PC environment and I can’t figure out how to eject a floppy disk. Press x-E. I’m in the PC environment and I can’t figure out how to eject a CD-ROM disc. Press x-Y. The PC drive file I initialized has only one partition. Macintosh PC Exchange configures drives to have a single partition. The DOS program FDISK can configure a drive with up to four partitions. See your DOS manual for more information. The PC won’t start up, and there’s a message saying there is not enough free memory. Your computer must have at least 8 MB of RAM installed. If you don’t have a SIMM installed for the exclusive use of the PC environment (see the Technical Information booklet), the PC requires at least 2 MB of free RAM if you are using DOS, and 4 MB if you are using Windows. Turn off the RAM disk, if you’re using one, in the Memory control panel. Additionally, set the disk cache size in the Memory control panel to 128K or less. 116 Chapter 8The PC Setup icon has a red slash through it at startup. If PC Setup doesn’t have enough memory to allocate to the PC at startup time, it will turn itself off. Check the Memory control panel for disk cache and RAM disk sizes; the disk cache should be set no higher than 128K, and the RAM disk should be off (or have a small amount of memory allocated to it). Restart the Macintosh if you change either of these settings. If these steps don’t correct the problem, throw away the PC Setup Prefs file in the Preferences folder within the System Folder and restart the Macintosh. Then use the PC Setup control panel to recreate your settings. When I switch to the Mac OS from the PC environment, the following message appears: “PC Clipboard requires additional system services in order to function. Please ensure that the DOS-compatibility card is successfully installed.” Macintosh Easy Open software is either not installed or has been turned off. Turn on the Macintosh Easy Open control panel, or reinstall it from the DOS Compatibility Installer (for the Mac OS) disk. If your computer has a built-in CD-ROM drive and you don’t have the floppy disk, use the DOS Compatibility Installer program on the CD-ROM disc that contains system software. I set the DOS-compatibility card to use 4 MB (or more) of RAM, but I get an error message from my PC application program saying that there’s not enough memory to run it. If you are sharing memory between the Macintosh and PC, the Mac OS may be using some of the RAM you requested for the PC. Turn off the RAM disk, if you’re using one, in the Memory control panel; then restart the Macintosh. A PC program displays a message that it needs 540K to run, but I have 4MB of memory allocated to the PC environment. The program is referring to conventional memory. Most of the balance of the 4 MB of memory you assigned to the PC is used by the EMM386 memory management software. Configure your application program to use more extended memory and less conventional memory. You may also need to disable some device drivers or other software in your CONFIG.SYS and AUTOEXEC.BAT files to free up more conventional RAM. See the section on managing memory in your DOS manual for more information. Troubleshooting in the PC Environment 117The Mac OS is running out of memory even though I’m not running any PC programs. When sharing memory with the PC environment, the Macintosh allocates a portion of its memory to the PC. Because of this, the Mac OS may not be able to load all your system extensions, including the PC Setup control panel. If this problem occurs, try the following: m Add memory to the DOS-compatibility card, as described in Appendix B. m Decrease the shared memory setting. m Remove PowerTalk and QuickDraw GX from the Extensions folder inside the System Folder. m Remove any other system extensions you don’t need. m Change the name of the PC Setup control panel to !PC Setup so that it loads first. Shared memory assigned to the PC isn’t available to the Mac OS until you turn off the PC. If the previous suggestions don’t solve your problem, click the Off button at the top of the PC Setup control panel and restart the Macintosh. My monitor flashes oddly when I switch environments. This is a natural effect when a single monitor is used by two different environments. Turn on the Fade Screens option in the PC Setup control panel. The PC environment is frozen, and pressing Control-Alt-Delete doesn’t reset the system. Press the x-Control-Alt-[keypad] period keys. The system will reset with a cold start. When I print a document in the PC environment, the top and bottom get clipped. In the Mac OS, open PC Print Spooler in the Extensions folder, choose Preferences from the File menu, and click “Gaps between pages (60-lines).” In the PC environment, configure your applications to print to a 60 line page, rather than a 66-line page, or your margins will be off and your pages will not print correctly. 118 Chapter 8When I start up certain software in the PC environment, my Apple monitor shows a jumbled image and the display rolls. Some application programs that write directly to the hardware (especially games) may cause the Apple 13", 14", and 16" monitors to lose video synchronization at program startup. Call the software company to see if the software has a switch to force it to make BIOS calls (or if an upgrade is available with this feature). DOS begins to start up but then the screen freezes. My cursor blinks, but I cannot type anything. Press x-Control-Alt-[keyboard] period to restart the PC. When you see the message “Starting MS-DOS,” press and hold the F5 key. This will bypass your CONFIG.SYS and AUTOEXEC.BAT files. Edit the CONFIG.SYS file so that the HIMEM.SYS driver looks like the following: DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF Restart the PC; it should now start up normally. Reinstalling the DOS-compatibility software Your Macintosh DOS-compatible computer comes with the DOS-compatibility hardware and software already installed. You should reinstall the software only if you are having severe software problems. Follow the instructions in this section. There are several steps to reinstalling your DOS-compatibility software: m install the Mac OS software m create a storage area (called a drive container) for DOS software m set aside RAM for the PC environment, if necessary m install the Microsoft MS-DOS operating system (and Microsoft Windows if you wish) m install the additional DOS software that came with your DOS-compatible computer m install your own PC software For information on setting up the software after you install it, including additional changes you may need to make to the DOS AUTOEXEC.BAT and CONFIG.SYS files, see Chapter 5. Troubleshooting in the PC Environment 119Reinstalling Mac OS software You’ll install several extensions and control panels in your System Folder. 1 Start up your Macintosh while holding down the Shift key. This starts the Macintosh with extensions turned off. 2 Insert the floppy disk named DOS Compatibility Installer Disk (for Mac OS Environment) into the floppy disk drive. If your computer has a built in CD-ROM drive, and you don’t have this floppy disk, insert the CD-ROM disc that contains system software. 3 Find the DOS Compatibility Installer icon and double-click it to open it. 4 Click Install in the dialog box that appears. The software is automatically installed onto your hard disk. 5 When the installation is complete, click Quit and restart your Macintosh. The following Mac OS software is now installed in your System Folder: Name Location Macintosh Easy Open Control Panels folder PC Exchange Control Panels folder PC Setup Control Panels folder PC Setup Guide Additions Extensions folder PC Clipboard Extensions folder PC Clipboard Translators Extensions folder PC Print Spooler Extensions folder PC Network Extension Extensions folder 120 Chapter 8Creating a drive container A drive container is a file on a Macintosh hard disk that acts as a hard drive for the PC. You create a drive container using the PC Setup control panel. 1 Open the PC Setup control panel. 2 Choose New Drive File from the C: pop-up menu. A dialog box appears. 3 Choose a location for the drive container. The drive container can be on any hard disk attached to the Macintosh. At least 40 MB of free space is recommended. Troubleshooting in the PC Environment 121It’s best to locate the container at the root level of your hard disk (not in any folders or sub-folders) so that you can locate it easily. 4 Type a name for the drive container. You can type up to 31 characters. Pick a descriptive name such as PC Drive or PC Container so that you can easily identify it. When you finish, press the Tab key to move to the Size field. 5 Type a size (in MB) for the drive container. At least 40 MB is recommended. The exact amount of space you need depends on what application programs you intend to install for DOS and Windows. Check the documentation that came with the programs to see how much space you’ll need, then allow some extra room for growth. (The software included with your DOS-compatible computer requires about 25 MB.) 6 Check Initialize Drive File to automatically initialize the drive container with a single partition. If you want more than one partition, you can leave the box unchecked and use the FDISK and FORMAT programs after you’ve installed DOS. (See your DOS manual for instructions and information about the FDISK and FORMAT commands and their options.) 7 Click Create. Assigning RAM to the PC The PC needs memory to operate. You can provide memory with a memory module (SIMM) installed on the DOS-compatibility card in your computer, or by assigning it RAM from your Macintosh. If a memory module is installed on the DOS-compatibility card, the RAM pop-up menu options will be dimmed (unavailable). The amount of memory available to the PC will depend of the amount of RAM on the installed SIMM. See the Technical Specifications booklet to find out whether your DOS-compatibility card includes a SIMM and what RAM capacity the SIMM has. If a SIMM is installed, skip to “Reinstalling PC Software,” next. 122 Chapter 8Memory installed on the DOS-compatibility card in your computer is for the exclusive use of the PC environment, and provides a marked increase in performance of PC applications. If no memory module is installed, you need to assign RAM to the PC. 1 Choose a memory size from the RAM pop-up menu in the PC Setup control panel. If you’re installing DOS only, choose a minimum of 2 MB. If you intend to install Windows, choose a minimum of 4 MB. Note: Windows performance will increase if you allocate more memory to the PC. However, RAM assigned to the PC is not available in the Mac OS until you turn off the card in the PC Setup control panel and restart the computer. 2 Restart the Macintosh. IMPORTANT If the RAM size is set to 2 MB, modify the CONFIG.SYS file in DOS as follows: DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF Reinstalling PC software You begin by installing the Microsoft MS-DOS operating system included with your computer. You can also install Microsoft Windows if you wish. 1 Open the PC Setup control panel and click Switch to PC. The Macintosh desktop disappears, and you see a message about a missing operating system or about a disk error. Ignore the message. 2 Insert the CD-ROM disc containing DOS and Windows software into the computer’s CD-ROM drive. If you are using floppy disks, insert the Microsoft MS-DOS Setup floppy disk and press Return. The DOS disks and manual are in the same shrink-wrapped package. 3 If you are using the CD-ROM disc, find and open Microsoft MS-DOS Setup. Troubleshooting in the PC Environment 1234 Follow the instructions that appear on the screen. If you are using floppy disks, press x-E to eject a disk when necessary. Note: The MS-DOS installation disks do not include a DOS mouse driver. A mouse driver for Windows is automatically installed, however, if you install Microsoft Windows. Mouse drivers for DOS are widely available from thirdparty sources. 5 When DOS installation is complete, you may want to install Windows. If you are using the CD-ROM disc, find and open the file called Windows Series Installation Instruction Diskette 1 of 6, type A:setup, and press Return. If you are using floppy disks, insert the disk labeled Windows Series Installation Instruction Diskette 1 of 6, type A:setup, and press Return. The Windows disks and manual are in the same shrink-wrapped package. You can skip this and the next step if you don’t want to install Windows. 6 Follow the instructions that appear on the screen. If you are using floppy disks, press x-E to eject a disk when necessary. The following PC software is now installed: DOS (directory) WINDOWS (directory) COMMAND.COM AUTOEXEC.BAT CONFIG.SYS 124 Chapter 8Installing additional PC software Your DOS-compatible computer comes with additional software utilities that you may want to install. The following table describes the function of each program. For more information on using these programs, see Chapter 5, “Operating in the PC Environment.” Program name Function DOSCLIP Lets you copy and paste between DOS and Mac OS. WINCLIP Lets you copy and paste between Windows and Mac OS. MACSHARE Lets you share Mac OS volumes and folders with the PC environment. CDROM Lets you access your Macintosh CD-ROM drive from the PC environment. MACODI Provides support for accessing networks in the PC environment. To install the additional software, follow these steps: 1 With the PC environment on the screen, insert the disk named DOS Compatibility Installer Disk (for PC Environment) into the disk drive. 2 Choose one of the options below to install software for either DOS alone or both DOS and Windows. m To install software for DOS alone, type A:INSTALL at the DOS prompt and press Return. m To install software for both DOS and Windows, start Windows, select the Run command from the File menu, type A:SETUP for the program name, and click OK. 3 Follow the instructions that appear on the screen. Troubleshooting in the PC Environment 125Replacing the CONFIG.SYS and AUTOEXEC.BAT files Your DOS-compatible PC software includes alternate versions of the CONFIG.SYS and AUTOEXEC.BAT files that let you select from a variety of DOS memory-management options. Each time you start DOS, you will see a menu that asks if you want to optimize memory for just DOS, for a DOS program that requires maximum conventional memory, for a DOS program that requires maximum expanded memory, or if you want to start Windows immediately. To install the alternate CONFIG.SYS and AUTOEXEC.BAT files, follow these instructions: 1 Switch to the PC environment. 2 At the DOS prompt, type the following: C: REN CONFIG.SYS CONFIG.BAK REN AUTOEXEC.BAT AUTOEXEC.BAK COPY ALT_CFGS\CONFIG.APL CONFIG.SYS COPY ALT_CFGS\AUTOEXEC.APL AUTOEXEC.BAT 3 To restart the PC with the alternate files installed, type Control-Alt-[keypad] period. If your keyboard has a Delete key, you can press Control-Alt-Delete instead. The PC restarts and the new menu appears. Modifying the CONFIG.SYS and AUTOEXEC.BAT files You may want to modify the CONFIG.SYS file by hand to meet specific needs. Use the DOS Edit command (or any other DOS or Windows editor) and make the changes listed below. IMPORTANT Make backup copies of your original files before you change them. That way you still have your originals in case problems develop. Be sure to save the file when you are finished. To prevent the ROM BIOS from becoming corrupted when the PC is configured for 2 MB of memory, be sure to add the underlined text to the indicated line: DEVICE=C:\DOS\HIMEM.SYS/ TESTMEM:OFF 126 Chapter 8If you do not intend to use software that requires expanded memory (EMS), make the following change: DEVICE=C:\DOS\EMM386.EXE NOEMS RAM=D000-EFFF If you intend to use software that does use expanded memory, or you’re unsure what you may need in the future, make the following change: DEVICE=C:\DOS\EMM386.EXE RAM=D000-EFFF FRAME=D000 Depending on how you have reconfigured the file, your CONFIG.SYS file should look something like this: DEVICE=C:\DOS\SETVER.EXE DEVICE=C:\DOS\HIMEM.SYS /TESTMEM:OFF DEVICE=C:\DOS\EMM386.EXE RAM=D000-EFFF FRAME=D000 DOS=HIGH,UMB FILES=30 LASTDRIVE=M Additionally, your AUTOEXEC.BAT file should contain the following: LH C:\DOS\SMARTDRV.EXE /X @ECHO OFF PROMPT $p$g PATH C:\WINDOWS;C:\DOS SET TEMP=C:\DOS (The reference to Windows in the PATH line applies only if you chose to install Windows.) See your DOS manual to learn how to edit and save your DOS files. IMPORTANT Some memory configuration utilities, such as MEMMAKER, may not be able to determine the exact nature of the hardware of the DOScompatible computer and, therefore, may not be compatible. Additionally, using third-party compression software such as DriveSpace on a drive container prevents you from accessing the container or the files within it from the Mac OS. For these reasons, Apple does not recommend using these programs with your DOS-compatible computer. Troubleshooting in the PC Environment 127Bypassing the CONFIG.SYS and AUTOEXEC.BAT files at startup To bypass the CONFIG.SYS and AUTOEXEC.BAT files during the startup process, press and hold the F5 key (x-5 on non-extended keyboards) after the memory testing is complete. Reinstalling Sound Blaster software To install Sound Blaster software, follow these steps: 1 Insert the Sound Blaster Software Installation disk in the floppy disk drive while the PC is in the foreground. 2 From DOS, type A:INSTALL and press Return. 3 Follow the instructions that appear on the screen. 4 Restart DOS to use the new software. To do so, press Control-Alt-[keypad] period. See the enclosed manual, Using PC Sounds with the DOS-Compatibility Card, for information about using the Sound Blaster utilities. Reinstalling video drivers If you intend to run Windows with 256 colors at a resolution of 640 by 480 pixels, or if you intend to use an Apple 16" or VGA display with 16 colors at a resolution of 800 by 600 pixels, follow these steps: 1 Insert the Display Drivers Disk 1 disk in the floppy disk drive while the PC is in the foreground. 2 From DOS, type A: and press Return to set the current drive to A. 3 Type SETUP and press Return to run the setup program. Follow the instructions on the screen to install the video drivers. Select Windows 3.1 as the application. Note: If you are using an Apple 16" monitor, DOS is displayed at a resolution of 640 by 480 pixels centered on your monitor and surrounded by a large black border. 128 Chapter 8For your own safety and that of your equipment, follow all the instructions in this chapter. Keep these instructions available for reference by you and others. Health-related information about computer use Muscle soreness, eye fatigue, and other discomforts and injuries sometimes associated with using computers can occur from performing any number of activities. In fact, misuse of the same muscles during multiple activities can create a problem that might not otherwise exist. For example, if you engage in nonwork activities that involve repetitive stress on the wrist—such as bicycling—and also use your computer’s keyboard improperly, you may increase your likelihood of developing wrist problems. Some individuals are at greater risk of developing these problems because of their health, physiology, lifestyle, and general exposure to stress. Work organization and conditions, such as workstation setup and lighting, also play a part in your overall health and comfort. Preventing health problems is a multifaceted task that requires careful attention to the way you use your body every hour of every day. The most common health effects associated with using a computer are musculoskeletal discomfort and eye fatigue. We’ll discuss each area of concern below. 129 Appendix A Health, Safety, and Maintenance Tips Read this appendix for important health and safety instructions, as well as tips on keeping your computer in good working order.Musculoskeletal discomfort As with any activity that involves sitting for long periods of time, using a computer can make your muscles sore and stiff. To minimize these effects, set up your work environment carefully, using the guidelines that follow, and take frequent breaks to rest tired muscles. To make working with your computer more comfortable, allow enough space in your work area so that you can change position frequently and maintain a relaxed posture. Another type of musculoskeletal concern is repetitive stress injuries (RSIs), also known as cumulative trauma disorders (CTDs). These problems can occur when a certain muscle or tendon is repeatedly overused and forced into an unnatural position. The exact causes of RSIs are not totally understood, but in addition to awkward posture, such factors as the amount of repetition, the force used in the activity, the individual’s physiology, workplace stress level, and lifestyle may affect the likelihood of experiencing an RSI. RSIs did not suddenly arise when computers were invented; tennis elbow and writer’s cramp, for example, are two RSIs that have been with us for a long time. Although less common than other RSIs, one serious RSI discussed more often today is a wrist problem called carpal tunnel syndrome, which may be aggravated by improper use of computer keyboards. This nerve disorder results from excessive pressure on the median nerve as it passes through the wrist to the hand. This section offers advice on setting up your work area to enhance your comfort while you use your computer. Since the effects of repetitive movements associated with using a computer can be compounded by those of other work and leisure activities to produce or aggravate physical problems, proper use of your computer system must be considered as just one element of a healthy lifestyle. No one, of course, can guarantee that you won’t have problems even when you follow the most expert advice on using computer equipment. You should always check with a qualified health specialist if muscle, joint, or eye problems occur. 130 Appendix AEye fatigue Eye fatigue can occur whenever the eyes are focused on a nearby object for a long time. This problem occurs because the eye muscles must work harder to view an object that’s closer than about 20 feet (6 meters). Improper lighting can hasten the development of eye fatigue. Although eye fatigue is annoying, there’s no evidence that it leads to permanent damage. Whenever you’re engaged in an activity that involves close-up work—such as reading a magazine, doing craft work, or using a computer—be sure to have sufficient glare-free lighting and give your eyes frequent rest breaks by looking up and focusing on distant objects. Remember to have your eyes examined regularly. To prevent discomfort and eye fatigue: m Arrange your workspace so that the furniture is properly adjusted for you and doesn’t contribute to an awkward working posture. m Take frequent short breaks to give your muscles and eyes a chance to rest. Arranging your office Here are some guidelines for adjusting the furniture in your office to accommodate your physical size and shape. m An adjustable chair that provides firm, comfortable support is best. Adjust the height of the chair so your thighs are horizontal and your feet flat on the floor. The back of the chair should support your lower back (lumbar region). Follow the manufacturer’s instructions for adjusting the backrest to fit your body properly. m When you use the computer keyboard, your shoulders should be relaxed. Your upper arm and forearm should form an approximate right angle, with your wrist and hand in roughly a straight line. Health, Safety, and Maintenance Tips 131You may have to raise your chair so your forearms and hands are at the proper angle to the keyboard. If this makes it impossible to rest your feet flat on the floor, you can use a footrest with adjustable height and tilt to make up for any gap between the floor and your feet. Or you may lower the desktop to eliminate the need for a footrest. Another option is to use a desk with a keyboard tray that’s lower than the regular work surface. m Position the mouse at the same height as your keyboard. Allow adequate space to use the mouse comfortably. m Arrange the monitor so the top of the screen is slightly below your eye level when you’re sitting at the keyboard. The best distance from your eyes to the screen is up to you, although most people seem to prefer 18 to 28 inches (45 to 70 cm). m Position the monitor to minimize glare and reflections on the screen from overhead lights and windows. You may want to use a tiltable monitor stand. The stand lets you set the monitor at the best angle for viewing, helping to reduce or eliminate glare from lighting sources you can’t move. Thighs horizontal Shoulders relaxed Screen positioned to avoid reflected glare Forearms and hands in a straight line Forearms level or tilted up slightly Lower back supported Feet flat on the floor Top of the screen at or slightly below eye level (You may need to adjust the height of your monitor by placing something under it or by raising your work surface.) Clearance under work surface 45–70 cm (18–28 in.) 132 Appendix AAvoiding fatigue m Change your seated position, stand up, or stretch whenever you start to feel tired. Frequent short breaks are helpful in reducing fatigue. m Use a light touch when typing or using a mouse and keep your hands and fingers relaxed. m Some computer users may develop discomfort in their hands, wrists, or arms after intensive work without breaks. If you begin to develop chronic pain or discomfort in your hands, wrists, or arms, consult a qualified health specialist. m Allow adequate work space so that you can use your keyboard and mouse comfortably. Place papers or other items so you can view them easily while using your computer. A document stand may make reading papers more comfortable. m Eye muscles must work harder to focus on nearby objects. Occasionally focus your eyes on a distant object, and blink often while you work. m Clean your screen regularly. Keeping the screen clean helps reduce unwanted reflections. What about electromagnetic emissions? There has been recent public discussion of the possible health effects of prolonged exposure to extremely low frequency (ELF) and very low frequency (VLF) electromagnetic fields. Such fields are associated with electromagnetic sources such as television sets, electrical wiring, and some household appliances—as well as computer monitors. Apple has reviewed scientific reports and sought the counsel of government regulatory agencies and respected health organizations. Based on the prevailing evidence and opinions, Apple believes that the electric and magnetic fields produced by computer monitors do not pose a health risk. In response to those customers who wish to reduce their exposure to electromagnetic fields, Apple has lowered the emission levels of our products. We are also actively encouraging further scientific research so we can continue to promote the health and safety of our customers and employees. Health, Safety, and Maintenance Tips 133Safety instructions For your own safety and that of your equipment, always take the following precautions. Turn off the computer completely and disconnect the power plug (by pulling the plug, not the cord) if any of the following conditions exists: m the power cord or plug becomes frayed or otherwise damaged m you spill something into the case m your Macintosh is exposed to rain or any other excess moisture m your Macintosh has been dropped or the case has been otherwise damaged m you suspect that your Macintosh needs service or repair m you want to clean the case (use only the recommended procedure described later in this chapter) Be sure that you always do the following: m Keep your Macintosh away from sources of liquids, such as wash basins, bathtubs, shower stalls, and so on. m Protect your Macintosh from dampness or wet weather, such as rain, snow, and so on. m Read all the installation instructions carefully before you plug your Macintosh into a wall socket. m Keep these instructions handy for reference by you and others. m Follow all instructions and warnings dealing with your system. 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. 134 Appendix AHandling your computer equipment Follow these guidelines for handling your computer and its components: m When setting up your computer, place components on a sturdy, flat surface, and carefully follow all setup instructions. m When connecting or disconnecting a cable, always hold the cable by its connector (the plug, not the cord). m Turn off your computer and all its components before connecting or disconnecting any cables to add or remove any component. Failure to do so could seriously damage your equipment. m 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. m Take care not to spill any food or liquid on the computer, keyboard, mouse, or other components. If you do, turn your computer off immediately and unplug it before cleaning up the spill. Depending on what you spilled and how much of it got into your equipment, you may have to bring your equipment to an Apple-authorized service provider. m Protect the computer and its components from direct sunlight and rain or other moisture. m Keep all ventilation openings clear and unobstructed. Without proper air circulation, components can overheat, causing damage or unreliable operation. WARNING This equipment is intended to be electrically grounded. Your Macintosh is equipped with a three-wire grounding plug—a plug that has a third (grounding) pin. This plug will fit only a grounded AC outlet. This is a safety feature. If you are unable to insert the plug into the outlet, contact a licensed electrician to replace the outlet with a properly grounded outlet. Do not defeat the purpose of the grounding plug! Health, Safety, and Maintenance Tips 135Handling the monitor Follow these procedures for handling a monitor: m Turn down the screen brightness control if you leave the computer turned on for extended periods. If the brightness is not turned down, the image on the screen could “burn in” and damage the screen. You can also use a “screen saver” program, which dims or varies the image on the screen when the computer has been idle for a specified period of time. These programs are available from independent suppliers and user groups. m Make sure that the ventilation openings on the computer and the monitor are clear and unobstructed. m Some large monitors cannot safely be placed on top of the computer. Check the instructions that came with the monitor for setup information. m If there is interference on the monitor’s screen or on a television or radio near your computer, move the affected equipment farther away. Handling the keyboard Take care not to spill any liquid on the keyboard. If you do, turn off your computer immediately. m If you spill liquid that is thin and clear, unplug the keyboard, turn it upside down to let the liquid drain out, and let it dry for 24 hours at room temperature. If, after you take these steps, the keyboard doesn’t work, take it to an Apple-authorized service provider for repair. m If you spill liquid that is greasy, sweet, or sticky, unplug the keyboard and take it to an Apple-authorized service provider for repair. 136 Appendix AHandling floppy disks Ejecting a disk For instructions on ejecting a floppy disk, a CD-ROM disc, or a removable media disk from the Mac OS, see the “Disks” topic of Macintosh Guide, available in the Guide (h) menu. For instructions on ejecting disks in the PC environment, see “Ejecting Disks in the PC Environment” in the section “Switching Between the Macintosh and PC Environments” in Chapter 5. 125° F (52° C) 50° F (10° C) Keep disks dry. Do not use a pencil or an eraser on a disk or disk label. Store disks at temperatures between 50° F and 125° F. Do not touch the exposed part of the disk behind the metal shutter. Keep disks away from magnets. Avoid exposing disks to extremely hot temperatures. Health, Safety, and Maintenance Tips 137If you can’t eject a floppy disk If you can’t eject a floppy disk in the usual way, try the following in order: m Hold down the x and Shift keys and press the number 1 key on your keyboard to eject a disk in the internal disk drive. m Turn off the computer. If the disk isn’t ejected, then hold down the button on your mouse or other pointing device while you turn the computer on again. m Locate the small hole near the disk drive’s opening, and carefully insert the end of a large straightened paper clip into it. Push gently until the disk is ejected. Do not use excessive force. If nothing works, take the computer or disk drive to your Apple-authorized service provider to have the disk removed. Power supply The power supply in your computer is a high-voltage component and should not be opened for any reason, even when the computer is off. If the power supply needs service, contact your Apple-authorized dealer or service provider. 138 Appendix ACleaning your equipment Follow these general rules when cleaning the outside of your computer and its components: m Use a damp, soft, lint-free cloth to clean the computer’s exterior. Avoid getting moisture in any openings. m Don’t use aerosol sprays, solvents, or abrasives. Cleaning the computer case To clean the case, do the following: 1 Turn off the computer completely and then disconnect the power plug. (Pull the plug, not the cord.) 2 Wipe the surfaces lightly with a clean, soft cloth dampened with water. Cleaning the monitor To clean the screen, put household glass cleaner on a soft cloth and wipe the screen. Don’t spray the cleaner directly on the screen, because the liquid might drip into the monitor or computer. Cleaning the mouse The mouse contains a small ball that must roll smoothly for the mouse to work properly. You can keep this ball free of dirt and grease by using the mouse on a clean, lint-free surface and cleaning it occasionally. You need a few cotton swabs and a clean, soft, lint-free cloth. 1 Turn off your computer. Health, Safety, and Maintenance Tips 1392 Turn the mouse upside down and turn the plastic ring on the bottom counterclockwise to disengage it. If you have an older mouse, you may need to press the plastic ring (rather than turn it) to disengage it. If the mouse is locked, see the next section, “Locking and Unlocking the Mouse,” for instructions on how to unlock it. 3 Turn the mouse right-side up with one hand and catch the ring and the ball with your other hand. 4 Clean the three small rollers inside the mouse with a cotton swab moistened with water. Rotate the rollers to clean all around them. 5 Wipe the mouse ball with a clean, soft, dry, and lint-free cloth. 6 If necessary, wash the mouse ball with warm soapy water (use a mild soap such as a dishwashing liquid) and then dry the mouse ball thoroughly. 7 Gently blow into the mouse case to remove any dust that has collected there. 140 Appendix A8 Put the ball and the ring back in place. Your mouse should roll smoothly across your mouse pad or desk. If it doesn’t, repeat these instructions carefully. Locking and unlocking the mouse If you have a newer mouse, you can lock it so the ball can’t be removed. A locking mouse has a small hole on the plastic ring. To lock the mouse, follow these steps: 1 Insert a straightened paper clip into the hole on the plastic ring. 2 Press down on the paper clip while you turn the ring clockwise. Turn the ring a very short distance, until it stops. When the recessed area on the ring is not lined up with the recessed area surrounding the ring, the mouse is locked. The mouse ring is locked when the recessed area on the ring does not line up with the recessed area surrounding the ring. Recessed area on ring Recessed area surrounding ring Insert a straightened paper clip into this hole. (The hole may be located here on your mouse.) Health, Safety, and Maintenance Tips 141To unlock the mouse, follow these steps: 1 Insert a straightened paper clip into the hole on the plastic ring. 2 Press down on the paper clip while you turn the ring counterclockwise. Turn the ring a very short distance. When the recessed area on the ring is lined up with the recessed area surrounding the ring, the mouse is unlocked. The mouse ring is unlocked when the recessed area on the ring lines up with the recessed area surrounding the ring. Recessed area on ring Recessed area surrounding ring Insert a straightened paper clip into this hole. (The hole may be located here on your mouse.) 142 Appendix AExpansion cards are printed circuit boards that can be installed in your computer to give it special capabilities, such as enhanced video capabilities, networking and communications, and additional processing power. You can install an expansion card by following the instructions that came with the card, or by following the instructions in this appendix. However, be sure to read this appendix for instructions that may be specific to your computer. If your computer comes with a Single Inline Memory Module (SIMM) installed on the DOS-compatibility card, you can remove it or replace it with a SIMM that has a higher memory capacity. 143 Appendix B Installing an Expansion Card or Memory for the PC Environment Read this appendix for instructions on installing an expansion card in your computer or memory for the PC environment. If your computer does not already have a SIMM installed on the DOS-compatibility card, you can add a SIMM that provides up to 32 MB (megabytes) of RAM for the exclusive use of your PC. The SIMM that your card uses is the same type of SIMM that your computer uses. Follow the instructions in this appendix to install a SIMM. Cards fit into slots on the computer’s logic board—the board that holds the components that make your computer work. There are three types of slots on your computer’s logic board, each labeled on the board: m a communication slot for an internal modem or an Ethernet card m a video-in slot for a card that brings signals into the computer from a videocassette recorder (VCR), laserdisc player, video camera, or similar equipment WARNING To avoid damage to your computer, Apple recommends that only an Apple-certified technician install additional RAM. Consult the service and support information that came with your Apple product for instructions on how to contact an Apple-authorized service provider or Apple for service. If you attempt to install additional RAM yourself, any damage you may cause to your equipment will not be covered by the limited warranty on your computer. See an Apple-authorized dealer or service provider for additional information about this or any other warranty question. 144 Appendix Bm an LC-compatible 68030 processor-direct slot (PDS). The DOS-compatibility card is already installed in this slot; you cannot add another card to it. Note: The process you use to install a TV tuner card is different from the one described in this appendix. See the documentation that came with that card for instructions. Installing an expansion card or SIMM involves three steps: m opening the computer m inserting the card or SIMM into a particular slot m closing the computer WARNING To avoid damaging your computer and expansion card, do not attempt to install any expansion card without first checking the documentation for that card. If the documentation specifies that an Apple-certified technician must install the card (usually because the installation requires special training or tools), consult the service and support information that came with your computer for instructions on how to contact an Apple-authorized service provider or Apple for assistance. If you attempt to install the card yourself, any damage you may cause to the computer or card will not be covered by the limited warranty on your computer. If the card is not an Apple-labeled product, check with an Apple-authorized dealer or service provider to see if you can install it yourself. Video-in slot Communication slot Vertical plate LC-compatible PDS slot (with DOS-compatibility card installed) Installing an Expansion Card or Memory for the PC Environment 145Opening the computer 1 Shut down your computer by choosing Shut Down from the Special menu. You can also press the Power key on the keyboard. 2 Unplug all the cables except the power cord from your computer. Leaving the power cord plugged in helps protect the computer from damage caused by electrostatic discharge. IMPORTANT To avoid generating static electricity that may damage components, do not walk around the room until you have completed the installation of the expansion card or SIMM and closed the computer. Additionally, move the logic board as little as possible while it is outside the computer case. 3 Place your thumbs on the two tabs at the top of the back panel, and press down. 4 Pulling gently, swing the panel down, and slip it out. Remove the back panel. 146 Appendix B5 If there are security screws on the vertical plate on the back of the computer, remove them with a Phillips screwdriver. 6 Unplug the power cord from your computer. 7 Swing the handle out from its storage position. Then grasp the handle and gently but firmly pull it toward you. The vertical plate and the logic board to which it’s attached slide all the way out of the computer. What you do next depends on the type of equipment you want to install. If there are security screws, remove both screws from the vertical plate. Installing an Expansion Card or Memory for the PC Environment 147Installing a communication card 1 If your communication card has ports for connecting equipment, remove the plastic access cover from the vertical plate. 2 Remove the communication card from its static-proof bag. Hold the card by its edges to avoid touching any connectors on the card. 3 Locate the slot on the logic board labeled COMMUNICATION SLOT. Communication slot Push the two plastic tabs apart and pull off the metal retainer so the access cover can come off. Vertical plate Metal retainer 148 Appendix B4 Align the card over the communication slot. 5 Press down on the card until the connector is solidly in place. Don’t force the card. If you meet resistance, pull the card out and try again. To see if the card is properly connected, lift it gently. If it resists and stays in place, it’s connected. Installing or replacing a SIMM for the PC environment Your computer may have come with a SIMM already installed on the DOS-compatibility card inside your computer. The SIMM provides memory for the exclusive use of the PC environment. (See the Technical Information booklet to find out whether your computer has such a SIMM installed.) To replace the SIMM with a SIMM of greater capacity, or to install a SIMM if you don’t already have one installed, follow the instructions in this section. Note: The SIMMs used by the DOS-compatibility card are the same 72-pin SIMMs used to expand memory in your Macintosh. They are interchangeable. Communication slot Vertical plate Communication port access hole Installing an Expansion Card or Memory for the PC Environment 149Removing a SIMM If your computer has a SIMM already installed on the DOS-compatibility card, follow these steps to remove it. 1 Push the metal clips at either end of the SIMM away from the SIMM. Use your fingernails. 2 Rotate the SIMM until it is at a slight angle. Rotate the SIMM away from its vertical position to disengage it from the SIMM slot. To release the SIMM, move the metal clip on each side away from the SIMM. SIMM slot Vertical plate 150 Appendix B3 Gently pull the SIMM from its slot. Hold the SIMM only by its edges. Don’t touch the connectors along the bottom edge. Handle the SIMM by the sides only, so that you don’t touch the connectors along the bottom edge. Pull the SIMM from the SIMM slot. (It comes out at a slight angle.) Installing an Expansion Card or Memory for the PC Environment 151Installing a SIMM 1 Remove the SIMM from its static-proof bag. Handle the SIMM by its edges. Avoid touching the connectors. 2 Insert the SIMM into the SIMM slot on the DOS-compatibility card assembly, as shown in the illustration. (Your SIMM may have components on one side or on both sides, as shown.) The SIMM fits into the slot only one way. Make sure the notch on the SIMM is on this side. Insert the SIMM into the SIMM slot. (Insert the SIMM at a slight angle.) Connectors SIMM slot Vertical plate 152 Appendix B3 Rotate the SIMM gently to the back until you feel it snap into place. The plastic pin on the SIMM slot should engage the hole in the SIMM. Be sure that the metal clips snap into place. Rotate the SIMM back until it snaps into place. Installing an Expansion Card or Memory for the PC Environment 153Closing the computer 1 Slip the base of the logic board into the guide rails inside the computer case and swing the handle back into its storage position. 2 Press the reset button on the logic board, and then slide the logic board back into the computer. 1 Press the reset button located on the main logic board (the bottom-most layer) with a ball-point pen or similar object. 2 Gently but firmly push the vertical plate back into the computer until the logic board is solidly in place. Make sure the logic board slides into the guides that are on both sides of the computer’s interior. Swing the handle up, into its storage position. 154 Appendix B3 If you removed security screws earlier, reinsert them now. 4 Slip the three hooks at the base of the back panel into the grooves in the computer case. 5 Swing the back panel up and snap it into place. Snap the plastic back panel into place. Slip the three hooks on the back panel into the grooves in the computer case. Insert security screws here. Installing an Expansion Card or Memory for the PC Environment 1556 Plug the cables back into the computer. 7 Reconnect the power cord. Your computer is now ready to turn on and use. WARNING Never turn on your computer unless all of its internal and external parts are in place. Operating the computer when it is open or missing parts can be dangerous, and can damage your computer. 156 Appendix B157 Your computer keyboard contains certain special keys that typewriter keyboards don’t have. Many of these keys allow you to give commands to the computer without using the mouse. For example, in many application programs, pressing the x (Command) key at the same time as the Q key is often an alternative method of quitting a program. The following table describes what you can do with the special keys on your keyboard. The number of special keys on your keyboard may vary from this list; it depends on the model of keyboard you have. For information on how keys on Apple keyboards correspond to the keys on a PC keyboard, see “Keyboard” in the section “Working in the PC Environment” in Chapter 5. Special keys on Apple keyboards Arrow keys Use to move the insertion point, as an alternative to using the pointer. In some programs, the arrow keys have other functions. Caps Lock key Use to capitalize a series of letters (numbers and symbols aren’t affected). Clear key Use to delete the current selection (or use the Delete key). In some programs, Clear has other functions. x (Command) key Use in combination with other keys as an alternative to choosing a menu command. continued . num lock clear caps lock Read this appendix to learn how to use the special keys on your keyboard. Appendix C Special Keys on Your KeyboardSpecial keys on Apple keyboards (continued) Control key In combination with other keys, this key provides shortcuts or modifies other actions. Delete key Use to delete selected material, or the character to the left of the insertion point. Enter key In a dialog box, pressing Enter is the same as clicking the outlined button. In some programs, pressing this key confirms information you have provided. Escape key The function of this key depends on the program you’re using. Function keys Some programs allow you to use the 12 function keys to give commands. You can assign commands or action sequences to function keys with special utility programs. Option key Use in combination with other keys to produce special characters or modify actions. Numeric keys Use to produce numbers and mathematical symbols; some programs use these keys as function keys to initiate actions. Power key On some models, press to turn on the computer. Also press to shut down the computer on certain models. Return key Use to move the insertion point to the beginning of the next line. In a dialog box, pressing Return is the same as clicking the outlined button. Shift key Use to produce capital letters (or the upper character on the key). Other special keys The function of these keys depends on the operating system and program you’re using. Tab key Use to move the insertion point to the next stopping place (such as a tab stop or field in a dialog box or program). tab help home end ins del page up page down shift return num lock clear = / * 7 4 0 8 5 2 9 6 3 enter 1 . option alt F1 esc enter delete control 158 Appendix CYou use Macintosh Easy Open software to open a document when you don’t have the application that created it. When you choose Open from an application’s File menu with Macintosh Easy Open installed, you may see more documents than you did before. You’ll also see additional information when you use a list view of the files in a folder (including DOS, Windows, and ProDOS documents). Choosing an application to open a document Without Macintosh Easy Open, you see this message when you try to open a document created by an application missing from your computer. 159 Appendix D Using Macintosh Easy Open Follow the instructions in this chapter if you have problems opening some documents.With Macintosh Easy Open installed, you see a list of programs that can open the document. m Double-click any application in the dialog box to open the document. If you don’t like the results you see when the document opens, quit the application and try again using a different choice from the list. If Macintosh Easy Open can’t find any application to open your document, you see this dialog box: Note: Macintosh Easy Open lists only the programs that will produce the best results. To see applications that may produce less than optimum results, deselect “Show only recommended choices.” 160 Appendix DUsing the Macintosh Easy Open control panel You use the Macintosh Easy Open control panel to set preferences when you’ve installed additional translators available from your software retailer. Such translators give you more choices for opening documents. On/Off If you turn off Macintosh Easy Open, it won’t try to find applications to open your documents. You’ll still see extra information in list views. Always Show Choices When you use additional translators purchased from your software retailer, you can set preferences that determine which application opens a document. If you turn on Always Show Choices, Macintosh Easy Open presents the full list of applications and translators to open your documents, even if you have indicated a preference. Include Choices from Servers Turn off this option if you want Macintosh Easy Open to search for programs only on hard disks directly connected to your Macintosh, ignoring programs on shared disks. (Using applications over the network is slower than using them on a hard disk.) Delete Preferences Click this button to erase the record of choices you’ve made for specific translator preferences (useful only if you’ve previously installed translators purchased from your software retailer). You may want to erase your preferences when you install new translation software in order to have Macintosh Easy Open prompt you for new choices. Using Macintosh Easy Open 161In this chapter The DOS-compatibility card inside your computer supports network drivers that conform to Novell's Open Data-Link Interface (ODI). This appendix contains instructions for installing such network management software. It covers m installing NetWare client software m installing Novell’s LAN Workplace for DOS TCP/IP software m installing NetManage’s Chameleon TCP/IP software m installing Windows for Workgroups m installing Spry’s Air Series TCP/IP software m installing Mosaic Installing NetWare client software The instructions below will guide you through installation of client software for Novell NetWare versions 3.12, 4.01, and 4.02. PersonalNetWare is not supported at this time. You must have Windows installed before installing the NetWare client software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. 163 Appendix E Installing Network Management SoftwareBefore you start, be sure you have the appropriate floppy disks for the version of NetWare you wish to install. In addition, you need to know the Ethernet frame type in use on your network segment. You must choose the appropriate frame type in Step 11 below. If you are not certain which one to select, ask your network administrator before you begin the installation. 1 Insert the Novell NetWare Client for DOS WSDOS_1 disk into the disk drive. 2 At the DOS prompt, type the following: A: INSTALL 3 The NetWare Client Install screen appears. Follow the instructions, pressing Return for each selection. 4 Define the directory for NetWare. The default is C:\NWCLIENT. Press Return once to confirm the entry and press it again to execute this step. 5 Edit the CONFIG.SYS file. Change your LASTDRIVE statement so that it reads LASTDRIVE=Z. 6 Add the following line to your AUTOEXEC.BAT file: CALL C:\NWCLIENT\STARTNET.BAT Press Y-Return. 7 Decide whether you wish to load the Windows support in the directory where you have loaded Windows. Press Y or N. If yes, press Return once to confirm the Windows subdirectory entry and again to execute this step. 8 Select the driver for the network board. Press Return. 9 A message asks you to insert another disk. Follow the instructions on the screen. 10 In the dialog box, select Power Macintosh 6100 Ethernet Adapter and press Return. 164 Appendix E11 In the dialog box for selecting a frame type, press Return. 12 Use the arrow keys to choose the appropriate frame type for the Novell server you will be using. 13 Press Return. Then press Esc to continue. 14 Press Return to copy the MACODI.COM driver to the NetWare subdirectory. 15 Following the instructions on the screen, insert the NetWare Client for DOS WSDOS_1 disk again. 16 If you wish to add files and a NetWare group to the Windows directory, insert the NetWare Client for MS Windows WSWIN_1 disk and follow the instructions on the screen. When installation is complete, a dialog box appears asking you to reboot (restart) the computer. 17 Eject the disk by pressing x-E. 18 Press Control-Alt-Delete. You now have additional network drives and mappings available. Your first network drive letter is Novell’s default of F, unless this drive is already in use on your machine, or if your network is set up to use a different starting drive. 19 To log into the network, type: F: LOGIN PASSWORD: Installing Network Management Software 165Conserving memory During NetWare client installation you add the line CALL C:\NWCLIENT\STARTNET.BAT to the beginning of the AUTOEXEC.BAT file. This command then loads four programs into DOS memory—LSL.COM, MACODI.COM, IPXODI.COM, and VLM.EXE (in this order). To conserve memory in the lower DOS region, you may wish to edit the STARTNET.BAT file (installed with your NetWare software) to load those four programs with the LOADHIGH (LH) command. See your DOS documentation for details on manually optimizing DOS memory. (Be aware that the Microsoft utility MEMMAKER does not work with the DOS-compatible Macintosh.) Mapping drive letters When you map a network resource as a drive letter, the Macintosh PC Setup control panel recognizes that those drive letters are unavailable for use as shared folders. However, when the network no longer uses the drive letter, PC Setup will still show them as unavailable for sharing folders until you restart the PC. In addition, if a drive letter is being shared before you start up the PC and Novell needs to use that drive letter, then the Novell network drive will take precedence over that shared drive letter. For further information, see your Novell installation and administration manuals, or contact your network adminstrator. 166 Appendix EInstalling Novell’s LAN Workplace for DOS TCP/IP software IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing the LAN Workplace for DOS software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. In addition, you need to know the following information before you start: m A legitimate, assigned IP address for the machine on which you’re installing the TCP/IP software (for example, 222.111.11.1). For connecting to the Internet, your service provider will tell you the correct address. For TCP/IP networking within your company, your network administrator can provide you with an address. If you have either a BOOTP or an RARP server to dynamically assign IP addresses, you don’t need to know the IP address before beginning the installation. Installing Network Management Software 167m If you are on a network with a subnet mask, you need the IP address for that mask, for example: 255.0.0.0 for client Class A IP addresses (those between 0.0.0.1 to 127.255.255.254] 255.255.0.0 for client Class B IP addresses (those between 128.0.0.1 and 191.255.255.254] 255.255.255.0 for client Class C IP addresses (those between 192.0.0.1 and 223.255.255.254] m If you will connect to a TCP/IP host through a router, you need to know the IP address for that router. m The name of your domain name server (for example, server.edu). m The IP address of your domain name server. Once you have this information, you can proceed with the installation by following Novell’s instructions and answering the on-screen prompts. 168 Appendix EInstalling NetManage’s Chameleon TCP/IP software IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing the Chameleon TCP/IP software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. In addition, you need to know the following information before you start: m A legitimate, assigned IP address for the machine on which you’re installing the TCP/IP software (for example, 222.111.11.1). For connecting to the Internet, your service provider will tell you the correct address. For TCP/IP networking within your company, your network administrator can provide you with an address. m The name of your domain name server (for example, server.edu). m The IP address of your domain name server (for example, 111.222.0.0). m The IP address of your Internet gateway, if any. Once you have this information, you can proceed. Installing Network Management Software 169To install Chameleon from Windows: 1 In the Program Manager, choose Run from the File menu. 2 Type A:\SETUP. Follow the on-screen instructions and prompts. Near the end of the installation, you will be asked to respond to a series of dialog boxes. Respond as follows: ADD INTERFACE Click OK. INTERNET ADDRESS Enter the address provided by your network administrator or service provider. SUBNET MASK Click OK. The software will supply the correct mask. HOST NAME Select a name for your client machine. DOMAIN NAME Enter the name for your domain name server. 3 Choose Domain Servers from the Services menu. 4 Enter the IP address of the domain name server. 5 Choose Gateway from the Services menu. 6 Enter the IP address of the Internet gateway, if any. 7 Save the settings by pressing Alt-F-S. If you will be using a dial-up TCP/IP connection, skip to the next section, “Restarting Windows.” If not, proceed with step 8. 8 Go to the C:\NWCLIENT directory 9 Copy NET.CFG to NET.OLD. (Save a copy of the existing NET.CFG file.) 170 Appendix E10 Modify the NET.CFG file. A sample modified file is shown below. Note the addition of the Protocol statements in the Link Driver section and the addition of the Protocol TCP/IP section. The frame types and IP addresses used in your environment may be different from this example. Link Driver MACODI Protocol IPX E0 ETHERNET_802.2 Frame ETHERNET_802.2 Frame Ethernet_II ; Frame Ethernet_802.3 ; Frame Ethernet_SNAP Protocol RARP 8035 ethernet_ii Protocol ARP 806 ethernet_ii Protocol IP 800 ethernet_ii PORT 300 INT 10 ; node address 12d43 NetWare DOS Requester FIRST NETWORK DRIVE = F Protocol TCPIP ip_router 17.131.1.0 ip_netmask 255.0.0.0 ip_address 17.131.0.14 PATH LANG_CFG C:\NET\LANG PATH SCRIPT C:\NET\SCRIPT PATH PROFILE C:\NET\PROFILE PATH LWP_CFG C:\NET\HSTACC PATH TCP_CFG C:\NET\TCP Link Support Buffers 4 1500 MemPool 4096 Installing Network Management Software 171Restarting Windows 1 Restart the PC. 2 Start Windows. You see the Chameleon group window. Testing the installation If you will be using a direct connection to a domain name server, you can test the installation by using the Ping application program. 1 Double-click the Custom icon in the Chameleon group to open it. 2 Double-click the Ping icon. 3 Click Start. 4 Enter the name for a domain name server. You should get a response back within a few seconds. Using a dial-up service If you will be using a dial-up service such as Portal, you may need to edit the configuration file to reflect any differences between the default setup and your setup. Click the Custom icon in Windows, open the appropriate .CFG file, and edit the file. You can test the installation by using Ping. For example, with Portal: 1 Connect using Alt-C. 2 Ping the name news.ip.portal.com. You should get a response back within a few seconds. 172 Appendix EInstalling Windows for Workgroups To support networking with your DOS-compatibility hardware, you need to install software that supports ODI (Open Data-Link Interface) drivers. Follow these steps: 1 Install Windows for Workgroups 3.1.1, electing to not install the networking software. 2 Follow the instructions in “Installing NetWare Client Software,” earlier in this appendix. 3 Follow the instructions in “Installing NetManage’s Chameleon TCP/IP Software,” earlier in this appendix. Installing Spry’s Air Series TCP/IP Software IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing Spry’s Air Series TCP/IP software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. Installing Network Management Software 173If your PC is using a VGA driver, and your Air Series software is version 3.0, you need to make the following change. (These instructions assume that you have Windows installed in the C:\WINDOWS directory. If Windows is elsewhere, type the actual Windows location.) 1 Make sure the Air Series Setup disk is not read-only. 2 Place the disk in drive A. 3 Type the following at the DOS prompt: A: COPY SETUP.BMP SETUP.OLD COPY C:\WINDOWS\RIVETS.BMP A:SETUP.BMP In addition, you will need to know the following information before you start: m Your Internet e-mail address. m A legitimate, assigned IP address for the machine on which you're installing the TCP/IP software (for example, 222.111.11.1). For connecting to the Internet, your service provider will tell you the correct address. For TCP/IP networking within your company, your network administrator can provide you with an address. m If you are on a network with a subnet mask, the IP address for that mask, for example: 255.0.0.0 for client Class A IP addresses (those between 0.0.0.1 to 127.255.255.254), 255.255.0.0 for client Class B IP addresses (those between 128.0.0.1 and 191.255.255.254), and 255.255.255.0 for client Class C IP addresses (those between 192.0.0.1 and 223.255.255.254). m If you will connect through a gateway, the IP address for that device. m The name of your domain name server (for example, server.edu). Once you have this information, you can proceed. 174 Appendix ETo install Air Series from Windows: 1 In the Program Manager, open the File menu and choose Run. 2 Type A:\SETUP. Follow the instructions you see on the screen. 3 When the installation asks you to select the Ethernet card manufacturer and type, choose anything. Note the name of the adapter you select (for example, 3Com is 3C5x9). The Apple driver is not on the list, so you will need to edit the AUTOEXEC.BAT file after completing the installation. 4 When the installation asks if you want to update the AUTOEXEC.BAT file, select YES. 5 Once the installation is complete, exit Windows. 6 Edit the AUTOEXEC.BAT file as follows. (You can use any convenient text editor, such as EDIT in the DOS directory.) m Comment out the line CALL C:\NWCLIENT\STARTNET.BAT m Change the line C:\AIR\BIN\ to C:\AIR\BIN\MACODI m If you are are on a NetWare local area network and using the Novell VLM redirector, add the line C:\NWCLIENT\VLM after the line C:\AIR\BIN\TCPIP m If you are using NETx, add the line C:\NWCLIENT\VLM before the line C:\AIR\BIN\TCPIP Installing Network Management Software 1757 Restart the PC. 8 Log into the network and start Windows. You should now see the Air Series group window. Testing the installation To test the installation: 1 Double-click the Air Telnet icon to open it. An Open Telnet Session dialog box appears. 2 Double-click the name of your domain name server. You see a VT100 window with a login prompt. 176 Appendix EInstalling Mosaic IMPORTANT You must not have MacTCP installed when you run DOS TCP/IP software; the two will conflict with one another. You can use the IPX and TCP protocols at the same time in either the PC environment or the Mac OS, or you can use one protocol in the PC environment and the other protocol in the Mac OS. However, you cannot use the same protocol in both environments at the same time. If you want to use the IPX protocol in the PC environment and you have previously installed MacIPX in the Mac OS, remove MacIPX from the Control Panels folder or select AppleTalk as your network interface in the MacIPX control panel. If you want to use the TCP protocol in the PC environment and you have previously installed MacTCP in the Mac OS, remove MacTCP from the Control Panels folder or select an interface other than Ethernet in the MacTCP control panel. You must have Windows installed before installing the Mosaic software. If you need to reinstall Windows, see “Reinstalling PC Software” in the section “Reinstalling the DOS-Compatibility Software” in Chapter 8. In addition, you must have already installed m A TCP/IP software package. m Win32s, which allows Windows to run 32-bit applications. Win32s is freeware and can be found on a number of on-line services. To install Mosaic: 1 In the Program Manager, choose Run from the File menu. 2 Type C:\WIN32\DISK1\SETUP. 3 Answer all the dialog boxes to complete the installation. 4 After Win32s is installed, a Group window labeled Win32 Applications appears. 5 Press Alt-F-New to create an icon for Mosaic. 6 In the New Program Object dialog box, select Program Item. Installing Network Management Software 1777 Fill in the Program Item Properties dialog box as follows: Description: Mosaic Command Line: C:\MOSAIC\MOSAIC.EXE Working Directory: C:\MOSAIC 8 Click OK. A Mosaic icon appears in the Win32 Applications Group window. 9 Copy the C:\MOSAIC\MOSAIC.INI directory to the C:\WINDOWS\ directory. You are now ready to use Mosaic. 178 Appendix EA active program, identifying 13, 37 ADB. See Apple Desktop Bus Alt key (PC), simulating 46 Apple Adjustable keyboard, equivalent Macintosh and PC keys 46–47 Apple-authorized service provider, contacting can’t eject a floppy disk 138 damaged disks 100, 101 DOS-compatibility hardware/software problems 113 installing additional RAM (SIMMs) or internal drives 34, 144, 145 installing system extensions or programs 105 liquid or other spills on computer equipment 135, 136 radio or television interference vii repair service 78, 83, 87 replacing the clock battery 81 servicing the CD-ROM drive viii servicing the power supply 138 Apple Desktop Bus (ADB), port on computer 6, 7, 30 on keyboard 6, 7, 88 Apple HD SC Setup program 96, 99, 106–107 Apple Keyboard II, equivalent Macintosh and PC keys 46–47 Apple LaserWriter II NT printer driver 56 Apple PlainTalk Microphone, connecting 31 AppleScript program 35 AppleShare Print Server, conflict with PC Print Spooler 57 AppleTalk 53, 56 Application menu 13, 37–38 application programs installing (Mac OS) 36, 105 Macintosh Easy Open and 159–161 MacShare (PC environment) 47–48, 67, 125 memory management and 89, 117 Mixer Control 69 performance issues using shared folders 68 PowerTalk 35, 92, 118 QuickDraw GX 35, 92, 118 Sound Blaster 69 switching (Mac OS) 37–38 troubleshooting 89–91, 115, 117–119 working with several at a time (Mac OS) 37–38 179 Indexarrow keys 157 arrow pointer. See pointer audio compact discs, playing 33 Audio In port on external speakers 32 AUTOEXEC.BAT file (DOS) bypassing at startup 119, 128 changing preset keystrokes for DOSCLIP 49–51 freeing up RAM 117 installing NetWare client software 164, 166 installing Spry Air Series TCP/IP software 175 loading files into high memory (UMB) 66 loading MacShare program 67 modification guidelines 126–127 replacing with an alternate version 126 using CD-ROM drive letter if no CD-ROM drive is connected 45 using expanded memory 117, 127 Auto-start PC checkbox, PC Setup control panel 42 B background printing (PC environment) 56 backing up files (Mac OS) 38 Balloon Help 26 basic Macintosh system, illustration 29 battery in computer’s clock, replacing 81 baud rate, for a COM port mapped to a serial port 63 BIOS. See ROM BIOS; System BIOS blinking question mark on screen 9, 81–82, 94, 102 “bomb” message on screen 77, 79 brightness control on monitor 10, 80, 136 C C: or D: pop-up menu, PC Setup control panel 70–71, 72–73, 75 cables keyboard 6, 7 monitor 5 mouse 6, 7 safe handling of 135 Caps Lock key 157 carpal tunnel syndrome 130 CD-ROM discs ejecting while in PC environment 41, 45, 116 playing an audio CD in Windows while running low-level media tools 45 starting the computer from 93–94 using DOS or Windows CD-ROM discs 45 CDROM DOS utility 125 CD-ROM drive illustration 29 installing 34 PC drive letter for 45 chair, adjusting for computer use 131, 132 cleaning computer equipment 139–141 clean installation of system software 105–109 Clear key 157 Clipboard, exchanging information between PC environment and Mac OS 48–53, 115 clock keeps time inaccurately 81 setting time and date 64 close box 13 closing the computer 154–156 color printing (PC environment) 56 COM1/COM2 serial ports 63 x-Control-Alt-[keypad] period keys, to restart the computer (PC environment) 44, 47, 118, 119 180 Indexx-Control-Power key, to restart the computer (Mac OS) 79 x-E, to eject a disk in PC environment 41, 44 x key 157 x-Option-Esc, to quit an application program (Mac OS) 79, 85, 87 x-Option, restarting the computer to rebuild the desktop 80, 84, 90 x-Return, to switch back to Mac OS 40, 41, 116 x-Y, to eject a CD-ROM disc in PC environment 41, 45 communication card access cover 30, 148 installing 143–149, 154–156 communication slot on logic board 144, 145, 148, 149 COM port, mapped to Macintosh serial port 55, 63 compression programs, PC Exchange and 71 computer equipment arranging and adjusting for optimal use 130, 131–132 cleaning 139–141 closing the computer 154–156 components of a basic Macintosh system 29 guidelines for handling 135–138 opening the computer 146–147 safety precautions 134, 156 CONFIG.SYS file (DOS) bypassing at startup 119, 128 changing if RAM size is set to 2MB 123, 126 freeing up RAM 117 increasing high memory (UMB) 66 installing NetWare client software 164 modification guidelines 126–127 replacing with an alternate version 126 sharing Mac OS folders and volumes as PC drives 47–48, 67 turning memory testing off 66 using CD-ROM drive letter if no CD-ROM drive is connected 45 using expanded memory 43, 117, 127 using memory-management utilities 43 configuring the PC environment 61–76. See also PC environment connecting additional equipment 29–33 Apple PlainTalk Microphone 31 external stereo speakers 32–33 game controller or joystick 33 keyboard and mouse 6–7 monitor 3–5 containers. See drive containers Control-Alt-[keypad] period, to restart DOS 118, 119, 126, 128 Control key 158 control panels Extensions Manager 85, 86 Macintosh Easy Open 90, 117, 161 MacIPX 53 MacTCP 54 Memory 65, 89, 116, 117 Mouse (Windows) 46 PC Exchange 70, 91, 116 PC Setup 40–42, 61–76, 92, 114–115, 118, 121–123 Sound 69 Control Panels folder 53, 54, 116 conventional memory 66, 117. See also memory cumulative trauma disorders (CTDs) 130 customer service. See Apple-authorized service provider; customer support hotline customer support hotline 15 custom installation of system software (Mac OS) 109–111 Custom Install dialog box 110 Index 181D damaged disks, repairing 82, 84, 97–101 dampness, protecting the computer from 134, 135 data transfer rate for COM port mapped to Macintosh serial port 55, 63 date and time, setting (PC environment) 64 DB-9/DB-25 connectors (PC environment), signals present on 59 Delete key 158 desk accessories, working with several at a time 37 desktop, rebuilding 80, 84 dialog boxes Custom Install 110 dialog box with a bomb appears on screen 86 Easy Install 104, 107, 108 Disk First Aid program 100–101, 103, 106 disks. See CD-ROM discs; floppy disks; hard disks Disk Tools disk (or CD-ROM disc containing system software) initializing hard disks 94–96 installing system software 103 starting up from, for problem diagnosis 82–84, 87 testing/repairing hard disks 98–100 Display Drivers Disk 1 disk 128 Display pop-up menu, PC Setup control panel 64 documents. See files DOS “Clipboard” (DOSCLIP) 48–53, 125 DOS commands that do not work on shared volumes 67 DOS-compatibility card. See also PC environment installing a SIMM 143–147, 149–156 LC-compatible PDS slot 145 network management software support 53–54, 163–178 SIMM installed for exclusive use of PC environment 65, 76, 116, 122, 149 system software doesn’t recognize 76 DOS Compatibility Installer Disk (for Mac OS Environment) 117, 120 DOS Compatibility Installer Disk (for PC Environment) 125 DOS-compatibility software. See also AUTOEXEC.BAT file; CONFIG.SYS file; PC environment; PC Setup control panel; Windows networking protocol support 53–54, 163–178 reinstalling 119–128 troubleshooting 114, 115 DOS disks using in Mac OS 85 using in PC environment 44 drive containers accessing PC files in 71 choosing a location for 121–122 choosing or changing size of 72–74, 121–122 creating 70–71, 74, 121–122 naming 122 partitioning 70–71, 116, 122 throwing away 75 transferring files from an old to a new container 74–75 troubleshooting 114–115 DriveSpace DOS utility, compatibility issues with 127 182 IndexE Easy Install dialog box 104, 107, 108 ejecting disks can’t eject a disk 138 while in Mac OS 137 while in PC environment 41, 44, 45, 116, 137 electromagnetic emissions, health effects of exposure to 133 EMM386 memory management DOS utility 43, 117 Empty Trash command (Special menu) 13, 75 Enter key 158 Epson emulation, PC environment print output and 55–56, 57 error messages 77–79. See also messages Escape key 158 expansion card installing 3, 143–147, 149–156 Extensions folder PC Clipboard extension 52, 53 PC Print Spooler 57, 118 removing/replacing system extensions 85, 86 Extensions Manager control panel 85, 86 eye fatigue associated with computer use 129, 131, 133 F fading the screen before switching environments 42 fatigue from computer use, avoiding 131, 133 FDISK DOS utility 116 files accessing PC files in a drive container 71 backing up (Mac OS) 38 opening with Macintosh Easy Open 159–161 transferring between Mac OS and PC environment 67–68 transferring from an old to a new container 75 troubleshooting 68, 90–91 Finder, making active 18 floating-point unit (FPU) 89 floppy disk drive illustration 29 installing 34 floppy disks backing up files on (Mac OS) 38 Disk First Aid program and 100–101 DOS 720K format, problems with 44 ejecting 41, 44, 116, 137–138 formatting for use in both Mac OS and DOS 85 guidelines for handling 137 inserting 36 locked/unlocked (PC environment) 44 repairing 84, 100–101 restarting the PC environment from 44 starting the computer from 82, 94 unreadable 84–85 using a DOS disk in Mac OS 85, 116 using a Mac OS disk in PC environment 44 folders AppleScript 35 Control Panels 53, 54, 116 Extensions 52, 53, 57, 85, 86, 118 performance issues with shared folders 68 Previous System Folder 109 sharing with PC environment 47–48, 67–68, 125 Spooler Rejected 57 System Folder 36, 102, 109 Function keys 158 furniture for computer use, arranging 130, 131–132 Index 183G game applications, SIMMs and 54 game controller, connecting 33, 81 graphics DOSCLIP and 52 printing in PC environment 56 grounding plug 2, 135 Guide menu. See also Macintosh Guide defined 13, 15, 17 Macintosh Guide command 18 running the Macintosh Tutorial from 12–13 Shortcuts command 27–28 Show/Hide Balloons commands 26, 62 H hard disks backing up files on 38 checking for damage 98, 103, 106 Disk First Aid program and 100–101, 103, 106 icon 9, 13, 83 initializing/reinitializing 93–97 installing 34 repairing a damaged disk 82, 84, 97–101 testing an external SCSI hard disk 99–100 using a PC-formatted SCSI drive as a startup drive 70 headphone jack, illustration 29 health-related information about computer use 129–133 help. See Apple-authorized service provider; Balloon Help; customer support hotline; Macintosh Guide Hewlett-Packard page control language (PCL) 55, 58 Hide Balloons command (Guide menu) 26 Hide Others command (Application menu) 38 hiding/showing windows on the desktop 38 high memory (UMB), increasing (PC environment) 66 HIMEM.SYS driver (DOS) 119 hot key, to switch between Mac OS and PC environment 41 hotline. See customer support hotline “Huh?” button in Macintosh Guide window 25 I icons ADB 6, 7 Apple HD SC Setup 96, 99, 106 blinking question mark 9, 81, 102 defined 13 Disk First Aid 100, 103, 106 disk with an “X” 82 hard disk 9, 13, 83 “sad Macintosh” 83 Trash 13 Index button in Macintosh Guide window 19, 21–22 initializing an external SCSI hard disk 96–97 an internal hard disk 93–95 Install Disk 1 disk 94, 104, 107, 109 Installer program 104–105, 107–111 installing. See also reinstalling application programs (Mac OS) 36 communication cards 143–149, 154–156 internal drives 34 network management software 163–178 PC software utilities 125 Single Inline Memory Modules (SIMMs) 143–147, 149–156 system software 102–111 Windows for Workgroups 173 184 Indexinterference with radio and television reception vii, 136 internal drives, installing 34 Internal HD Format program 95, 98 IPX networking protocol, compatibility issues 53–54, 167, 169, 173, 177 J joystick, connecting 33 joystick port 30, 33, 81 K keyboard. See also keys connecting 6–7 correct posture for using 131–132 damaged or connection problems with 88 guidelines for handling 136 support for various Apple keyboards (in PC environment) 46–47 keyboard cable 6, 7 keyboard shortcuts 27–28 keyboard tray 132 keys. See also keyboard equivalent Macintosh and PC keys 46–47 special keys on Apple keyboards 157–158 key scan code table for DOSCLIP keystrokes 49–51 L LaserJet III printer driver (PC environment) 56 LC-compatible PDS slot on logic board 145 liquid spills on computer equipment 134, 135, 136 locking the mouse 141 logic board 144–145, 147, 154 Look For button in Macintosh Guide window 19, 23–24 LPT1.DOS/LPT1 port for printing in PC environment 55, 56 M Macintosh Easy Open program control panel 90, 117, 161 translators 52, 161 using 159–161 Macintosh environment (Mac OS) backing up files 38 Clipboard tips 52–53 initializing a hard disk 93–97 installing and working with application programs 36–38 installing system software 102–111, 119–123 Mac OS software installed in System Folder 120 network protocol compatibility with PC environment 53–54 PC Print Spooler settings 56, 57–58, 118 problems and solutions 77–92 repairing a damaged disk 97–101 switching to and from 40–42, 117, 118 Macintosh Guide. See also Guide menu closing 24, 25 “Huh?” button 25 moving or shrinking the window 25 opening the Macintosh Guide window 18 returning to the Macintosh Guide window 20, 22, 25 tips for using 25 using the Index button 19, 21–22 using the Look For button 19, 23–24 using the Topics button 19–20 Index 185Macintosh peripherals, using in PC environment 55–58 Macintosh Shortcuts window 27–28 Macintosh system, illustration 29 Macintosh Tutorial 12–13 MacIPX, Control Panels folder 53 MACODI DOS utility 125 Mac OS. See Macintosh environment MacShare program 47–48, 67, 125 MacTCP, compatibility issues with DOS TCP/IP software 54, 167, 169, 173, 177 MEMMAKER DOS utility, compatibility issues with 127, 166 memory. See also Single Inline Memory Modules (SIMMs) assigning to PC environment 65, 122–123 changing the RAM setting, PC control panel 62 conserving when using NetWare client software 166 conventional memory increasing for DOS or Windows programs 66 versus extended memory 117 expanding 34, 143–147, 149–156 not enough memory 76, 89, 92, 116–118 shared memory pre-installed SIMMs and 65, 76, 116, 122–123 setting 65, 122–123 troubleshooting 92, 114 virtual memory 89 Memory control panel 65, 89, 116, 117 memory-management DOS utilities 43, 117 menu bar 13 messages, on PC Setup control panel status line 76. See also error messages microphone, connecting 31 Microsoft MS-DOS Setup disk (or CD-ROM disc containing DOS/Windows software) 123 MIDI application programs, SIMMs and 54 Mini DIN-8 connector (Mac OS), signals present on 59 Mixer Control program 69 MODE command (DOS) 63 modem port 30 moisture, protecting the computer from 134, 135 monitor. See also screen brightness control 10, 80, 136 cleaning the screen 133, 139 connecting 3–5 guidelines for handling 136 positioning for optimal use 3, 132 setting for PC environment 64 synchronization to DOS video signal 114, 119 troubleshooting 80–81, 114, 118, 119 turning on 8 monitor cable, connecting 5 monitor port 5, 30 monitor power cord, connecting 3, 4 Mosaic network software, installing 177–178 mouse. See also pointing device cleaning 139–141 connecting 6–7 connection problems 87 how to use 12 locking/unlocking 141–142 mouse button 12 mouse cable 6, 7 Mouse control panel (Windows) 46 mouse drivers, DOS and Windows 46, 124 mouse shortcuts 27–28 MPEG players (DOS-based), video output requirements 54 MS-DOS and Windows, reinstalling 123–124 multimedia application programs, SIMMs and 54 musculoskeletal discomfort associated with computer use 129, 130 186 IndexN NetManage Chameleon TCP/IP software, installing 169–172 NetWare client software, installing 163–166 network management software and protocols 53–54, 163–178 networks, backing up files on (Mac OS) 38 Novell LAN Workplace for DOS TCP/IP software, installing 167–168 Novell NetWare Client for DOS WSDOS 1 disk 164, 165 Novell NetWare Client for MS Windows WSWIN 1 disk 165 Novell network, PCL printing of text and graphics (PC environment) 56 Novell Open Data-Link Interface (ODI) DOS compatibility with 53, 163 Windows for Workgroups and 173 numeric keys 158 O ODI. See Novell Open Data-Link Interface online help. See Balloon Help; Macintosh Guide opening the computer 146–147 Option key 46, 158 P page size, setting 58, 118 partitions for drive containers 70–71, 116, 122 PC Clipboard Extension (Mac OS) 52, 53 PC environment. See also AUTOEXEC.BAT file; CONFIG.SYS file; PC Setup control panel; Windows answers to common problems 113–119 configuring drives C and D 70–71 configuring the PC serial ports 63 conventional memory 66, 117 creating and using PC drive containers 70–75, 114–115, 121–122 DOSCLIP 48–53, 125 DOS commands that do not work on shared volumes 67 ejecting disks 41, 44, 45, 116, 137–138 exchanging Clipboard information with Mac OS 48–53, 125 expanding memory 34, 143–147, 149–156 installing PC utilities 125 memory-management utilities 43, 117 network management software and protocols 53–54, 163–178 not enough memory 76, 116–118 PC Print Spooler settings and 56, 57–58, 118 PC software installed during installation 124 playing sounds 69 reinstalling DOS-compatibility software 119–128 RS-232 signal support 59 setting the monitor for 64 setting the time and date 64 setting up 42–43 shared memory 65, 122–123 SIMMs and 65, 76, 116, 122–123 starting automatically 42 switching back and forth from Mac OS 40–42, 117, 118 using a PC-formatted SCSI drive as a startup drive 70 using CD-ROM discs 45 using floppy disks 44 using Macintosh-compatible printers and peripherals 55–57 using Mac OS folders and volumes as PC drives 47–48, 67–68, 125 using PC peripherals 59 Index 187PC Exchange control panel 70, 91, 116 PCL (Hewlett-Packard page control language) 55, 58 PC peripherals, using 59 PC Print Spooler, setting preferences in 56, 57–58, 118 PC Setup control panel changing RAM setting 62 choosing settings 61–62 configuring the PC serial ports 63 creating and using drive containers 70–71, 72–74, 114–115, 121–122 mapping drive letters when using NetWare client software 166 memory management, troubleshooting 117, 118 setting shared memory 65, 92, 123 setting the monitor for PC environment 64 sharing folders or volumes 67 status line messages 76 switching between Mac OS and PC environment 40–42 turning on PC sounds 69 plugging in the computer 1–2 the monitor 4 pointer doesn’t move when you move the mouse 87 “freezes” on the screen 85–86 learning how to move 12 pointing device. See also mouse simulating a PC pointing device 46 ports ADB 6, 7, 30, 88 Audio In, on external speakers 32 COM 55, 63 illustration 30 joining connectors to, safety instructions 135 joystick 30, 33, 81 LPT1.DOS/LPT1 55, 56 monitor 5, 30 sound input/output 30, 31, 32 PostScript-compatible print output (PC environment) 55, 56, 57 PostScript printer drivers (PC environment) 56, 57 power button. See standby power button power cord computer 2 monitor 3–4 Power key 8, 14, 158 power-on light 10, 29 power socket 30 power supply, servicing 138 PowerTalk program 35, 92, 118 precautions. See safety instructions Previous System Folder 109 printer port 30 printing page size and 58, 118 using Macintosh-compatible printers in PC environment 55–58 programs. See application programs Q QEMM memory management DOS utility 43 QuickDraw GX program 35, 92, 118 QuickDraw printers, Epson emulation and 55–56 R radio reception, interference with vii, 136 RAM. See memory; Single Inline Memory Modules (SIMMs) RAM disk 65, 116, 117. See also memory 188 IndexRAM pop-up menu, PC Setup control panel 65, 122, 123 rebuilding the desktop 80, 84 reinitializing the internal hard disk 95 reinstalling. See also installing DOS-compatibility software 119–128 MS-DOS and Windows 123–124 Sound Blaster software 128 system software 102–111 video drivers 128 remote control sensor, illustration 29 repairing disks 82, 84, 97–101 repetitive stress injuries (RSIs) 130 resource forks 68 Restart command (Special menu) 79 restarting the computer Mac OS 79 PC environment 44, 47, 119 Return key 158 ROM BIOS, DOS memory management and 43, 126 RS-232 signal support in PC environment 59 S safety instructions for CD-ROM drive viii general precautions 134 turning on the computer 156 screen. See also monitor appears dark 10, 80–81 cleaning 133, 139 fading before switching environments 42 minimizing glare and reflections 132, 133 screen saver programs 80, 136 scroll arrows, defined 13 SCSI equipment, computer doesn’t recognize 81 SCSI external hard disk initializing 96–97 preparing for reinstallation of system software 106–107 testing 99–100 using a PC-formatted SCSI drive as a startup drive 70 SCSI ID numbers 96, 98, 99 security lock port 30 serial ports 55, 56, 63 shared drives, using Mac OS folders or volumes as PC drives 47–48, 67–68 shared folders/volumes MacShare and 47–48, 67, 125 strange text characters in shared documents 68 using 67–68 shared memory. See also memory pre-installed SIMMs and 65, 76, 116, 122–123 setting 65, 122–123 troubleshooting 92, 114 shared volumes, DOS commands that do not work on 67 Sharing pop-up menu, PC Setup control panel 67 Shift key 158 Shortcuts command, Guide menu 27–28 Show All command (Application menu) 38 Show Balloons command (Guide menu) 26, 62 showing/hiding windows on the desktop 38 Shut Down command (Special menu) 14 Shut Down PC button, PC Setup control panel 41 SIMMs. See Single Inline Memory Modules SIMM slot 150–153 Index 189Single Inline Memory Modules (SIMMs). See also memory installed for exclusive use of the PC environment 65, 76, 116, 122, 149 installing 34, 143–147, 149–156 performance improvements and 54, 122–123 sharing memory and 65, 122 size box, defined 13 Sound Blaster (PC environment) playing sounds 69 reinstalling software 128 Sound Blaster Software Installation disk 128 Sound control panel 69 sound input/output ports 30, 31, 32 Sound pop-up menu, PC Setup control panel 69 sounds, turning on (PC environment) 69 speakers, connecting 32–33 Special menu Empty Trash command 13, 75 Restart command 79 Shut Down command 14 spills on computer equipment, safety instructions 134, 135, 136 Spooler Rejected folder 57 Spry Air Series TCP/IP software, installing 173–176 standby power button 2, 14, 30, 79 starting the computer. See also turning on the computer from a CD-ROM disc 93–94 from a floppy disk 82, 94 troubleshooting 80–84, 114, 119 Start/Restart PC button, PC Setup control panel 41 startup disk 84, 87, 102 static electricity, avoiding generating 146 status line on PC Setup control panel 76 stereo miniplug 32 stereo speakers, connecting 32–33 switching application programs (Mac OS) 37–38 switching environments 40–42, 114, 115–116, 118 Switch to PC button, PC Setup control panel 41 System BIOS, preventing corruption of 66 system extensions installing 105 Mac OS is unable to load 118 removing/replacing 85, 86 turning off 84, 85, 86 System Folder 36, 102, 109 system software (Mac OS) blinking question mark and 9, 81–82, 102 installing or reinstalling 102–111 T Tab key 158 TCP networking protocol, compatibility issues 53–54, 167, 169, 173, 177 television reception, interference with vii, 136 temperature ranges, for storing floppy disks 137 time and date, setting in PC environment 64 title bar, defined 13 Topics button in Macintosh Guide window 19–20 transferring files from an old to a new drive container 74–75 between Mac OS and PC environment 67–68 translating documents into different file formats 68 190 IndexTrash emptying 13, 75 icon 13 troubleshooting in Mac OS. See also troubleshooting in PC environment answers to common problems 80–92 application program problems 36, 89–91 blinking question mark on screen 9, 81–82, 94, 102 “bomb” message on screen 77, 79 clock keeps time inaccurately 81 computer doesn’t recognize SCSI equipment 81 computer “hangs” or freezes during startup 83 dialog box with a bomb appears on screen 86 ejecting a floppy disk 138 error messages 77–79 icons do not appear correctly on screen 84 initializing/reinitializing a hard disk 93–97 installing/reinstalling system software 102–111 keyboard problems 88 messages on PC Setup control panel status line 76 monitor problems 10, 80–81 mouse connection problems 87 not enough memory 89, 92 opening files 90–91 performance issues with shared folders 68 pointer doesn’t move 85–86, 87 rebuilding the desktop 80, 84 repairing a damaged disk 97–101 restarting the computer 79 “sad Macintosh” icon appears 83 screen is dark 10, 80–81 starting the computer 10, 80–84 strange text characters when using shared folders 68 system software installation problems 82 turning the computer on 10 typing produces nothing on screen 88 unreadable floppy disks 84–85 using a DOS document in Mac OS 91 troubleshooting in PC environment. See also troubleshooting in Mac OS answers to common problems 114–119 application program problems 115, 117–119 bypassing CONFIG.SYS and AUTOEXEC.BAT at startup 119 computer “hangs” or freezes during startup 114, 119 Disklight of Norton Utilities, shared memory issues 114 DOS-compatibility software problems 114, 115 ejecting a floppy disk or CD-ROM disc 116, 138 Macintosh Easy Open software not installed or turned off 117 memory-management issues 114, 116–118 monitor synchronization problems 114 not enough memory 116–117, 117–118 PC crashes when Harvard Graphics is quit 66 PC environment is frozen 114, 118 PC Setup memory issues 117 performance issues with shared folders 68 printing, top and bottom of page get clipped 118 running out of UMB (high memory) space 66 Index 191shared memory problems 114 Sound Blaster support 69 strange text characters when using shared folders 68 switching environments 114, 115–116, 117, 118 using a PC-format disk in Mac OS 116 turning off the computer 14, 134, 135 PC environment 41 sounds 69 system extensions 84, 85, 86 turning on. See also starting the computer the computer 8, 10, 156 PC environment 41, 42 sounds 69 tutorial, starting the Macintosh Tutorial 12–13 TV tuner card, installing 145 TV tuner card port 30 typing produces nothing on screen, troubleshooting 88 U UMB (high memory), increasing (PC environment) 66 unlocking the mouse 142 V ventilation for computer equipment 135, 136 vertical plate 145, 147–150, 152, 154 VGA modes displayed on Macintosh monitors 54 video drivers 64, 128 video input card port 30 video-in slot on logic board 144, 145 Video Monitor program 35 video signal (DOS), monitor specifications and 114, 119 virtual memory 89. See also memory volume buttons on computer 29, 33 volumes (Mac OS), sharing with PC environment 47–48, 67–68 W, X, Y, Z warranty on computer, limitations of 34, 113, 144, 145 WINCLIP Windows utility 125 Windows. See also PC environment Mosaic network software and 177–178 Novell LAN Workplace for DOS TCP/IP software and 167 performance based on memory 123 printing on Macintosh-compatible printers 55–57 reinstalling 123–124 Spry Air Series TCP/IP software and 173, 174–176 Windows Clipboard, exchanging information with Mac OS 48, 52–53 Windows control panel, selecting printer drivers 56 Windows for Workgroups, installing 173 windows on the desktop 13, 38 Windows PostScript driver 56 Windows Series Installation Instruction Diskette 1 of 6 124 work space, arranging 130, 131–132 192 Index Apple QuickTake 100 User’s Guide for MacintoshK Apple Computer, Inc. © 1994 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 is not responsible for printing or clerical errors. Apple Computer, Inc. 1 Infinite Loop Cupertino, CA 95014-6299 (408) 996-1010 © Image Software 1992, 1993, 1994. Portions Copyright Eastman Kodak Company. Apple, the Apple logo, AppleTalk, EtherTalk, LocalTalk, Macintosh, and PowerBook are trademarks of Apple Computer Inc., registered in the U.S. and other countries. Apple SuperDrive, GeoPort, QuickTake, and QuickTime are trademarks of Apple Computer, Inc. Adobe, Adobe Illustrator, Adobe Photoshop, and PostScript are trademarks of Adobe Systems Incorporated, which may be registered in certain jurisdictions. Classic is a registered trademark licensed to Apple Computer, Inc. ExposurePro is a registered trademark of Baseline Publishing, Inc. Helvetica and Times are registered trademarks of Linotype Company. QMS is a registered trademark of QMS, Inc. QuarkXPress is a registered trademark of Quark, Inc. SuperPaint is a registered trademark of Aldus Corporation. Tektronix is a registered trademark of Tektronix, Inc. Windows is a trademark of Microsoft Corporation. Simultaneously published in the United States and Canada. 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.iii Communications regulation information vi 1 Getting Started With the QuickTake 100 Camera 1 Do you have what you need? 2 System requirements 2 Your camera at a glance 3 Charging the batteries 4 Installing the batteries 5 Installing the QuickTake software 6 Custom installation 7 What if you upgrade your Macintosh system software? 8 What next? 8 2 Using the Camera to Take Pictures 9 Turning on the camera 10 Taking pictures 11 Focal range and flash range 11 ContentsUsing the controls 12 Flash settings 12 Resolution settings 13 Pictures taken and pictures available 14 Battery level 14 Timer 15 Waking the camera 16 3 Using the Camera With Your Macintosh 17 Connecting the camera to your Macintosh 18 Looking at the pictures in the camera 20 Transferring pictures to your Macintosh 21 Opening pictures on the Macintosh 22 Opening a picture in the image window 22 Opening a slide table 23 Working with your pictures 24 Editing slide names 25 Getting information about a slide 25 Opening a slide to a full-size image 26 Zoom views in the image window 27 Changing the printed size of a picture 27 Cropping a picture 28 Changing the bit depth of a picture 29 Copying a picture to another application 29 Rotating a picture 30 Saving a picture 31 Printing your pictures 33 Printing a slide table 33 Printing a single image 34 iv ContentsNaming the camera 35 Setting the clock in the camera 36 Taking pictures from the Macintosh 37 Erasing pictures from the camera 38 Using the camera with a power adapter 39 Traveling with the camera 40 Using the battery booster pack with the camera 40 4 QuickTake Software Menu Commands 41 The File menu 42 The Edit menu 46 The Image menu 47 The Camera menu 49 The Windows menu 50 5 Maintenance and Troubleshooting 51 Caring for your camera 51 Solving problems 52 Appendix A Specifications 55 Appendix B Battery Information 57 Appendix C Using the Camera with a Windows-Based PC 61 Appendix D Using QuickTake Setup 63 Index 65 Contents vCommunications regulation information Radio and television interference The equipment described in this manual 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: m Turn the television or radio antenna until the interference stops. m Move the computer to one side or the other of the television or radio. m Move the computer farther away from the television or radio. m Plug the computer into 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. You may find the following booklet helpful: Interference Handbook (stock number 004-000-00493-1). This booklet, prepared by the Federal Communications Commission, is available from the U.S. Government Printing Office, Washington, DC 20402. IMPORTANT Changes or modifications to this product not authorized by Apple Computer, Inc., could void the FCC Certification and negate your authority to operate the product. This product was tested for FCC 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 dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. vi Communications Regulation InformationFCC 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. 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. See instructions if interference to radio or television reception is suspected. DOC statement DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus as set out in the interference-causing equipment standard entitled “Digital Apparatus,” ICES-003 of the Department of Communications. Observation des normes—Classe B Cet appareil numérique respecte les limites de bruits radioélectriques applicables aux appareils numériques de Classe B prescrites dans la norme sur le matériel brouilleur : “Appareils Numériques”, NMB-003 édictée par le ministre des Communications. VCCI statement Communications Regulation Information viiThe QuickTake 100 is an easy-to-use camera that produces high-quality pictures you can quickly transfer to your Macintosh computer. With the QuickTake 100 you can capture images, and with your Macintosh you can manipulate and modify those images to suit your purposes. The QuickTake 100 is a valuable new tool for graphic artists, publishing professionals, and anyone who wants to use images to communicate. IMPORTANT Save this manual. It contains important safety and operating instructions. In this chapter m An inventory of items you need m System requirements m Features of the camera m How to charge NiCad batteries m Installing batteries in the camera m Installing the QuickTake software 1 1 Getting Started With the QuickTake 100 CameraDo you have what you need? Before you begin, unpack the QuickTake 100 package. Be sure you have the items shown in this illustration: System requirements To use the QuickTake 100 camera with your computer, you need m a Macintosh with a 68020 or higher central processing unit (any Macintosh except a Macintosh Plus, SE, Classic, Portable, or PowerBook 100) m system software version 7.0.1• (with Tune-Up 1.1.1) or a later version m 4 MB of RAM with 8 MB of virtual memory or 8MB of RAM m an Apple SuperDrive (or any floppy drive that can read high-density disks) m a hard drive with at least 10 MB available QuickTake 100 camera Battery charger Rechargeable NiCad batteries Serial cable QuickTake software Neck strap 2 Chapter 1Your camera at a glance This illustration shows the front, rear, and bottom of the camera. Shutter release Serial port and power adapter port (behind the cover) Sliding lens cover (opened) Camera lens Viewfinder lens (with light sensors above and below, for the light meter) Built-in flash Viewfinder Battery compartment Control buttons Control panel display Timer light Adjustable neck strap Tripod mounting hole Neck strap attachment points Front view Rear view Bottom view Getting Started With the QuickTake 100 Camera 3Charging the batteries The three NiCad batteries you received with the QuickTake 100 must be charged before you can use them. Use the battery charger that came with the camera. 1 Insert the batteries into the charger. 2 Plug the battery charger into an electrical outlet. It takes five hours to fully charge three NiCad batteries. (Be sure to fully charge the batteries the first time you use them.) If you want to take pictures right away, you can use three AA non-rechargeable batteries (not included) in the camera. For information about battery care, see Appendix B. 3 Unplug the battery charger, remove the batteries, and install them in the camera. See instructions for installing batteries on the next page. WARNING To reduce the risk of injury, charge only rechargeable nickelcadmium batteries in the battery charger that came with the QuickTake 100 camera. Charging other types of batteries may cause them to leak or explode, resulting in personal injury and property damage. Make sure you position the + and – ends of each battery as indicated on the battery charger. When batteries are charging, this red light glows. 4 Chapter 1Installing the batteries Use the three NiCad batteries that came with your camera. If the NiCad batteries are being charged, you can substitute three AA non-rechargeable batteries in the camera. 1 Flip open the door to the battery compartment. 2 Insert the batteries into the camera. 3 Close the battery compartment door. See also: Appendix B, “Battery Information.” Position the – and + ends of each battery as indicated on the door. Arrange the ribbon under the batteries so you can use it to pull them out when you need to replace them. WARNING Do not mix different types of batteries in the camera. Use only three NiCad batteries or three AA non-rechargeable batteries. Mixing batteries may cause a fire or a small explosion. Getting Started With the QuickTake 100 Camera 5Installing the QuickTake software Before you can transfer images from your camera to your Macintosh computer, you need to install the necessary software on your Macintosh. You’ll need the QuickTake disks that came with your camera. The disks contain m the Installer, a program that installs everything you need m QuickTake 1.0, a program that transfers pictures from the camera to your Macintosh m other files needed by the QuickTake 100 camera IMPORTANT If you have system software version 7.0.1• on your Macintosh, you must turn on AppleTalk before you install QuickTake software. Open the Chooser and make sure that AppleTalk is active. 1 Insert the appropriate installation disk into a floppy disk drive. The choice depends on whether you have a Power Macintosh or not. m If you have a Power Macintosh, insert QuickTake for Power Macintosh. m Otherwise, insert QuickTake Install Disk 1. If necessary, open the disk icon. 2 Double-click the Installer icon to open it. 3 In the Welcome dialog box that appears, click OK. 6 Chapter 1 Use the Installer to install the QuickTake software. For important late-breaking information, open the Read Me.4 In the Installer dialog box, click Install. A status box keeps you informed of progress during installation. 5 When you see a message on your screen, follow directions and insert the next disk. Near the end of the process, you’ll be asked to insert the first disk again. 6 When you see a message reporting that the installation was successful, click Restart. The Installer restarts your Macintosh. You’ll find a new folder containing the QuickTake software on your hard disk. Custom installation If you click the Customize button in the Installer, you’ll see a list of specific items you can install individually. To ensure that all the necessary software is installed, use Easy Install instead. Getting Started With the QuickTake 100 Camera 7 Make sure you install the QuickTake software on the disk you use as your startup disk. When you’re ready to begin, click Install. To switch to a different disk, click Switch Disk.What if you upgrade your Macintosh system software? If you decide to replace or upgrade your Macintosh system software after you’ve installed the QuickTake software, you may not be able to open the QuickTake application program. To fix this problem, reinstall the QuickTake software. As an alternative, you can use the custom Installer: 1 Insert the appropriate installation disk into a floppy disk drive. The choice depends on whether you have a Power Macintosh or not. m If you have a Power Macintosh, insert QuickTake for Power Macintosh. m Otherwise, insert QuickTake Install Disk 1. If necessary, open the disk icon. 2 Double-click the Installer icon to open it. 3 In the Welcome dialog box that appears, click OK. 4 In the Installer dialog box, click Customize. 5 Choose Shared Library Manager from the list. 6 Click Install. 7 When you see a message reporting that the installation was successful, click Restart. You have reinstalled the Shared Library Manager, and you can open the QuickTake program again. What next? To begin taking pictures, go on to Chapter 2. 8 Chapter 1 Use the Installer to install the QuickTake software.Because the QuickTake 100 camera is small and light and runs on batteries, you can take pictures with it anywhere. In this chapter m Turning on the camera m Taking pictures m Using the controls m Waking the camera from sleep 9 2 Using the Camera to Take PicturesTurning on the camera To turn the camera on, slide open the lens cover. Lens cover Be careful not to touch the camera lens. 10 Chapter 2Taking pictures Look straight through the viewfinder and take time to frame the subject you want to photograph. Hold the camera steady, and press the shutter release. Because the camera delays briefly before taking the picture, be sure to hold it still until you hear the shutter click. When the camera is ready for the next picture (in a few seconds), a green light glows in the viewfinder. The pictures can remain in the camera’s memory up to one year (or until you erase them). Focal range and flash range Try to keep a distance of at least four feet between you and the object you want to photograph. The camera can focus on objects as close as four feet and as far away as infinity. Objects closer than four feet may be out of focus, but objects in the range between four feet and infinity will be properly focused. The flash can illuminate objects as close as four feet and as far away as nine feet. 4' 9' (Distance) Infinity Focus Flash Press the shutter release. Viewfinder You can hold the camera horizontally or vertically. Using the Camera to Take Pictures 11Using the controls When the camera is on, the control panel display appears. Flash settings There are three possible settings for the flash. Each time you press the flash button, you cycle from one setting to the next. A To let the camera’s light sensor determine when to flash, press the button until you see this icon. For a flash with every picture, press the button until you see this icon. To turn off the flash, press the button until you see this icon. A stands for automatic. When you turn on or wake the camera, this setting always appears. When your subject is in shadow, and the background is brighter, use this setting. A Flash button Erase All button (explained in Chapter 3) Control panel display Resolution button Timer button 12 Chapter 2Resolution settings There are two possible settings for resolution. Each time you press the resolution button, you toggle from one setting to the other. m Standard resolution means 320 x 240 pixels. You can take up to 32 standard-resolution pictures. m High resolution means 640 x 480 pixels. Each picture contains more detail. You can take a maximum of eight high-resolution pictures; they take more space in memory than standard-resolution pictures. m You can mix high- and standard-resolution pictures on the camera, all in 24-bit color. A A For standard resolution, press the button until you see this icon. For high resolution, press the button until you see this icon. Using the Camera to Take Pictures 13Pictures taken and pictures available The number in the center of the control panel shows how many pictures you’ve taken. The smaller number next to the resolution icon shows how many pictures you can take before the camera is full. Battery level Just below the center of the panel is a battery icon. It tells you how much power is left in your batteries. If the batteries run out, the pictures in your camera are safe, but you need fresh batteries to take any more pictures. For information about battery care, see Appendix B. A A A Batteries fully charged (or power adapter connected) Batteries running low Batteries empty Recharge them or replace them with fresh batteries. A A Pictures taken Pictures you can take at the selected resolution This number changes when you change the resolution setting. The camera automatically switches to standard resolution when there isn’t enough memory for a high-resolution picture. 14 Chapter 2Timer The timer gives you 10 seconds before the camera takes a picture. 1 Press the timer button. 2 Press the shutter and prepare for the picture. On the top front of the camera, a red indicator light glows steadily for eight seconds, then it blinks rapidly for another two seconds. When time is up, the camera takes the picture. A When the timer is on, the timer icon blinks. Using the Camera to Take Pictures 15Waking the camera To conserve battery power, the camera goes to sleep after 60 seconds of inactivity (or after 5 minutes of inactivity when connected to your Macintosh). To wake it, you can press and release the shutter, or close and reopen the sliding lens cover. If the camera is connected to your Macintosh, you must close and reopen the lens cover to wake it. Pressing the shutter won’t work. To wake the camera, press and release the shutter. Or close and reopen the lens cover. 16 Chapter 2When you finish taking pictures (or when the camera is full), you can connect it to your Macintosh computer and transfer the pictures to the computer. In this chapter m Connecting the camera to your Macintosh m Looking at the pictures on the camera m Transferring pictures to your Macintosh m Working with pictures m Saving a picture m Printing your pictures m Naming the camera m Setting the clock in the camera m Taking pictures from your Macintosh m Erasing pictures from the camera m Using the camera with an AC power adapter 17 3 Using the Camera With Your MacintoshConnecting the camera to your Macintosh Use the serial cable that came with your camera. 1 Turn off the camera (shut the lens cover). 2 Plug one end of the serial cable into the modem or printer port on your Macintosh. If both ports are in use, free the one that’s most convenient and connect the camera. IMPORTANT It is not necessary to turn off your Macintosh before you connect and disconnect the serial cable. (As long as a serial port is free, it’s not active.) However, if you want to connect or disconnect other devices (for example, SCSI devices), you should check the appropriate manuals first. In many cases you must turn off the Macintosh before you connect or disconnect a cable. These icons identify the printer and modem ports on your Macintosh. Connect the camera to either port. Some Macintosh computers have a combined serial port with two icons. 18 Chapter 33 Plug the other end of the cable into the serial port on the camera. 4 Turn on the camera (open the lens cover). When the camera is connected and turned on, an animated rectangle appears on the control panel display. The edge of the rectangle moves. Press the cover in and slide it open. Serial port Using the Camera With Your Macintosh 19Looking at the pictures in the camera While the pictures are in the camera, you can see what they look like and work with them. (To move them to your Macintosh before you work with them, see the next section, “Transferring Pictures to Your Macintosh.”) 1 Connect the camera to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter. 2 If necessary, turn on the camera by sliding open the lens cover. 3 On your Macintosh, double-click the QuickTake icon to open it. 4 Choose View Slides in Camera from the Camera menu. The pictures appear in a slide table on your Macintosh screen. For information about what you can do with the pictures, see “Working With Your Pictures,” later in this chapter. 20 Chapter 3Transferring pictures to your Macintosh Before you can transfer pictures from the camera, it must be connected to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter. 1 If the camera is off, turn it on by sliding open the lens cover. When the camera is connected and turned on, an animated rectangle appears on the control panel display. 2 On your Macintosh, double-click the QuickTake icon to open it. 3 Choose Move All Camera Images to Disk from the Camera menu. In the box that appears, choose the location you want for the pictures. After the images have been moved to your Macintosh, a message appears that gives you a chance to erase the images from the camera. (If you prefer, you can use the Erase All button. See “Erasing Pictures From the Camera,” later in this chapter.) Using the Camera With Your Macintosh 21 When you’re ready, click Save. To create a new folder for the pictures, click this button.Opening pictures on the Macintosh Once the pictures are on your Macintosh, you can use the QuickTake software to look at them, make some changes, and save the pictures in a variety of formats and bit depths. (See “Working with Pictures,” later in this chapter.) Opening a picture in the image window 1 On your Macintosh, double-click the QuickTake icon to open it. 2 Choose Open from the File menu. 3 In the box that appears, click the picture you want to see and click Open. 22 Chapter 3 The X means Show Preview is on. You see a preview of any QuickTake picture you select. The picture appears in an image window.Opening a slide table 1 On your Macintosh, double-click the QuickTake icon to open it. 2 Choose Open Slide Table from the File menu. 3 In the box that appears, find the pictures you want to see. 4 To open the slide table, click the Choose button. The pictures appear in a slide table window. 5 To see a picture in detail, double-click the slide. Using the Camera With Your Macintosh 23 When you’ve found the pictures you want to open as a slide table, click Choose. In this example, the pictures contained in the Mixed Pictures folder will open as a slide table. A slide like this represents an image with no preview imported from another application program. To see the image here, choose Create Slide from the Image menu.Working with your pictures Whether the pictures are in the camera or have been moved to your Macintosh, you can use the QuickTake software to look at them, make some changes, and save the pictures in a variety of formats and bit depths. With slides you can m edit the name under each slide, giving slides the names you want m use the Get Info command to get specific information (such as the image’s width and height) m print the slide table m open slides to full-size images With a full-size image you can m see different zoom views of an image m print the image m change the size of the printed image m crop the image m change the image’s bit depth m use the Copy command to copy the image (or selected parts of it) to paste into a document in another application program With slides or a full-size image you can m change the picture’s orientation by rotating it from vertical to horizontal (and vice versa) m save the pictures you like, using the Save or Save As command On the next few pages you’ll find instructions for doing the tasks listed here. 24 Chapter 3Editing slide names You can give your slides names that mean something to you. Getting information about a slide 1 Click the slide. 2 Choose Get Info from the File menu. An information window appears. Using the Camera With Your Macintosh 25 Select the name under the slide and type a new name.Opening a slide to a full-size image To see the picture full size, double-click the slide. 26 Chapter 3 Double-click the slide to see it full size.Zoom views in the image window To see the picture in the image window enlarged, actual size, or reduced, choose View from the Image menu, then choose an item from the submenu. When you open an image the first time, the QuickTake software uses all the pixels to present the best possible image on your monitor. With a highresolution image, the picture appears at 200% magnification. Changing the printed size of a picture To change the size of a printed picture, choose Resize from the Image menu. In the box that appears, you can specify one aspect (width, height, or resolution) of the size you want the picture to be. (Resizing affects the entire picture displayed in the image window. You can’t select and resize one section of the picture.) Using the Camera With Your Macintosh 27 High-resolution images show 144 dots per inch (dpi). Standard resolution images show 72 dpi. When you choose Zoom In, the image doubles in size. When you choose Zoom Out, the image shrinks to half its previous size. To change the width, height, or resolution of a printed picture, type the number you want in the space provided. You can define one aspect of the size; QuickTake calculates the other two aspects. To choose the unit of measure you want (inches or centimeters), use this pop-up menu. This represents a QuickTake high-resolution image. This shows the size of the picture when it’s printed.Cropping a picture 1 Drag the pointer to include just the part of the picture you want in the selection rectangle. If you don’t get it right the first time, click outside the selection rectangle (or press x-Z) to cancel the selection. Then try again. 2 Choose Crop from the Image menu. The cropped image appears. 28 Chapter 3 Inside the rectangle is the part of the image you keep.Changing the bit depth of a picture You may want to change the image bit depth of a picture you take. For example, if the picture uses millions of colors, but you plan to print it on a grayscale printer, you can change the image bit depth to 256 shades of gray. Changing bit depth and compression scheme can reduce the amount of disk space required to store an image, but the changes may affect image quality. To change the bit depth, choose Change Image Depth from the Image menu. Then choose the bit depth you want. If you’re not happy with the result, choose Undo from the Edit menu. Copying a picture to another application You can copy QuickTake pictures and paste them into documents in other applications. (You cannot paste them into other QuickTake pictures.) 1 Drag the pointer to include in the selection rectangle the part of the picture you want to copy. To copy the entire image, choose Select All from the Edit menu. 2 Choose Copy from the Edit menu. 3 Position the pointer in the target document and choose Paste from the Edit menu. A copy of the selected image appears in the document. Using the Camera With Your Macintosh 29 This is an optimized palette depending on the scene or subject in the picture.Rotating a picture To rotate the selected slide or picture, choose Rotate from the Image menu. A submenu appears, and you can specify how far you want to turn the slide or picture. In the slide table, you can only rotate pictures that are in the PICT QuickTake format. You can rotate a single, full-size image in any format. If you rotate a picture that’s in the camera, you must save it to make the change permanent. (If you’ve already moved the image to the Macintosh, the computer remembers the change whether you save it or not.) 30 Chapter 3Saving a picture If you want to preserve changes you make, you have to save the modified picture. The Save and Save As commands in the QuickTake software behave like the same commands in other Macintosh application programs. In addition, the QuickTake software provides features that allow you to choose a specific file format (such as PICT or TIFF), bit depth, and file compression. 1 To save the picture in the active image window, choose Save As from the File menu. 2 In the box that appears, type a name for the picture. Using the Camera With Your Macintosh 31 Type a name for the picture here.3 Choose the file format you want from the pop-up menu. The file format you choose depends on the requirements of the application into which you plan to import the picture. m PICT is the basic Macintosh file format for images and is used by almost all Macintosh programs that read image files. The PICT QuickTake format is created (and compressed) by the camera. To open images in this format on a Macintosh, you need the QuickTake Image and QuickTime extensions. To open images saved in the compressed PICT formats, you need only the QuickTime extension. To open images saved in PICT with no compression, use any application that reads PICT. m TIFF stands for Tagged Image File Format. TIFF is another commonly used file format for storing bitmapped images in various resolutions. 4 Choose the image depth you want from the pop-up menu. The image depth you choose depends on the printer to which you plan to send the picture or the monitor on which you plan to display it. 5 Click the Save button (or press Return). 32 Chapter 3 These three formats use JPEG compression for a smaller file size, but with some loss of image quality. If you use 256 colors, Custom Colors adjust to the scene or subject, showing an image at its best. However, this setting may cause other color images on your desktop to look strange. Default colors for a 256-color monitorPrinting your pictures You can use the QuickTake application to print the pictures you take, and you can print them while they are on the camera or after you transfer them to your Macintosh. Printing a slide table 1 Open the slide table you want to print. 2 Choose Print from the File menu. 3 In the box that appears, choose the settings you want. In a short while, the printed slide table is ready at your printer. Using the Camera With Your Macintosh 33 When the options are set the way you want them, click Print. IMPORTANT Be sure to click Color/ Grayscale before you print QuickTake images.34 Chapter 3 Printing a single image 1 Make sure the picture you want to print is opened as a full-size image. 2 Choose Print from the File menu. 3 In the box that appears, choose the settings you want. Sometimes a printed high-resolution picture is smaller than it appears on your screen. m A high-resolution image takes full advantage of its 640 x 480 pixels on the screen and appears at twice its actual size. (The title bar of the image window tells you the magnification is 200%.) Its printed size is 100%. m A standard-resolution image appears in a 320 x 240 pixel size on screen and the same size when it prints. (The magnification is 100%.) To change the size of a printed picture, use the Resize command. For details, see “Changing the Printed Size of a Picture,” earlier in this chapter. When the options are set the way you want them, click Print. IMPORTANT Be sure to click Color/ Grayscale before you print QuickTake images.Naming the camera You can give your camera a name. When you look at the pictures while they’re on the camera, its name appears as the title of the slide table window. The camera must be connected to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter. 1 On your Macintosh, double-click the QuickTake icon to open it. 2 Choose Set Camera Name from the Camera menu. 3 In the box that appears, type the name you want. 4 When you’re finished, click Set. Using the Camera With Your Macintosh 35 The name you type can contain up to 31 characters.Setting the clock in the camera The camera’s internal clock keeps track of the date and time you take each picture. This information is useful, and in some circumstances important, so take time now to set the clock. The camera must be connected to your Macintosh. (For instructions, see “Connecting the Camera to Your Macintosh,” earlier in this chapter.) If you want to check the date and time on the Macintosh before you set the camera, use the General Controls panel. 1 If necessary, turn on the camera by sliding open the lens cover. 2 On your Macintosh, double-click the QuickTake icon to open it. 3 Choose Set Camera Date & Time from the Camera menu. 4 To set the camera to match your Macintosh, click OK in the box that appears. Whenever you want to check the accuracy of the camera’s clock, choose Set Camera Date & Time from the Camera menu. IMPORTANT If the batteries in your QuickTake camera go dead or you remove them and don’t replace them immediately, the camera’s clock stops. To guarantee that the clock in the camera matches the clock on your Macintosh, you must connect the camera to the computer and repeat the procedure described here. 36 Chapter 3Taking pictures from the Macintosh You can use the camera controls on your Macintosh to take pictures. 1 Connect the camera to your Macintosh. For instructions, see “Connecting the Camera to Your Macintosh” earlier in this chapter. 2 Arrange the camera so it’s in a position to take the picture you want. 3 Choose Camera Controls from the Camera menu. 4 In the box that appears, change any settings to suit your needs. For details about the different settings, see “Using the Controls” in Chapter 2. 5 When you’re ready, click Take a Picture. You can use the Erase All button to erase the pictures on the camera. Remember that the control erases all the images permanently. Using the Camera With Your Macintosh 37 Resolution button Timer button Flash button Erase All buttonErasing pictures from the camera After you transfer your pictures to your Macintosh, you should erase them from the camera to make room for new pictures. If the camera is connected to your Macintosh, there’s another way to erase pictures. You can open the QuickTake program and choose Camera Controls from the Camera menu. Then click the Erase All button on the Macintosh screen. WARNING This erases all of the pictures in the camera. You cannot erase a few and leave the rest in the camera. To erase all the pictures in the camera, lightly press the Erase All button. (Use any small, pointed object.) As the pictures are erased, the Trash icon in the control panel display blinks. In a few seconds, the display shows 0 (zero) pictures taken. 38 Chapter 3Using the camera with a power adapter To conserve battery power, you can use a power adapter and plug the camera into an available power outlet. Use only the QuickTake 100 AC Adapter (part number M2851LL/A) or the PowerBook AC Adapter with the QuickTake 100. It’s a good idea to use the power adapter for power while the camera is connected to your Macintosh. (Note: The power adapter does not recharge batteries in the camera. If you have rechargeable batteries, use the charger that came with the QuickTake 100. See “Charging the Batteries” in Chapter 1.) WARNING Never alter the plug on the power adapter. If it will not fit an electrical outlet, have a proper outlet installed by a qualifed electrician. Improper connection may result in electrical shock. Use of a power adapter not recommended or sold by Apple Computer, Inc., may result in a risk of fire, electrical shock, or injury. Using the Camera With Your Macintosh 39Traveling with the camera The QuickTake 100 Travel Case (part number M2848G/A) is available at authorized Apple resellers. The travel case includes a leather camera grip and a protective carrying case. Using the battery booster pack with the camera The QuickTake 100 Battery Booster Pack (part number M2655G/A) is available at authorized Apple resellers. The booster pack lets you take thousands of pictures with your QuickTake 100 camera. It comes with eight AA lithium batteries and plugs into the power adapter port on your camera. QuickTake 100 Battery Booster Pack QuickTake 100 Travel Case 40 Chapter 341 This chapter explains what happens when you choose any of the commands from the QuickTake software menus. In this chapter m The File menu m The Edit menu m The Image menu m The Camera menu m The Windows menu 4 QuickTake Software Menu CommandsThe File menu The commands in the File menu work on the contents of windows or folders. m Open Brings up a box that you can use to locate and open your pictures. When you open the selected picture, it appears by itself in an image window. 42 Chapter 4 The X means Show Preview is on. You see a preview of any QuickTake picture you select.m Open Slide Table Brings up a box which you can use to open slides of all the pictures in a folder you select. The pictures in the selected folder appear together in a slide table window. m Close Closes the active window. If you haven’t saved changes to the picture in the image window, a message appears asking you whether you want to save the picture before closing the window. m Save Saves a picture you’ve opened, including any changes you’ve made to it. Use Save (rather than the Save As command) for routine saving of your pictures. m Save As Saves a picture the first time you open it and want to save it. Also lets you save it with a different name, or in a different folder, or on a different disk, or in a different file format. QuickTake Software Menu Commands 43 When you’ve chosen the folder containing the pictures you want to see, click here. To change the file format and bit depth of an image, use these pop-up menus.The file format you choose depends on the requirements of the application program into which you plan to import the picture. The image depth you choose depends on the printer to which you plan to send the picture or the monitor on which you plan to display it. m Page Setup Lets you set the page size, orientation, and other options for pictures that you print using QuickTake software. 44 Chapter 4 To select enhancements to the printed image, click Options. When the options are set the way you want them, click OK.m Print Prints the picture displayed in the image window. A box appears with options for printing your document. m Quit Ends a session with the QuickTake software. If you’ve modified the picture in the image window but haven’t saved it, a message appears asking you whether you want to save the picture before quitting the program. QuickTake Software Menu Commands 45 When the options are set the way you want them, click Print. IMPORTANT Be sure to click Color/ Grayscale before you print QuickTake images.The Edit menu The commands in the Edit menu let you work with selected parts of the picture in the image window. m Undo Cancels your most recent changes to the picture. For example, if you used the Crop command and don’t like the results, you can choose Undo to cancel the crop. m Cut Removes the material you have selected and places it on the Clipboard. You can only use the Cut command to edit the names of pictures in the slide table. m Copy Copies the material you have selected to the Clipboard. The original material stays where it was when you selected it. m Paste Copies the material on the Clipboard to the active window in another program (not QuickTake). The program you are using determines where you can paste the material and how much freedom you have to move it around. You can continue to paste copies until you cut or copy a new selection (which replaces the old contents of the Clipboard). m Select All Selects everything in the picture, placing the selection rectangle around the outer edge of the picture. 46 Chapter 4The Image menu The commands in the Image menu work with the picture in the image window, and some of them work with slides in the slide table. m View Lets you see a picture in the image window enlarged or reduced or at its actual size (100%). Each time you choose Zoom In, the image doubles in size. When you choose Zoom Out, the image shrinks to half its previous size. m Rotate Rotates the selected slide or picture. When you choose Rotate, a submenu appears that lets you specify how far you want to turn the slide or picture. In the slide table, you can only rotate pictures that are in the QuickTake format. Full-size images can be rotated in any format. If you rotate a picture that’s in the camera, you must save it to make the change permanent. (If you’ve already moved the image to the Macintosh, the computer remembers the change whether you save it or not.) QuickTake Software Menu Commands 47m Resize Brings up a box that lets you specify one aspect (width, height, or resolution) of the size you want the picture to be. (Resizing affects the entire picture displayed in the image window. You can’t select and resize one section of the picture.) You can change the dimensions of the image to meet your specific requirements. m Crop Trims a picture to include only the part you’ve selected with the selection rectangle. m Change Image Depth Lets you change the bit depth of the picture in the image window. For example, if you don’t need all the information contained in millions of colors, changing to 256 shades of gray reduces the size of the file on your disk. m Create Slide Creates a preview image so you can see pictures from other sources alongside your QuickTake pictures in the slide table. m Sort Slides By Lets you choose to sort slides in numerical order by date or alphabetical order by name. 48 Chapter 4 To change the width, height, or resolution of a printed picture, type the number you want in the space provided. You can define only one aspect of the size; QuickTake calculates the other two aspects. To choose the unit of measure you want, use this pop-up menu. This represents a QuickTake high-resolution image. This shows the size (in inches or centimeters) of the picture when it’s printed.The Camera menu The commands in the Camera menu work with the camera. You must connect the camera to your Macintosh before you can use this menu. (For instructions on connecting the camera to your Macintosh, see Chapter 3.) m View Slides in Camera Lets you see slides of the pictures currently in the camera. m Move All Camera Images to Disk Transfers pictures from the camera to your Macintosh. When you choose this command, a box appears that lets you specify where to save the pictures. QuickTake Software Menu Commands 49m Set Camera Name Brings up a box that lets you give a unique name to your camera. This is especially helpful if more than one camera may transfer pictures to a particular Macintosh. m Set Camera Date & Time Brings up a box that tells you whether the clock needs to be reset to match your Macintosh. If it does, click OK. m Camera Controls Brings up a control panel like the one on the camera. The Windows menu The Windows menu lists the names of all the QuickTake windows currently open. You can choose which window should be frontmost. (If you haven’t saved and named their contents, image windows are identified as Image 1, Image 2, and so on.) 50 Chapter 4 The name you type can contain up to 31 characters. When you’re ready, click Set. To change the resolution, click here. To turn on (or turn off) the timer, click here. To change the flash To erase the pictures in the camera, click here. To take a picture, click here.This chapter offers suggestions to help you care for your camera and solve problems. In this chapter m Maintenance tips m Problem-solving tips Caring for your camera These suggestions should help you maintain the QuickTake 100 camera: m Protect the camera from moisture and excessive heat. m Don’t use harsh or abrasive cleaners on the camera. Wipe off dust with a clean, dry cloth. m When you are not taking pictures, close the lens cover to protect the lens and keep it clean (and to extend battery life). 51 5 Maintenance and Troubleshootingm To clean the lens, first blow away any surface dust or dirt. Breathe on the lens to form a mist, then gently wipe away the mist with a soft, lint-free cloth or lens cleaning tissue. Don’t press hard, or you may scratch the lens. Never wipe a dry lens. m If you store the camera for an extended period, remove the batteries. When you replace the batteries, remember to reset the date and time. (For instructions, see “Setting the Clock in the Camera” in Chapter 3.) Solving problems This section describes some problems you might encounter, and offers solutions you can try. IMPORTANT If you have a problem with your camera and nothing recommended here solves it, contact your authorized service provider. Camera won’t take pictures m The camera may not be turned on. Make sure the lens cover is open. m The camera may be asleep. Press the shutter release or close and then open the lens cover. m If you just took a flash picture, the flash may be recharging. Look for the green light in the viewfinder. When it comes on, the camera is ready to take another picture. m The batteries may be low or dead. Replace the batteries or connect the AC power adapter to the camera. m The batteries may not be installed correctly. (See “Installing the Batteries” in Chapter 1.) WARNING Don’t use solvents or solutions unless they are specifically designed for cleaning camera lenses. Don’t use chemically treated tissues intended for eyeglasses. 52 Chapter 5m The camera’s memory may have no room for another picture. Transfer the pictures from the camera to your Macintosh, then erase the pictures. (See “Erasing Pictures From the Camera” in Chapter 3.) m The camera may be connected to your Macintosh. You can use the camera controls on the Macintosh to take pictures (see “Taking Pictures From the Macintosh” in Chapter 3), or disconnect the serial cable from the camera. Can’t see anything through the viewfinder m Make sure the lens cover is open. m Move the camera around slightly as you look through it. You need to look straight through the viewfinder. Flash fails to go off m Make sure the flash is turned on. (See “Flash Settings” in Chapter 2.) m The batteries may be low or dead. Replace the batteries. m The batteries may not be installed correctly. (See “Installing the Batteries” in Chapter 1.) The Macintosh doesn’t recognize the camera Different devices and programs may compete with the camera for the use of a serial port on your Macintosh. If there’s a problem, a message tells you that the camera is not responding. Make sure the serial cable is connected properly, the camera is turned on, and the batteries have enough power. If you have system software version 7.0.1•, try the following to resolve the problem: m Turn on AppleTalk in the Chooser. AppleTalk must be turned on to use the QuickTake software with system software version 7.0.1•. m Determine whether you have a LocalTalk device connected to the printer port. If you do, connect the camera to the modem port. m If you have a non-LocalTalk device, or no device at all, connected to the printer port, open the Network control panel and change the setting from LocalTalk to Remote Only. (If you use an EtherTalk network, leave the setting on EtherTalk.) Then connect the camera to either port. Maintenance and Troubleshooting 53Pictures are fuzzy, blurry, or blotchy m The lens may be dirty. Clean the lens. (See “Caring for Your Camera,” earlier in this chapter.) m The subject or the camera may have moved. Hold the camera steady, and use the flash. (See “Taking Pictures” and “Flash Settings” in Chapter 2.) m The subject may be out of focal range. Keep a distance of at least four feet between you and the subject. The flash illuminates subjects between four and nine feet from the camera. m The resolution setting may not be appropriate for the subject. Change to high resolution. (See “Resolution Settings” in Chapter 2.) Pictures are too dark (underexposed) m There may not be enough light to take a picture. Turn on the flash. (See “Flash Settings” in Chapter 2.) m The subject may be too far away for the flash to have an effect. Make sure the subject is no more than nine feet away. (See “Focal Range and Flash Range” in Chapter 2.) Pictures are too light (overexposed) m If the camera is set to use flash with every picture, that may be too much light. Change to automatic flash. (See “Flash Settings” in Chapter 2.) m The subject may be too close. Make sure the subject is at least four feet away. (See “Focal Range and Flash Range” in Chapter 2.) m The camera may be pointed directly at a bright light. Try a different angle. m The light sensors (above and below the viewfinder lens) may be dirty. Use a soft, dry cloth to clean them. (To locate the light sensors, see “Your Camera at a Glance” in Chapter 1.) m One or both of the light sensors may be covered inadvertently. Be careful not to obstruct the light sensors while you take pictures. Part of a picture is missing m Some part of the lens may be covered. Keep your hands, the neck strap, and other objects away from the lens and the built-in flash. 54 Chapter 5Physical m Depth 6.1 in. (155 mm) m Width 5.3 in. (135 mm) m Height 2.2 in. (55 mm) m Weight 1 lb. (0.5 kg) Technical m Type CCD Still Frame Camera m Image size 320 x 240 pixels standard resolution; 640 x 480 high resolution m Interface GeoPort (Macintosh); RS-232C serial (Windows) m Bit depth 24-bit color m Memory 1 MB Flash EPROM 55 Appendix A SpecificationsCamera m Lens field of view 8 mm (equivalent to 50-mm lens on a 35-mm film camera) m ISO equivalent to approximately ISO 85 m Focus range 4 feet to infinity m Aperture ƒ2.8 to ƒ16 m Shutter speed 1/30 second to 1/175 second m Flash range 4 feet to 9 feet Temperature m Operating 0° to 40° C (32° to 104° F) m Storage (6 months) –40° to 47° C (–40° to 117° F) m Transit (72 hours) –40° to 65° C (–40° to 149° F) m Humidity Classified as Class 1 equipment Power requirements m Standby <500 mW m Operating <4.5 W Operating environment m Temperature 0° to 40° C (32° to 104° F) m Humidity 20 to 95 percent, noncondensing Electrical requirements m Internal power 3 AA batteries (3.6 V DC to 5.4 V DC) m External power 4.5 V DC/1.75 A to 8.0 V DC/1.0 A Accessories m QuickTake 100 Travel Case (part number M2848G/A) m QuickTake 100 Battery Booster Pack (part number M2655G/A) 56 Appendix AThe QuickTake camera comes with three AA rechargeable NiCad (nickelcadmium) batteries and a battery charger. In place of the NiCad batteries, the camera can use other AA batteries. This appendix contains important information about the battery charger and the batteries you can use in the QuickTake camera. Important safety instructions for using the battery charger m Save this manual. It contains important safety and operating instructions. m Before using the battery charger, read all instructions and cautionary markings on the charger, the batteries, and the QuickTake camera. m The battery charger is designed for indoor use only. Do not expose the charger to rain or snow. m Charge only NiCad rechargeable batteries. Charging other types of batteries with the charger that came with the camera may cause them to leak or explode, resulting in personal injury and property damage. m Use of an attachment (such as a battery charger, power supply, or serial cable) not recommended specifically for use with QuickTake 100 and sold by Apple Computer may result in a risk of fire, electrical shock, or injury. m Do not plug the charger into an extension cord. 57 Appendix B Battery Informationm If the charger has been hit, dropped, or damaged in any way, do not operate it. Take it to an authorized service provider for repair. m Do not disassemble the charger. If it needs service or repair, take it to an authorized service provider. Incorrect reassembly may result in fire or electric shock. m To reduce the risk of electric shock, unplug the charger from the electrical outlet before you attempt to clean it. Turning off power to the outlet will not reduce this risk. Caring for batteries Here are some general suggestions for good battery care. m Always handle batteries carefully. m Do not short-circuit battery terminals (that is, do not touch both terminals with a metal object). Do not carry loose batteries in a pocket or purse where they may mix with coins, keys, or other metal objects. Doing so may cause an explosion or a fire. m Do not drop, puncture, disassemble, mutilate, or incinerate the batteries. m Recharge batteries only as described in this manual and only in ventilated areas. m Intense heat can shorten battery life. Do not leave batteries in hot locations (such as the trunk of a car) for more than a day or two. m Do not leave NiCad batteries in storage for longer than 6 months without recharging them. Store unused batteries in a dry place at normal room temperature. m Dispose of used batteries according to the battery manufacturer’s instructions. 58 Appendix BWays to improve battery performance Here are some tips that may help you get the most from your batteries. m When you replace used batteries, replace all the old ones with new ones. Mixing new and used batteries weakens the performance of the new ones. (If you are using rechargeable batteries, replace batteries that are running low with a complete set of fully charged batteries.) m Batteries work best when the contact surfaces are clean. If necessary, clean these surfaces by gently rubbing with a clean pencil eraser or a cloth. Rechargeable NiCad batteries If you’ve used a set of rechargeable batteries for a while, and they seem not to last as long as when they were new, discharge them completely before recharging them. Unless the batteries are wearing out, this should improve their lasting power. WARNING Damaged nickel-cadmium (NiCad) batteries may leak small amounts of potassium hydroxide. This substance can cause severe burns to the skin and eyes. If you touch a damaged battery, immediately rinse your hands and any other affected areas with water for at least 5 minutes. Do not use soap. Battery Information 59You can use the QuickTake 100 camera with a computer running Windows software, but you’ll need a special cable and the Windows version of the QuickTake software. You can purchase the QuickTake 100 Connection Kit for Windows with everything you need. 61 Appendix C Using the Camera with a Windows-Based PCThe QuickTake Setup control panel puts a camera icon on the desktop for convenient access to images on the QuickTake 100 camera. (By the way, you don’t need the camera icon to use the QuickTake 1.0 application program.) 1 Make sure the camera is connected to your Macintosh and turned on. 2 Choose Control Panels from the Apple (K) menu. 3 Open QuickTake Setup. 4 In the box that appears, click Connect To Camera. 63 Appendix D Using QuickTake Setup64 Appendix D The camera icon appears on your desktop. You can use the control panel to m rename the camera m make sure the camera’s clock is reset automatically when you connect your QuickTake 100 to the Macintosh m control the camera’s sleep schedule m erase the images on the camera 5 To see the images on the camera, double-click the camera icon to open it. You have several options for using the images on the camera: m To open an image in the QuickTake 1.0 application program, double-click the image icon. You can use QuickTake 1.0 to save images in formats other than PICT QuickTake (the original format of images on the camera). m To view the images and edit them, use an appropriate image-editing, image-database, or word-processing program. m To move the images to your hard disk, drag them to the disk. You can open and view images on the camera but cannot save them there. 6 To close the control panel, click its close box. 7 To remove the camera from your desktop, drag the icon to the Trash. By the way, you can move the QuickTake Setup icon out of the Control Panels folder to a more convenient place. This icon represents your QuickTake 100 camera. (You don’t need this icon on your desktop to use QuickTake 1.0.) IMPORTANT This erases everything on the camera. You cannot select individual images to erase. To change the time that elapses before the camera goes to sleep, use this pop-up menu. To rename your camera, type a name and click Set Name.A AC adapter 39 accessories 56 aperture 56 AppleTalk 6, 53 applications, copying pictures to 29 B batteries 57–59 caring for 58 charging 4 checking level of 14 cleaning 59 conserving with power adapter 39 conserving with sleep 16 damaged 59 discharging 59 disposing of 58 improving performance of 59 installing 5 rechargeable 57–59 recharging 58 removing for long-term storage 52 replacing 59 safety instructions for 4, 5, 59 storing 58 troubleshooting 59 types to use 57 battery booster pack 40 battery charger caring for 57–58 charging batteries with 4 safety instructions for 57–58 battery compartment 3 battery terminals 58 bit depth, changing 29, 43–44, 48 bit depth specifications 55 C cable, connecting 18–19 Camera Controls command (Camera menu) 37–38, 50 camera icon on desktop 63–64 camera lens 3 Camera menu 49–50 Camera Controls command 37–38, 50 Move All Camera Images to Disk command 21, 49 Set Camera Date & Time command 36, 50 Set Camera Name command 35, 50 View Slides in Camera command 20, 49 65 Indexcamera specifications 56 care of batteries 58 of battery charger 57–58 of camera 51–52 Change Image Depth command (Image menu) 29, 48 charging batteries 4 cleaning batteries 59 camera 51–52 lens 52 clock, setting 36, 50 resetting automatically 64 Close command (File menu) 43 closing active windows 43 color, 24-bit 13 colors (image depth) 44, 48 commands, undoing 46 compression scheme, changing 29 connecting camera to Macintosh 18–20 control buttons 3 control panel, QuickTake Setup 63–64 control panel display 3, 12 controls 12–15 battery level 14 flash settings 12 pictures taken and pictures available 14 resolution settings 13 timer 15 Copy command (Edit menu) 29, 46 copying pictures 46 to another application 29 Create Slide command (Image menu) 23, 48 Crop command (Image menu) 28, 48 cropping pictures 28, 48 customizing software installation 7 Cut command (Edit menu) 46 D date, setting 36, 50 desktop, camera icon on 63–64 disposing of batteries 58 E editing slide names 25, 46 Edit menu 46 Copy command 29, 46 Cut command 46 Paste command 29, 46 Select All command 29, 46 Undo command 29, 46 electrical requirements 56 Erase All button in QuickTake software 37–38 on camera 38 Erase Camera button 64 erasing pictures 37–38, 64 EtherTalk network 53 F file format, changing 31–32, 43–44 File menu 42–45 Close command 43 Get Info command 25 Open command 42 Open Slide Table command 23, 43 Page Setup command 44 Print command 33–34, 44 Quit command 44 Save As command 43–44 Save command 43 flash location of 3 range of 11, 54, 56 recharging 52 setting 12 troubleshooting 53 66 IndexFlash button in QuickTake software 37 on camera 12 flash icon 12 focal range 11, 54, 56 folders creating for pictures 21 opening pictures in 23, 43 format, changing 31–32, 43–44 framing subjects 11 G Get Info command (File menu) 25 grayscale printing 29, 33–34, 45 green light in viewfinder 11, 52 H hard disk, moving images to 64 high resolution, setting 13 high-resolution images 27 printing 34 humidity 56 I, J, K icons camera on desktop 63–64 flash 12 modem port 18 printer port 18 QuickTake 20, 22 resolution 14 serial port 18 timer 15 Trash 38 image depth, changing 29, 32, 43–44, 48 Image menu 47–48 Change Image Depth command 29, 48 Create Slide command 23, 48 Crop command 28, 48 Resize command 27, 48 Rotate command 30, 47 Sort Slides By command 48 View command 27, 47 image size specifications 55 image window changing image depth in 48 cropping pictures in 48 opening pictures in 22 resizing images in 48 rotating pictures in 47 zoom views in 27, 47 images. See pictures Installer 6–7 installing batteries 5 QuickTake software 6–8 custom installation 7 interface 55 interference vi–vii L lens 3, 10 cleaning 52 field of view 56 troubleshooting 54 lens cover 3 keeping closed 51 turning camera off with 18 turning camera on with 10, 19 waking camera with 16 lighting 54. See also flash lights green light in viewfinder 11, 52 red timer light 3, 15 light sensors 12, 54 LocalTalk devices 53 looking at pictures in camera 20 Index 67M Macintosh connecting camera to 18–20 failure to recognize camera 53 opening pictures on 22–23 taking pictures from 37 transferring pictures to 21 using camera with 17–39 working with pictures on 24–39 maintenance 51–53 memory, full 53 memory specifications 55 menu commands 41–50. See also specific menu or command modem port 18 modem port icon 18 Move All Camera Images to Disk command (Camera menu) 21, 49 moving images to hard disk 64 N naming camera 35, 50, 64 pictures 31 slides 25 neck strap 3 NiCad batteries. See batteries O Open command (File menu) 42 opening pictures 22–23, 42, 64 in image window 22 in QuickTake 1.0 64 in slide table 23, 43 opening slides to full-size image 26 Open Slide Table command (File menu) 23, 43 operating environment 56 P Page Setup command (File menu) 44 Paste command (Edit menu) 29, 46 pasting pictures 46 into other applications 29 PC, Windows-based 61 photography. See taking pictures physical specifications 55 PICT format 31–32, 44 PICT QuickTake format 30, 32, 44 pictures changing image depth of 32, 48 changing printed size of 27 changing size with Resize command 27, 48 changing size with View command 27, 47 copying 46 copying to another application 29 creating folder for 21 creating slides 23 cropping 28, 48 date and time stamp for 36, 50 editing slide names 25, 46 erasing from camera 21, 38, 64 getting information about slides 25 moving to hard disk 64 naming 31 number taken and number available 14 opening 22–23, 42 opening slides to full-size image 26 opening slide table 23 previewing 22, 42, 48 printing options for 44 printing single image 34 printing slide table 33 quality of 54 rotating 30, 47 saving 31–32, 43–44 sorting slides 48 68 Indextaking with camera 11–15 taking with Macintosh 37 transferring to Macintosh 21, 49 troubleshooting 52–54 undoing changes to 46 viewing different sizes of 27 viewing in camera 20, 49 working with 24–39 working with selected parts of 46 pixels 13 ports modem port 18 power adapter port 3, 40 printer port 18, 53 serial port 3, 18–19, 53 power. See batteries; power adapter power adapter 39 power adapter port 3, 40 PowerBook AC Adapter 39 power requirements 56 previewing pictures 22, 42, 48 Print command (File menu) 33–34, 44 printer port 18, 53 printer port icon 18 printers, grayscale 29, 33–34, 45 printing pictures 33–34, 44–45 grayscale 29, 33–34, 45 high-resolution images 34 low-resolution images 34 options for 43–44 printing a single image 34 printing slide table 33 Q QuickTake icon 20, 22 QuickTake 100 AC Adapter 39 QuickTake 100 Battery Booster Pack 40 QuickTake 100 Connection Kit for Windows 61 QuickTake 100 Travel Case 40 QuickTake Setup 63–64 QuickTake software AppleTalk and 6, 53 changing pictures with 24–25, 27–31 copying pictures to another application with 29 erasing pictures with 38 installing 6–8 menu commands 41–50 naming camera with 35 opening pictures with 22–31 printing pictures with 33–34 quitting 45 saving pictures with 31–32 setting clock with 36 taking pictures with 37 transferring pictures with 21 upgraded system software and 8 viewing pictures with 20, 26–27 Windows version of 61 Quit command (File menu) 44 R rechargeable batteries 57–59 recharging 4, 57–58 discharging 59 recharging flash 52 red timer light 3, 15 renaming the camera 64 repair 58 replacing batteries 59 resetting the clock automatically 64 Resize command (Image menu) 27, 48 Resolution button in QuickTake software 37 on camera 12 resolution icons 14 resolution settings 13 Rotate command (Image menu) 30, 47 rotating pictures and slides 30, 47 Index 69S safety instructions batteries 5, 59 battery charger 4, 57–58 Save As command (File menu) 31, 43–44 Save command (File menu) 31, 43 saving pictures 31–32, 43–44 Select All command (Edit menu) 29, 46 selecting whole picture 29, 46 serial cable connecting 18–19 disconnecting 53 serial port 3, 18–19, 53 serial port icon 18 service 52, 58 Set Camera Date & Time command (Camera menu) 36, 50 Set Camera Name command (Camera menu) 35, 50 setting camera clock 36, 50, 64 shadowed subjects, photographing 12 Show Preview 22, 42 shutter 3, 11 waking camera with 16 shutter speed 56 sleep setting time for 64 waking from 16 slides creating 23 editing names of 25, 46 getting information about 25 opening to full-size image 26 previewing 48 rotating 47 sorting 48 viewing in camera 20 slide table 20 creating slides in 48 opening 23 printing 34 rotating pictures in 47 sorting slides in 48 software. See applications; QuickTake software sorting slides 48 Sort Slides By command (Image menu) 48 specifications 55–56 standard resolution, setting 13 standard resolution images 27 printing 34 storing batteries 58 camera 52, 56 system requirements 2 system software version 7.0.1•, QuickTake software and 6, 53 upgrading 8 T taking pictures 11–15 focusing 11, 54, 56 framing subjects 11 from Macintosh 37 of shadowed subjects 12 resolution settings 13 tracking pictures taken and pictures available 14 troubleshooting 52–54 with or without flash 11–12 with timer 15 technical specifications 55–56 temperature specifications 56 TIFF format 31–32, 44 70 Indextime, setting 36, 50 Timer button in QuickTake software 37 on camera 12, 15 timer icon 15 timer light 3, 15 transferring pictures to Macintosh 21, 49 Trash icon 38 travel case 40 traveling with the camera 40 tripod mounting hole 3 troubleshooting 52–54 batteries 59 flash 53 Macintosh doesn’t recognize camera 53 picture quality 54 taking pictures 52–53 viewfinder 53 turning off camera 18 turning off flash 12 turning on camera 10, 19 U Undo command (Edit menu) 29, 46 upgrading system software 8 V View command (Image menu) 27, 47 viewfinder framing subject with 11 green light in 11, 52 location of 3 troubleshooting 53 viewfinder lens 3 viewing pictures in camera 20 View Slide in Camera command (Camera menu) 20, 49 W, X, Y waking the camera 16 windows, closing 43 Windows-based PCs, using camera with 61 Windows menu 50 Z zoom views in image window 27, 47 Index 71Apple Computer, Inc. 1 Infinite Loop Cupertino, California 95014-6299 408.996.1010 TLX 171-576 030-6161-A Printed in U.S.A. ð Personal LaserWriter300 User’s Guide ðK Apple Computer, Inc. This manual and the software described in it are copyrighted, with all rights reserved. Under the copyright laws, this manual or the software may not be copied, in whole or part, without written consent of Apple, except in the normal use of the software or to make a backup copy of the software. The same proprietary and copyright notices must be affixed to any permitted copies as were affixed to the original. This exception does not allow copies to be made for others, whether or not sold, but all of the material purchased (with all backup copies) may be sold, given, or loaned to another person. Under the law, copying includes translating into another language or format. You may use the software on any computer owned by you, but extra copies cannot be made for this purpose. 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. © Apple Computer, Inc., 1993 20525 Mariani Avenue Cupertino, CA 95014-6299 (408) 996-1010 Apple, the Apple logo, AppleTalk, LaserWriter, and Macintosh are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Chicago, Finder, Geneva, GrayShare, Monaco, New York, System 7, and TrueType are trademarks of Apple Computer, Inc. Adobe, Adobe Illustrator, and PostScript are trademarks of Adobe Systems, Incorporated, registered in the United States. Adobe Photoshop is a trademark of Adobe Systems Incorporated. Helvetica, Palatino, and Times are registered trademarks of Linotype Co. ITC Avant Garde, ITC Bookman, ITC Zapf Chancery, and ITC Zapf Dingbats are registered trademarks of International Typeface Corporation. MacPaint is a registered trademark of Claris Corporation. QMS is a registered trademark, and ColorScript is a trademark, of QMS, Inc. QuarkXPress is a registered trademark of Quark, Inc. Simultaneously published in the United States and Canada. 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.Radio and television interference v Preface About Your Personal LaserWriter 300 vii Energy conservation mode vii TrueType fonts viii GrayShare viii Sharing your printer viii Printing grayscale viii Chapter 1 Setting Up Your Printer 1 Choosing a location for the printer 1 Carrying the Personal LaserWriter 300 2 Important safety instructions 2 Connecting the printer to a Macintosh 3 Choosing a port 3 Installing the printer software 4 System requirements 4 Installation 5 Chapter 2 Adding Toner and Paper 7 Removing the plastic shipping restraints 7 Installing or changing a toner cartridge 8 Plugging in the printer 10 Loading the paper cassette 11 Loading 3-hole punched paper 13 Loading letterhead paper 13 Loading legal-size paper 14 Chapter 3 Printing 15 Turning on the printer 15 Choosing face-down or face-up delivery 16 Using the Chooser the first time you print 17 Defining the page setup 18 Printing a document 19 Printing paper or envelopes with the manual feed slot 20 iii ContentsPrinting on both sides of a page 21 Sharing your printer with other users 21 Using a shared printer connected to another Macintosh 23 Controlling the use of your printer by others 24 Chapter 4 Tips and Troubleshooting 25 Safety precautions 25 Checking the printer’s status lights 27 Solving some common problems 28 About paper 37 About fonts 38 How to use different kinds of fonts 38 Use restraint when choosing fonts 39 Add emphasis and contrast 39 Be careful setting alignment and columns 40 Choose the right size 40 Find out more 40 Appendix Specifications 41 Index 43 iv ContentsImportant 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. See instructions if interference to radio or television reception is suspected. Radio and television interference The equipment described in this manual 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 complies with the limits for a Class B digital device in accordance with the speci?cations 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 the interference will not occur in a particular installation. You can determine whether your computer 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: m Turn the television or radio antenna until the interference stops. m Move the computer to one side or the other of the television or radio. m Move the computer farther away from the television or radio. m Plug the computer into 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 your authorized Apple dealer or an experienced radio/television technician for additional suggestions. You may find helpful the following booklet, prepared by the Federal Communications Commission: Interference Handbook (stock number 004-000-00345-4). This booklet is available from the U.S. Government Printing Office, Washington, DC 20402. vS Important: Changes or modifications to this product not authorized by Apple Computer, Inc., could void the FCC Certification and negate your authority to operate the product. This product was tested for FCC compliance under conditions that included the use of shielded cables and connectors between system components. It is important that you use shielded cables and connectors to reduce the possibility of causing interference to radios, television sets, and other electronic devices. For Apple peripheral devices, you can obtain the proper shielded cables from your authorized Apple dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. S DOC Class B Compliance This digital apparatus does not exceed the Class B limits for radio noise emissions from digital apparatus set out in the radio interference regulations of the Canadian Department of Communications. Observation des normes—Classe B Le présent appareil numérique n’émet pas de bruits radioélectriques dépassant les limites applicables aux appareils numériques de la Classe B prescrites dans les règlements sur le brouillage radioélectrique édictés par le Ministère des Communications du Canada. s Warning: Making adjustments or performing procedures other than those specified in your equipment’s manual may result in hazardous exposure. s s Warning: Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential hazard to your eyes. For your safety, have this equipment serviced only by an authorized Apple service provider. s This printer is a Class 1 laser product. It carries a Class 1 label underneath the printer and a service warning label inside the printer. Service warning label Class 1 label viAbout Your Personal LaserWriter 300 The Personal LaserWriter 300 includes many features designed to produce high-quality text and graphics and deliver the performance of higher-priced laser printers. This preface describes the printer’s main features: m Energy conservation mode maintains your printer in a standby state that conserves energy by shutting off most of the printer’s functions when they are not in use. The printer “wakes up” automatically when you print a document. m TrueType fonts produce sharp characters at any size on the screen or printer. m GrayShare software lets you print grayscale images and share your personal printer with other users on a network. Energy conservation mode One of the first things you will notice about your Personal LaserWriter 300 is that it has no power on/off switch. This is because it is equipped with energy conservation mode, an automatic on/off feature that conserves energy by shutting off most of the printer’s functions when they are not in use. The printer remains in a standby state. When the printer detects something to be printed, it “wakes up” and goes to full power. After printing your document, the printer automatically returns to standby. As long as the Personal LaserWriter 300 is plugged in, it will be on standby. While on standby, the Ready/In Use status light (marked with the icon U) glows steadily. When you send the printer something to be printed, the light will flash and you will hear a fan come on. The Personal LaserWriter 300 is intended to be plugged in and on standby continuously. There is no need to unplug it, except for maintenance or moving. The printer consumes very little energy when it is on standby—less than 10 watts, about the same amount as a night-light. vii PrefaceTrueType fonts All fonts supplied with the LaserWriter are TrueType fonts. TrueType is a font technology from Apple Computer that produces sharp characters at any size on the screen or printer. The disks provided with your LaserWriter contain many widely used font families, including ITC Avant Garde® , ITC Bookman® , Courier, Helvetica® , Helvetica Narrow, New Century Schoolbook, Palatino® , and Times® , as well as four Apple fonts—Chicago, Geneva, Monaco, and New York—and three special-purpose fonts: Symbol, ITC Zapf Chancery® , and ITC Zapf Dingbats® . The Personal LaserWriter 300 is compatible with all font technologies for the Macintosh, including TrueType, bitmaps, and Type 1 fonts used with Adobe Type Manager. See “About Fonts” in Chapter 4, “Tips and Troubleshooting,” for more information. GrayShare Sharing your printer With the GrayShare printer software provided, you can either use the Personal LaserWriter 300 as a personal printer available to your Macintosh only, or share the printer with additional users connected to your network. When you share the printer, it remains connected to your own Macintosh. Network users can see the printer’s name and select it in the Macintosh Chooser like any other network printer. The documents they send to your printer are stored temporarily on your computer’s disk and printed in the order received. You have complete control over the shared printer. You can turn sharing on or off at any time. You use the Print Monitor program in your Macintosh system software to view and delete the print jobs that have been sent to your printer. Chapter 3 provides complete instructions about sharing. Printing grayscale The Personal LaserWriter 300 prints images in more than 30 levels of gray. Grayscale printing produces finer images. Choosing grayscale printing is explained in “Printing a Document” in Chapter 3. viii Preface: About Your Personal LaserWriter 300Setting Up Your Printer This chapter tells you how to connect the printer to your computer and install the printer software. S Important: Do not plug the printer in at this time. After you connect the printer to your computer, and install the printer software, you should continue with Chapter 2, “Adding Toner and Paper.” After you add the toner, you can plug the printer in. Plugging the printer in before adding toner can cause a paper jam when the printer starts up for the first time. S Choosing a location for the printer Choose a flat, stable surface with adequate room around the printer as shown. The area should be well ventilated and away from direct sunlight or sources of heat, cold, or humidity. Allow 4 inches (10 cm) at the back of the printer for airflow. Allow 21 inches (52 cm) at the front of the printer to allow access to the paper cassette. Allow space for airflow around the vent. 1 Chapter 1Carrying the Personal LaserWriter 300 To carry the Personal LaserWriter 300, hold it firmly and level with both hands. Holding the printer in positions other than the one shown may cause an accident. Place the LaserWriter on the flat, stable surface you have chosen. s Warning: Never lift the LaserWriter by the front and rear of the cassette, or the face-down delivery tray; otherwise, the printer may drop and be damaged. s Important safety instructions Always take the following precautions: m Protect the printer from dampness and sources of liquids. m Don’t use devices that produce open flames, such as Bunsen burners, near the printer. m Don’t use alcohol-based or ammonia-based cleaners on or around the printer. m Clean the printer with only a damp cloth and, if necessary, a mild soap or detergent. Be careful to avoid getting liquid in the printer or the power cord receptacle. Disconnect the power plug immediately if any of the following situations occur: m The power cord or plug is frayed or damaged. m Liquid gets spilled on or into the printer. m The printer needs cleaning, servicing, or repair. s Warning: Electrical equipment may be hazardous if misused. Operation of the printer must always be supervised by an adult. Do not allow children access to the interior of the printer and do not permit them to handle any cables. s 2 Chapter 1: Setting Up Your PrinterConnecting the printer to a Macintosh To connect the printer, you need an Apple Peripheral-8 cable, part number M0197. The Apple Peripheral-8 cable has special shielding to reduce the possibility of causing interference to radios, television sets, and other electronic devices. If you do not have an Apple Peripheral-8 cable, you can obtain one from an authorized Apple dealer. Choosing a port Your Macintosh has a printer port (marked with the icon [) and a modem port (marked with the icon W). You can attach the printer cable to either of these ports. If your computer is connected to a network, your printer port may already be connected to a network cable. If the printer port is unavailable, you can use the modem port. S Important: If your computer is not connected to a network, and you plug your printer cable into the printer port, you must make sure that AppleTalk is inactive in the Macintosh Chooser desk accessory. See “Using the Chooser the First Time You Print” in Chapter 3. S No matter which Macintosh you have, these icons identify the printer and modem ports. Press the cable firmly into this notch to secure it. Chapter 1: Setting Up Your Printer 3Installing the printer software Before you can print, you may need to install the software from the disks that came with your printer. To protect the disks, it is a good practice to lock them before use. See your Macintosh User’s Guide for information on locking floppy disks. v Is your software already installed? Some Macintosh computers come with printer software already installed on the hard disk. If your computer has the LaserWriter 300 software already installed, you do not need to install the printer software. v To see if your computer already has the LaserWriter 300 software, open the Apple (K) menu and choose the Chooser. If the LaserWriter 300 software is on your hard disk, the LaserWriter 300 icon will appear in the Chooser. If you see the LaserWriter 300 icon, skip this section of this book, and go on to Chapter 2, “Adding Toner and Paper.” System requirements The printer software can operate on a Macintosh using System 7 with at least 2 MB of memory, or System 6.0.7 with at least 1 MB of memory. Performance is best using System 7 with at least 4 MB of memory, or System 6.0.7 with at least 2 MB of memory. If your system software is an earlier version, you need to obtain a system software upgrade from your computer or software dealer. 4 Chapter 1: Setting Up Your Printer LaserWriter 300 iconInstallation Before you install the printer software, quit any application programs that may be open. If you have virus protection software, turn it off. Then follow these steps: 1. Insert the LaserWriter 300 Install disk and open the disk icon. A window appears, showing the contents of the disk. 2. Drag the TeachText icon to your hard disk. If you already have a copy of TeachText on your hard disk, you don’t need to drag this icon. 3. Double-click the Installer icon to open it. The Installer’s Welcome screen describes the items that will be installed on your disk. 4. Click OK to clear the Welcome screen and display the Easy Install dialog box. v Installing customized printer software: These instructions cover the Easy Install process, which is recommended for most Macintosh users. If you click Customize before you click Install, you can select individual items to install from the disks. This is not recommended unless you are an experienced user and know which items to select. v continues . Chapter 1: Setting Up Your Printer 55. Make sure that the disk indicated on the screen is the one on which you want to install printer software. If the wrong disk name appears, click Switch Disk until the correct name appears. 6. Click Install. If any of your system’s application programs are open, a message appears warning you that you must quit the applications before installing the printer software. Click Continue to quit the applications. Status messages inform you of progress during installation. 7. Insert additional disks when messages on your screen request them. 8. When you see a message reporting that the installation was successful, click Restart. Go on to Chapter 2 to install a toner cartridge and load the paper cassette, and then to Chapter 3 when you’re ready to begin printing. If you have virus protection software, turn it back on after the installation. v Read the ReadMe file: The ReadMe file on the LaserWriter 300 Install disk contains the latest information about your Personal LaserWriter 300. Double-click this file to open and read it; then choose Quit from the File menu to close it. v 6 Chapter 1: Setting Up Your PrinterAdding Toner and Paper This chapter tells you how to install a toner cartridge into the printer and load paper into a cassette. S Important: If you are setting up your Personal LaserWriter 300 for the first time, please add toner and paper before you plug your printer into an outlet. Otherwise, a paper jam may occur when your printer starts up. S Removing the plastic shipping restraints If you are installing a toner cartridge for the first time, you must remove the two orange plastic shipping restraints from inside the printer before you can install the cartridge. 1. Open the printer access door. 2. Remove the shipping restraints. Press on the restraints to remove them. If you are installing for the first time, remove the plastic shipping restraints. Press the release button to open the access door. 7 Chapter 2Installing or changing a toner cartridge Toner is the powdered ink that produces the image on the paper. Follow these steps to install a toner cartridge into the printer. 1. Open the printer access door. 2. If you are replacing a used cartridge, remove the old cartridge and set it aside. 3. Unpack the new toner cartridge and gently rock it to distribute the toner inside. Save the protective bag. If you move or transport your printer, you will need to remove the cartridge and transport it separately in the bag. Do not expose the cartridge to direct sunlight. Don’t expose it to room light for more than five minutes, or the life of the cartridge may be reduced. Gently rock the toner cartridge. Press the release button to open the access door. 8 Chapter 2: Adding Toner and Paper4. Pull the tab to remove the tape. s Warning: Be sure to pull the tape in the direction shown. Don’t pull it too quickly or at too sharp an angle; otherwise, the tape may break. s 5. Insert the cartridge into the printer. Line up the markings on the sides of the cartridge with the arrows in the printer. 6. With both hands, press down gently on the cartridge to secure it in place. 7. Close the access door. Align arrows. Pull the tape completely out. Pull the tape in the direction shown. Do not pull it to either side or it may break. Chapter 2: Adding Toner and Paper 9Plugging in the printer A power cord is supplied with your printer. Be sure the power cord is within easy reach, in case you want to unplug the printer. When you plug the power cord into an outlet, the Ready/In Use light comes on. s Warning: The Personal LaserWriter 300 is equipped with a three-wire grounding plug—a plug that has a third (grounding) pin. This plug fits only a grounding-type AC outlet. If you are unable to insert the plug into an outlet, contact a licensed electrician to replace the outlet with a properly grounded one. This equipment is meant to be electrically grounded. Do not defeat the purpose of the grounding plug! s Press the power cord firmly into this notch to secure it. 10 Chapter 2: Adding Toner and PaperLoading the paper cassette The universal paper cassette supplied with your printer holds up to 100 sheets of copier-weight bond paper. The paper size can be U.S. Letter, A4, U.S. Legal, or Executive. For good advice on paper quality, see Chapter 4, “Tips and Troubleshooting.” To load the paper cassette: 1. Take the cassette out of the printer and place it on a flat surface. If you are loading the paper cassette for the first time, remove the orange cardboard and plastic shipping inserts. 2. Adjust the sliding backstop in the cassette so it clicks into the notch for the appropriate paper size. Be sure the backstop is in one of the notches. Setting it between notches will result in a printing error. To change paper size, slide the paper guide in the direction of the arrow and line up the paper guide pointer with the paper size you want. continues . Adjustable paper guide Sliding backstop If you are installing for the first time, turn the paper cassette over and press both clips to remove the plastic insert. Chapter 2: Adding Toner and Paper 113. Insert a stack of paper that fits below the top edge of the paper bracket inside the cassette. 4. Slide the cassette into the printer. To remove the cassette to refill it, grasp it and pull firmly straight out. Push firmly to make sure the cassette is in place. Make sure paper fits under the corner brackets. Insert paper this end first. Corner bracket 12 Chapter 2: Adding Toner and PaperLoading 3-hole punched paper Follow the instructions for loading ordinary paper, and position the sheets as shown below. Loading letterhead paper Follow the instructions for loading ordinary paper, and position the sheets as shown below. Insert letterhead paper face down with the top of the page at this end of the cassette. The holes should line up along this side of the cassette. Chapter 2: Adding Toner and Paper 13Loading legal-size paper Follow the instructions for loading ordinary paper, adjusting the sliding backstop to accommodate legal-size paper. Slide the cassette firmly into the printer. The cassette and paper will extend out the back of the printer. 14 Chapter 2: Adding Toner and PaperPrinting This chapter explains how to print documents on a Personal LaserWriter 300 connected to your own Macintosh, to share the printer with other users on a network, and to use shared printers connected to other computers on the network. More printing instructions can be found in the manuals for your applications, such as word processing programs. These programs may include additional printing controls. Before you use the printer, you should have installed the software as described in Chapter 1, and installed a toner cartridge and paper cassette as shown in Chapter 2. Turning on the printer One of the first things you will notice about your Personal LaserWriter 300 is that it has no power on/off switch. As soon as the printer is plugged into an outlet, its power is on and the printer is in a standby state. There is no wait for the printer to warm up. The Personal LaserWriter 300 is equipped with an energy conservation mode, an automatic on/off feature that conserves energy by shutting off most of the printer’s functions when they are not in use. The printer remains on standby. When the printer detects something to be printed, it “wakes up” and goes to full power. After printing your document, the printer automatically returns to standby. As long as the printer is plugged in, it will be on standby. While on standby, the printer’s Ready/In Use status light (marked with the icon U) glows steadily. When you send the printer something to be printed, the light will flash and you will hear a fan come on. The Personal LaserWriter 300 is intended to be plugged in and on standby continuously. There is no need to unplug it, except for maintenance or moving. When it is on standby the printer consumes very little energy—less than 10 watts, about the same amount as a night-light. 15 Chapter 3Choosing face-down or face-up delivery You can select either face-down or face-up paper delivery with your Personal LaserWriter 300, depending on the type of paper you are using. When you choose face-down delivery, paper comes out into the delivery tray on top of the printer, face down and stacked in order. The delivery tray can hold at least 25 sheets of standard copierweight bond paper. Face-down delivery is useful when you want your document collated; but it is limited to plain paper only. To select face-down delivery, set the paper delivery selector as shown here: In face-up delivery, paper comes out of the face-up delivery slot at the back of the printer. Face-up delivery uses a straight paper path, which helps to avoid paper jams and curl. Face-up delivery is required for envelopes, transparencies, labels, and other special papers. If you choose face-up delivery, be sure there is enough space behind the printer for the paper to come out. To select face-up delivery, set the paper delivery selector as shown here: Set the selector for face-up delivery. Paper delivery selector Set the selector for face-down delivery. Paper delivery selector 16 Chapter 3: PrintingUsing the Chooser the first time you print You use the Chooser desk accessory to tell the Macintosh where to send print jobs. In the Chooser, you choose the port to which you connected the Personal LaserWriter 300, and can also choose among printers connected to your network, if any. S Important: Once you choose the printer in the Chooser, you won’t need to repeat this step unless you change printers or change the way your printer is connected. S 1. Choose the Chooser from the Apple (K) menu. 2. After you choose the printer, close the Chooser. Chapter 3: Printing 17 First click the LaserWriter 300 icon in this box. Then click the serial port that you used to connect the printer. Click here to share the printer over a network or to create a log of printed jobs. See “Sharing Your Printer With Other Users.” Be sure to make AppleTalk inactive if your computer is not on a network and you connected the printer to the printer port (marked with the icon [). Background Printing lets you use your computer for other things while it is printing. For details, see the Print Monitor instructions in your Macintosh User’s Guide.Defining the page setup The Page Setup command is found in the File menu of nearly all Macintosh programs. Depending on the program you are using, some of the options in this dialog box may change. You need to choose Page Setup only if you want to change settings. 18 Chapter 3: Printing Click here to reduce the image by 4%. This makes the printed dots proportional to the dots on your screen so there is no distortion when you print a bitmapped image. Click here to reduce the margins and print closer to the edge of the page. Click one of these icons to choose vertical or horizontal page orientation. Type any size from 5% to 999% or choose a preset size. Click Options to display the page setup options. Choose from six paper sizes: U.S. Letter, U.S. Legal, Executive, A4, #10 Envelope, and Monarch Envelope.Printing a document The Personal LaserWriter 300 prints your document using the cassette or manual feed. See the next section for instructions if you choose Manual Feed as the paper source. 1. Open the document you want to print or select its icon in the Macintosh Finder. 2. Choose Print from the File menu. 3. Choose the appropriate settings and click Print. After a moment, the Ready/In Use light begins to blink. Then you will hear the fan come on. There will be a brief wait before printing. Chapter 3: Printing 19 To print more than one copy, type a number here. Choose from an alert message or a system sound to notify you when a print job is finished. Choose the paper source from the top menu. To print the first page on special paper, click “First from” and use both menus. If you don’t want to print all pages, click in these boxes and type the first and last page to print. Click here to display the printer’s density control. See “The Image Is Too Light or Too Dark” in Chapter 4 for details. Choose Grayscale or Black and White printing. If your document contains colors or shades of gray, Grayscale produces a sharper image. Black and White printing is faster, but produces a coarser image. Printing paper or envelopes with the manual feed slot If you want to use paper that is different from the paper in the cassette, you can use the manual feed slot to insert sheets one at a time as the document is printed. You can also use this slot to print on envelopes and other nonstandard paper sizes. 1. Open the document you want to print or select its icon in the Macintosh Finder. 2. Choose Print from the File menu. 3. In the Print dialog box, choose Manual Feed from the Paper Source pop-up menu. 4. Click Print. The sheet you inserted is printed. If the document has additional pages, a message on your screen will alert you each time a new sheet is needed. To avoid paper jams, always wait for the prompt before inserting a new sheet. 5. Insert a sheet of paper or envelope as shown. Be sure to keep the page straight so it feeds correctly. Feed envelopes flap side down. Align along this edge. 20 Chapter 3: Printing Choose Manual Feed.Printing on both sides of a page Follow these steps to print a document using both sides of the paper. 1. Print the first side of the page using manual feed or the paper cassette. 2. Take out the printed sheet, turn it over, and print the second side using manual feed, inserting the sheet as shown here. Always use manual feed for printing the second side. To avoid jams, don’t load already printed pages into the paper cassette. Sharing your printer with other users If your Macintosh is connected to a network, you can set up your printer to let other users on the network use it. Follow these steps to turn on the printer’s sharing feature: 1. Choose the Chooser from the Apple (K) menu. 2. Click the LaserWriter 300 icon. continues . Top of sheet Chapter 3: Printing 21 Click the LaserWriter 300 icon in this box. Click the serial port to which you connected the printer. Click Setup. Make AppleTalk active.3. Make AppleTalk active if it is not already active. 4. Click Setup. 5. Click Share this Printer and enter the options for the shared printer and in the Setup dialog box. Background printing is automatically turned on when a printer is shared. For details, see the Print Monitor instructions in your Macintosh User’s Guide. 6. Click OK. 7. Close the Chooser window. Network users can now choose your printer in their Chooser (see the next section for details). 22 Chapter 3: Printing Click to place an X in this checkbox. Type a name for the printer. This is the name other users will see in their own Chooser. Type a password if you want to share the printer with only users who know the password. Click to place an X here if you want to keep a record of all print jobs. The log file (a text file) is kept in the Printer Preferences folder in the Preferences folder inside your System Folder.Using a shared printer connected to another Macintosh To print on a shared Personal LaserWriter 300, network users must have the LaserWriter 300 driver installed on their computers, AppleTalk must be active, and the shared printer and Macintosh must be turned on. Each user wanting to use the shared printer should use the LaserWriter 300 installation disks and follow the instructions in Chapter 1 to install the printer software. Once the software is installed, the shared printer appears in the list of network printers available in the Chooser desk accessory. 1. Choose the Chooser from the Apple (K) menu. 2. Click the LaserWriter 300 icon. 3. In the list of printers on the right, click the name of the shared LaserWriter you want to use. You can click the Get Info button in the Chooser window to see whether any fonts in your system are unavailable on the selected printer. If your document contains any such fonts, printing will be slower, because information about the fonts must be sent from your computer to the printer. (For faster printing, use a printer on which the fonts are available, or install the fonts on the Macintosh to which the shared printer is connected.) 4. Close the Chooser. Your Macintosh will now send all subsequent print jobs to the shared printer. Chapter 3: Printing 23 First click the LaserWriter 300 icon. Then click the name of the shared printer.Controlling the use of your printer by others After you turn on the sharing feature, you still have complete control over the shared printer: m You can turn sharing on or off at any time. m You can type a password in the Sharing Setup dialog box so only those who know the password can use your printer. m You can use the Print Monitor program in your Macintosh system software to view a list of print jobs that have been sent to your printer, and to delete any jobs in the list. The Print Monitor program is available when you have Background Printing turned on in the Chooser, and comes on automatically when others use your shared printer. Refer to your Macintosh User’s Guide for more information about the Print Monitor program. v Your computer’s performance: When others use your printer, their documents are printed in the background so your work is not interrupted. While your computer is printing in the background, you may experience an occasional pause or other symptoms of reduced performance. v 24 Chapter 3: PrintingTips and Troubleshooting This chapter provides solutions to printing problems you may encounter while using your printer. s Warning: If you have a problem with your printer and nothing presented in this chapter solves it, see the service and support information that came with your printer or computer. If you attempt to repair the printer yourself, any damage you may cause to the printer will not be covered by the limited warranty. s See page 2 for additional safety information. Safety precautions Consider these rules of safety before you open the printer or attempt to troubleshoot problems: m Don’t attempt to disassemble the printer. m Don’t use oil inside the printer. m Don’t use ammonia-based cleaners on or around the printer. They may react with the toner. m Don’t use alcohol-based cleaners on or around the printer. They may react with the plastic case. m Don’t leave the access door open. Exposing the toner cartridge to light may damage the cartridge. continues . 25 Chapter 4m Don’t open the drum-protection shutter on the toner cartridge. m Be sure the power cord is within easy reach, should you want to unplug the printer at any time. Since the Personal LaserWriter 300 has no power switch, unplugging it is the only way to turn it off. m Never try to manually defeat the interlock switches inside the printer. S Important: The fixing assembly in the printer operates at very high temperatures. When you need to open the printer, be careful not to touch the fixing assembly. S Some odor from the heat of the printing process is normal. Fixing assembly. This area gets very hot. 26 Chapter 4: Tips and TroubleshootingChecking the printer’s status lights Always check the status lights first when a printing problem occurs. These often tell you the cause of the problem. m The Ready/In Use light should glow steadily whenever the printer is on, and blink when it is printing. m The Paper Out light is on only when there is no paper in the cassette, or the printer is waiting for manual feed. m The Paper Jam light is on when any obstruction occurs in the paper path. Paper Out light Ready/In Use light Paper Jam light Chapter 4: Tips and Troubleshooting 27Solving some common problems The Chooser doesn’t show the LaserWriter 300 icon If the LaserWriter 300 icon is missing from the box that identifies different printer types, you need to install the printer software from the disks that came with your printer. To install the software, follow the instructions in “Installing the Printer Software” in Chapter 1. Then make sure you select the printer, as shown in “Using the Chooser the First Time You Print,” in Chapter 3. The Macintosh can’t find the printer If you have selected the printer icon in the Chooser but nothing prints or you get a message that no printer has been found, one of the following may be the cause: m The printer has been unplugged. Make sure it is plugged securely into an outlet (the green status light should be on). m In the Chooser, you may have chosen the wrong printer or selected the wrong serial port (the modem port instead of the printer port, or vice versa). Select the correct Chooser options as described in “Using the Chooser the First Time You Print,” in Chapter 3. m There’s a loose plug somewhere. Check to make sure that both ends of the cable are properly connected. See Chapter 1, “Setting Up Your Printer.” m If you are connected to a network and are printing on a shared Personal LaserWriter 300, check to be sure you have chosen the correct zone in the Chooser. The Macintosh to which the printer is connected must be turned on. If you still can’t resolve the problem, the printer may not be functioning properly. Contact an authorized Apple service provider about repairs. 28 Chapter 4: Tips and Troubleshooting If there’s no LaserWriter 300 icon here, you haven’t installed the printer software correctly.Printing takes a long time Printing may be slow on pages containing complex graphics or pages printed using landscape (horizontal) orientation. The processing speed of your computer and the amount of memory it has directly affect printing time. A faster computer or more memory results in faster printing. The printer won’t print a particular page or document If a document contains a page with very complex graphic images, the printer may be unable to print the page. You will see a message telling you that your printer has “insufficient memory.” Remove some of the complex detail from that page (or spread the information over two pages) and try again to print it. You are more likely to experience this problem when printing legal-size documents. Chapter 4: Tips and Troubleshooting 29Type looks jagged or some text changes to the Geneva font The most likely cause of this problem is that you are using a nonTrueType font. LaserWriter 300 printers use two kinds of fonts: outline fonts and bitmapped fonts. TrueType fonts are outline fonts. Each character in an outline font is produced by instructions that describe its shape. A character from an outline font can be printed smoothly in any size you specify. Your Personal LaserWriter 300 comes with a set of TrueType fonts (see “About Fonts,” later in this chapter). Bitmapped fonts are fixed in shape and size: Your printer can produce smooth bitmapped characters only in the sizes for which it has instructions (a map of dots for each font size). If you use a bitmapped font in a size for which your printer does not have instructions, your system tries to create the size you want. The resulting type can look jagged. Even a font that looks good on your screen can look bad when printed out. The best solution to this problem is to switch to a TrueType version of the font you want to use. To see if you have a TrueType version: 1. Find your Fonts on your system. If you have System 7, version 7.1 or higher, open your System Folder and then open your Fonts folder. If you have an earlier version of System 7, open your System Folder. If you have System 6, insert your LaserWriter 300 Install disk and double-click the Font-DA Mover. 30 Chapter 4: Tips and Troubleshooting2. Look in the list of fonts for the font you wish to use. If it is a TrueType font, its icon will look something like this: If it is a non-TrueType font, its icon will look like this: If you are using System 6, you will see a list of font names in the Font-DA Mover. If the font name has a number next to it, then it is a non-TrueType font. If a TrueType version of your font is available, use it in your documents. When your computer runs low on memory, TrueType turns itself off and some TrueType fonts may be displayed and printed in the Geneva font. If you’ve installed fixed-size versions of your TrueType fonts, they will not change to Geneva, but they will look very jagged when TrueType is turned off. For more help with fonts, see “About Fonts,” later in this chapter. Chapter 4: Tips and Troubleshooting 31 This number tells you the size of the font.The printer prints on only part of the paper Make sure you have selected the appropriate paper size in the Page Setup dialog box. Check the adjustment of the sliding backstop in the paper cassette to make sure it is correct for your paper size. See “Loading the Paper Cassette” in Chapter 2. Paper is jammed To avoid paper jams, make sure the paper cassette is properly loaded with one of the recommended paper types. (See “Paper Feeds Improperly,” next.) If you are using manual feed, be sure to wait for the prompt before inserting a new sheet. Paper jams are sometimes caused by moving or jarring the printer. 32 Chapter 4: Tips and TroubleshootingIf the Paper Jam status light is on, follow these steps: 1. Remove the paper cassette. Be sure the paper is loaded correctly in the paper cassette. The stack of paper should fit under all the corner brackets. With the paper cassette removed, look inside the printer and remove any jammed sheets you see. 2. Open the printer and remove the cartridge. Look inside the printer and remove any jammed sheets you see. Pull the sheet straight out. Avoid pulling at an angle that might tear the paper and leave scraps inside the printer. Replace the toner cartridge when done. continues . Chapter 4: Tips and Troubleshooting 333. Open the printer’s back door as shown below. Press the paper release lever and pull the jammed sheet out through the front. This type of jam is often caused by an interruption in printing. 4. If the paper is wrapped around the roller, remove it as shown below. Press the paper release lever. 34 Chapter 4: Tips and TroubleshootingPaper feeds improperly If paper tears, gets skewed, or comes through the printer crumpled, it may not be entering the printer properly. Remove any jammed sheets from inside the printer. Remove the paper cassette, turn the stack of paper over, and replace the cassette (most paper has one side that prints better). It may also help to fan the edge of the stack with your thumb, in case some of the sheets are stuck together. Make sure the stack of paper is loaded correctly into the paper cassette, and fits under all the corner brackets. Some papers cause jams because they are not intended for use with laser printers. See “About Paper,” later in this chapter, for advice on choosing papers. Unwanted lines or stripes appear If white or dark lines appear on the page, try the following: m Remove the toner cartridge and rock it to redistribute the toner. Be sure to hold the cartridge horizontally. Chapter 4: Tips and Troubleshooting 35Toner stains appear on printed pages If the printed pages are not clean, there may be a buildup of toner on the printing rollers. If stains appear on the backs of printed pages, you may have printed an image that is larger than the paper, causing toner to be deposited in the paper path. To clean the rollers, print several blank pages until the stains disappear. The image is too light or too dark If printing is too light or too dark, try the following: m Take out the toner cartridge and rock it gently to distribute toner. If this doesn’t help, you may need to replace the cartridge. See “Installing or Changing a Toner Cartridge” in Chapter 2 for instructions. m Choose Print from the File menu and click Options to display the Print Density control. m If the problem occurs on paper other than the recommended copier-weight bond, the toner may not adhere well to the paper you are using. Try using a fresh package of paper. For advice on choosing paper for your laser printer, see “About Paper,” next. 36 Chapter 4: Tips and Troubleshooting Drag the slider toward the right to darken the image.About paper Many problems, such as toner smearing, paper curling, or paper feeding improperly, can be caused by the paper you are using. To assure good results, use only paper, envelopes, and transparencies that are manufactured for use with laser printers and photocopy machines. Make sure any paper you use is free of tears, wrinkles, dust, and oil stains. Paper with cutouts or perforations is not recommended. Here is a list of papers to avoid: m extremely slick or shiny paper m erasable typewriter paper m paper that is highly textured m coated paper m stapled paper m envelopes that contain fasteners or snaps m multipart forms s Warning: Do not use paper printed using low-temperature dyes or thermography. Such materials can peel away from the paper or melt inside the LaserWriter and cause damage. Colored paper can be used as long as the color is added during the paper-making process, not after, and the color can withstand the heat generated by the printer’s fixing assembly (approximately 190° C or 374° F). Envelopes, transparencies, and labels are acceptable as long as they contain no fasteners and can withstand the heat generated by the fixing assembly. s The paper cassette can hold U.S. Letter, A4, U.S. Legal, and Executive paper. Chapter 4: Tips and Troubleshooting 37About fonts The disks provided with your LaserWriter contain fonts from the most widely used font families. Font families (also called typefaces) can be classified into two groups: serif and sans serif. The small accents at the ends of the strokes of the letters are serifs. Fonts that do not have these accents are “sans” serifs. How to use different kinds of fonts Serif fonts are considered more readable than sans serif fonts. For long passages of text, typographers generally choose serif fonts. Sans serif fonts are used for headlines and short passages. Your font disks contain seven serif typefaces: ITC Bookman® , Courier, New Century Schoolbook, Palatino® , Times® , Chicago, and New York. All but Courier are commonly used for both long passages and headlines or captions. Courier is designed to look like output from a typewriter, and does not give a page a typeset appearance. Times is the most commonly used typeface in the selection, and is considered to be one of the most readable fonts. The disks include five sans serif typefaces: ITC Avant Garde® , Helvetica® , Helvetica Narrow, Geneva, and Monaco. These fonts are appropriate for headlines, posters, and captions; they are sometimes also used for short passages in brochures, invitations, and so forth. Helvetica and Helvetica Narrow are the most widely used of the sans serif typefaces in the selection. Because of its compact width, Helvetica Narrow is also convenient for mathematical expressions and spreadsheets. Your font disks also contain three special-purpose fonts: Symbol, ITC Zapf Chancery® , and ITC Zapf Dingbats® . Symbol is handy for technical documents that contain equations and formulas. Zapf Chancery is highly decorative, and is useful for invitations, diplomas, and the like. Zapf Dingbats contains arrows, pointing fingers, small pictures (icons), and other symbols for decorating and illustrating your documents. 38 Chapter 4: Tips and Troubleshooting T T Serif Sans SerifUse restraint when choosing fonts A good rule of thumb to use when choosing fonts for your documents is: Avoid using more than two font families on the same page. It is fine to use several sizes and styles (such as bold or italic) of the same font family on the same page. Using too many font families on the same page gives your document a “ransom note” appearance. A good combination is one sans serif font for your headings and one serif font for your body text. Avoid combining two serif or two sans serif font families on a page. The two-font family rule does not apply to the Symbol and ITC Zapf Dingbats® fonts: You can add these as needed in addition to the regular fonts you have chosen. Add emphasis and contrast To add emphasis and contrast to your documents, use bold, italic, and, occasionally, all caps. Don’t underline unless there is a special purpose for it, as in a formula or equation. Underlining is a throwback to the typewriter and gives your document an unprofessional look. Italics is the best choice for putting emphasis on passages within your body text. It is also useful for book titles and foreign phrases. Bold is best used for headings. Type set in bold looks important and authoritative. Using all caps has a similar effect. Use type set in all caps sparingly, however, because it is very difficult to read. Don’t use outline or shadow styles except for decoration on posters, in logos, and similar pieces. Chapter 4: Tips and Troubleshooting 39Be careful setting alignment and columns Properly aligning your text can enhance or detract from your document’s readability. One of the most common mistakes is to set a document in many narrow columns, with full justification (text lined up on the left and right). This allows for only a few words per line, and “darkens” a page by eliminating the white space around the edges of the text. Flush-left alignment with a ragged right edge lends an informal feeling, and is generally considered to be the most readable of settings. Centering is useful for formal announcements or invitations, but avoid centering long passages. Choose the right size Use 9- to 12-point type for long passages of body text. Smaller sizes can be very difficult to read. Note, however, that different typefaces of the same point size vary in “visual size”: 9-point Helvetica looks larger than 9-point Times. Find out more There are many excellent sources to help you produce professional-looking documents. Look for books and magazines on desktop publishing, graphic design, and typography. 40 Chapter 4: Tips and Troubleshooting41 Specifications Print quality m 300 dots per inch for text and graphics Printer RAM m 512K of RAM Printer fonts m Standard TrueType font families. The Personal LaserWriter 300 can support additional fonts from Apple and from other suppliers. Speed m Four pages per minute maximum. Actual speed depends on the images printed and the computer used. Interface m Serial, externally clocked Life expectancy m Minimum life expectancy is 150,000 pages, with no monthly page limit. Paper feed m Automatic feed from paper cassette; manual feed for single sheets Printing materials Apple recommends 20-lb. photocopy bond (75 g/m 2 ). You can use 16-lb. (64 g/m 2 ) to 28-lb. (105 g/m 2 ) paper with manual feed; the paper cassette accepts 16-lb. (64 g/m 2 ) to 24-lb. (90 g/m 2 ) paper. Accepts most letterhead and colored stock, and medium-weight laser printer transparencies. Print labels using manual feed. Use envelopes recommended for laser printers. Print envelopes, transparencies, and other special media using manual feed and face-up delivery. Paper sizes and capacity The paper cassette can hold up to 100 sheets of U.S. Letter, U.S. Legal, A4, and Executive paper sizes. Imageable area m Maximum printable line: 203 mm (8.00 in.) m Minimum top and bottom margins: 6.35 mm (0.25 in.) m Minimum left and right margins: 6.35 mm (0.25 in.) Actual imageable area may vary depending on the application program. AppendixDimensions m Height: 16.1 cm (6.3 in.) m Width: 38.5 cm (15.2 in.) m Depth: 37.9 cm (14.9 in.) Weight m 7 kg (15.4 lb.) not including cartridge Operating environment Temperature m 50° to 90.5° F (10° to 32.5° C) Humidity m 20 to 80 percent, noncondensing Toner cartridge storage environment m 32° to 95° F (0° to 35° C) Input electrical requirements U.S./Japan m 100–120 V (±10%), 50–60 Hz (±2 Hz) Europe/Australia m 220–240 V (±10%), 50 Hz (±2 Hz) Power consumption Operating m 450 W maximum at 115 V or 220 V Standby m 10 W or less Ozone emission m Less than 0.05 parts per million maximum, measured in accordance with ECMA 129 or UL114 standards for ozone density measurement Laser Specifications m Type: Anode Common Type m Wavelength: 775–795 nm m Output power: 5 MW 42 Appendix: SpecificationsA alert message, choosing 19 alignment, design tips 40 Apple Peripheral-8 cable 3 AppleTalk, setting up printer for 21–22 Avant Garde® font 38 B background printing on network 22, 24 setting up in Choose 17 bitmapped fonts Page Setup for 18 TrueType fonts vs. 30 Black and White printing, choosing 19 bold font, using 39 Bookman® font 38 C cable checking 28 connecting to printer port 3 carrying the printer 2 cassette feed, printing with 19. See also paper cassette centering 40 changing toner cartridge 8–9 Chicago font 38 Chooser LaserWriter 300 icon missing from 28 printer problems and 28 setting up printer in 17 setting up for network in 21–23 cleaning the printer 2, 25 colored paper 37 columns, design tips 40 connecting the printer 3 Courier font 38 customized software, installing 5–6 D density control, displaying 19, 36 design tips 39, 40 E Easy Install dialog box 5 electrical requirements 42 energy conservation mode vii, 15 envelopes acceptable types of 37 face-up delivery required for 16 printing 20 environmental requirements 42 F fixing assembly caution 26 font families 38 combining 39 fonts about 38–40 adding emphasis or contrast with 39 choosing 38–39 finding 30–31 jagged type problems 30–31 mixing types of 39 shared printer and 23 sizes 40 TrueType viii TrueType vs. bitmapped 30 43 IndexG Geneva font 38 TrueType fonts printed as 31 graphics, print speed and 29 grayscale printing viii choosing 19 GrayShare software viii H Helvetica® font 38 Helvetica Narrow font 38 horizontal page orientation choosing 18 print speed and 29 I icons font 31 Installer 5 LaserWriter 300 4 printer and modem port 3 Installer icon 5 installing paper cassette 11–12 installing printer software 4–6 installing toner cartridge 7–9 “insufficient memory” message 29 italic font, using 39 ITC Avant Garde font® 38 ITC Bookman® font 38 ITC Zapf Chancery® font 38 ITC Zapf Dingbats® font 38, 39 J, K jagged type problems 30–31 L labels acceptable types of 37 face-up delivery required for 16 landscape orientation. See horizontal page orientation laser specifications 42 LaserWriter 300 icon 4 missing from Chooser 28 legal-size paper “insufficient memory” message with 29 loading 14 letterhead paper, loading 13 location for printer 1 log file, for shared printer 22 M Macintosh computer, connecting to 3 maintenance, safety precaution vi, 2, 25–26. See also troubleshooting manual feed, printing with 20 paper jam and 32 on second side 21 margins design tips 40 imageable area 41 reducing 18 memory capacity print speed and 29 TrueType fonts and 31 modem port 3 modem port icon 3 Monaco font 38 multiple copies, printing 19 N network connecting printer on 3 GrayShare software for viii setting up in Chooser 17 sharing printer on 21–24 New Century Schoolbook font 38 New York font 38 O operating environment 42 ozone emission 42 P, Q page orientation, choosing 18 Page Setup defining 18 design tips 40 Palatino® font 38 44 Indexpaper about 37 face-down vs. face-up delivery 16 feeding improperly 35 jammed 32–34 loading 13–14 Page Setup options 18 printing both sides of 21 printing on only part of 32 printing too light or dark on 36 sizes and types 11, 18, 37, 41 status lights 27 unwanted lines or stripes on 35 paper cassette capacity 41 loading 11–12 printing with 19 removing 12 removing paper jam from 33 paper delivery selector 16 paper jams 32–34 Paper Jam status light 27 Paper Out status light 27 paper release lever 34 password, for shared printer 22, 24 plugging in the printer 10 portrait (vertical page) orientation, choosing 18 ports 3 setting up in Chooser 17 power consumption 42 power cord, plugging in 10 Print Density control 36 Print dialog box 19, 20 printer icon. See LaserWriter 300 icon printer port connecting to 3 setting up in Chooser 17 printer port icon 3 printing 15–24 on both sides of page 21 with cassette feed 19 Chooser setup for 17 face-down vs. face-up delivery 16 with manual feed 20 Page Setup options 18 problems. See troubleshooting “turning on” printer 15 Print Monitor program, controlling printer with 24 problems. See troubleshooting R radio interference vii cable for preventing 3 ReadMe file 6 Ready/In Use status light vii, 15 reducing printed image 18 roller cleaning toner from 36 paper wrapped around 34 S safety precautions vi, 2 grounding plug 10 troubleshooting and 25–26 sans serif fonts 38 selected pages, printing 19 serial port, setting up in Chooser 17 serif fonts 38 setup 1–6 carrying the printer 2 in Chooser 17 connecting to Macintosh 3 face-down vs. face-up delivery 16 installing software 4–6 installing toner cartridge 7–9 loading paper cassette 11–12 location options 1 Page Setup 18 plugging in printer 10 for printer sharing 21–24 safety precautions 2 turning on printer 15 shared printer controlling 24 setup for 21–23 shipping restraints, removing 7 software GrayShare viii installing 4–6 preinstalled 4 TrueType fonts viii Index 45specifications 41–42 standby status vii, 15 status lights Paper Jam 27 Paper Out 27 Ready/In Use vii, 15, 27 Symbol font 38, 39 system software fonts and 30, 31 requirements 4 T television interference v–vi cable for preventing 3 3-hole punched paper, loading 13 Times® font 38 toner 8 pages stained with 36 redistributing 35, 36 toner cartridge changing 8–9 installing 7–9 transparencies, face-up delivery required for 16 troubleshooting 28–36 “insufficient memory” message 29 jagged type 30–31 LaserWriter 300 icon missing 28 paper feed problems 35 paper types to avoid 37 printing on only part of paper 32 printing too light or dark 36 printing too slow 29 safety precautions 25–26 toner stains on page 36 unwanted lines or stripes on page 35 warranty caution 25 TrueType fonts viii bitmapped fonts vs. 30 finding 30–31 turning off the printer 26 turning on printer 15 typefaces. See fonts U underlining 39 V vertical page orientation, choosing 18 W, X, Y warranty caution 25 Z Zapf Chancery® font 38 Zapf Dingbats® font 38, 39 46 IndexApple Computer, Inc. 20525 Mariani Avenue Cupertino, California 95014-6299 (408) 996-1010 TLX 171-576 030-3858-A Printed in U.S.A. MASTER ART FOR BLACK LOGO Cinema Tools 4 Manuel de l’utilisateurK Apple Inc. © 2007 Apple Inc. Tous droits réservés. Vos droits sur le logiciel sont régis par le contrat de licence du logiciel. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Studio est autorisé à reproduire cette publication à des fins d’apprentissage dudit logiciel. Aucune portion de cette publication ne peut être reproduite ni transmise à des fins commerciales, telles que la vente de copies de cette publication, ou pour fournir des services d’assistance payants. Le logo Apple est une marque d’Apple Inc., déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit préalable d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option + 1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tout a été mis en œuvre pour que les informations pré- sentées dans ce manuel soient exactes. Apple n’est pas responsable des erreurs de reproduction et d’impression. Remarque : comme Apple publie fréquemment de nouvelles versions et des mises à jour de son logiciel système, de ses applications et de ses sites Internet, il se peut que les images incluses dans cet ouvrage soient légèrement différentes de ce qui apparaît à l’écran. Apple Inc. 1 Infinite Loop Cupertino, CA 950142084 408-996-1010 www.apple.com Apple, le logo Apple, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, Mac, Mac OS, Monaco et QuickTime sont des marques d’Apple Inc., déposées aux États-Unis et dans d’autres pays. Cinema Tools, Finder et OfflineRT sont des marques d’Apple Inc. AppleCare et Apple Store sont des marques de service d’Apple Inc., déposée aux États-Unis et dans d’autres pays. Les autres noms de produits et de sociétés sont la propriété de leurs détenteurs respectifs. Les produits commercialisés par des entreprises tierces ne sont mentionnés que pour information, sans aucune intention de préconisation ni de recommandation. Apple décline toute responsabilité quant à l’utilisation et au fonctionnement de ces produits. Les photos de production du film « Koffee House Mayhem » sont utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Koffee House Mayhem » © 2004 Jean-Paul Bonjour. Tous droits réservés. http://www.jbonjour.com Les photos de production du film « A Sus Ordenes » sont utilisées avec l’aimable autorisation d’Eric Escobar. « A Sus Ordenes » © 2004 Eric Escobar. Tous droits réservés. http://www.kontentfilms.com 3 1 Table des matières Préface 7 Introduction à Cinema Tools 8 Montage numérique de film 10 Pourquoi la vidéo 24P ? 10 Utilisation de la vidéo 24P 11 Montage offline et online 11 À propos de ce manuel 12 Sites Web Apple Partie I Utilisation de Cinema Tools Chapitre 1 17 Avant de commencer votre projet 17 Avant de tourner votre film 18 Choix du film à utiliser 19 Transfert du film sur bande vidéo 19 Télécinéma 20 Techniques de transfert déconseillées 21 Quelle quantité de données faut-il transférer ? 23 Infos générales sur la vitesse de défilement des images 23 Utilisation de la vidéo NTSC 25 Utilisation de la vidéo PAL 26 Utilisation de la vidéo 24P 27 Prise en compte du timecode 30 À propos du son 30 Choix d’un enregistreur audio 30 Choix d’un format de timecode audio 31 Mixage de l’audio final 32 Synchronisation de l’audio et de la vidéo 34 Utilisation de Final Cut Pro 34 Réglage de la base temps des séquences 34 Sortie sur bande lors d’un montage à 24 ips 35 Utilisation d’effets4 Table des matières Chapitre 2 37 Le flux de production de Cinema Tools 37 Étapes fondamentales du flux de production 37 Création de la base de données Cinema Tools 41 Capture des plans sources 45 Connexion des plans à la base de données 45 Préparation des plans pour le montage 46 Montage des plans dans Final Cut Pro 46 Génération de listes de film et de listes des modifications dans Cinema Tools 47 Cinema Tools Exemples de flux de production 47 Jusqu’où peut-on aller dans Final Cut Pro ? 49 Si vous avez utilisé des transferts scene-and-take 50 Si vous avez utilisé des transferts camera-roll Chapitre 3 53 L’interface utilisateur de Cinema Tools 53 Cinema Tools Fenêtres et zones de dialogues 64 Les zones de dialogues disponibles dans Final Cut Pro et Cinema Tools Chapitre 4 69 Création et utilisation d’une base de données Cinema Tools 71 Choix du mode de création de la base de données 71 Réalisation de la capture avant la création de la base de données 71 Si vous disposez d’une liste télécinéma ou d’un fichier ALE 72 Si vous ne disposez pas d’une liste télécinéma ou d’un fichier ALE 74 Autres usages de la base de données 74 Création et configuration d’une nouvelle base de données 74 Création d’une nouvelle base de données à l’aide de Cinema Tools 75 Création d’une nouvelle base de données à l’aide de Final Cut Pro 77 Réglages de la zone de dialogue Nouvelle base de donées 80 Utilisation de la base de données 80 Ouvrir une base de données existante 80 Recherche et ouverture d’enregistrements de base de donnée 84 Sauvegarde, copie, renommage et verrouillage de bases de données 84 Accès à des informations sur un plan source 85 Saisie d’informations dans la base de données 85 Importation des informations de la base de données 91 Saisie manuelle des informations de base de données 102 Utilisation de la fonction Identify pour saisir et calculer des informations de base de données 104 Modification d’informations dans la base de données 105 Suppression d’un enregistrement de la base de données 105 Changement de l’affiche d’un plan 106 Modification des réglages de base de données par défaut 107 Modification de tous les identifiants de bobine ou de bande 108 Vérification et correction de numéros de code de bordure de timecodeTable des matières 5 Chapitre 5 111 Capture des plans sources et création d’un lien avec la base de données 111 Préparation de la capture 112 Comment éviter les pertes d’images 113 Configuration de votre matériel afin de capturer un timecode exact 114 Avant de capturer de l’audio 115 Génération d’une liste de capture par lot dans Cinema Tools 121 Ce qu’il faut savoir avant de capturer des plans individuellement 121 Connexion des plans sources capturés à la base de données 123 Utilisation de la commande Connect Clips pour connecter des plans sources 124 Utilisation de la fenêtre Detail View pour connecter et déconnecter des plans sources 125 Utilisation de la fenêtre Clip pour connecter ou déconnecter des plans source 126 Réparation des liens rompus entre les plans et les enregistrements 127 Reconnexion de plans individuels ayant été renommés ou déplacés 127 Détection des liens rompus et reconnexion de groupes de plans ayant été déplacés Chapitre 6 129 Préparation des plans sources pour le montage 129 Choix d’une méthode de préparation des plans sources en vue du montage 131 Utilisation de la fonction de conformation 133 Inversion du pulldown télécinéma 145 Ajustements de la vitesse audio 146 Synchronisation séparée de l’audio et de la vidéo capturés 147 Division ou suppression de sections de plans sources avant le montage Chapitre 7 151 Montage dans Final Cut Pro 151 À propos des configurations simplifiées et du paramétrage de la base temps 153 Utilisation de vidéo à 25 ips conformée à 24 ips 154 Affichage d’informations relatives au film dans Final Cut Pro 159 Ouverture de plans Final Cut Pro dans Cinema Tools 159 Restrictions concernant l’utilisation de pistes multiples 160 Utilisation d’effets, de filtres et de transitions 165 Détection des usages multiples des plans sources 166 Exactitude des listes de conformation lors du montage de vidéo pulldown 3:2 ou 24 & 1 Chapitre 8 167 Création de listes de film et de listes de modification 168 Sélection du format de liste 169 Listes que vous pouvez exporter 174 Exportation de listes de film à l’aide de Final Cut Pro 182 Création de listes de modification Chapitre 9 191 Observations à propos de l’exportation et création de listes EDL audio 192 Observations à propos de l’exportation sur bande vidéo 192 Observations à propos de l’exportation audio 193 Exportation d’une liste EDL audio6 Table des matières Chapitre 10 199 Utilisation de fichiers EDL, XML et ALE externes 199 Création de listes de film basées sur une liste EDL ou un fichier XML 204 Utilisation de fichiers ALE Partie II Utilisation de la vidéo 24P Chapitre 11 209 Utilisation de la vidéo 24P et de listes EDL 24 ips 210 Éléments à prendre en compte lors de la création sur film 211 Montage de vidéo 24P avec Final Cut Pro 211 Utilisation du même système Final Cut Pro pour le montage 24p offline et online 212 Utilisation de la vidéo 24p avec Final Cut Pro et Cinema Tools 213 Utilisation de Final Cut Pro comme système de montage 24p online 214 Utilisation de Final Cut Pro comme système de montage offline 24P 218 Ajout et suppression du pulldown dans les plans 24P 219 Utilisation du pulldown 2:3:3:2 220 Suppression de pulldown 2:3:3:2 avec Final Cut Pro 221 Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools 225 Modèles de pulldown applicables à la vidéo 23,98 ips 227 Ajout d’un pulldown à une vidéo de 23,98 ips 227 Utilisation de listes EDL audio pour le son à deux systèmes Partie III Annexes Annexe A 231 Principes généraux 231 Notions élémentaires sur le film 237 Montage selon les méthodes traditionnelles 239 Montage à l’aide des méthodes numériques Annexe B 245 Création de listes de films avec Cinema Tools 246 À propos de la méthode basée sur les plans 247 À propos de la méthode basée sur le timecode Annexe C 249 Solutions aux problèmes fréquents et assistance client 249 Solutions aux problèmes fréquents 252 Contact de l’assistance AppleCare Glossaire 253 Index 263 7 Préface Introduction à Cinema Tools Cinema Tools associé à Final Cut Pro est une solution qui apporte des possibilités sans précédent aux professionnels du montage de film et de vidéo 24p. Aujourd’hui, dans la postproduction, les monteurs et les réalisateurs se trouvent souvent confrontés à une multitude de formats, de fréquences d’images et de flux de production au sein du même projet. Un projet est souvent tourné, monté et sorti dans des formats totalement différents à chaque étape de la production. Pour les monteurs et les réalisateurs qui souhaitent tourner et finaliser sur film, Cinema Tools devient un composant essentiel du processus de postproduction lors du montage avec Final Cut Pro, en permettant de monter de la vidéo transférée à partir d’un film et de faire le suivi des opérations de montage numérique dans le but de pouvoir conformer ensuite les copies de travail et les coupes au négatif de caméra original. Par exemple, lorsque vous travaillez sur pellicule il est nécessaire de suivre la correspondance entre les images de la pellicule d’origine et leur contrepartie vidéo. Cinema Tools exploite une base de données sophistiquée qui suit et assure cette correspondance quel que soit le standard vidéo que vous utilisez, ce qui garantit que le film peut être conformé pour refléter votre montage dans Final Cut Pro. Vous pouvez aussi convertir les plans vidéo capturés en vidéo à 24 images par seconde (ips). Pour le format NTSC, cela inclut une fonction de télécinéma inversé qui élimine les images supplémentaires ajoutées durant le procédé de pulldown 3:2 couramment utilisé pour le transfert du film sur bande vidéo ou pour convertir à la baisse de la vidéo 24P. Cinema Tools, en combinaison avec Final Cut Pro, propose des outils conçus pour rendre le montage numérique de films et l’utilisation de la vidéo 24p plus faciles et moins chers, en offrant des fonctionnalités que l’on ne trouvait, jusque là, que dans des systèmes de montage haut de gamme ou très spécialisés. L’intégration entre Cinema Tools et Final Cut Pro permet d’effectuer les tâches les plus courantes de Cinema Tools directement à partir de Final Cut Pro, Cinema Tools effectuant les tâches automatiquement en arrière-plan.8 Préface Introduction à Cinema Tools Montage numérique de film La technologie informatique est en train de bouleverser le processus de création ciné- matographique. De nos jours, la grande majorité des longs métrages sont montés numériquement, sur des systèmes de montage non linéaires de haute technologie et très coûteux, conçus à cet effet. Jusqu’à il y a peu, ce type d’outil n’était pas disponible pour les réalisateurs disposant d’un budget limité. Cinema Tools complète Final Cut Pro en lui apportant les fonctionnalités de systèmes professionnels coûtant beaucoup plus cher, et ce à un prix abordable pour tous les réalisateurs. Si vous tournez en 35 mm ou en 16 mm et souhaitez faire un montage numé- rique et une finalisation sur film, Cinema Tools vous permet de monter les transferts vidéo provenant de votre film à l’aide de Final Cut Pro, puis de produire une liste de conformation précise pouvant être utilisée pour la finalisation du film. Même si vous ne prévoyez pas de conformer le négatif de caméra original, sachez que Cinema Tools fournit une grande variété d’outils pour la capture et le traitement de la vidéo de votre film. En quoi Cinema Tools est-il utile pour le montage d’un film ? Pour beaucoup, la pellicule constitue encore le meilleur support de capture d’images. Si votre objectif consiste à sortir votre film en salle ou à le projeter lors d’un festival, vous devrez disposer de l’œuvre finale sur pellicule. L’utilisation de Final Cut Pro avec Cinema Tools ne change pas le processus d’exposition de la pellicule dans la caméra ni la projection du film dans une salle de cinéma ; c’est toutes les opérations situées entre ces deux activités qui peuvent profiter des avancées technologiques. Le montage d’un film, de façon classique, c’est découper et coller bout à bout des morceaux de pellicule pour réaliser une copie de travail du film, une opération longue et fastidieuse et qui avait tendance à décourager l’expérimentation avec des versions de scène alternatives. Le transfert de la pellicule sur vidéo rend possible l’utilisation d’un système de montage non linéaire pour le montage de votre projet. La souplesse de ces systèmes simplifie l’assemblage de chaque scène et vous offre la possibilité d’essayer plusieurs options de montage. Le montage final vidéo n’est généralement pas utilisé, ce sont les décisions de montage prises qui comptent vraiment. Elles constituent les informations nécessaires pour couper et coller (conformation) le négatif original afin d’aboutir au film final. La difficulté est de faire correspondre le timecode des raccords vidéo au numéros de bord du négatif, afin qu’un monteur négatif puisse créer sur pellicule une version précise du montage vidéo.Préface Introduction à Cinema Tools 9 Voilà où Cinema Tools entre en jeu. Cinema Tools effectue un suivi de la correspondance entre le négatif original de la caméra et le transfert vidéo. Une fois que le montage dans Final Cut Pro est fini, vous pouvez utiliser Cinema Tools pour générer une liste de conformation basée sur les coupes que vous avez faites. Armé de cette liste, un monteur négatif peut transformer le négatif original de la caméra en film abouti. Si des projections et des modifications de la copie de travail font partie de votre processus de production, vous pouvez également utiliser Cinema Tools pour créer des listes de modification décrivant les changements à réaliser sur la copie de travail afin qu’elle corresponde à la nouvelle version de la séquence montée dans Final Cut Pro. Quelles sont les tâches prises en charge par Cinema Tools Cinema Tools assure le suivi de tous les éléments qui contribuent à la réalisation de l’œuvre finale. Il « connaît » la correspondance entre le négatif original, les bandes vidéo transfé- rées et les plans vidéo capturés sur l’ordinateur de montage. Il collabore avec Final Cut Pro pour stocker des informations sur la façon dont les plans vidéo sont utilisés et génère la liste de conformation nécessaire pour transformer le négatif de caméra original en film monté final. Cinema Tools contrôle aussi la présence ou l’absence de problèmes pouvant se poser dans le cadre de l’utilisation de Final Cut Pro, le plus courant étant la présence de doublons de plans sources : un plan (ou une partie de plan) utilisé plusieurs fois. Outre la création de listes d’éléments dupliqués, vous pouvez utiliser Cinema Tools pour géné- rer d’autres listes, telles qu’une liste traitant des effets d’optique, c’est-à-dire des emplacement des transitions, effets de mouvement (vidéo à une vitesse de défilement différente de la vitesse normale) et titres. Cinema Tools peut aussi travailler sur le son, en relevant la relation entre l’audio utilisé dans Final Cut Pro et les sources sonores originales. Il est possible d’utiliser l’audio monté provenant de Final Cut Pro pour créer une liste EDL (pour l’anglais Edit Decision List) et de traiter (ou de finaliser) l’audio dans un studio de postproduction audio spécialisé. Il est important de garder à l’esprit que vous n’utilisez Final Cut Pro que pour prendre les décisions de montage ; on ne tire en général pas de copie vidéo à partir de ce travail, puisque la vidéo de travail est en général compressée et assortie de timecode gravé (fenêtre d’affichage) et d’informations sur le film. C’est la cut list basée sur le montage, que Cinema Tools permet de générer, qui constitue l’objectif principal. Tournage du film Conversion du film en vidéo Conformation du négatif original Montage dans Final Cut Pro avec Cinema Tools Cut list Négatif original Création de copies d’exploitation10 Préface Introduction à Cinema Tools Pourquoi la vidéo 24P ? La prolifération des normes vidéo haute définition (HD) et la volonté de diffuser des contenus vidéo dans le monde entier ont créé une demande pour une norme vidéo qui puisse être convertie facilement vers toutes les autres normes. Par ailleurs, une norme facilement convertible en film et offrant une méthode aisée et de haute qualité pour la création et le montage vidéo avant la finalisation sur film, s’avère nécessaire. La vidéo 24p permet tout cela. Elle utilise la même vitesse de défilement de 24 ips que les films, ce qui permet de tirer parti des dispositifs de conversion existants pour créer des versions NTSC et PAL de votre projet. Elle utilise le balayage progressif pour créer une sortie convenant à la projection sur grand écran et la conversion en film. De plus, la vidéo 24p permet de produire des transfert télécinéma 24 ips de haute qualité à partir d’un film. Ceux-ci sont particulièrement utiles si vous comptez diffuser le produit finalisé selon différents standard TV. Utilisation de la vidéo 24P Avec l’apparition des enregistreurs vidéo 24p HD, il est de plus en plus nécessaire que Final Cut Pro prenne en charge plusieurs aspects du montage 24 ips (dans certains cas, il s’agit en réalité d’un montage 23,98 ips). Pour cela, Final Cut Pro et Cinema Tools proposent les fonctions suivantes :  L’importation et l’exportation de listes EDL 24 ips et 23,98 ips.  La possibilité de convertir des listes EDL 29,97 ips NTSC en 23,98 ips ou en listes EDL 24 ips.  Une fonction de télécinéma inversé permettant d’annuler le pulldown 3:2 utilisé lors de la conversion de pellicule ou de vidéo 24 ips en format NTSC 29,97 ips.  La possibilité de supprimer le pulldown 2:3:3:2 ou 2:3:2:3 de fichier de données NTSC afin de pouvoir monter à 24 ips ou 23,98 ips.  La possibilité de sortir de la vidéo 23,98 ips via FireWire au format NTSC de 29,97 ips.  La possibilité de mettre en correspondance les coupes d’audio dans une bande vidéo avec les bandes audio de production originales et de générer une liste EDL audio pouvant être utilisée pour recapturer et finaliser l’audio si l’on prévoit de le recapturer ailleurs pour le traitement final. Plusieurs des fonctionnalités mentionnées ci-avant figurent dans Final Cut Pro et ne requièrent pas Cinema Tools. Ces fonctionnalités sont toutefois décrites dans le présent manuel parce qu’elles concernent l’utilisation de la vidéo 24p, ce qui intéresse particuliè- rement de nombreux réalisateurs. Consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 pour en savoir plus sur l’utilisation des différentes fréquences d’images.Préface Introduction à Cinema Tools 11 Montage offline et online Si vous utilisez un format 24p haute résolution, comme, par exemple, la vidéo HD non compressée, vous voudrez peut-être réaliser des copies basse résolution de votre métrage pour économiser l’espace disque et la puissance de calcul de votre ordinateur. Dans ce cas, le processus de montage comporte quatre grandes étapes :  Production (génération de la vidéo maîtresse) : transfert ou tournage du film en vidéo HD 24p sans compression.  Montage offline : conversion du métrage en vidéo NTSC ou PAL (d’une résolution généralement inférieure à 24p) et montage.  Compatibilité de formats : exportation d’un projet Final Cut Pro ou d’une liste EDL contenant vos décisions de montage finales.  Montage online : remplacement du métrage basse résolution et création d’une bande originale en pleine résolution. Pour en savoir plus, consultez la section « Montage de vidéo 24P avec Final Cut Pro » à la page 211. À propos de ce manuel Le présent manuel ne documente pas seulement tous les aspects de l’utilisation de l’application Cinema Tools, mais aussi les fonctions liées de Final Cut Pro. Ce manuel est un document PDF avec hyperliens et doté de nombreuses fonctions qui facilitent l’obtention des informations que vous recherchez.  La page d’entrée donne un accès rapide à diverses fonctionnalités, y compris à l’index et au site web de Cinema Tools.  Une liste de signets complète vous permet de choisir ce que vous souhaitez voir en un instant, simplement en cliquant sur le lien.  Tous les renvois du texte sont reliés. Vous pouvez cliquer sur n’importe quel renvoi afin d’y accéder immédiatement. Vous pouvez ensuite utiliser le bouton Précédent de la barre de navigation pour revenir à l’endroit où vous vous trouviez avant de cliquer sur le renvoi.  La table des matières et l’index sont également reliés. Si vous cliquez sur une entrée de l’une de ces deux sections, vous passez directement à la page concernée. Source du master 24P Capture de vidéo Montage online (24 ips) Montage de plans Liste EDL 24 ips Vidéo NTSC ou PAL Vidéo 24P Conversion en 24 ips Final Cut Pro avec Cinema Tools (montage offline) Master 24P monté12 Préface Introduction à Cinema Tools  Vous pouvez aussi utiliser le champ de recherche pour rechercher un terme ou une expression particulière. Ce manuel vous présente des informations conceptuelles de fond, des instructions étape par étape et un glossaire spécialisé. Il est conçu pour fournir les informations dont vous avez besoin pour commencer à travailler sans tarder et tirer pleinement parti des riches fonctionnalités de Cinema Tools.  Si vous souhaitez commencer par quelques informations élémentaires sur la comparaison entre le montage traditionnel et le montage numérique, consultez l’annexe A, « Principes généraux », à la page 231.  Pour obtenir des informations détaillées sur l’utilisation de Cinema Tools, ainsi que des remarques préliminaires sur la planification d’un projet, consultez la première partie intitulée « Utilisation de Cinema Tools, » ci-après.  Si vous êtes intéressé par l’utilisation conjointe de Final Cut Pro et Cinema Tools pour le traitement de la vidéo 24P, consultez la deuxième partie intitulée « Utilisation de la vidéo 24P » à la page 207. Remarque : ce manuel ne prétend pas être un guide complet sur l’art de faire un film. La plupart des informations sur la réalisation de films présentées ici sont de nature très générale et sont fournies pour contextualiser la terminologie utilisée pour décrire les fonctions de Cinema Tools. Sites Web Apple Plusieurs sites web Apple contiennent des informations destinées à vous aider à profiter pleinement de la puissance de Cinema Tools et de votre système Apple. Site Web de Cinema Tools Pour des informations et des mises à jour générales ainsi que pour les dernières nouvelles sur Cinema Tools, visitez le site web suivant :  http://www.apple.com/fr/finalcutstudio/finalcutpro/cinematools.html Site Web Apple Service et Support Pour des mises à jour logicielles et des réponses aux questions les plus fréquemment posées sur tous les produits Apple, y compris Cinema Tools, visitez ce site web :  http://www.apple.com/fr/support Vous aurez également accès aux caractéristiques des produits, à la documentation de référence et aux articles techniques concernant les produits Apple ou de tierce partie. Pour des informations de support technique sur Cinema Tools, allez à l’adresse suivante :  http://www.apple.com/fr/support/cinematoolsPréface Introduction à Cinema Tools 13 Autres sites web Apple Démarrez à la page d’accueil du site web Apple pour tout savoir sur les produits Apple :  http://www.apple.com/fr QuickTime est une technologie standard de reproduction de la vidéo, du son, d’animation, de texte de musique et de scènes de réalité virtuelle (RV) à 360°. QuickTime permet de produire de la vidéo numérique très performante, très compatible et de qualité élevée. Visitez le site web de QuickTime pour des informations sur les types de données pris en charge, une visite guidée de l’interface de QuickTime, des spécifications, etc :  http://www.apple.com/fr/quicktime FireWire est l’une des normes standard de périphériques les plus rapides jamais développées, ce qui la rend particulièrement adaptée à l’utilisation des périphériques multimé- dias, tels que les caméscopes ou les disques durs ultra rapides de dernière génération. Visit this website for information about FireWire technology and available third-party FireWire products:  http://www.apple.com/fr/firewire Pour plus d’informations sur les séminaires, événements et outils tiers de publication sur le web, de conception et impression, de musique et d’audio, de films sur ordinateur et d’art multimédia en général, allez à cette adresse :  http://www.apple.com/fr/pro Pour des ressources, des récits et des informations sur des projets éducatifs menés par d’autres à l’aide de logiciels Apple, notamment Cinema Tools, allez à cette adresse :  http://www.apple.com/fr/education Rendez-vous sur Apple Store pour acheter du logiciel, du matériel et des accessoires directement auprès d’Apple et profiter de promotions et rabais portant également sur des produits logiciels et matériels tiers :  http://www.apple.com/fr/storeI Partie I : Utilisation de Cinema Tools Cette section détaille l’utilisation de Cinema Tools pendant le montage de projets de film. Chapitre 1 Avant de commencer votre projet Chapitre 2 Le flux de production de Cinema Tools Chapitre 3 L’interface utilisateur de Cinema Tools Chapitre 4 Création et utilisation d’une base de données Cinema Tools Chapitre 5 Capture des plans sources et création d’un lien avec la base de données Chapitre 6 Préparation des plans sources pour le montage Chapitre 7 Montage dans Final Cut Pro Chapitre 8 Création de listes de film et de listes de modification Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 1 17 1 Avant de commencer votre projet Planifiez votre projet au plus tôt afin de garantir sa réussite. Le succès de la production d’un film requiert une planification minutieuse avant même d’avoir filmé la première scène. Si vous envisagez de procéder au montage numérique du film, pensez aux tâches supplémentaires que cela implique. Pensez notamment au film à utiliser, à la méthode d’enregistrement du son et à d’autres aspects de votre production. Dans ce chapitre vous trouverez des informations générales relatives aux difficultés susceptibles de survenir :  choix du film à utiliser,  choix du mode de transfert du film sur bande vidéo,  incompatibilités de vitesses de défilement entre le film, votre format vidéo et votre base temps de montage,  questions relatives au son, notamment quel enregistreur et timecode utiliser et comment synchroniser le son avec la vidéo,  questions relatives à Final Cut Pro, notamment quant à la sélection de la base temps d’une séquence et l’utilisation d’effets. Remarque : la plupart de ces informations sont de nature générale et ne constituent pas un guide complet pour la création d’un film. L’industrie du film numérique change rapidement, à tel point que ce que vous lisez ici n’est certainement pas le mot de la fin. Avant de tourner votre film Avant de commencer, vous devez discuter de votre projet avec toutes les personnes impliquées dans le processus, à savoir :  les fournisseurs du matériel qui seront utilisés pendant la production,  les personnes impliquées dans la production elle-même,  le studio chargé du développement de votre film, de la création de copies de travail et de la version finale,  le studio de transfert sur bande vidéo,  le monteur qui utilise Cinema Tools et Final Cut Pro (si ce n’est vous-même),  le monteur négatif,  le studio de postproduction.18 Partie I Utilisation de Cinema Tools Toutes ces personnes connaissent parfaitement leur métier ; elles peuvent vous communiquer des informations d’une importance capitale qui vous permettront de réussir votre projet facilement sans vous heurter constamment à des obstacles. Choix du film à utiliser Lorsque vous créez un film, la première chose à faire est d’en choisir le format. Pour ce faire, vous devez prendre en compte les caractéristiques requises par Cinema Tools. Cinema Tools prend en charge les formats de film 35 mm à 4 perforation, 35 mm à 3 perforations et 16 mm-20. Consultez la section « Notions élémentaires sur le film » à la page 231 pour des détails sur ces formats. Vous choisirez probablement le format de votre film en fonction de votre budget. Il est recommandé d’employer le même format tout au long de la production, même si cette condition n’est pas nécessaire pour utiliser Cinema Tools. Chaque enregistrement de la base de données possède son propre réglage de format de film. Apprenez à gérer votre budget Au cours de la production de votre film, vous serez parfois confronté au dilemme suivant : choisir entre « faire les choses bien » et « faire les choses relativement bien ». Le choix que vous ferez dépendra du montant de votre budget ou du temps dont vous disposez. Assurez-vous de bien comprendre les conséquences de vos décisions avant de choisir des solutions qui, sur le long terme, pourraient vous coûter davantage de temps et d’argent que prévu. Des difficultés liées à des décisions prises plus tôt au cours du processus, telles que la décision de ne pas avoir recours à une liste télécinéma par exemple, peuvent resurgir plus tard et vous prendre de court. Si vous réalisez ce type de projet pour la première fois, il est fortement conseillé de vous adresser à des professionnels spécialisés pour chacune des tâches. Vous pouvez faire des économies en en dépensant un peu sur des tâches que vous pouvez réaliser vousmême, comme, par exemple, en faisant appel à un studio de postproduction audio. Par ailleurs, ne sous-estimez pas l’importance de l’utilisation d’une cut list pour conformer une copie de travail avant de conformer le négatif. La création et le montage d’une copie de travail rend votre projet plus onéreux, mais une mauvaise conformation du négatif original peut avoir des conséquences irréparables sur votre film.Chapitre 1 Avant de commencer votre projet 19 I Transfert du film sur bande vidéo Pour effectuer le montage numérique de votre film, vous devez le transférer sur bande vidéo afin que l’ordinateur puisse le capturer. Il existe différentes méthodes de transfert mais vous devez avant tout disposer d’un moyen fiable permettant de faire coïncider les numéros de bord du film avec le timecode de la vidéo montée. Ce lien permet à Cinema Tools de calculer avec précision des numéros de bord spécifiques à partir des valeurs de timecode des points de sortie et d’entrée de chaque coupe. Les vitesses de défilement du film et de la vidéo doivent également être prises en considération avant d’effectuer le transfert. En effet, ces vitesses affectent la base temps et ont un impact sur la précision de la cut list créée par Cinema Tools. Télécinéma La méthode la plus courante pour transférer un film sur bande vidéo est, de loin, le télécinéma. Les télécinémas sont des appareils qui numérisent une à une toutes les images d’un film à l’aide d’un capteur d’image CCD (Charge-coupled device) pour les convertir en images vidéo, qui fournit une image d’une excellente qualité. Il permet en outre de bloquer le lien entre le film et la vidéo (aucun décalage ne se produit), ce qui constitue un énorme avantage dans le cadre de l’utilisation de Cinema Tools. En général, un télécinéma ménage davantage votre film et offre une correction de couleur et un contrôle opérationnel plus sophistiqués que les chaînes de films, décrites ci-dessous. Le télécinéma présente un autre avantage, celui de pouvoir créer la vidéo à partir du négatif original, alors que la plupart des autres méthodes requièrent la création préalable d’un film positif (copie de travail). (La création d’une copie de travail est onéreuse, mais vous réaliserez qu’elle s’avère d’une grande utilité par la suite puisqu’elle procure la meilleure manière de regarder le film sur grand écran et de détecter d’éventuels problèmes, ce qui facilite la sélection des prises à utiliser. Autre avantage de poids des copies de travail: elles vous permettent de tester la cut list avant de travailler sur le négatif.) La plupart des télécinémas actuels ne se contentent pas de fournir un transfert de haute q ualité, ils peuvent également lire les numéros de bord du film et accéder au générateur de timecode du magnétoscope, afin d’incruster ces numéros sur la bande vidéo. Cette méthode de transfert permet en outre de synchroniser l’audio et la vidéo. Le système est capable de contrôler la source audio et d’incruster le timecode audio ainsi que le timecode vidéo et les numéros de bord.20 Partie I Utilisation de Cinema Tools Dans la plupart des cas, les télécinémas produisent une liste qui peut servir de référence pour créer la base de données Cinema Tools. Cela permet d’automatiser la capture vidéo sur l’ordinateur. Les studios de télécinéma sont de plus en plus souvent capables de capturer aussi les plans vidéo à votre place et de vous fournir les plans sur un disque DVD ou sur un périphérique FireWire en même temps que la liste télécinéma et les bandes vidéo. Techniques de transfert déconseillées Vous trouverez ci-dessous certaines techniques de transfert qu’il est préférable de ne pas utiliser. Chaînes de film Évitez, si possible, d’utiliser une « chaîne de film ». Il s’agit d’une technologie relativement dépassée par rapport au télécinéma. Une chaîne de film, c’est en fait un projecteur de film relié à une caméra vidéo. En général, les chaînes de film ne gèrent pas les fonctionnalités telles que la lecture des numéros de bord ou le contrôle des magnétoscopes et ne peuvent pas créer un positif vidéo à partir d’un film négatif. Pour utiliser une chaîne de film, vous devez créer une copie de travail. Les chaînes de film sont généralement moins coûteuses que les télécinémas, mais la création d’une copie de travail entraîne une augmentation significative du coût. Le plus grand défi est de parvenir à définir le lien entre les numéros de bord du film et le timecode de la vidéo. Cela est généralement réalisé à l’aide de perforations (ou d’autres types de marqueurs d’images) placées sur des images connues. Important : certaines chaînes de film plus anciennes ne permettent pas la synchronisation du projecteur et du magnétoscope, ce qui peut entraîner un décalage entre le film et la vidéo. Que faire si vous voulez un original propre ? Si vous prévoyez de conformer le négatif de caméra original, la présence d’un timecode et de numéros de bord gravés sur les plans vidéo que vous montez dans Final Cut Pro ne pose pas nécessairement de problème, en particulier si vous utilisez un format vidéo très comprimé. Les numéros gravés peuvent toutefois constituer un problème si vous prévoyez d’utiliser la vidéo montée pour des projections ou la diffusion. Si les numéros gravés sont très précieux aux yeux des monteurs, ils peuvent distraire lorsque l’on regarde un projet monté. Voici deux méthodes pour minimiser l’impact de ce problème :  Convertissez la vidéo au format Letterbox au cours de la capture en utilisant des proportions de 2:35 afin qu’il y ait assez d’espace sous la vidéo pour afficher les numéros.  Ne flashez les informations gravées que sur la première image. Bien que cela ne soit pas aussi pratique que la gravure continue, cela donne au monteur la possibilité de s’assurer que le lien entre numéro de bord et timecode est correct.Chapitre 1 Avant de commencer votre projet 21 I Enregistrement d’une image projetée à l’aide d’un caméscope En raison du fort pourcentage d’erreurs susceptible de se produire et des heures de travail supplémentaires à consacrer au suivi des numéros de bord, cette méthode de transfert est complètement déconseillée. Projeter votre film afin de l’enregistrer à l’aide d’un caméscope revient relativement bon marché mais la présence d’erreurs est quasiment inévitable dans le découpage final du négatif. Avec les systèmes de télécinéma et de chaîne de film, le film et la vidéo sont en général synchronisés, ce qui garantit un transfert réussi quelles que soient les vitesses choisies. Dans ce type de transfert, même si les vitesses du projecteur et du caméscope sont quasi idéales, elles se décaleront progressivement au cours du transfert et il sera alors impossible de garantir un lien fiable entre les numéros de bord du film et le timecode vidéo. Cela signifie que du temps supplémentaire devra être consacré à l’examen de la cut list afin de vérifier l’exactitude des images utilisées. Il se peut en outre qu’une fois sur bande vidéo, les images soient affectées d’un scintillement important, ce qui rend difficile la lecture de certaines d’entre elles et la sélection de celles qui serviront au montage. Étant donné que la bande vidéo ne sert presque exclusivement qu’à sélectionner des points de coupe, sa qualité ne revêt pas une grande importance. Comme dans le cas des chaînes de film, vous devez créer une copie de travail pour projeter votre film. Avec ce type de transfert, il est très important de pouvoir corriger votre cut list avant de travailler sur le négatif original. Quelle quantité de données faut-il transférer ? Pour déterminer la quantité de données du film à transférer sur support vidéo, vous devez considérer plusieurs facteurs, dont le plus important sera sans doute le coût. Il dépend du temps passé par l’opérateur télécinéma sur la réalisation du transfert. Vous devez déterminer au préalable s’il est plus intéressant de transférer des bobines entières de film (transfert « camera-roll »), y compris les mauvaises prises et les scènes qui ne seront pas employées, ou de consacrer du temps à la détection de prises particulières afin de ne transférer que celles dont vous ferez usage (transfert « scene-and-take »).22 Partie I Utilisation de Cinema Tools Transferts camera-roll Cinema Tools utilise une base de données pour réaliser un suivi du lien entre les numé- ros de bord du film et les timecodes audio et vidéo. La base de données est conçue pour contenir un enregistrement par prise, mais cette condition n’est pas obligatoire. Si vous transférez sur bande vidéo une bobine de film entière sans interruption, Cinema Tools n’aura besoin que d’un enregistrement pour établir le lien entre les numéros de bord et le timecode vidéo. Toutes les coupes utilisant l’une ou l’autre portion de ce grand plan unique pourront être associées avec précision aux numéros de bord correspondants du négatif caméra original. Un des inconvénients de cette méthode de transfert, c’est le volume important des fichiers, en particulier en cas d’utilisation de longs passages de métrage. Par ailleurs, l’audio, de par la façon dont il est enregistré, est difficile à synchroniser sur télécinéma quand il s’agit d’un transfert caméra-bobine. Pendant la production, l’enregistrement audio démarre généralement avant que le film ne se mette à tourner et s’interrompt après l’arrêt de la caméra. Il est également courant de tourner un film sans son (technique appelée plans MOS [Motion Omit Sound]). Cela signifie qu’il est impossible, même si la synchronisation audio est établie en début de bobine, de la conserver tout au long de la bobine. Vous devez dans ce cas synchroniser chaque plan individuellement. La base de données de Cinema Tools inclut des fonctionnalités permettant de réaliser un suivi des bandes son et du timecode du film original. Après la capture, un long plan peut être subdivisé en plusieurs petits plans, ce qui vous permet de supprimer la vidéo superflue. Même en présence de plusieurs plans, Cinema Tools est capable de créer une cut list complète avec un seul enregistrement. Une autre méthode consiste à ajouter manuellement des enregistrements pour chaque plan, ce qui permet de tirer parti des capacités de base de données étendues de Cinema Tools. Consultez la section « Création de la base de données Cinema Tools » à la page 37 pour une approche détaillée des options possibles. Transfert scene-and-take Les transferts scène et prise sont un peu plus onéreux que les transferts caméra-bobine mais offrent des avantages importants :  Avec les transferts scène et prise, l’audio est plus facile à synchroniser durant le transfert.  La liste télécinéma contient un enregistrement par prise, ce qui constitue une base de données solide une fois importée dans Cinema Tools.  À partir d’une base de données préétablie, Cinema Tools peut exporter une liste de capture par lot. Grâce à cette liste (et au contrôle de périphérique approprié), Final Cut Pro peut capturer et numériser les prises appropriées avec un effort minimal pour vous. Il est possible, grâce à une liste de film précise et à un clap, d’accélérer le processus du transfert et d’en réduire le coût.Chapitre 1 Avant de commencer votre projet 23 I Infos générales sur la vitesse de défilement des images Pour transférer un film sur support vidéo, il faut prendre en compte la différence de vitesse de défilement entre le film et la vidéo. Les films sont presque toujours tournés en 24 images par seconde (ips) ou 23,98 ips, alors que l’on utilise généralement 25 ips pour livrer le projet final sous la forme de vidéo PAL. La vitesse de la vidéo est, selon le format vidéo choisi, de 29,97 ips (NTSC), de 25 ips (PAL) ou de 24 ou 23,98 ips (24p). La vitesse de défilement de votre vidéo (que vous synchronisiez l’audio durant le transfert télécinéma ou pas) et la vitesse à laquelle vous souhaitez réaliser le montage peuvent déterminer les étapes à suivre pour préparer vos plans en vue du montage. Il est conseillé de lire la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 avant de choisir les vitesses de défilement. Utilisation de la vidéo NTSC À l’origine, la vitesse de défilement de la vidéo NTSC était de 30 ips. Lorsque la couleur fut ajoutée, elle dut être légèrement modifiée de façon à atteindre la valeur de 29,97 ips. La fréquence de trame de la vidéo NTSC est de 59,94. On dit souvent que la vidéo NTSC a une fréquence d’images de 30 ips, mais, bien que la différence soit minime, elle ne peut pas être ignorée lors du transfert d’un film sur vidéo (à cause de son impact sur la synchronisation audio, comme c’est expliqué à la section « Synchronisation de l’audio et de la vidéo » à la page 32). Vous devez à présent penser au problème suivant: comment distribuer les 24 ips du film sur les 29,97 ips de la vidéo NTSC. Deux options s’offrent à vous :  réaliser un 3:2 pulldown  lire le film à 29.97 ips Réalisation d’un 3:2 pulldown La méthode la plus courante pour passer des 24 ips du film aux 29,97 ips de la vidéo est d’effectuer un pulldown 3:2 (appelé 2:3:2:3 pulldown). En alternant l’enregistrement de deux trames d’une image du film et de trois trames de l’image suivante, les 24 images qui défilent en 1 seconde de film finissent par remplir les 30 images d’une seconde de vidéo. 24 Partie I Utilisation de Cinema Tools Remarque : la fréquence d’images de la vidéo NTSC est de 29,97 ips. La fréquence d’images du film est changée en 23,98 ips pour créer le modèle 3:2. Comme illustré ci-dessus, le modèle 3:2 (qui est en réalité un modèle 2:3:2:3 étant donné que l’image A est enregistrée en deux trames, suivie de l’image B enregistrée en trois trames) est reproduit au bout de quatre images du film. Presque tous les spots publicitaires de haute qualité, les films et les programmes de télévision en différé utilisent ce procédé avant la diffusion. Notez qu’après ce pull-down, les images du film ne correspondent pas exactement à celles de la vidéo. En effet, la durée d’une image vidéo ne correspond qu’aux quatre cinquièmes de la durée d’une image du film. En raison de cet écart, si vous comparez un nombre précis d’images vidéo et le nombre correspondant d’images du film, vous vous rendrez compte que les deux durées sont rarement exactement les mêmes. Pour que la synchronisation de l’ensemble soit maintenue, il faut généralement ajouter (ou supprimer) une fraction d’une image du film à la durée de la coupe suivante. Cela signifie que Cinema Tools doit parfois ajouter (ou supprimer), dans la liste de conformation, une image du film à la fin d’une coupe pour conserver la synchronisation. Pour cette raison, si vous montez une vidéo à laquelle a été appliqué un 3:2 pull-down, la cut list de Cinema Tools n’est précise qu’à plus ou moins 1 image pour chaque coupe. Avant (23,98 ips) A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B C D A A B B B C C D D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 3:2 Pulldown Après (29,97 ips) Une secondeChapitre 1 Avant de commencer votre projet 25 I Ce problème de précision peut être résolu facilement à l’aide de la fonction Reverse Telecine (ou du matériel ou des logiciels de tierce partie) pour supprimer les trames supplé- mentaires et revenir aux 24 ips originales du film avant de commencer le montage numérique, à condition qu’il y ait une relation de un à un entre les images de la vidéo et les images du film. Le choix de 24 ips (ou de 23,98 ips, voir « Synchronisation de l’audio et de la vidéo » à la page 32) comme base temps de montage Final Cut Pro dans l’Éditeur de préréglage de séquence vous permet de monter la vidéo et de générer une liste de conformation très précise. Consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 pour en savoir plus sur ces options. Lecture du film à 29,97 ips Une autre option en matière de transferts de vidéo NTSC consiste à faire tourner le film à 29,97 ips. De cette manière, les images du film coïncident exactement avec celles de la vidéo, mais l’action du film subit une accélération de 25 pour cent. En raison de facteurs liés à la synchronisation audio, cette méthode est rarement employée ou recommandée. Utilisation de la vidéo PAL La vitesse de défilement de la vidéo PAL est d’exactement 25 ips. Deux méthodes peuvent être utilisées pour transférer un film sur une bande vidéo PAL : lire le film à 25 ips (méthode appelée 24 @ 25) et ajouter deux trames supplémentaires par seconde (similaire au pulldown 3:2 de la vidéo NTSC, appelé méthode 24 & 1, ou à la méthode de pulldown 24 @ 25). Qu’est-ce qu’une image A ? Il est souvent fait référence aux images « A » au sujet de la vidéo pulldown 3:2. Comme le montre l’illustration ci-avant, l’image A est la seule dont toutes les trames tiennent dans une image vidéo. Les autres images (B, C et D) apparaissent dans deux images vidéo. L’image A étant le point de départ du modèle vidéo à cinq images, il est souhaitable qu’elle soit la première image de chacun des plans vidéo. En général, les images A sont placées aux numéros de timecode « non-drop frame » se terminant par « 5 » et « 0 ». Consultez la section « À propos des images A » à la page 142 pour en savoir plus.26 Partie I Utilisation de Cinema Tools Méthode 24 @ 25 En lisant le film à 25 ips, les images du film coïncident exactement avec les images de la vidéo. L’inconvénient réside dans le fait que l’action subit une accélération de 4 pour cent et qu’il faut par conséquent accélérer l’audio dans les mêmes proportions pour conserver la synchronisation. Pour tirer parti de la grande variété disponible d’équipements vidéo à 25 ips, vous pouvez choisir de réaliser le montage avec des images plus rapides de 4 pour cent. Vous pouvez également choisir la fonction Conform (conformation) de Cinema Tools pour faire passer la base temps du plan à 24 ips, corrigeant ainsi la vitesse. La vidéo peut ensuite être montée à l’aide de Final Cut Pro à condition que les séquences qui l’utilisent aient une base temps de 24 ips. Remarque : Final Cut Pro comprend une configuration simplifiée et un préréglage de séquence dont les noms contiennent « 24 @ 25 », ainsi qu’un format de timecode appelé « 24 @ 25 ». Ils sont tous les deux destinés à être utilisés avec des plans provenant de vidéo PAL à 25 ips mais ayant été conformés à la vidéo 24 ips. Consultez la section « Utilisation de vidéo à 25 ips conformée à 24 ips » à la page 153 pour en savoir plus. Méthode 24&1 L’ajout de deux trames vidéo supplémentaires par seconde (appelée également méthode de pulldown 24 @ 25 dans Final Cut Pro) offre l’avantage de conserver la vitesse originale du film tout en perdant la relation univoque film vers vidéo. Cette méthode consiste à enregistrer une trame vidéo supplémentaire toutes les 12 images du film. Utilisation de la vidéo 24P Avec sa fréquence d’images et son balayage progressif, la vidéo 24p convient bien aux transferts télécinéma. Il utilise la même vitesse que le film et permet par conséquent une concordance parfaite des images du film et de la vidéo, sans conversion de vitesse. 24 ips 25 ips 1 2 3 4 5 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 6 7 Première trame de la seconde suivante 1 1 1 1 2 2 3 3 4 4 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 13 13 14 14 15 15 16 16 17 17 18 18 19 20 21 22 23 24 19 20 21 22 23 24 Une Seconde 1 2 3 4 5 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 6 7 13 14 15 16 17 18 19 20 21 22 23 24 12 13 14 15 16 17 18 19 20 21 22 23 Trame répétée Trame répétée 1 1 2 2 3 3 4 4 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 12 24 24 Une seconde 24 ips 25 ipsChapitre 1 Avant de commencer votre projet 27 I Votre système Final Cut Pro doit être équipé d’un matériel spécialisé pour capturer de la vidéo 24P, que ce soit en plans compressés ou décompressés. Vous pouvez également utiliser certaines caméras DV, telles que la Panasonic AG-DVX100, pour tourner de la vidéo 24P et utiliser la méthode 2:3:3:2 pulldown pour l’enregistrer sur bande à 29,97 ips (NTSC). À l’aide de Final Cut Pro et de Cinema Tools, vous pouvez capturer cette vidéo et supprimer le 2:3:3:2 pulldown afin de pouvoir effectuer le montage à 24 ips. Consultez la section « Ajout et suppression du pulldown dans les plans 24P » à la page 218 pour en savoir plus. Remarque : lorsque l’enregistreur de bande vidéo 24p est utilisé au sein d’un système NTSC, sa fréquence d’images est en réalité de 23,976 ips (on parle de 23,98 ips) pour être compatible avec la fréquence d’images de 29,97 ips du NTSC. Prise en compte du timecode Il est important de prendre en considération les remarques générales ci-dessous concernant le timecode. Si vous utilisez de la vidéo NTSC, vous pouvez choisir entre deux formats de timecode. Conseils généraux relatifs au timecode Si votre appareil audio ou vidéo vous permet de définir les réglages du timecode, il est recommandé de régler la partie « heures » du timecode de sorte qu’elle corresponde au numéro de la bande vidéo. Il est ainsi beaucoup plus facile de savoir de quelle bande provient un plan. Il est également fortement conseillé de ne pas « passer minuit » sur une bande. Cela arrive lorsque le timecode passe de 23:59:59:29 à 00:00:00:00 lors de la lecture. Vous avez le choix entre le timecode record run et le timecode free run au cours de la production :  Timecode record run : le générateur de timecode s’arrête chaque fois que vous arrêtez l’enregistrement. Vous obtenez de cette manière une bande à timecode continu puisque chaque fois que vous commencez à enregistrer, le timecode reprend au point où il s’était arrêté précédemment.  Timecode free run : le générateur de timecode tourne sans arrêt. Une rupture de timecode est donc générée chaque fois que vous relancez l’enregistrement. Pour éviter d’éventuels problèmes au moment de la capture des plans, il est recommandé d’employer la méthode record run, ce qui permet d’éviter les ruptures de timecode sur une bande. Dans le cas où une bande contiendrait des ruptures de timecode (avec des sauts de numérotation entre les prises), veillez à laisser suffisamment de temps (poignées) pour les pre-roll et post-roll requis durant la capture lorsque vous listez vos plans. Consultez la documentation de Final Cut Pro pour des informations supplémentaires sur l’utilisation du timecode.28 Partie I Utilisation de Cinema Tools À propos du timecode NTSC Le timecode NTSC normal (appelé non-drop frame fonctionne comme son nom l’indique : chaque image utilise le numéro libre suivant. Il y a 30 images par seconde, 60 secondes par minute et 60 minutes par heure. Étant donné que la vitesse d’images réelle de la norme NTSC est un peu inférieure à 30 ips (29,97 ips), le timecode non-drop frame finit par prendre du retard (3 secondes et 18 images par heure) par rapport au temps réel écoulé. Pour compenser cela, le timecode drop frame saute en avant de deux images par minute, sauf pour les minutes se terminant par « 0 ». (Le saut se fait uniquement par rapport aux numéros, pas par rapport aux images vidéo.) Cette correction permet de faire coïncider le timecode avec le temps réel, mais rend le montage numérique du film plus confus. Avec le timecode non-drop frame, une fois que vous avez trouvé une image A, vous savez que l’image A suivante correspond au numéro de cette image plus 5, et ainsi de suite. Si vous trouvez par exemple une image A à 1:23:14:15, vous savez que toutes les images terminant par « 5 » et « 0 » seront des images A. Avec le timecode drop frame, il est difficile d’établir ce type de lien. Remarque : en général, les images A sont placées aux numéros de timecode « non-drop frame » se terminant par « 5 » et « 0 ». Il est vivement recommandé de ne pas utiliser de timecode non-drop frame pour la vidéo et l’audio dans vos projets de montage, même si Cinema Tools et Final Cut Pro sont capables de le traiter. Quel que soit le type de timecode que vous utilisez, n’oubliez pas d’utiliser le même pour les bandes vidéo et pour les bandes audio. Remarque : le timecode PAL ne pose pas ce problème : il lit à une vitesse réelle de 25 ips. Qu’arrive-t-il au timecode après que vous ayez utilisé la fonction Reverse Telecine ? La fonction Reverse Telecine (utilisée pour convertir de la vidéo 29,97 ips en vidéo 23,98 ips) a une incidence directe sur le timecode des images vidéo. Comme Cinema Tools doit géné- rer un nouveau timecode 23,98 ips pour les images (à partir du timecode original), il se peut qu’il y ait une différence entre les numéros de timecode gravés et les numéros affichés dans Final Cut Pro. Bien que les différences de timecode entre la fenêtre d’affichage et le timecode de Final Cut Pro puissent provoquer une certaine confusion, Cinema Tools gère le nouveau timecode de la vidéo 23,98 ips et est capable de le remettre en correspondance avec les valeurs NTSC ou PAL originales et donc avec les numéros de bord du film. Remarque : la fonction Reverse Telecine est généralement utilisée pour convertir de la vidéo NTSC en 23,98 ips afin qu’elle corresponde au timecode audio, mais elle peut aussi convertir la vidéo en 24 ips. Chapitre 1 Avant de commencer votre projet 29 I Le timecode passe par les modifications suivantes : le télécinéma inversé supprime six images par seconde afin que les valeurs de timecode coïncident toujours au début de chaque seconde. Cela signifie qu’un plan qui dure 38 secondes s’il est lu à la vitesse NTSC de 29,97 ips conservera sa durée de 38 secondes s’il est lu à la vitesse de 23,98 ips du télé- cinéma inversé. Dans l’illustration ci-avant, les trames NTSC bleues représentent les trames supprimées au cours du processus de télécinéma inversé sur un plan à l’aide du pulldown 3:2 traditionnel. (Consultez la section « Ajout et suppression du pulldown dans les plans 24P » à la page 218 pour des informations sur le pulldown 2:3:3:2.) La fenêtre d’affichage du timecode NTSC sera différente de ce que Final Cut Pro affiche pour toutes les images sauf la première de chaque seconde, quelle que soit la longueur du plan. Qu’arrive-t-il au timecode après que vous ayez utilisé la fonction Conform ? L’on utilise la fonction Conform dans trois situations :  Conversion de vidéo 25 ips PAL en 24 ips : le timecode n’est pas modifié, ce qui garantit qu’une liste EDL exportée après le montage des plans fera bien référence au timecode PAL original. L’inconvénient, c’est que le timecode, à 25 ips, ne représente plus exactement le passage du temps réel lors de la lecture à 24 ips car chaque image est affichée un peu plus longtemps. Consultez la section « Utilisation de vidéo à 25 ips conformée à 24 ips » à la page 153 pour en savoir plus.  Conformation de vidéo 29,97 ips en 29,97 ips : le timecode n’est pas modifié. Ce processus est utilisé pour corriger des problèmes dans un fichier QuickTime avant l’utilisation de la fonction Reverse Telecine. Consultez l’annexe C, « Solutions aux problèmes fréquents et assistance client », à la page 249 pour en savoir plus.  Conversion de vidéo 29,97 ips NTSC en 23,98 ips : le timecode est modifié, un numéro étant passé toutes les cinq images. Cette situation de conformation est rare. Consultez la section « Utilisation de la fonction de conformation » à la page 131 pour en savoir plus. 1:00 1:11 1:01 1:02 1:03 1:04 1:05 1:16 1:06 1:07 1:08 1:09 1:10 1:12 1:13 1:14 1:15 1:17 1:18 1:19 1:20 1:21 1:22 1:23 1:24 1:25 1:26 1:27 1:28 1:29 2:00 2:01 2:02 1:00 1:01 1:02 1:03 1:04 1:05 1:06 1:07 1:08 1:09 1:10 1:11 1:12 1:13 1:14 1:15 1:16 1:17 1:18 1:19 1:20 1:21 1:22 1:23 2:00 2:01 2:02 Images vidéo NTSC (29,97 ips) Images vidéo télécinéma inversé (23,98 ips) Début du plan Trames éliminées Une seconde30 Partie I Utilisation de Cinema Tools À propos du son Le son d’un film étant enregistré séparément sur un enregistreur audio, certains aspects sont à prendre en considération :  choix du type d’enregistreur audio à utiliser  format de timecode à utiliser  mode de mixage audio final  mode de synchronisation de l’audio et de la vidéo Choix d’un enregistreur audio Il existe plusieurs types d’enregistreurs audio : le magnétophone analogique (en géné- ral un Nagra), le magnétophone numérique (DAT, pour Digital Audio Tape) ou l’enregistreur de disques numériques. Qu’il soit analogique ou numérique, l’essentiel est qu’il gère les timecodes. Choix d’un format de timecode audio Contrairement à la vidéo ou au film, qui doivent être structurés avec une vitesse spécifique, l’audio est linéaire et dépourvu de divisions dues aux images. L’ajout de timecode à l’audio sert donc à déterminer des points dans le temps afin de faciliter la synchronisation de l’audio avec les images de la vidéo ou du film. Durant le tournage, vous pouvez choisir le format de timecode audio à utiliser (généralement 30 ips, 29,97 ips, 25 ips, 24 ips ou 23,98 ips). Vous pouvez également choisir, pour les formats 30 ips et 29,97 ips, d’utiliser le timecode drop frame ou non-drop frame. Pour les transferts de vidéo NTSC, il est fortement recommandé d’utiliser le timecode non-drop frame tant pour la vidéo que pour l’audio (même si Cinema Tools est compatible avec les deux). Consultez la section « À propos du timecode NTSC » à la page 28 pour en savoir plus sur les timecodes drop frame et non-drop frame. Au moment de choisir votre réglage de timecode audio, vous devez tenir compte du mode de mixage du son final :  Si le mixage final doit être réalisé à l’aide de Final Cut Pro : ce réglage doit correspondre au réglage Editing Timebase dans l’Éditeur de préréglage de séquence de Final Cut Pro.  Si le mixage final doit être réalisé dans un studio de postproduction audio : le timecode doit être compatible avec l’équipement du studio. Remarque : contactez le studio afin de confirmer ces réglages avant de commencer le tournage. En général, si vous synchronisez l’audio au cours du transfert télécinéma, le timecode doit correspondre à celui du format vidéo (29,97 ips pour NTSC, 25 ips pour PAL ou 24 ips pour 24p). Consultez le monteur son avant le tournage, afin de vous assurer qu’il pourra travailler avec le timecode choisi.Chapitre 1 Avant de commencer votre projet 31 I Mixage de l’audio final La méthode utilisée pour mixer l’audio final dépend de la complexité de la bande sonore (le nombre de pistes, les effets sonores et l’overdubbing peuvent la rendre très complexe) et de votre budget. Vous pouvez soit finaliser l’audio dans Final Cut Pro soit le faire finaliser dans un studio de postproduction. Finishing the Audio With Final Cut Pro Si vous capturez des plans audio en haute qualité, vous pouvez terminer l’audio de votre projet à l’aide de Final Cut Pro, qui comprend des outils de montage du son sophistiqués. N’oubliez toutefois pas qu’il faut absolument disposer d’audio de bonne qualité pour faire un bon film et que choisir de ne pas confier l’audio à un studio de postproduction audio familier aux problèmes liés à la création d’audio pour les films peut donner des résultats décevants. Vous pouvez exporter l’audio de Final Cut Pro sous la forme d’un fichier Open Media Framework (OMF) pouvant être utilisé dans un studio de postproduction audio. Un fichier OMF exporté contient le son ainsi que les informations sur les point d’entrée et de sortie audio. Cela signifie que tous les éléments d’effets sonores que peut contenir votre projet sont inclus dans le fichier. Lorsque vous utilisez un fichier OMF, la qualité de l’enregistrement doit être optimale car elle correspond exactement à ce que les spectateurs entendront. Veillez par conséquent à utiliser un appareil de capture de bonne qualité et des niveaux d’enregistrement appropriés. Exportation de listes EDL audio Une autre façon de faire consiste à utiliser des plans de moindre qualité dans Final Cut Pro, puis à les exporter dans une liste EDL audio (Edit Decision List) que l’on fournit au studio de postproduction audio. Dans le studio, des éléments audio de haute qualité peuvent être capturés directement à partir de la source sonore d’origine, puis montés en se basant sur la liste EDL. Pour que cela marche, il faut que le timecode et les numéros des bandes sonores originales soient consignés et utilisés pour créer la liste EDL audio. Les plans audio capturés dans des plans vidéo ne conservent pas leur timecode ni leur numéros de bobine originaux et la liste EDL de Final Cut Pro ne peut pas être utilisée par les studios de postproduction audio. Cela arrive souvent avec les plans créés à partir d’un transfert scene-and-take, car l’audio est alors synchronisé avec le film, puis enregistré sur la bande vidéo et perd le timecode audio original. Toutefois, étant donné que la liste télécinéma produite lors du transfert contient généralement les informations de timecode et de numéro de bande de l’audio et de la vidéo, il suffit de l’importer dans la base de données de Cinema Tools afin que la base de données puisse assurer le suivi de l’audio et que vous puissiez exporter une liste EDL audio depuis Cinema Tools une fois le montage terminé. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus sur ce procédé.32 Partie I Utilisation de Cinema Tools Synchronisation de l’audio et de la vidéo Le son de production d’un film est enregistré séparément sur un enregistreur audio ; ce procédé est connu sous le nom de méthode du système d’enregistrement dual (ou double) system recording. La synchronisation du son avec le film et la bande vidéo (pour une synchronisation labiale parfaite) est une étape fondamentale dans la réalisation d’un film. La méthode de synchronisation dépendra de l’équipement dont vous disposez ainsi que du moment choisi pour la synchronisation. D’autres considérations liées au format vidéo, à la méthode de transfert télécinéma et au timecode employés ont également un impact sur le processus et ne doivent pas être oubliées. La synchronisation est particulièrement importante lors des trois étapes suivantes :  durant le transfert télécinéma  durant le montage  au moment de la création de la version finale Pour conserver la synchronisation à chacune de ces étapes, différentes stratégies peuvent s’avérer nécessaires. Veillez à planifier votre travail en conséquence. Synchronisation : informations générales La synchronisation du son avec l’image vidéo ne doit pas poser de problème majeur si les précautions nécessaires ont été prises lors du tournage. La synchronisation du son comporte deux aspects : l’établissement de la synchronisation à un point particulier de chaque plan et la lecture du son à la bonne vitesse afin qu’il reste synchronisé. Lorsque vous filmez, vous devez créer des repères sonores et visuels qui serviront à la synchronisation. La méthode la plus courante consiste à utiliser un clap (également appelé ardoise ou claquette) au début de chaque prise. L’idéal est d’employer un clap avec timecode sur lequel est affiché le timecode de l’enregistreur audio. Pour synchroniser l’audio et la vidéo, positionnez la vidéo sur la première image où le clap est refermé, puis localisez le son (ou timecode) correspondant. Sachez que pour des raisons liées à la production, il est parfois nécessaire que le clap soit effectué à la fin de la prise. En géné- ral, il doit alors être tenu à l’envers. Le transfert par télécinéma engendrant souvent une accélération ou un ralentissement du film, la vitesse audio doit également être modifiée. Si la synchronisation audio se fait au cours du transfert, le changement de vitesse s’effectue à ce moment-là. Si la synchronisation audio/bande vidéo est effectuée après le transfert, le changement de vitesse doit également être effectué au cours de cette synchronisation.Chapitre 1 Avant de commencer votre projet 33 I Synchronisation au cours du transfert par télécinéma Lors du tournage, l’enregistreur audio démarre généralement juste avant que la caméra ne se mette à tourner et s’arrête un petit peu après la caméra. Comme l’enregistrement audio obtenu est plus long que le film, il n’est pas possible de lire en même temps la bande sonore et le film pendant plusieurs prises consécutives tout en conservant la synchronisation. Si vous souhaitez que le transfert par télécinéma enregistre l’audio synchronisé sur la bande vidéo, vous devez soit utiliser le transfert scene-and-take en synchronisant chaque prise séparément, soit créer une bande audio synchronisée avant de réaliser un transfert camera-roll. La synchronisation durant le transfert télécinéma permet non seulement d’obtenir des bandes vidéo avec audio synchronisé prêtes pour la capture, mais présente également un autre avantage : la liste télécinéma inclut généralement les informations de timecode et de numéro de bande audio. L’importation de la liste dans Cinema Tools permet d’exporter une liste EDL audio afin qu’un studio de postproduction audio puisse ensuite recapturer les plans audio à une qualité supérieure, si nécessaire. Transferts de vidéo NTSC Lorsque vous transférez un film sur bande NTSC, il est toujours nécessaire de lire le film à une vitesse plus lente de 0,1 pour cent que 24 ips (c’est-à-dire à 23,976 ips ou 23.98 ips) afin de compenser la vitesse réelle de 29,97 ips de la bande NTSC (au lieu de la vitesse idéale de 30 ips). La vitesse du film ayant été réduite, celle de l’audio doit l’être à son tour pour que la synchronisation soit conservée. Transferts de vidéo PAL Pour les transferts de vidéo PAL à l’aide de la méthode 24@25 (en augmentant la vitesse du film à 25 ips), l’audio doit également être accéléré si vous le synchronisez durant le transfert par télécinéma ou si vous avez l’intention de monter la vidéo à cette vitesse. Si vous transférez le film sur bande à l’aide de la méthode 24&1 (en enregistrant une trame vidéo supplémentaire toutes les douze images du film), vous devez lire l’audio à sa vitesse normale sans vous préoccuper du point où la synchronisation est établie. Dans ce cas, utilisez un timecode audio de 25 ips. Synchronisation dans Final Cut Pro Si vous ne synchronisez pas le son et les images sur la bande via le transfert télécinéma, ils seront capturés séparément dans Final Cut Pro : éléments audio et plans vidéo. Vous pouvez les synchroniser par la suite dans Final Cut Pro en utilisant les plans avec clap (méthode expliquée dans la section « Synchronisation : informations générales » à la page 32). Une fois que deux plans (ou plus) sont synchronisés, vous pouvez les fusionner en un seul plan grâce à la fonction des plans fusionnés de Final Cut Pro. Consultez la section « Synchronisation séparée de l’audio et de la vidéo capturés » à la page 146 ainsi que la documentation de Final Cut Pro pour en savoir plus.34 Partie I Utilisation de Cinema Tools Utilisation de Final Cut Pro Les décisions que vous prenez pour le transfert télécinéma et la façon dont vous utilisez l’audio influent sur votre utilisation de Final Cut Pro au cours du processus de montage. Réglage de la base temps des séquences Dans Final Cut Pro, vous devez définir la base temps de sorte que les séquences correspondent à la fréquence d’images des plans capturés. Important : ne placez pas des plans dans une séquence dont la vitesse de défilement est différente de la leur, car vous risquez d’obtenir une liste de film inexacte. Si vous souhaitez par exemple effectuer un montage à 24 ips, assurez-vous que les vitesses de vos plans sont toutes réglées sur 24 ips (en utilisant soit la fonction Reverse telecine (télécinéma inversé), soit la fonction Conform (conformation)). Consultez la section « À propos des configurations simplifiées et du paramétrage de la base temps » à la page 151 et la documentation de Final Cut Pro pour des détails sur la définition de la base temps de montage pour des séquences. Sortie sur bande lors d’un montage à 24 ips Le montage à 24 ips offre l’avantage d’une concordance parfaite entre les images du film et les images vidéo, permettant ainsi la création de listes de conformation très précises. L’un des inconvénients provient du fait qu’un magnétoscope 24P est nécessaire pour enregistrer directement la vidéo à 24 ips (car l’enregistrement avec des appareils vidéo NTSC ou PAL standard est compliqué). Cela peut poser problème si vous souhaitez enregistrer votre projet monté sur une cassette vidéo (soit pour la montrer à d’autres personnes, soit pour la donner au monteur négatif, comme référence visuelle à utiliser avec la cut list). Il existe cependant des solutions :  Si vous utilisez de la vidéo NTSC : vous pouvez utiliser la fonction d’insertion de pulldown de Final Cut Pro pour appliquer un modèle de pulldown à la vidéo et donc sortir la vidéo à 29,97 ips. Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus. Il existe également des cartes et des applications de tierce partie qui peuvent réaliser un 3:2 pulldown sur la vidéo, permettant ainsi la vitesse NTSC de 29,97 ips.  Si vous utilisez de la vidéo PAL : si vous envisagez d’enregistrer votre projet sur bande vidéo au terme de votre travail, il s’avère plus simple de réaliser le montage à 25 ips (après avoir augmenté la vitesse du film afin de conserver la concordance des images).Chapitre 1 Avant de commencer votre projet 35 I Utilisation d’effets Final Cut Pro offre des possibilités d’effets étendues, notamment des effets de film courants tels que les fondus, les balayages, les modifications de vitesse et les textes de génériques. N’oubliez pas que la sortie vidéo de Final Cut Pro n’est pas conçue pour être transférée sur film et ces effets doivent être créés par une fonction spécialisée pour les trucages optiques ou créés numériquement à l’aide de numérisations haute résolution du métrage à combiner. Consultez la section « Utilisation d’effets, de filtres et de transitions » à la page 160 pour obtenir des informations supplémentaires, y compris un aperçu des étapes élémentaires d’insertion d’effets et de transitions dans un film monté numériquement.2 37 2 Le flux de production de Cinema Tools Cinema Tools s’inscrit facilement dans un flux de production de montage de film. L’objectif premier de Cinema Tools est de créer une cut list précise en fonction des montages réalisés dans Final Cut Pro. Il existe un certain nombre d’étapes cruciales pour y parvenir mais pour la plupart, le flux de production de Cinema Tools lui-même dépend de l’équipement utilisé, de votre standard vidéo et de la façon dont vous travaillez. Étapes fondamentales du flux de production Voici à quoi ressemble un flux de production dans Cinema Tools (chacun de ces étapes est décrite en détail dans les rubriques qui suivent) : Étape 1: création de la base de données Cinema Tools Étape 2: capture des plans sources avec Final Cut Pro Étape 3: connexion des plans à la base de données Étape 4: préparation des plans pour le montage Étape 5: montage des plans dans Final Cut Pro Étape 6: création de listes de conformation et d’autres listes avec Cinema Tools Création de la base de données Cinema Tools Le point central de Cinema Tools est sa base de données, dans laquelle les liaisons entre les éléments de votre film (le film, la vidéo et le son) sont établies et suivies. Bien qu’il ne soit pas obligatoire de créer une base de données avant de commencer le montage, cette étape peut fournir des outils utiles pour la capture de plans et la planification du montage.38 Partie I Utilisation de Cinema Tools Fonctionnement de la base de données La base de données peut contenir une fiche ou bien des milliers selon la manière dont vous choisissez d’utiliser Cinema Tools. Ces fiches sont mises en correspondance avec les montages réalisés dans Final Cut Pro afin de créer la cut list. Pour être valide, une fiche doit comporter des valeurs relatives à la caméra, le rush, ou la bobine laboratoire, le code de bordure et être reliée à un plan ou comporter des valeurs de bande vidéo et de timecode vidéo (point d’entrée et durée). Lorsque vous exportez la cut list après avoir monté la vidéo dans Final Cut Pro, Cinema Tools regarde chaque montage et cherche la fiche approprié dans sa base de données afin de déterminer les numéros de clé et la codification manuelle qui correspondent (code de bordure). Cinema Tools recherche d’abord une fiche qui est reliée au nom du plan utilisé dans le montage. S’il la trouve, il localise le fichier du plan, une note est ajoutée à la cut list et Cinema Tools passe au montage suivant. Si aucun enregistrement n’est trouvé sur la base du nom de plan d’une coupe ou si le plan n’est pas localisé, Cinema Tools analyse le numéro de bande vidéo pour voir si des enregistrements portent le même numéro (« 001 » est différent de « 0001 »). Si c’est le cas, il recherche ensuite si les points d’entrée et de sortie du montage sont à la portée d’une des fiches. Si cette condition est également remplie, le montage est ajouté à la cut list et Cinema Tools passe au montage suivant. Si une fiche utilisant le nom du chemin d’accès à un plan ou un numéro de bobine vidéo avec des données de timecode appropriées est introuvable, « » apparaît dans la cut list et une note est ajoutée à la liste des éléments manquants. Si une fiche est trouvée mais qu’elle est incomplète (numéro de clé manquant, par exemple), « » est placé dans ces champs et une note est ajoutée à la liste des éléments manquants. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 et l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245 pour des détails sur ce processus et la liste des éléments manquants. Base de données simple ou détaillée Cinema Tools est conçu pour vous permettre de créer un enregistrement pour toute une bobine de caméra, pour chaque prise ou entre ces deux extrêmes, selon la façon dont vous travaillez. Chaque enregistrement peut contenir :  les numéros de scène, de plan et de prise avec descriptions,  le numéro de la bobine de caméra du film, le code de bordure, le timecode et le numéro de bobine de la vidéo,  le numéro de bobine et le timecode audio,  une affiche de plan avec une image représentative du plan,  des réglages de base tels que les formats du timecode et du film.Chapitre 2 Le flux de production de Cinema Tools 39 I Les fiches peuvent être saisies manuellement ou importées d’une liste télécinéma. Vous pouvez modifier, supprimer et ajouter des fiches à la base de données en fonction des nécessités, même si elles sont basées sur la liste télécinéma. Vous pouvez également fusionner des bases de données. Si vous travaillez avec des rushes par exemple, vous pouvez créer une nouvelle base de données pour chaque session et toutes les fusionner une fois que le tournage est terminé. La liste télécinéma des transferts scene-and-take, dans lesquels seules les prises de films spécifiées sont transférées sur vidéo, peut fournir les informations basiques à la base de données. Vous pouvez ajouter d’autres fiches, des commentaires ou d’autres informations si besoin est. La liste télécinéma des transferts camera-roll fournit des informations pour une seule fiche (le code de bordure et le timecode vidéo utilisés au début du transfert). Si les numéros de clé et le timecode vidéo du film sont continus tout au long du transfert, cette seule fiche suffit à Cinema Tools pour générer une cut list pour cette bobine de film. Importation de listes télécinéma Vous pouvez importer la liste télécinéma à l’aide de Cinema Tools ou de Final Cut Pro. Vous pouvez choisir l’une des deux méthodes en fonction de votre flux de production. Dans les deux cas, vous pouvez assigner une lettre de caméra, qui est ajoutée aux entrées de prise, à l’importation. Cela est utilise dans les cas où plusieurs caméras sont utilisées pour chaque prise. Consultez la rubrique « Attribution de lettres de caméra » à la page 86 pour en savoir plus. Consultez la rubrique « Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE » à la page 85 pour en savoir plus sur l’importation de listes télécinéma. Importation de listes télécinéma à l’aide de Cinema Tools Pour importer une liste télécinéma dans Cinema Tools, vous devez d’abord disposer d’une base de données ouverte. La base de données peut être une base de données existante à laquelle vous ajoutez de nouveaux enregistrements ou une nouvelle sans enregistrement. Une fois que les enregistrements ont été importés, vous pouvez exporter une liste de capture par lot de Cinema Tools que vous pouvez ensuite importer dans Final Cut Pro pour automatiser le processus de capture des plans. Importation de listes télécinéma à l’aide de Final Cut Pro Lorsque vous importez une liste télécinéma à l’aide de Final Cut Pro, vous spécifiez si vous voulez l’importer dans une base de données Cinema Tools existante ou créer une nouvelle base de données. 40 Partie I Utilisation de Cinema Tools Lors de l’ajout d’enregistrements à la base de données Cinema Tools sélectionnée, chaque enregistrement crée un plan offline dans le Navigateur de Final Cut Pro pour que les plans puissent être capturés par lot. Les informations relatives au film provenant de la liste télécinéma sont ajoutées automatiquement à chaque plan. Vous pouvez afficher ces informations de plusieurs façons pendant le montage des plans dans Final Cut Pro. Consultez la rubrique « Affichage d’informations relatives au film dans Final Cut Pro » à la page 154 pour en savoir plus. Entrée manuelle de fiches de la base de données La raison la plus courante d’entrer manuellement une fiche dans la base de données est qu’il n’y a pas de liste disponible à partir du processus de transfert du film vers la vidéo. Certaines méthodes de tranfert du film vers la vidéo, telles que les chaînes de films, ne produisent pas de liste. Chaque enregistrement, dans une base de données, doit faire référence à un fichier de données possédant un timecode et des numéros de bord continus. Avec les transferts scene-and-take, chaque prise nécessite sa propre fiche puisque les numéros de bord de film sont ignorés en sautant d’une prise à l’autre pendant le transfert. Avec les transferts camera-roll, comme la bobine de film et l’enregistreur vidéo tournent continuellement du début à la fin, vous n’avez besoin que d’un seul enregistrement pour l’ensemble du plan, même si vous le subdivisez ultérieurement en plans plus petits (ces derniers gardent le timecode original) et supprimez les portions non utilisées. Cela est dû au fait que Cinema Tools peut utiliser le numéro de bobine vidéo et les points de montage d’une coupe pour calculer les numéros de bord appropriés, tant que les informations de bobine vidéo et de point de montage figurent dans un enregistrement. Pour saisir des enregistrements de base de données manuellement, vous devez connaître le numéro de bord et le numéro de timecode vidéo d’une image du plan. Le plus simple est d’avoir ces valeurs gravées dans la vidéo grâce au transfert.Chapitre 2 Le flux de production de Cinema Tools 41 I Consultez le chapitre 4, « Création et utilisation d’une base de données Cinema Tools », à la page 69 pour des détails sur la création et la gestion de base de données Cinema Tools. Capture des plans sources Vous devez capturer la vidéo et l’audio sur l’ordinateur du montage. Votre manière de procéder dépendra en majeure partie du support utilisé pour le transfert télécinéma. Si vous avez utilisé un magnétoscope analogue, tel qu’un Sony Betacam, la vidéo et l’audio doivent être convertis en format numérique et compressés avant de pouvoir être utilisés. Si vous avez utilisé un magnétoscope numérique, tel qu’un Sony Digital Betacam, la vidéo et l’audio sont déjà numériques mais doivent être capturés et compressés. Dans les deux cas, un matériel spécialisé avec des connexions adéquates est généralement nécessaire. Si vous avez utilisé un système DV, la vidéo (et l’audio, en fonction du type de transfert) est déjà numérique et compressée et a seulement besoin d’être capturée à l’aide de FireWire. Important : lorsque vous utilisez le contrôle de périphériques en série, n’oubliez pas de calibrer son décalage de capture. Consultez la documentation de Final Cut Pro pour obtenir plus d’informations. Consultez aussi la rubrique « Configuration de votre matériel afin de capturer un timecode exact » à la page 113 pour en savoir plus sur la capture de plans. Les numéros de fenêtre d’affichage sont-ils corrects ? Il peut y avoir plusieurs raisons à l’affichage de valeurs de fenêtre d’affichage incorrectes. Elles vont de la saisie de valeurs incorrectes à la détection automatique incorrecte. Vous devez vérifier que les valeurs de fenêtre d’affichage sont correctes. Il est essentiel que ces valeurs soient correctes si vous devez compter sur elle. Le numéro de clé se vérifie généralement en comparant la valeur affichée avec une valeur documentée sur une image perforée ou marquée près de la tête du plan. N’oubliez pas de vérifier cela au moins une fois par bobine de caméra (l’idéal étant de faire la vérification pour chaque prise). Comparez le timecode dans la fenêtre d’affichage avec la valeur affichée par la platine de la bande vidéo.42 Partie I Utilisation de Cinema Tools Dans tous les cas, il se peut que vous décidiez de recompresser les fichiers pour en diminuer la taille et les rendre plus faciles à exploiter. En utilisant le bon codec par exemple, vous pourrez monter sur un ordinateur portable plus ancien. Tactiques de capture Il existe diverses manières de capturer la vidéo et l’audio. Déterminer le meilleur choix pour vous dépend d’un certain nombre de facteurs, en particulier si vous avez le contrôle du périphérique de la platine de la bande source et le type de transfert utilisé (camera-roll ou scene-and-take). Contrôle de périphérique La première question à se poser avant de déterminer la méthode à suivre pour capturer la vidéo et l’audio est de savoir si Final Cut Pro prend en charge le contrôle de périphérique pour la platine que vous utilisez. Le contrôle de périphérique vous permet de capturer avec précision la vidéo et l’audio que vous voulez suivant un procédé pouvant être répété de manière exacte si nécessaire. Vous pouvez même définir une « capture par lot » qui automatise le processus et vous laisse libre de vous concentrer sur d’autres tâches. La capture sans contrôle de périphérique présente plusieurs inconvénients. Les plans capturés manuellement n’ont pas de temps de début et de fin précis. Si vous cherchez à faire correspondre les temps de début et de fin d’une liste télécinéma, vous devez rogner les plans après les avoir capturés. De plus, sans contrôle de périphérique le timecode d’un plan ne correspond pas au timecode de la bande. Final Cut Pro permet de changer le timecode d’un plan, mais pour que ce timecode corresponde à la bande source, vous devez disposer d’une référence visuelle (une perforation ou une image marqué) possédant une valeur de timecode connue. À propos de la compression La compression, en termes de vidéo numérique, est une méthode de transformation du contenu en fichiers plus petits utilisant moins d’espace sur le disque dur et potentiellement moins d’énergie de la part du processeur au moment de les afficher. L’inconvénient, c’est que les images sont de qualité moindre. Il est important d’avoir à l’esprit que la vidéo montée à partir de Final Cut Pro et utilisée avec Cinema Tools ne sera généralement pas utilisée si une grande qualité est exigée. L’usage le plus courant de la vidéo montée est de servir de guide visuel allant avec la cut list pour le monteur négatif. Cela signifie que la qualité de la vidéo doit juste être assez bonne pour que vous puissiez faire vos choix de montage et lire les valeurs de la fenêtre d’affichage. Cependant, vos choix de montage étant parfois basés sur des repères visuels subtils, il vaut mieux ne pas s’embarquer dans un choix de compression excessif. Important : n’utilisez pas de codecs de compression temporelle, comme, par exemple, le MPEG-2. En plus d’être difficiles à monter, ces fichiers ne peuvent pas bénéficier de la fonction Reverse Telecine. Chapitre 2 Le flux de production de Cinema Tools 43 I Pour en savoir plus sur le contrôle de périphérique, consultez la documentation de Final Cut Pro. Transferts camera-roll Pour effectuer des transferts camera-roll, vous devez soit capturer la bande entière soit capturer manuellement un plan pour chaque prise. Si la bande utilise un timecode vidéo et des numéros de bord de film continus, Cinema Tools n’a besoin que d’un seul enregistrement de base de données établissant la relation entre les deux. Si Final Cut Pro a un contrôle de périphérique de votre magnétoscope source, la meilleure façon de capturer les prises souhaitées consiste à utiliser la fenêtre Log and Capture de Final Cut Pro et à saisir les points d’entrée et de sortie et le numéro de bande de chaque. Vous pouvez alors utiliser la capture par lot pour terminer le processus. Il n’est pas nécessaire de créer une fiche dans la base de données pour chaque plan du moment que vous ne changez pas le timecode. Sans contrôle de périphérique, vous devez capturer manuellement soit les prises désirées soit la bande entière. Il se peut que vous ayez à rogner chaque prise que vous capturez manuellement et vous devrez également définir manuellement le timecode pour qu’il corresponde à la bande source. L’avantage de capturer la bande entière est que vous n’avez à définir le timecode du plan qu’une seule fois (en partant du principe que la bande source avait un timecode continu). L’inconvénient, c’est la quantité d’espace disque nécessaire, bien qu’une fois que la bande est capturée, vous pouvez utiliser Final Cut Pro pour créer des sous-plans des prises utiles, puis supprimer le contenu inutilisé. Consultez le chapitre 5, « Capture des plans sources et création d’un lien avec la base de données », à la page 111 pour des détails sur la capture de plans. Transfert scene-and-take En réalisant des transferts scene-and-take, les fiches de la base de données de Cinema Tools sont généralement adaptées à la capture par lot. Vous pouvez exporter une liste des captures de Cinema Tools, puis l’importer dans le Navigateur de Final Cut Pro. Final Cut Pro peut ensuite réaliser une capture par lot (en partant du principe qu’il puisse contrôler le périphérique source) et créer des plans comme indiqué dans la liste Cinema Tools. Ces plans peuvent ensuite être facilement liés aux fiches de la base de données de Cinema Tools. 44 Partie I Utilisation de Cinema Tools Finalisation avec de la vidéo de haute qualité Si vous voulez fournir une sortie vidéo de haute qualité au terme du projet, vous devez tenir compte de plusieurs points. Lorsque vous capturez de la vidéo pour le montage offline initial, vous pouvez la capturer avec une compression relativement haute et inclure un timecode et des numéros de bord gravés. La compression permet à votre ordinateur de traiter la vidéo plus facilement et nécessite moins d’espace sur votre disque dur, ce qui vous permet de capturer plus de vidéo pour prendre les décisions en matière de montage. Une fois que vous avez fini le montage offline, vous pouvez utiliser Final Cut Pro pour recapturer uniquement la vidéo réellement utilisée dans les coupes à l’aide d’un codec de haute qualité et d’une version de la vidéo sans timecode ni numéros de bord gravés. Consultez le chapitre 11, « Utilisation de la vidéo 24P et de listes EDL 24 ips », à la page 209 pour en savoir plus sur ce processus. Consultez aussi la documentation Final Cut Pro pour en savoir plus sur les flux de production du montage offline et online.Chapitre 2 Le flux de production de Cinema Tools 45 I Connexion des plans à la base de données Une fois que vous avez capturé les plans sources, vous pouvez les connecter à la base de données Cinema Tools (on parle aussi de lier les plans à la base de données). Lier un plan à la base de données permet à Cinema Tools d’accéder au plan d’une fiche en créant la cut list, ce qui réduit la probabilité d’avoir des problèmes d’entrées de timecode. Lors de la création d’une liste de conformation, Cinema Tools commence par analyser le chemin d’accès aux plans utilisés dans le montage et les remet en correspondance avec la base de données. Le fait que Cinema Tools soit capable de travailler avec le fichier du plan de cette façon réduit la possibilité d’une erreur de timecode pouvant provoquer des imprécisions dans la liste de conformation. Ceci est primordial lorsque vous effectuez un montage à 24 ips. Consultez l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245 pour en savoir plus sur la façon dont Cinema Tools génère une liste de conformation. Consultez également la rubrique « Connexion des plans sources capturés à la base de données » à la page 121 pour obtenir plus d’informations. Préparation des plans pour le montage Cinema Tools présente deux puissantes fonctions pouvant être utilisées sur les plans avant de les monter : la fonction Reverse Telecine et la fonction Conform. Reverse Telecine La fonction Reverse Telecine (pour les transferts NTSC uniquement) permet de supprimer les trames supplémentaires ajoutées lors du processus pull-down 3:2 d’un transfert télécinéma. Vous devez l’utiliser lorsque vous montez de la vidéo à 23.98 ips. Consultez la rubrique « Infos générales sur la vitesse de défilement des images » à la page 23 pour des informations sur ce qu’est un pulldown 3:2 et pourquoi vous pouvez vouloir l’inverser. Consultez la rubrique « Inversion du pulldown télécinéma » à la page 133 pour des détails sur son utilisation. Remarque : la fonction Reverse Telecine ne peut pas être utilisée avec de la vidéo comprimée dans le temps, comme, par exemple, la vidéo au format MPEG-2. Conform La fonction Conform est utile à la fois pour corriger les erreurs présentes dans des plans vidéo et pour changer la fréquence d’images (base temps) d’un plan. Cinema Tools vous permet de sélectionner la fréquence d’images à laquelle vous souhaitez conformer un plan. Afin de comprendre la fonction Conform, il faut connaître la nature des fichiers vidéo QuickTime. Chaque image vidéo au sein d’un fichier QuickTime a un réglage de durée qui définit pendant combien de temps l’image doit être affichée (dans les vidéos QuickTime basées sur NTSC ou PAL normales, toutes les images ont la même durée). Par exemple, le taux vidéo NTSC a une valeur correspondant à 1/30e de seconde (plus exactement 1/29,97e de seconde) attribué à chaque image. Le taux vidéo PAL correspond à 1/25e de seconde. 46 Partie I Utilisation de Cinema Tools Il arrive parfois qu’à la capture de plans vidéo, la durée de certaines images soit définie sur une valeur légèrement différente. Alors que les différences ne sont pas visibles lors de la lecture du plan, elles peuvent provoquer des problèmes lorsque Cinema Tools crée la liste de conformation ou lorsque vous utilisez la fonction Reverse Telecine. Dans ce cas, vous devez conformer le plan à sa fréquence d’images actuelle. Il peut également vous arriver de vouloir changer la fréquence d’images d’un plan. Si vous avez transféré du film à 24 ips en vidéo en l’accélérant (soit à 29,97 ips pour le standard NTSC, soit à 25 ips pour le standard PAL — en prenant soin d’assurer à chaque fois une relation individuelle entre images du film et images de la vidéo), le mouvement à l’écran sera plus rapide que dans le film d’origine et il faudra rectifier la vitesse de lecture de la bande son pour compenser. Vous pouvez utiliser la fonction Conform pour changer la fréquence d’images et la définir sur 24 ips pour que la lecture se fasse à la fréquence originale du film et soit synchronisée avec l’audio. Consultez la rubrique « Utilisation de la fonction de conformation » à la page 131 pour des détails sur l’utilisation de la fonction Conform. Remarque : n’oubliez pas qu’il faut utiliser la fonction Conform sur un plan avant de le monter dans Final Cut Pro. Vérifiez aussi que la base temps dans l’Éditeur de préréglage de séquence de Final Cut Pro est réglé sur la même vitesse que la vitesse à laquelle vous conformez le plan. Consultez la rubrique « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 pour en savoir plus. Montage des plans dans Final Cut Pro On monte les plans dans Final Cut Pro plus ou moins comme n’importe quel autre projet vidéo, mais il a quelques points importants à garder à l’esprit. Ces points sont expliqués dans le chapitre 7, « Montage dans Final Cut Pro », à la page 151. Génération de listes de film et de listes des modifications dans Cinema Tools Une fois que vous avez monté vos plans et êtes satisfaits du montage numérique de votre projet, vous êtes prêt à générer des listes relatives au film qui décrivent la façon dont le négatif ou la copie de travail doit être monté. La cut list reprend les informations de montage et de titrage. Il existe un certain nombre d’autres listes utiles pouvant être générées à tout moment. Un fichier de liste de film peut contenir une des listes suivantes :  liste des éléments manquants : liste contenant les informations nécessaires introuvables dans la base de données ;  liste des doublons : liste des utilisations multiples d’une même source ;Chapitre 2 Le flux de production de Cinema Tools 47 I  liste optique : liste destinée aux effets spéciaux, décrivant les transitions et les effets de mouvement ;  liste Pull : liste destinée à aider le laboratoire à tirer les négatifs dont il a besoin ;  liste des scènes : liste de toutes les scènes utilisées dans votre projet et des plans utilisés pour les effets d’optique. Vous pouvez également exporter une liste des modifications, ce qui s’avère utile si votre flux de production comprend des visionnements et des modifications de votre copie de travail. La liste des modifications part du principe qu’une copie de travail a été montée selon les spécifications de la liste de conformation (ou de la liste de modifications antérieure) et elle indique d’autres modifications à apporter à la copie de travail en fonction des modifications que vous avez apportées à la séquence dans Final Cut Pro. Consultez la rubrique « Quand utilise-t-on des listes de modification ? » à la page 182 pour voir un organigramme du processus de la liste des modifications et de la copie de travail. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour plus de détails sur les listes relatives au film qui sont disponibles. Cinema Tools Exemples de flux de production Cette rubrique présente divers scénarios du flux de production de la base de données Cinema Tools. N’oubliez pas qu’il en existe de nombreuses variantes et qu’il n’est souvent pas nécessaire de suivre ces étapes dans l’ordre exact. Il est aussi possible d’utiliser des parties de plusieurs flux de production. Consultez la rubrique « Étapes fondamentales du flux de production » à la page 37 pour des détails sur les différentes étapes. La première rubrique décrit l’intégration entre Final Cut Pro et Cinema Tools. Elle est suivie par des rubriques qui couvrent deux groupes de flux de production : ceux qui utilisent des transferts scene-and-take et ceux qui utilisent des transferts camera-roll. Celles-ci sont ensuite divisées à nouveau en fonction de la disponibilité d’une liste télécinéma et du contrôle de périphérique de votre lecture vidéo lors du processus de capture. Jusqu’où peut-on aller dans Final Cut Pro ? Grâce à niveau d’intégration élevé entre Cinema Tools et Final Cut Pro, vous avez plusieurs possibilités pour chaque étape de flux de production. Par exemple, vous pouvez importer la liste télécinéma dans Cinema Tools et exporter une liste de capture par lot pour Final Cut Pro ou vous pouvez importer la liste télécinéma directement dans Final Cut Pro. Vos choix seront déterminés par votre situation et vos préférences en matière de méthodes de travail. Parmi les fonctions liées à Cinema Tools que vous pouvez exécuter directement à partir de Final Cut Pro il y a les fonctions suivantes :  Importation de fichiers de liste télécinéma48 Partie I Utilisation de Cinema Tools  Conformation de vidéo à 25 ips en 24 ips  Inversion du télécinéma (en utilisant les derniers réglages utilisés dans Cinema Tools)  Ouverture d’un plan dans la fenêtre Clip de Cinema Tools  Synchronisation d’une base de données Cinema Tools avec un groupe de plans sélectionnés Voici une illustration représentant le flux de production idéal mettant l’accent sur l’utilisation de méthodes Final Cut Pro. Dans cet exemple, vous pouvez utiliser Final Cut Pro, Cinema Tools effectuant des tâches en arrière-plan, si nécessaire. Vous devez utiliser Cinema Tools manuellement si vous souhaitez ajouter des informations dans la base de données en plus de ce que la liste télécinéma a fourni ou si vous avez rencontré un problème unique avec le télécinéma inversé et devez configurer ses réglages. Étapes effectuées à partir de Final Cut Pro Implication de Cinema Tools Traitement des plans (si nécessaire) • Télécinéma inverse • Conformation (25 @ 24) Synchronisation des plans capturés avec la base de données Cinema Tools Montage des plans Importation d’une liste dans le projet Final Cut Pro pour créer les plans offline à capturer Capture des plans par lots Exportation des listes Cinema Tools crée les listes Cinema Tools effectue le traitement Une nouvelle base de données Cinema Tools est créée Les plans sont connectés à la base de données Cinema Tools Création d’un nouveau projet Final Cut ProChapitre 2 Le flux de production de Cinema Tools 49 I Si vous avez utilisé des transferts scene-and-take Comme les transferts scene-and-take nécessitent un enregistrement de base de données pour chaque prise (à cause des numéros de bord non continus), une première décision importante va dépendre de l’existence ou non d’une liste télécinéma. Flux de production pour un transfert scene-and-take avec une liste télécinéma Oui Non Génération d’une liste de capture par lot avec Cinema Tools Importation de la liste par lot dans le navigateur Final Cut Pro et capture par lot Utilisation de la commande Connect Clips de Cinema Tools pour connecter les plans à la base de données Contrôle de périphériques ? Oui Non Importation de la liste télécinéma dans la base de données Création d’une base de données vide Connexion des plans à la base de données Numéro de bord incrusté ? Trimming des plans pour les faire correspondre aux enregistrements de la base de données Capturer chaque plan manuellement à l’aide de Final Cut Pro Connexion des plans à la base de données Utilisation de la fonction Identify pour déterminer et saisir le numéro de bord et le timecode d’une image connue de chaque plan Capturer chaque plan manuellement à l’aide de Final Cut Pro Indique les étapes utilisant des processus automatisés. Les boîtes bleues illustrent le processus préféré, qui comprend les étapes les plus automatisées et produit la cut list la plus précise.50 Partie I Utilisation de Cinema Tools Flux de production pour un transfert scene-and-take sans liste télécinéma Si vous avez utilisé des transferts camera-roll Le premier point à considérer lors de l’utilisation de transferts camera-roll est la méthode de génération de la liste de film que vous comptez utiliser. Consultez l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245 pour obtenir des explications su les deux méthodes disponibles. Il est fortement recommandé de synchroniser l’audio et la vidéo avant de capturer les plans. Oui Non Génération d’une liste de capture par lot avec Cinema Tools Importation de la liste par lot dans le navigateur Final Cut Pro et capture par lot Utilisation de la commande Connect Clips de Cinema Tools pour connecter les plans à la base de données Contrôle de périphériques ? Oui Non Ajout dans la base de données Cinema Tools d’une entrée pour chaque plan Création d’une base de données vide Connexion des plans à la base de données Numéro de bord incrusté ? Trimming des plans pour les faire correspondre aux enregistrements de la base de données Capturer chaque plan manuellement à l’aide de Final Cut Pro Connexion des plans à la base de données Utilisation de la fonction Identify pour déterminer et saisir le numéro de bord et le timecode d’une image connue de chaque plan Capturer chaque plan manuellement à l’aide de Final Cut Pro Indique les étapes utilisant des processus automatisés. Les boîtes bleues illustrent le processus préféré, qui comprend les étapes les plus automatisées et produit la cut list la plus précise.Chapitre 2 Le flux de production de Cinema Tools 51 I Flux de production pour un transfert camera-roll (méthode basée sur le plan) Oui Non Oui Non Contrôle de périphériques ? Importation de la liste dans la base de données (devrait générer un enregistrement par bobine) Saisie d’au moins un enregistrement par bobine définissant la relation entre numéro de bord et timecode Facultatif : saisie d’unenregistrement supplémentaire par plan (recommandé en cas de contrôle de périphériques) Facultatif : saisie d’un enregistrement supplémentaire par plan (recommandé en cas de contrôle de périphérique) Génération d’une liste de capture par lot avec Cinema Tools Importation de la liste par lot dans le navigateur Final Cut Pro et capture par lot Utilisation de la commande Connect Clips de Cinema Tools pour la connexion à la base de données Liste télécinéma ? Oui Non Création d’une base de données vide Indique les étapes utilisant des processus automatisés. Les boîtes bleues illustrent le processus préféré, qui comprend les étapes les plus automatisées et produit la cut list la plus précise. Connexion des plans à la base de données Numéro de bord incrusté ? Trimming des plans pour les faire correspondre aux enregistrements de la base de données Capturer chaque plan manuellement à l’aide de Final Cut Pro Connexion des plans à la base de données Utilisation de la fonction Identify pour déterminer et saisir le numéro de bord et le timecode d’une image connue de chaque plan Capturer chaque plan manuellement à l’aide de Final Cut Pro52 Partie I Utilisation de Cinema Tools Flux de production pour un transfert camera-roll (méthode basée sur le timecode) Saisie d’au moins un enregistrement définissant la relation entre numéro de bord et timecode Importation de la liste dans la base de données (devrait générer un enregistrement par bobine) Liste télécinéma ? Oui Non Création d’une base de données vide Utilisation de Final Cut Pro pour capturer l’intégralité de la bobine sous forme de plan unique ou capturer les prises souhaitées sous forme de plans séparés (en prenant soin que le timecode ne soit pas modifié)3 53 3 L’interface utilisateur de Cinema Tools Cinema Tools dispose de tout un ensemble de fenêtres et de zones de dialogue pour vous permettre d’accéder à ses puissantes fonctions. Certaines fenêtres et zones de dialogue sont génériques, comme, par exemple, les zones de dialogue de sélection de fichier, alors que d’autres sont spécialisées pour des fonctions et des réglages uniques. La plupart de ces fenêtres et zones de dialogue s’ouvrent depuis Cinema Tools ; trois zones de dialogues liées s’ouvrent aussi depuis Final Cut Pro. Cinema Tools Fenêtres et zones de dialogues Les fenêtres et zones de dialogue suivantes s’ouvrent à partir de Cinema Tools. Fenêtre Welcome La première fois que vous ouvrez Cinema Tools, une fenêtre de bienvenue apparaît. Par la suite, Cinema Tools ouvre la base de données qui était ouverte la dernière fois que vous avez fermé Cinema Tools. Si aucune base de données n’était ouverte lorsque vous avez fermé Cinema Tools, la fenêtre Welcome apparaît à nouveau. 54 Partie I Utilisation de Cinema Tools Sélectionnez une option, puis cliquez sur Continue.  Create a New Database : ouvre la zone de dialogue New Database pour vous permettre de configurer une nouvelle base de données.  Open Existing Database : ouvre une zone de dialogue de sélection de fichiers pour vous permettre de sélectionner une base de données existante à ouvrir.  View Documentation : ouvre le Manuel de l’utilisateur de Cinema Tools dans Aperçu. Zone de dialogue New Database La zone de dialogue New Database permet de définir des réglages élémentaires chaque fois que vous créez une base de données Cinema Tools. Ces réglages s’appliquent à tous les enregistrements que vous créez dans la base de données. La fenêtre Detail View permet de modifier individuellement ces réglages pour chaque enregistrement de la base de données. Pour ouvrir la zone de dialogue New Database : m Choisissez Database > New Database (ou appuyez sur Commande + Maj + N). Remarque : la base de données courante se ferme, si une base de données était ouverte. Pour des informations sur les réglages par défaut de votre base de données, consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77. Fenêtre Detail View La fenêtre Detail View permet d’afficher, de saisir et de modifier les informations d’un enregistrement de base de données. Lorsque vous ouvrez une base de données existante, la fenêtre Detail View affiche le premier enregistrement. Les numéros spécifiques de la fenêtre Detail View (numéros de bande, de bobine, de bord ainsi que la codification manuelle) décrivent tous des valeurs concernant la première image du plan source associé à l’enregistrement de la base de données. La fenêtre Detail View s’affiche en même temps que la fenêtre List View chaque fois que vous ouvrez une base de données. Chapitre 3 L’interface utilisateur de Cinema Tools 55 I Pour afficher la fenêtre Detail View, procédez de l’une des manières suivantes : m Choisissez Window > Detail View (ou appuyez sur Commande + 2). m Si nécessaire, faites glisser la fenêtre List View vers un autre endroit de l’écran. m Si nécessaire, cliquez sur la fenêtre Detail View pour la faire passer au premier plan. Le bouton qui se trouve dans le coin inférieur droit de la fenêtre est intitulé soit :  Open Clip : avec un plan connecté (comme illustré ci-avant), le bouton est intitulé Open Clip. Cliquez sur Open Clip pour ouvrir la fenêtre Clip qui affiche le plan connecté.  Connect Clip : si aucun plan n’est connecté à l’enregistrement de base de données, le bouton Open Clip est intitulé Connect Clip. Cliquez sur le bouton Connect Clip pour ouvrir une zone de dialogue de sélection de fichier. Une fois le fichier de plan localisé et sélectionné, la fenêtre Clip s’ouvre et l’affiche. De plus, placer le pointeur au-dessus de la vignette affiche une bulle d’aide indiquant l’emplacement du plan. Cela est particulièrement utile si le plan est absent, car cela vous permet de voir où Cinema Tools s’attend à trouver le plan. Pour en savoir plus sur l’utilisation de la fenêtre Detail View, consultez la section « Saisie manuelle des informations de base de données » à la page 91.56 Partie I Utilisation de Cinema Tools Fenêtre List View Tous les enregistrements de la base de données ouverte apparaissent sous forme de liste dans la fenêtre List View. Elle peut afficher une liste de tous les enregistrements de la base de données ou, si vous utilisez la fonction Find, uniquement les enregistrements trouvés. Les fenêtres List View et Detail View s’affichent chaque fois que vous ouvrez une base de données. Pour afficher la fenêtre List View, procédez de l’une des manières suivantes : m Choisissez Window > List View (ou appuyez sur Commande + 1). m Faites glisser la fenêtre Detail View vers un autre endroit de l’écran. m Cliquez sur la fenêtre List View pour la faire passer au premier plan. Les boutons Show All et Find permettent d’afficher rapidement tous les enregistrements de la base de données ouvertes (cliquez sur Show All) ou d’afficher rapidement les enregistrements trouvés à l’aide de la zone de dialogue Find (cliquez sur Find). Le menu local qui se trouve dans le coin supérieur gauche de la fenêtre permet de sélectionner le mode d’affichage en sélectionnant le type d’informations à afficher :  Keycode : affiche des informations sur le film telles que les numéros de bord et de bobine.  Video : affiche les informations de timecode et de bande vidéo.  Sound : affiche les informations de timecode et de bande audio.  Ink Numbers : affiche des informations sur la copie de travail, telles que la codification manuelle et les rushes.Chapitre 3 L’interface utilisateur de Cinema Tools 57 I Colonne Display Mode Les colonnes suivantes apparaissent dans tous les modes d’affichages :  Slate : une combinaison des champs Scene et Take, séparés par un tiret  Clip : le nom du plan connecté à chaque enregistrement de la base de données Les colonnes suivantes apparaissent en mode d’affichage Keycode :  Lab Roll : valeur spécifiée dans le champ Lab Roll (dans la fenêtre Detail View)  Cam Roll : valeur spécifiée dans le champ Cam Roll  Keycode : valeur spécifiée dans le champ Key Les colonnes suivantes apparaissent en mode d’affichage Video :  Reel : valeur spécifiée dans le champ Video Reel  Timecode : valeur spécifiée dans le champ Video Timecode Les colonnes suivantes apparaissent en mode d’affichage Sound :  Roll : valeur spécifiée dans le champ Sound Roll  Timecode : valeur spécifiée dans le champ Sound Timecode Les colonnes suivantes apparaissent en mode d’affichage Ink Numbers :  Lab Roll : la valeur spécifiée dans le champ Lab Roll  Daily roll : valeur spécifiée dans le champ Daily Roll  Ink number : valeur spécifiée dans le champ Ink Tri des colonnes Par défaut, les colonnes sont triées par ordre croissant de la valeur Slate. Il est possible de trier les données en fonction de n’importe quelle colonne affichée en cliquant sur le nom de la colonne souhaitée. Le nom de la colonne change de couleur pour indiquer qu’elle sert de critère de tri, puis une flèche indiquant l’ordre du tri s’affiche. Une flèche orientée vers le haut indique un ordre croissant, alors qu’une flèche orientée vers le bas indique un ordre décroissant. Cliquez sur le nom de la colonne pour changer le sens du tri. Localisation des enregistrements comportant des éléments manquants Le tri des colonnes peut aider à retrouver des enregistrements comportant des éléments manquants. Par exemple, la sélection de la colonne Cam Roll rassemble tous les enregistrements n’ayant pas d’entrée dans ce champ et les place tout en bas (ou en haut) de la liste, en fonction du sens de la flèche. Recherche d’enregistrements spécifiques Vous pouvez localiser un enregistrement à l’aide d’un numéro de bord ou d’un numéro de timecode spécifique en triant les colonnes. Par exemple, en sélectionnant la colonne Keycode, les enregistrements sont classés en fonction de leur numéros de bord. Vous pouvez alors faire défiler la liste pour retrouver un enregistrement à l’aide d’une image du film donnée.58 Partie I Utilisation de Cinema Tools Sélection d’enregistrements Il y a plusieurs façons de sélectionner des enregistrements dans une base de données Cinema Tools. Remarque : vous pouvez ne sélectionner qu’un seul enregistrement à la fois. Pour sélectionner un enregistrement de la base de données, procédez de l’une des manières suivantes : m Cliquez sur n’importe quel enregistrement affiché. m Double-cliquez sur un enregistrement pour ouvrir son plan dans la fenêtre Clip. m Utilisez la touche Flèche vers le haut du clavier pour sélectionner l’enregistrement qui se trouve juste au-dessus de l’enregistrement sélectionné. m Utilisez la touche Flèche vers le bas du clavier pour sélectionner l’enregistrement qui se trouve juste au-dessous de l’enregistrement sélectionné. m Utilisez la touche Page préc. du clavier pour monter d’une page d’enregistrements dans la liste. m Utilisez la touche Page suiv. du clavier pour descendre d’une page d’enregistrements dans la liste. Une fois un enregistrement sélectionné, il reste sélectionné lorsque vous changez le mode d’affichage. Modification des données affichées Il n’est pas possible de modifier les réglages d’un enregistrement dans la fenêtre List View. Pour faire des modifications, utilisez la fenêtre Detail View. Pour afficher un enregistrement dans la fenêtre List View, dans la fenêtre Detail View, procédez de l’une des manières suivantes : m Cliquez sur l’enregistrement. Remarque : un double clic sur un enregistrement l’ouvre également dans la fenêtre Clip. m Sélectionnez l’enregistrement à l’aide des touches fléchées du clavier. Zone de dialogue Find Il est possible de sélectionner des enregistrements spécifiques pour les afficher dans la fenêtre List View en créant un ensemble d’enregistrements trouvés. Il est possible par exemple de créer une liste de tous les enregistrements liés à une scène donnée. Utilisez pour cela la zone de dialogue Find.Chapitre 3 L’interface utilisateur de Cinema Tools 59 I Pour ouvrir la zone dialogue Find, procédez de l’une des manières suivantes : m Choisissez Database > Find (ou appuyez sur Commande + F). m Cliquez sur Find dans la fenêtre List View. Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour des détails sur la création d’ensembles d’enregistrements trouvés. Fenêtre Clip La fenêtre Clip permet de lire le plan sélectionné, d’identifier le timecode et le numéro de bord d’une image donnée, d’afficher des informations générales sur le plan et de le traiter à l’aide des fonctions Reverse Telecine et Conform. Pour ouvrir la fenêtre Clip, procédez de l’une des manières suivantes : m Choisissez File > Open Clip (ou appuyez sur Commande + O), localisez un plan, puis cliquez sur Choose. m Cliquez sur Open Clip dans la fenêtre Detail View (si un plan est connecté à l’enregistrement actuel). m Cliquez sur Connect Clip dans la fenêtre Detail View, puis sélectionnez un plan (si aucun plan n’est connecté à l’enregistrement). Remarque : il est possible d’ouvrir plusieurs fenêtres Clip en même temps. Elles s’ajoutent au menu Window et en disparaissent de façon dynamique au fur et à mesure que vous les ouvrez et les fermez. 60 Partie I Utilisation de Cinema Tools Vous pouvez lire le plan en cliquant sur le bouton de lecture (triangle situé à gauche de la Timeline) ou en appuyant sur la barre d’espace. Remarque : pour lire le plan en utilisant la barre d’espace, veillez à ce qu’aucun champ de texte de la sous-fenêtre Identify ne soit sélectionné. Vous pouvez appuyer sur la touche de tabulation autant de fois que cela est nécessaire ou cliquer sur le bouton Analysis pour désélectionner les champs de texte. Si le plan contient de l’audio, vous pouvez contrôler le volume en cliquant sur l’icône de haut-parleur qui se trouve près du bouton de lecture, puis en faisant glisser le curseur de volume. Vous pouvez aussi faire glisser la tête de lecture pour faire défiler le plan. Vous pouvez cliquer sur les boutons avec la flèche vers la gauche ou vers la droite qui se trouvent à l’extrême droite de la Chronologie ou appuyer sur les touches Flèche gauche ou Flèche droite du clavier pour faire défiler le plan une image à la fois. La plupart des boutons qui se trouvent dans le bas de la fenêtre ouvrent des fenêtres ou des zones de dialogue supplémentaires et sont aussi disponibles dans le menu Clip :  Set Poster Frame : affecte l’image actuellement affichée aux vignettes de la fenêtre Detail View.  Disconnect Clip : le bouton Disconnect Clip change selon que le plan actuel est connecté à la base de données ou pas. Avec un plan connecté (comme illustré ci-avant), le bouton est intitulé Disconnect Clip. Cliquez sur Disconnect Clip pour déconnecter le plan de la base de données.  Enter in Database : si le plan actuel n’est pas connecté à la base de données, le bouton Disconnect Clip s’intitule Enter in Database. Cliquez sur Enter in Database pour ouvrir une zone de dialogue dans laquelle vous pouvez connecter le plan à un enregistrement existant ou un nouvel enregistrement en tapant des valeurs de scène et de prise.  Reverse Telecine : ouvre la zone de dialogue Reverse Telecine (télécinéma inversé).  Conform : ouvre la zone de dialogue Conform Clip.  Boutons Previous Clip et Next Clip (flèches) : les flèches vers la gauche et vers la droite qui se trouvent dans le coin inférieur droit de la fenêtre Clip permettent de passer facilement à l’enregistrement précédent ou suivant (tels qu’ils sont affichés et triés dans la fenêtre List View) assigné à un plan. Remarque : ces boutons ne sont actifs que lorsque le plan courant est relié à un enregistrement de la base de données courante et cet enregistrement fait partir des résultats de recherche de la fenêtre List View. L’un de ces boutons est estompé lorsqu’il n’y a pas de plan précédent ou suivant.Chapitre 3 L’interface utilisateur de Cinema Tools 61 I Les deux boutons qui se trouvent dans le coin supérieur droit déterminent quelles informations sont affichées dans la partie droite de la fenêtre.  Identify : affiche les informations du plan provenant de la base de données Cinema Tools à laquelle il est connecté. Vous pouvez utiliser la sous-fenêtre Identify pour saisir des informations de film et de timecode dans la base de données ou pour obtenir des informations sur l’image affichée dans la fenêtre Clip. De plus, les réglages sont mis à jour pour toujours afficher les informations relatives à l’image affichée lorsque vous faites défiler un plan. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour des informations sur l’utilisation de la fonction Identify.  Analysis : affiche les informations de fichier d’un plan. Ces informations comprennent à la fois des informations spécifiques aux fichiers (nom et taille, emplacement et date de création) ainsi que des informations spécifiques au contenu (durée, vitesse de défilement, format d’image et type de compression utilisé). Zone de dialogue Reverse Telecine On utilise la zone de dialogue Reverse Telecine pour convertir de la vidéo pulldown 3:2 NTSC ou de la vidéo pulldown 2:3:3:2 en 24 ips. Pour ouvrir la zone de dialogue Reverse Telecine, procédez de l’une des manières suivantes : m Sélectionnez Clip > Reverse Telecine (uniquement disponible si la fenêtre Clip est ouverte).62 Partie I Utilisation de Cinema Tools m Cliquez sur Reverse Telecine dans la fenêtre Clip. Consultez la section « Inversion du pulldown télécinéma » à la page 133 pour des détails sur l’utilisation de cette fonction. Il existe aussi une forme simplifiée de la zone de dialogue Reverse Telecine qui s’affiche si le ou les plans ont été capturés depuis un caméscope numérique DV 24P, tel que le Panasonic AG-DVX100. Les informations sur la cadence de pulldown de ces plans sont incorporées de telle façon que Cinema Tools puisse les lire, si bien que si Cinema Tools détecte ces informations de cadence, la zone de dialogue du télécinéma inversé automatique s’affiche. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour en savoir plus. Zone de dialogue Conform Clip La zone de dialogue Conform Clip sert à régler la durée de chaque image du plan actuel sur une valeur spécifique. Par exemple, sélectionnez 24,0 pour régler la durée de chaque image sur 1/24 de seconde. Cela permet de changer la vitesse de défilement d’un plan capturé ou de s’assurer de la précision et de la cohérence de la vitesse de défilement d’un plan. Pour ouvrir la zone de dialogue Conform Clip, procédez de l’une des manières suivantes : m Sélectionnez Clip > Conform (uniquement disponible si la fenêtre Clip est ouverte). m Cliquez sur Conform dans la fenêtre Clip. Remarque : vous devez disposer d’un accès en lecture et écriture au fichier du plan pour pouvoir utiliser la fonction Conform. Important : la fonction Conform modifie le fichier de données source. Consultez la section « Utilisation de la fonction de conformation » à la page 131 pour des détails sur l’utilisation de cette fonction.Chapitre 3 L’interface utilisateur de Cinema Tools 63 I Zone de dialogue Change Reel La zone de dialogue Change Reel vous permet d’introduire des modifications d’ensemble dans les paramètres de bande vidéo, bande-son, bobine de caméra ou de laboratoire des enregistrements de la base de données. Par exemple, il se peut que le nombre de zéros initiaux diffère (« 001 » par rapport à « 0001 ») entre les numéros de bande vidéo de Final Cut Pro et ceux que vous avez saisi dans la base de données Cinema Tools. Cette zone de dialogue vous permet de modifier toutes les occurrences d’un numéro de bande ou de bobine. Pour ouvrir la zone de dialogue Change Reel : m Choisissez Database > Change Reel. Zone de dialogue Database Properties La zone de dialogue Database Properties affiche une grande variété d’informations sur la base de données actuelle, y compris les paramètres par défaut et des statistiques sur les enregistrements. Pour ouvrir la zone de dialogue Database Properties : m Choisissez Database > Database Properties (ou appuyez sur Commande + I). 64 Partie I Utilisation de Cinema Tools Les zones de dialogues disponibles dans Final Cut Pro et Cinema Tools Les zones de dialogue suivantes s’ouvrent tant à partir de Final Cut Pro que de Cinema Tools. Zone de dialogue Export Film Lists On utilise la zone de dialogue Export Film Lists pour exporter des listes de film au format PDF. Il faut définir le type d’informations et les listes à exporter, la plus importante étant la liste de conformation. Il faut définir aussi les éléments que vous souhaitez voir figurer dans la liste de film exportée. On utilise généralement cette zone de dialogue une fois que l’on a fini le montage des plans du film, mais vous pouvez l’utiliser à tout moment pour vérifier l’état de la coupe. Pour ouvrir la zone de dialogue Export Film Lists à partir de Final Cut Pro : m Dans Final Cut Pro, sélectionnez Fichier > Exporter > Listes de films Cinema Tools. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.) Pour ouvrir la zone de dialogue Export Film Lists à partir de Cinema Tools : 1 Dans Cinema Tools, choisissez File > Export > Film Lists from EDL ou File > Export > Film Lists from XML. 2 Dans la zone de dialogue qui apparaît, localisez le fichier EDL ou XML sur lequel vous souhaitez baser la liste de film exportée, puis cliquez sur Choose. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour des détails sur les réglages de cette zone de dialogue. Consultez le chapitre 10, « Utilisation de fichiers EDL, XML et ALE externes », à la page 199 pour des détails sur la génération de listes de film à partir de listes EDL externes.Chapitre 3 L’interface utilisateur de Cinema Tools 65 I Zone de dialogue Export XML Film Lists On utilise la zone de dialogue Export XML Film Lists pour exporter des listes de film au format XML. Il faut définir le type d’informations et les listes à exporter, la plus importante étant la liste de conformation. Contrairement à l’exportation de listes de film au format PDF, tous les éléments possibles figurent d’office dans la liste exportée, vous n’avez pas besoin de sélectionner les éléments à exporter. On utilise généralement cette zone de dialogue une fois que l’on a fini le montage des plans du film, mais vous pouvez l’utiliser à tout moment pour vérifier l’état de la coupe. Pour ouvrir la zone de dialogue Export XML Film Lists à partir de Final Cut Pro : m In Final Cut Pro, choisissez File > Export > Cinema Tools XML Film Lists. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.) Pour ouvrir la zone de dialogue Export XML Film Lists à partir de Cinema Tools : 1 Dans Cinema Tools, choisissez File > Export > XML Film Lists from EDL ou File > Export > XML Film Lists from XML. 2 Dans la zone de dialogue qui apparaît, localisez le fichier EDL ou XML sur lequel vous souhaitez baser la liste de film exportée, puis cliquez sur Choose. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour des détails sur les réglages de cette zone de dialogue. Consultez le chapitre 10, « Utilisation de fichiers EDL, XML et ALE externes », à la page 199 pour des détails sur la génération de listes de film à partir de listes EDL externes.66 Partie I Utilisation de Cinema Tools Zone de dialogue Export Change List On utilise la zone de dialogue Export Change List pour faire des sélections relatives à l’exportation d’une liste décrivant les différences entre deux versions d’une même séquence montée dans Final Cut Pro. Il est possible d’inclure une liste Pull de modifications, qui ne détaille que le film à traiter pour effectuer les modifications. Important : pour pouvoir exporter une liste des modifications, vous devez avoir enregistré un fichier de programme Cinema Tools de la version précédente de la séquence. Consultez la section « Création de listes de modification » à la page 182 pour en savoir plus. Pour ouvrir la zone de dialogue Export Change List à partir de Final Cut Pro : 1 In Final Cut Pro, choose File > Export > Cinema Tools Change List. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.) 2 Dans la zone de dialogue qui apparaît, localisez le fichier de programme Cinema Tools de la version précédente de cette séquence, puis cliquez sur Open. La zone de dialogue Export Change List apparaît. Lorsque vous exportez un fichier de liste des modifications à partir de Final Cut Pro, vous pouvez aussi exporter une nouvelle liste de conformation (ainsi que toutes les autres listes disponibles dans la zone de dialogue Export Film Lists) pour la séquence. Ces autres listes fournissent des informations sur la séquence entière, plutôt que des informations sur les modifications uniquement. L’ouverture de la zone de dialogue Export Change List à partir de Cinema Tools nécessite la présence de deux fichiers de programme Cinema Tools : un pour l’ancienne version de la séquence et un autre pour la version actuelle de la séquence.Chapitre 3 L’interface utilisateur de Cinema Tools 67 I Pour ouvrir la zone de dialogue Export Change List à partir de Cinema Tools : 1 In Cinema Tools, choose File > Export > Change List. 2 Dans la zone de dialogue qui apparaît, localisez le fichier de programme Cinema Tools de la version précédente de cette séquence, puis cliquez sur Open. 3 Dans la zone de dialogue qui apparaît, localisez le fichier de programme Cinema Tools de la version courante de cette séquence, puis cliquez sur Open. La zone de dialogue Export Change List apparaît. Consultez la section « Création de listes de modification » à la page 182 pour des détails sur les réglages de la zone de dialogue Export Change List. Zone de dialogue Export Audio EDL L’audio est souvent remonté dans un studio de postproduction audio à l’aide de maté- riel et de logiciels de haute qualité et d’outils de traitement haut de gamme. Selon la façon dont vous montez, il se peut que la sortie EDL de Final Cut Pro ne contienne pas le numéro de bande et le timecode des bandes audio de production originales. Ces informations se trouvent souvent dans la liste télécinéma que vous importez dans Cinema Tools ou peuvent être saisies manuellement. On ouvre en général la zone de dialogue Export Audio EDL à partir de Final Cut Pro. Vous pouvez aussi l’ouvrir à partir de Cinema Tools, si nécessaire, bien que des étapes supplémentaires soient nécessaires, y compris la création d’un fichier de programme dans la zone de dialogue Export Film Lists. Pour ouvrir la zone de dialogue Export Audio EDL depuis Final Cut Pro : m Dans Final Cut Pro, sélectionnez Fichier > Exporter > EDL audio Cinema Tools. (Cette commande n’est disponible que lorsque la Chronologie de Final Cut Pro est active ou lorsque vous avez sélectionné une séquence dans le Navigateur.)68 Partie I Utilisation de Cinema Tools Pour ouvrir la zone de dialogue Export Audio EDL depuis Cinema Tools : 1 Dans Cinema Tools, sélectionnez File > Export > Audio EDL from Program DB. 2 Dans la zone de dialogue qui s’affiche, sélectionnez le fichier de programme à utiliser, puis cliquez sur Open. La zone de dialogue Export Audio EDL s’affiche. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour des détails sur l’exportation de listes EDL audio.4 69 4 Création et utilisation d’une base de données Cinema Tools Le cœur de Cinema Tools est constitué par sa base de données, qui offre de puissants outils d’organisation. Une base de données Cinema Tools contient des enregistrements qui :  décrivent vos plans sources ;  effectuent le suivi du lien entre les bobines et le code de bordure du film (numéros de bord, codification manuelle ou les deux) et les bandes et le timecode vidéo ;  peuvent également effectuer le suivi d’autres éléments tels que les scènes, les plans, les prises, les bandes son et le timecode audio. Vous pouvez créer une base de données pour chaque projet de film. Grâce aux bases de données, vous pouvez exporter des listes de film à partir desquelles le monteur de film pourra savoir comment couper votre négatif original. Hormis cet usage, les bases de données peuvent tout simplement servir d’outils d’organisation. Ces derniers fonctionnent selon le code habituellement utilisé dans la postproduction de films en gérant des éléments importants tels que la scène, le plan et la prise ; la caméra et les bobines de laboratoire ; les numéros de code de bordure ; les bandes vidéo et numéros de timecode ; les bandes son et les numéros de timecode et les plans source. Selon votre situation, il se peut que vous puissiez simplifier le processus de création de la base de données en construisant celle-ci à partir d’une liste télécinéma ou en créant un seul enregistrement de base de données par bobine.70 Partie I Utilisation de Cinema Tools Structure de base d’une base de données Cinema Tools Une base de données contient des enregistrements. Chaque enregistrement décrit un plan source. Un enregistrement peut être créé pour trois types de plans sources :  Si vous avez utilisé un transfert scène-prise : vous disposez d’un enregistrement de base de données par prise, chaque plan source correspondant à une prise.  Si vous avez utilisé un transfert télécinéma caméra-bobine : vous disposez d’un enregistrement de base de données par bobine dans lequel chaque plan source correspond à une bobine (contenant habituellement plusieurs prises).  Si vous avez subdivisé les plans source en groupes de prises : chaque enregistrement de base de données est associé à un plan source contenant plusieurs prises. Un plan source comportant une prise Take 1 Un enregistrement de base de donnée Un plan source comportant une bobine Un enregistrement de base de données Un plan source comportant plusieurs prises Take 1 Take 2 Take 3 Un enregis- trement de base de donnéesChapitre 4 Création et utilisation d’une base de données Cinema Tools 71 I Choix du mode de création de la base de données Le mode de création de la base de données dépend de l’usage auquel vous la destinez et de la disponibilité ou non d’une liste télécinéma ou d’un fichier ALE (Avid Log Exchange). Si vous ne l’avez pas encore fait, jetez un coup d’œil à la section « Le flux de production de Cinema Tools » à la page 37. Utilisez les exemples ci-dessous pour savoir quelles étapes suivre pour créer votre base de données et capturer vos plans. Les étapes à suivre et l’ordre à respecter dépendent de facteurs qui sont brièvement expliqués dans les exemples de travail. Réalisation de la capture avant la création de la base de données Il est possible de capturer les plans sources avant de créer la base de données, puis de construire la base de données Cinema Tools en important une liste de capture de lots créée à l’aide Final Cut Pro. Cette méthode est plus compliquée que la création à partir d’une liste télécinéma ou d’un fichier ALE car vous devez ensuite ajouter manuellement les informations de numéros de bord et de bobine de film à chaque enregistrement. Consultez à ce sujet la section « Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro » à la page 89. Si vous disposez d’une liste télécinéma ou d’un fichier ALE Une liste télécinéma, que l’on nomme parfois aussi un fichier FLEX, est un fichier créé par un technicien de télécinéma au cours d’un transfert télécinéma. Vous pouvez également utiliser un fichier ALE (Avid Log Exchange) de la même manière qu’une liste télécinéma. La liste télécinéma enregistre les numéros de bord du négatif caméra original et le timecode du transfert vidéo, puis assure le suivi de leur lien. Pour créer une base de données à partir d’une liste existante : 1 Créez une nouvelle base de données vide. Consultez à ce sujet la section « Création et configuration d’une nouvelle base de données » à la page 74. Avantages de l’utilisation d’une liste télécinéma ou d’un fichier ALE La création de votre base de données à partir d’une liste présente les avantages suivants :  Gain de temps : vous pouvez créer des enregistrements à partir d’une liste télécinéma. La création et la saisie des informations de chaque enregistrement ne se fait pas manuellement. Vous pouvez ensuite créer une liste de capture par lot à partir de la base de données, ce qui permet d’accélérer le processus de capture.  Exactitude : si la liste ne contient aucune erreur, l’exactitude de la base de données obtenue est assurée, ce qui vous épargne tout souci d’erreur de saisie éventuelle. L’utilisation de la liste de capture par lot de la base de données permet aussi de s’assurer que les fichiers de données source que vous capturez correspondent bien aux informations qui figurent dans la base de données.72 Partie I Utilisation de Cinema Tools 2 Créez des enregistrements à partir de la liste. Consultez à ce sujet la section « Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE » à la page 85. Si vous ne disposez pas d’une liste télécinéma ou d’un fichier ALE Bien qu’il soit plus rapide de créer une base de données à partir d’une liste, vous pouvez également vous en passer. Pour créer une base de données sans liste : 1 Créez une nouvelle base de données vide. Consultez à ce sujet la section « Création et configuration d’une nouvelle base de données » à la page 74. 2 Saisissez manuellement les informations des enregistrements. Consultez à ce propos la section « Gain de temps potentiel lors du transfert camera-roll » à la page 73 et « Saisie manuelle des informations de base de données » à la page 91. Remarque : vous pourriez aussi capturer les plans sources avant de créer la base de données et construire la base de données Cinema Tools en important une liste de capture par lot créée dans Final Cut Pro. Consultez à ce sujet la section « Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro » à la page 89. Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? Le lien entre le numéro de code de bordure et la timecode dans une bobine est continu si la bobine a été transférée vers la vidéo sans arrêt. Le lien entre le numéro de code de bordure et le timecode est non continu si :  vous avez utilisé le transfert télécinéma scene-and-take, c’est-à-dire que l’enregistrement vidéo a été interrompu puis relancé entre chaque prise ;  la bobine du film était composée de prises jointes les unes aux autres avant d’être transférée sur bande vidéo. Remarque : occasionnellement, le lien entre le numéro de code de bordure et le timecode est brisé lorsque, au cours de la prise de vue, l’équipe de prise de vues a ouvert une caméra pour en contrôler, nettoyer ou remplacer des pièces (on parle souvent de contrôler le couloir). Dans les cas où la caméra est ouverte pour ces motifs, le film est en général déchargé, puis rechargé. Il se peut qu’il soit rechargé sur un numéro de perforation différent. Cela signifie que le technicien du télécinéma devra s’arrêter, recadrer et faire une coupe, ce qui entraînera une rupture du lien entre les numéros de code de bordure et le timecode dans la bobine. Cela doit apparaître dans la liste télécinéma.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 73 I Gain de temps potentiel lors du transfert camera-roll Si vous effectuez un transfert camera-roll et que vous devez créer manuellement votre base de données, gagnez du temps en créant un enregistrement par bobine, en fonction du caractère continu ou non du lien entre les numéros du code de bordure et le timecode pour chaque transfert camera-roll. Si le lien code de bordure/timecode est continu sur chaque bobine Vous pouvez créer un enregistrement de base de données par bobine et Cinema Tools peut utiliser la méthode des timecodes pour localiser les enregistrements de base de données pour créer des listes de films. Dans ce cas, chaque bobine représente un plan source. Tant que vous créez des enregistrements de base de données précis pour les bobines, Cinema Tools sera capable de créer des listes de films précises. Toutefois, si vous connectez aussi les plans sources aux enregistrements de base de données, vous augmentez les chances de pouvoir réaliser un mise en correspondance correcte même en cas d’erreur de timecode. Pour en savoir plus, consultez les sections « Flux de production pour un transfert camera-roll (méthode basée sur le timecode) » à la page 52 et « Création de listes de films avec Cinema Tools » à la page 245. Il peut s’avérer utile, même si le lien code de bordure/timecode est continu, de prendre le temps de créer un enregistrement par plan source afin de pouvoir travailler de façon plus organisée. Par exemple :  Une base de données peut servir à vérifier sur quelle bande son se trouve une prise particulière ou quelle bobine de laboratoire contient le négatif dont vous avez besoin.  Vous pouvez prévoir des enregistrements pour chaque plan afin de pouvoir ajouter des commentaires sur différents plans.  Chaque enregistrement de la base de données contient une affiche du plan correspondant, ce qui permet de se repérer visuellement et d’accéder à un plan pour le lire dans sa totalité à partir de la base de données. Si le lien code de bordure/timecode est discontinu sur chaque bobine Vous devez créer des enregistrements de base de données séparés pour chaque plan et connecter chaque plan à l’enregistrement correspondant. Chaque enregistrement doit contenir le numéro de bord ou la codification manuelle de la première image du plan correspondant afin que Cinema Tools puisse suivre parfaitement le lien entre le numéro du code de bordure et le timecode tout au long de votre séquence.74 Partie I Utilisation de Cinema Tools Autres usages de la base de données Vous pouvez également utiliser votre base de données à d’autres fins que de faire coïncider la vidéo et le film. Si c’est le cas, tenez compte de ce qui suit avant de créer vos bases de données :  Bases de données individuelles pour les rushes : si vous disposez de rushes quotidiens à traiter et à synchroniser séparément, vous pouvez créer des bases de données individuelles pour chaque session quotidienne. Pensez alors à utiliser la date des rushes comme intitulé de chaque fichier de base de données. Vous pouvez ensuite les fusionner dans une base de données principale en important toutes les bases de données dans une seule base de données.  Création d’une liste EDL audio (Edit Decision List) : si vous prévoyez de fournir une liste audio EDL à la postproduction audio, vérifiez que les informations de timecode audio, timecode vidéo et la bande son ont bien été saisies pour chaque enregistrement de base de données. La création de la base de données par importation de la liste télécinéma est la façon la plus facile et la plus efficace de s’assurer que toutes les informations nécessaires figurent bien dans la base de données. Création et configuration d’une nouvelle base de données Lorsque vous créez une nouvelle base de données Cinema Tools, vous définissez des réglages par défaut pour le projet dans la zone de dialogue New Database. Remarque : lorsque vous importez les données qui figurent dans la liste télécinéma, le format de film, la vitesse du timecode vidéo, la vitesse du timecode audio et la vitesse télécinéma de la liste sont définis automatiquement dans Cinema Tools. Les informations contenues dans la liste télécinéma ont la priorité sur les réglages par défaut. Cinema Tools utilisera donc les réglages de la liste même sils diffèrent des réglages par défaut. Vous pouvez créer une nouvelle base de données à l’aide de Cinema Tools ou de Final Cut Pro. Création d’une nouvelle base de données à l’aide de Cinema Tools Vous pouvez créer une nouvelle base de données et définir ses réglages par défaut directement dans Cinema Tools. Pour créer une nouvelle base de données : 1 Procédez de l’une des manières suivantes :  Ouvrez Cinema Tools et cliquez sur Create a New Database dans la fenêtre Welcome, si elle apparaît.  Choisissez Database > New Database (ou appuyez sur Commande + Maj + N). Remarque : le menu New Database ne sera pas disponible si une base de données Cinema Tools est ouverte. Fermez toute base de données ouverte pour pouvoir accéder à la commande de menu New Database.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 75 I 2 Dans la zone de dialogue New Database, définissez des réglages par défaut pour votre base de données, puis cliquez sur OK. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur les réglages. 3 Dans la zone de dialogue Create a new database, choisissez un emplacement pour le fichier et donnez-lui un nom. Une base de données vide est créée dans laquelle vous pouvez saisir des informations. Pour savoir comment procéder, consultez la section « Saisie d’informations dans la base de données » à la page 85. Création d’une nouvelle base de données à l’aide de Final Cut Pro Vous pouvez utiliser deux méthodes pour créer une base de données Cinema Tools à l’aide de Final Cut Pro :  Synchronisation d’un ensemble de plans avec une nouvelle base de données  Importation d’un fichier de liste télécinéma dans une nouvelle base de données Synchronisation d’un ensemble de plans sélectionnés pour créer une nouvelle base de données Vous pouvez utiliser la commande Synchroniser avec Cinema Tools si vous voulez ajouter un ou plusieurs plans des plans qui figurent dans le Navigateur de Final Cut Pro dans une nouvelle base de données Cinema Tools. Cela peut s’avérer utile lorsque vous avez capturé un ensemble de plans manuellement mais ne disposez pas de la liste télécinéma correspondante ou lorsque vous souhaitez créer une base de données séparée pour un ensemble de plans qui figure déjà dans une base de données. Pour créer une nouvelle base de données à l’aide de la commande Synchroniser avec Cinema Tools : 1 Dans le Navigateur de Final Cut Pro, sélectionnez les plans à ajouter dans la nouvelle base de données Cinema Tools. Il peut s’agir de plans qui figurent déjà dans une base de données ou de nouveaux plans qui ne figurent encore dans aucune base de données. 76 Partie I Utilisation de Cinema Tools 2 Choisissez Outils > Synchroniser avec Cinema Tools. Une zone de dialogue apparaît dans laquelle vous pouvez configurer le processus de synchronisation. Le champ Base de donées indique la base de données sélectionnée. 3 Sélectionnez la case Ajouter de nouveaux enregistrements. Cette option doit être sélectionnée en cas de synchronisation avec une nouvelle base de données. 4 Sélectionnez la case Connecter automatiquement si vous voulez que la base de données connecte automatiquement les plans à tout nouvel enregistrement qui est créé dans la base de données. 5 Cliquez sur Nouvelle base de données pour créer une nouvelle base de données Cinema Tools. 6 Dans la zone de dialogue qui apparaît, saisissez le nom et l’emplacement de la base de données et configurez ses réglages par défaut. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur ces réglages. 7 Pour fermer la zone de dialogue, cliquez sur Save lorsque vous avez fini. 8 Cliquez sur OK. Une nouvelle base de données Cinema Tools est créée et les plans sélectionnés y sont ajoutés en même temps que toutes les informations relatives au film qu’ils peuvent contenir. Chapitre 4 Création et utilisation d’une base de données Cinema Tools 77 I Consultez la section « Synchronisation de plans Final Cut Pro avec Cinema Tools » à la page 155 pour en savoir plus sur la commande Synchronize with Cinema Tools, y compris sur la façon de l’utiliser pour synchroniser des plans avec une base de données existante. Importation d’un fichier de liste télécinéma pour créer une nouvelle base de données Lorsque vous importez un fichier de liste télécinéma dans Final Cut Pro, vous pouvez choisir de l’importer dans une base de données Cinema Tools existante ou dans une nouvelle. Consultez la section « Importation de listes télécinéma à l’aide de Final Cut Pro » à la page 87 pour en savoir plus. Réglages de la zone de dialogue Nouvelle base de donées Au moment de choisir vos réglages, rappelez-vous les points suivants :  Le fait de sélectionner des réglages par défaut ne vous oblige pas à les utiliser dans les enregistrements de la base de données. Les réglages par défaut sont appliqués automatiquement aux nouveaux enregistrements de base de données, mais vous pouvez changer le format de film, la vitesse du timecode vidéo et la vitesse du timecode audio pour chaque plan séparément dans la fenêtre Detail View.  Lorsque vous importez les données qui figurent dans la liste télécinéma, le format de film, la vitesse du timecode vidéo, la vitesse du timecode audio et la vitesse télécinéma de la liste sont définis automatiquement dans Cinema Tools. Les informations contenues dans la liste télécinéma ont la priorité sur les réglages par défaut. Cinema Tools utilisera donc les réglages de la liste même s’ils diffèrent des réglages par défaut. Pour modifier des réglages par défaut, consultez la section « Modification des réglages de base de données par défaut » à la page 106. ? Astuce : si vous combinez des bases de données existantes ou si vous voulez contrôler des attributs tels que les réglages par défaut, les noms de fichier et les dates de modification d’une base de données existante, choisissez Database > Database Properties. La zone de dialogue Database Properties affiche le chemin d’accès complet et la taille du fichier de la base de données, ainsi que ses dates de création et de modification. Vous pouvez voir les réglages de projet par défaut pour le format de film, la vitesse du timecode vidéo et la vitesse du timecode audio.78 Partie I Utilisation de Cinema Tools Format de film Cinema Tools prend en charge les formats 35 mm à 4 perforations, 35 mm à 3 perforations et 16 mm-20. (Consultez l’annexe A, « Principes généraux », à la page 231 pour des informations sur ces formats.) Le même film est généralement utilisé pour tout le projet afin de conserver le format. Vous pouvez cependant choisir un format différent pour chaque prise dans la fenêtre Detail View. Si par exemple certains de vos plans sont inversés alors que la majorité sont normaux, vous pouvez spécifier le format de film inversé pour ces plans dans la fenêtre Detail View. Pour choisir un format de film par défaut : m Sélectionnez le format de film utilisé dans le projet dans le menu local Film Standard :  35 mm 4p : film 35 mm, 4 perforations par image  16 mm 20 : film 16 mm, 20 images par numéro de bord  35 mm 3p : film 35 mm, 3 perforations par image Vitesse du timecode (Video TC Rate) Cinema Tools gère quatre vitesses de timecode vidéo. Consultez l’annexe A, « Principes généraux », à la page 231 pour des informations sur les vitesses de timecode. Le laboratoire qui transfère votre film sur bande vidéo peut vous dire quel type de timecode est enregistré sur la bande vidéo. Pour choisir une vitesse de timecode vidéo par défaut : m Sélectionnez le type de timecode enregistré sur les bandes vidéo pour votre projet dans le menu local Video TC Rate :  30 NDF : Timecode Non-drop frame NTSC à 29,97 ips  30 DF : Timecode NTSC drop frame à 29.97 ips  25 FPS : Timecode PAL à 25 ips  24 FPS : Timecode vidéo à 24 ips ou 23,98 ipsChapitre 4 Création et utilisation d’une base de données Cinema Tools 79 I Vitesse du timecode audio Le timecode est généralement enregistré en même temps que les pistes sonores sur les bandes son de production. Ce timecode peut être utilisé pour localiser l’audio d’un plan particulier. Par ailleurs, de nombreux systèmes l’utilisent pour synchroniser l’audio et la vidéo. La saisie des bandes audio et du timecode audio dans la base de données vise principalement à faire correspondre l’audio à une liste EDL audio, opération expliquée à la section « Exportation d’une liste EDL audio » à la page 193. Pour choisir une vitesse de timecode audio par défaut : m Sélectionnez le type de timecode enregistré sur les bandes son de production dans le menu local Sound TC Rate :  30 NDF : Timecode Non-drop frame NTSC à 29,97 ips  30 DF : Timecode NTSC drop frame à 29.97 ips  25 FPS : Timecode PAL à 25 ips  24 FPS : Timecode vidéo à 24 ips ou 23,98 ips Vitesse télécinéma La vitesse télécinéma (appelée TK Speed dans la fenêtre Detail View, dans la sous-fenêtre Identify de la fenêtre Clip et, facultativement, dans la fenêtre Navigateur de Final Cut Pro) fait référence à la fréquence d’images du film dans le matériel de télécinéma durant le transfert sur bande vidéo. Si vous travaillez avec la vidéo NTSC, vous choisirez généralement une vitesse télécinéma de 24 ips, alors que la vitesse télécinéma réelle est d’approximativement 23,98 ips. Le menu local Telecine Speed vous permet aussi de sélectionner une vitesse de 30 ips car il est possible de transférer un film vers une vidéo NTSC lorsque le film tourne à une vitesse de 30 ips (en réalité 29,97 ips). Si vous travaillez sur vidéo PAL, consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 pour savoir quelle vitesse choisir. Si votre film a été transféré sur bande vidéo à une vitesse télécinéma de 24 ips, sélectionnez 24 ips comme vitesse télécinéma. Si votre film a été transféré sur bande vidéo à une vitesse téléciméma de 25 ips, choisissez 25 ips.80 Partie I Utilisation de Cinema Tools Pour choisir une vitesse télécinéma par défaut : m Dans le menu local Telecine Speed, sélectionnez la vitesse à laquelle le film a été transféré :  24 : vitesse télécinéma de 24 ips ou 23,98 ips  25 : vitesse télécinéma de 25 ips  30 : vitesse télécinéma de 29.97 ips Utilisation de la base de données Pour utiliser la base de données, vous devez savoir réaliser les tâches suivantes :  Ouvrir une base de données existante  Recherche et ouverture d’enregistrements de base de donnée  Sauvegarde, copie, renommage et verrouillage de bases de données  Accéder aux informations relatives à un plan. Ouvrir une base de données existante La première étape, lorsque vous utilisez une base de données, consiste à l’ouvrir. Pour ouvrir une base de données existante : m Choisissez Database > Open Database (ou appuyez sur Commande + Maj + O), puis sélectionnez la base de données souhaitée dans la zone de dialogue. Tous les enregistrements de la base de données ouverte sont répertoriés dans la fenêtre List View. Remarque : si une base de données était ouverte, elle se ferme. Recherche et ouverture d’enregistrements de base de donnée Les enregistrements sont généralement ouverts à partir de la fenêtre List View. Le groupe d’enregistrements qui apparaît dans cette fenêtre est souvent appelé (ensemble trouvé) found set, car vous avez utilisé la commande Find pour spécifier ces enregistrements. Pour afficher un enregistrement de la base de données dans la fenêtre Detail View : m Sélectionnez l’enregistrement dans la fenêtre List View. Chapitre 4 Création et utilisation d’une base de données Cinema Tools 81 I Pour afficher des enregistrements particuliers dans la fenêtre List View : m Utilisez la zone de dialogue Find. Consultez la section sur l’utilisation de la commande Find (ci-dessous) pour des détails. Pour naviguer dans les enregistrements de la fenêtre Detail View : m Cliquez sur les boutons Previous Record et Next Record. Pour rechercher un numéro de bord : m Dans la fenêtre List View, choisissez Keycode dans le menu local, puis cliquez sur le titre de la colonne Keycode pour effectuer le tri par numéro de bord. Consultez la section « Fenêtre List View » à la page 56 pour en savoir plus. Pour utiliser la commande Find afin de rechercher des enregistrements dans la base de données ouverte : 1 Ouvrez la zone de dialogue Find en procédant de l’une des manières suivantes :  Choisissez Database > Find (ou appuyez sur Commande + F).  Cliquez sur le bouton Find dans la fenêtre List View. Boutons Previous Record et Next Record82 Partie I Utilisation de Cinema Tools 2 Choisissez l’un des éléments suivants dans le menu local Results :  Replace Current Found Records : les enregistrements trouvés remplacent ceux qui sont affichés dans la fenêtre List View.  Add to Current Found Records : les enregistrements trouvés sont ajoutés à ceux de la fenêtre List View. ? Astuce : l’option Add to Current Found Records est utile lorsque vous souhaitez rechercher des enregistrements de plus d’une scène, mais pas pour toutes les scènes. Par exemple, pour n’afficher que les enregistrements des scènes 5 et 6, choisissez Replace Current Found Records, saisissez « 5 » dans le champ Scene, puis cliquez sur Find Records. Ensuite, choisissez Add to Current Found Records, saisissez « 6 » dans le champ Scene, et cliquez sur Find Records. Seuls les enregistrements des scènes 5 et 6 apparaissent dans la fenêtre List View. 3 Procédez de l’une des manières suivantes :  Pour rechercher tous les enregistrements qui figurent dans la base de données ouverte : laissez les champs Scene et Take vides et cliquez sur Show All Records.  Pour rechercher tous les enregistrements relatifs à une scène ou un plan particulier : saisissez l’identifiant de la scène ou du plan dans le champ Scene, laissez le champ Take vide, puis cliquez sur le bouton Find Records. (Le champ Take est ignoré, à moins que vous ne sélectionniez la case Show only exact matches.) Par exemple, si vous saisissez « 1 » dans le champ Scene puis cliquez sur Find Records, Cinema Tools recherche tous les enregistrements associés à la scène 1, y compris les plans 1, 1A, 1B, 1C, etc. Si vous saisissez « 1A » dans le champ Scene, seuls les enregistrements du plan 1A sont recherchés.  Pour rechercher l’enregistrement relatif à une scène ou prise particulière : saisissez les identifiants de la scène et de la prise dans les champs Scene et Take, sélectionnez Show only exact matches, puis cliquez sur Find Records. Les enregistrements trouvés apparaissent dans la fenêtre List View.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 83 I Détails relatifs à la scène, le plan et la prise La façon dont Cinema Tools interprète les numéros de scène peut donner des résultats inattendus lors de l’utilisation de la zone de dialogue Find. Cinema Tools traite les numéro de scène comme ayant jusqu’à quatre parties :  Préfixe : partie facultative composée d’une ou plusieurs lettres qui figure devant le numéro de scène, généralement utilisée pour identifier une scène nouvelle et unique ajoutée au script. Par exemple, le « A » dans la scène A54C-3. Les préfixes n’identifient toutefois pas toujours des scènes uniques, les lettres utilisées dans le préfixe contrôlent la façon dont ils affectent l’utilisation de la zone de dialogue Find (décrit plus loin).  Numéro de scène : le premier groupe de chiffres. Selon le préfixe, il peut s’agir du numéro de scène entier, bien qu’avec certains préfixes, le préfixe fasse partie intégrante du numéro de scène (comme décrit plus loin).  Suffixe : groupe d’une ou plusieurs lettres qui suit le numéro de scène et qui identifie le plan de la scène. Par exemple, le « C » dans la scène A54C-3.  Numéro de prise : numéro qui suit le suffixe (indicateur de prise) qui identifie la prise. Il est généralement précédé par un trait d’union (que vous n’avez pas besoin de saisir dans la zone de dialogue Find). Par exemple, le « 3 » dans la scène A54C-3. La difficulté consiste à déterminer si le préfixe indique une scène unique ou pas. Les préfixes qui utilisent les lettres de A à D sont traités comme faisant référence à des scènes uniques. Les préfixes qui utilisent les lettres de E à Z sont traités comme étant des lettres de modification du numéro de scène, mais pas comme indiquant une scène unique. Par exemple, si vous utilisez la zone de dialogue Find pour rechercher la scène 54, vous trouverez les enregistrements « 54, » « G54 » et « K54 » (qui sont tous considérés comme étant la scène 54), mais pas « A54, » « B54, » « C54 » ni « D54 » (qui sont considérés comme étant des scènes différentes). Les suffixes identifient les plans qui composent une scène. Si vous recherchez la scène 54, vous trouverez tous les plans de la scène 54, comme, par exemple, les enregistrements « 54A » et « 54F », mais pas l’enregistrement « B54A » car le préfixe en fait une scène différente. Les numéros de prise sont liés à des plans spécifiques qui, à leur tour, sont liés à des scènes spécifiques. Si vous recherchez la scène « 54 », vous trouverez tous les plans et toutes les prises de cette scène. Si vous saisissez « 54A » dans le champ Scene de la zone de dialogue, vous ne trouverez que les enregistrements relatifs au plan A de la scène 54 ; vous ne trouverez pas les enregistrements relatifs à la scène 54B. Si vous saisissez un nombre dans le champ Take, vous ne trouverez que les plans qui utilisent cette prise. Par exemple, saisir « 54A » dans le champ Scene et « 3 » dans le champ Take ne vous permettra de trouver que l’enregistrement « 54A-3 ». Saisir « 54 » dans le champ Scene (sans spécifier de plan) et « 3 » dans le champ Take, vous permettra de trouver tous les enregistrements de la scène 54 qui ont une prise 3, comme, par exemple, les enregistrements « 54A-3 » et « 54D-3 ».84 Partie I Utilisation de Cinema Tools Sauvegarde, copie, renommage et verrouillage de bases de données Comme vous le faites avec toutes vos données importantes, veillez à réaliser des copies de sauvegarde de vos fichiers de bases de données Cinema Tools et de verrouiller ces fichiers afin de ne pas courir le risque de les modifier ou de les supprimer. Utilisez à cette fin n’importe quelle méthode standard de copie et de verrouillage de fichiers. Vous pouvez sauvegarder vos fichiers sur le disque dur de votre ordinateur ou sur une unité de stockage amovible. Avant de verrouiller un fichier de base de données, assurez-vous que la base des données est fermée. Vous pouvez également employer la méthode standard de votre choix pour modifier le nom d’un fichier de base de données. La modification du nom de fichier d’une base de données (contrairement à la modification du nom de fichier d’un plan source) n’affecte pas les fonctions de la base de données ni son contenu. Important : il est déconseillé de modifier le nom de fichier d’un plan source (dans le Finder) car cela entraîne la rupture du lien entre le plan source et la base de données. Vous pouvez toutefois reconnecter des plans à la base de données à l’aide de la commande Reconnect. Accès à des informations sur un plan source La sous-fenêtre Analysis de la fenêtre Clip vous permet d’accéder à des informations spécifiques sur un plan source. La sous-fenêtre Analysis affiche le chemin complet (l’emplacement) et le nom du fichier ainsi que la taille et les dates de création et de modification de ce dernier. La durée du plan y est également indiquée.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 85 I Apparaissent aussi des informations relatives aux différentes piste d’un plan :  Pour les pistes vidéo : vous voyez les dimensions de l’image et la fréquence d’images, le compresseur utilisé et la qualité de la compression, le débit de données et s’il s’agit d’un fichier autonome ou d’un fichier de données de référence. Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.  Pour les pistes audio : vous voyez la fréquence d’échantillonnage et le nombre de canaux pour jusqu’à deux pistes. Saisie d’informations dans la base de données Comme l’explique la section « Choix du mode de création de la base de données » à la page 71, il existe deux méthodes principales pour créer une base de données :  Vous pouvez générer la base de données en important une liste télécinéma, un fichier ALE ou une liste de capture par lot Final Cut Pro.  Vous pouvez saisir manuellement les informations. Même si vous créez votre base de données à partir d’une liste télécinéma, il est probable que vous deviez ultérieurement apporter des modifications ou faire des ajouts aux enregistrements. Procédez à ces changements via les fenêtres Detail View ou Clip. (Dans la fenêtre Clip, vous ne pouvez modifier que des enregistrements de base de données existants.) Important : pour pouvoir saisir des informations dans une base de données, vous devez disposer d’une base de données existante. Pour créer une base de données vide, consultez la section « Création et configuration d’une nouvelle base de données » à la page 74. Importation des informations de la base de données Vous pouvez créer une base de données en important les données d’une liste télécinéma, d’un fichier ALE, d’une liste de capture par lot Final Cut Pro ou d’une base de données Cinema Tools existante. Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE Vous pouvez saisir des informations dans la base de données en important la liste télécinéma provenant du transfert film vers vidéo. Cinema Tools gère les listes télécinéma suivantes :  Fichiers de listes télécinéma ATN de Aaton  Fichiers d’historique FLX (Film Log EDL Exchange, généralement abrégé en FLEx) provenant du logiciel TLC (Time Logic Controller software)86 Partie I Utilisation de Cinema Tools  Fichiers d’historique FTL (Film Transfer List) provenant d’Evertz  Fichiers ALE (Avid Log Exchange) (différent des listes télécinéma du point de vue technique, mais contiennent les mêmes informations) Vous pouvez importer des fichiers de liste télécinéma à l’aide de soit Cinema Tools soit Final Cut Pro. Attribution de lettres de caméra Pour importer le fichier de liste télécinéma à l’aide de Cinema Tools ou de Final Cut Pro, vous pouvez attribuer une lettre de caméra de A à E à tous les enregistrements importés. La lettre de caméra est ajoutée à l’entrée de prise de chaque enregistrement. Cela est utile en cas d’utilisation de plusieurs caméras par prise, les lettres permettant de distinguer aisément les plans des différentes caméras. De plus, si vous configurez un multiplan dans Final Cut Pro, les lettres de caméra seront utilisées pour créer les différents angles. Importation de listes télécinéma à l’aide de Cinema Tools Pour importer une liste télécinéma dans Cinema Tools, vous devez d’abord disposer d’une base de données ouverte. La base de données peut être une base de données existante à laquelle vous ajoutez de nouveaux enregistrements ou une nouvelle sans enregistrement. Pour importer une liste télécinéma à l’aide de Cinema Tools : 1 Procédez de l’une des manières suivantes :  Ouvrez une base de données Cinema Tools existante. Consultez la section « Ouvrir une base de données existante » à la page 80 pour en savoir plus.  Créez une nouvelle base de données Cinema Tools. Consultez la section « Création et configuration d’une nouvelle base de données » à la page 74 pour en savoir plus. 2 Importez le fichier de liste télécinéma en choisissant File > Import > Telecine Log (ou en appuyant sur Commande + L). 3 Dans la zone de dialogue qui s’ouvre, sélectionnez la liste télécinéma ou le fichier ALE.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 87 I 4 Pour affecter une lettre de caméra aux enregistrements importés, sélectionnez la case Append a camera letter et choisissez une lettre de caméra dans le menu local. 5 Cliquez sur Open. Les données de la liste sont importées dans la base de données ouverte et chaque nouvel enregistrement est affiché dans la fenêtre List View. Une fois que Cinema Tools a fini de créer les enregistrements pour une liste télécinéma, il affiche le nombre d’événements que la liste contient et le nombre de ces événements qui ont été importés dans la base de données. Certaines entrées de la liste télécinéma font référence à des coupes pour lesquelles aucune donnée de film n’a été transférée. Aucun enregistrement n’est créé pour ces entrées. Une fois que les enregistrements ont été importés, vous pouvez exporter une liste de capture par lot de Cinema Tools que vous pouvez ensuite importer dans Final Cut Pro pour automatiser le processus de capture des plans. Consultez la section « Génération d’une liste de capture par lot dans Cinema Tools » à la page 115 pour en savoir plus. Importation de listes télécinéma à l’aide de Final Cut Pro Lorsque vous importez une liste télécinéma à l’aide de Final Cut Pro, vous spécifiez si vous voulez l’importer dans une base de données Cinema Tools existante ou créer une nouvelle base de données. Lors de l’ajout d’enregistrements à la base de données Cinema Tools sélectionnée, chaque enregistrement crée un plan offline dans le Navigateur de Final Cut Pro pour que les plans puissent être capturés par lot. Les informations relatives au film qui figurent dans la liste télécinéma sont aussi ajoutées à chacun de ces plans. Pour importer une liste télécinéma à l’aide de Final Cut Pro : 1 Créez un nouveau projet ou ouvrez un projet existant. Ce projet contient les plans offline créés lors de l’importation du fichier de liste télécinéma. 2 Sélectionnez le projet dans le Navigateur. 3 Choisissez Fichier > Importer > Liste télécinéma Cinema Tools.88 Partie I Utilisation de Cinema Tools La zone de dialogue d’importation de liste télécinéma Cinema Tools est alors affichée. 4 Utilisez la partie supérieure de la zone de dialogue pour sélectionner le fichier de liste télécinéma à importer. 5 Pour affecter une lettre de caméra aux enregistrements importés, sélectionnez la case Ajouter une lettre à la caméra et choisissez une lettre de caméra dans le menu local. 6 Procédez de l’une des manières suivantes :  Cliquez sur Nouvelle base de donées pour créer une nouvelle base de données Cinema Tools dans laquelle importer le fichier de liste télécinéma. Cela a pour effet d’ouvrir une nouvelle zone de dialogue dans laquelle vous pouvez saisir le nom et l’emplacement de la base de données ainsi que configurer ses réglages par défaut. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur ces réglages. Cliquez sur Enregistrer lorsque vous avez fini.  Cliquez sur Choisir une base de donées pour ouvrir une zone de dialogue dans laquelle vous pouvez sélectionner la base de données existante dans laquelle vous voulez importer les enregistrements du fichier de liste télécinéma. Cliquez sur Ouvrir lorsque vous avez fini. Sélectionnez le fichier de liste télécinéma à importer. Choisissez de créer une nouvelle base de données ou d’importer le fichier dans une base de données. Choisissez la lettre de caméra à ajouter aux prises importées (si nécessaire). Indique le nom de la base de données sélectionnée.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 89 I La base de données sélectionnée, nouvelle ou préexistante, apparaît dans le champ Base de donées de la zone de dialogue d’importation de liste télécinéma Cinema Tools. 7 Cliquez sur Ouvrir pour importer le fichier de liste télécinéma sélectionné dans la base de données Cinema Tools sélectionnée. Une fois que les enregistrements ont été importés et que les plans offline ont été ajoutés au Navigateur, vous pouvez utiliser Final Cut Pro pour capturer les plans par lot. Consultez la documentation de Final Cut Pro pour des informations sur la capture de plans par lot. Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro Il se peut que vous souhaitiez créer des enregistrements de base de données en important une liste de capture par lot Final Cut Pro si :  vous ne disposez pas de liste télécinéma ni de fichier ALE ;  vous avez déjà capturé par lots les plans dont vous voulez disposer dans Final Cut Pro et vous voulez que des enregistrements soient créés dans la base de données pour ces plans sources et non pour les prises énumérées dans votre liste télécinéma. Remarque : la création d’enregistrements dans la base de données à partir d’une liste de capture par lot Final Cut Pro n’est pas l’idéal, car vous perdez l’avantage d’utiliser une liste télécinéma ou un fichier ALE pour construire votre base de données. Ainsi, une liste de capture par lot Final Cut Pro ne contient pas d’indication de numéro de bord ou de bobine de caméra ou de laboratoire, des informations qui seraient importées d’une liste télécinéma. Consultez également la section « Avantages de l’utilisation d’une liste télécinéma ou d’un fichier ALE » à la page 71. ? Astuce : dans la plupart des cas, au lieu d’exporter une liste de capture par lot Final Cut Pro, puis de l’importer dans une base de données Cinema Tools, utilisez la fonction Final Cut Pro intitulée « Synchroniser avec Cinema Tools ». Consultez la section « Synchronisation de plans Final Cut Pro avec Cinema Tools » à la page 155 pour en savoir plus. Pour importer les informations relatives à une base de données dans une liste de capture par lot Final Cut Pro : 1 Assurez-vous qu’une base de données Cinema Tools est ouverte. 2 Dans Cinema Tools, sélectionnez File > Import > Final Cut Pro Batch List. 3 Dans la boîte de dialogue qui apparaît, sélectionnez la liste de capture par lot que vous avez exportée depuis Final Cut Pro. 4 Cliquez sur Open pour importer la liste de capture par lot. Les données de la liste sont utilisées pour créer les enregistrements de la base de données. 90 Partie I Utilisation de Cinema Tools Remarque : les plans sources ne sont pas encore connectés à des enregistrements de la base de données. Vous devez utiliser la commande Connect Clips pour les relier. Pour en savoir plus, consultez la section « Utilisation de la commande Connect Clips pour connecter des plans sources » à la page 123. 5 Dans chaque enregistrement, saisissez le numéro du code de bordure et l’identifiant de la bobine de film (ces éléments sont nécessaires pour créer une cut list ou une liste de modification). Remarque : étant donné qu’une liste de capture par lot Final Cut Pro contient tout ce qui apparaît dans le Navigateur Final Cut Pro, il se peut qu’elle contienne des plans ou des séquences dont vous ne voulez pas. Procédez par conséquent à la suppression de tous les enregistrements inutiles. Consultez à ce sujet la section « Suppression d’un enregistrement de la base de données » à la page 105. Importation d’une base de données Cinema Tools existante Il est possible d’importer une base de données Cinema Tools dans une autre base de données Cinema Tools. Cette opération peut s’avérer nécessaire dans les cas suivants :  Il se peut que vous souhaitiez créer des bases de données séparées à des fins d’organisation et d’archivage, puis les rassembler au sein d’une base de données maîtresse. Des bases de données séparées peuvent être utiles pour vos rushes par exemple. Si vous souhaitez gérer vos rushes en créant une base de données portant une date comme nom pour chacun des jours de tournage, vous pouvez importer la liste télécinéma pour la session quotidienne en question, exporter une liste de capture par lot, capturer les plans, puis utiliser la commande Connect Clips de Cinema Tools pour connecter tous les plans à ce fichier de base de données portant une date comme nom. Ensuite, vous pouvez importer ce fichier de base de données dans une base de données maîtresse contenant toutes les bases de données quotidiennes.  Si vous devez corriger les réglages de projet par défaut d’une base de données. Pour ce faire, créez une nouvelle base de données vide avec les réglages par défaut corrects, puis import votre fichier de base de données original dans la nouvelle. Pour importer un fichier de base de données dans un autre fichier : 1 Ouvrez la base de données dans laquelle vous avez importé un autre fichier de base de données en choisissant Database > Open Database (ou en appuyant sur Commande + Maj + O), puis en sélectionnant la base de données dans la zone de dialogue. 2 Choisissez File > Import > Database. 3 Dans la zone de dialogue qui s’affiche, sélectionnez la base de données à importer.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 91 I Saisie manuelle des informations de base de données Vous pouvez utiliser la fenêtre Detail View pour modifier manuellement les informations des enregistrements. Vous devez d’abord créer des enregistrements dans la base de données. Remarque : si un enregistrement de base de données a déjà été créé pour un plan, vous pouvez aussi utiliser la fenêtre Identify de la fenêtre Clip pour saisir des informations. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour en savoir plus. Description du lien entre les scènes, les plans et les prises Pour saisir des informations de scène, de plan et de prise dans la base de données, vous devez savoir comment les scènes, les plans et les prises sont compris par la base de données. Un film est composé d’une série de scènes et chaque scène est généralement composée de plusieurs plans ou angles de vue. Un plan est un enregistrement continu sans interruptions. Lors d’un tournage, il peut y avoir plusieurs prises par plan, une prise est donc une version d’un plan. Une scène peut compter plusieurs plans. Le tableau cidessous présente un exemple de lien entre les scènes, les prises et les plans dans une base de données Cinema Tools. Scène 1 Prise de vue 1A Prise de vue 1 Prise de vue 1B Prise 1 Prise 2 Prise 4 Prise 2 Prise 3 Prise 5 Clap 1-1 Clap 1-2 Clap 1-4 Clap 1A-2 Clap 1A-3 Clap 1B-592 Partie I Utilisation de Cinema Tools Création d’un enregistrement de base de données Vous devez créer des enregistrements de base de données si vous saisissez les informations de base de données manuellement. Pour créer un enregistrement : 1 Procédez de l’une des manières suivantes :  Choisissez Database > New Record (ou appuyez sur Commande + N).  Cliquez sur New Record dans la fenêtre Detail View. 2 Dans la zone de dialogue qui apparaît, saisissez des identifiants pour la scène et la prise ou laissez ces champs vides, puis cliquez sur OK. Pour en savoir plus, lisez l’encadré ci-dessous « Utilisation d’identifiants de scène, de plan et de prise, ». Remarque : il n’est pas nécessaire de saisir quoi que ce soit dans les champs Scene et Take pour utiliser Cinema Tools pour mettre en correspondance vos modifications numériques et vos négatifs de caméra originaux. Vous pouvez laisser ces champs vides ou les compléter ultérieurement. Souvenez-vous aussi que les entrées de scène et de prise sont utilisées pour créer les noms des plans, si vous exportez une liste de capture par lot. Consultez la section « Génération d’une liste de capture par lot dans Cinema Tools » à la page 115 pour en savoir plus. La fenêtre Detail View apparaît une fois que vous cliquez sur OK.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 93 I Utilisation d’identifiants de scène, de plan et de prise Un identifiant peut comprendre des chiffres et des lettres et compter jusqu’à 15 caractères.  Take identifier : si le plan source associé à un enregistrement de base de données contient plus d’une prise, vous pouvez vous représenter l’identifiant de prise comme un identifiant de sous-plan source. Si le plan source associé à un enregistrement de base de données ne contient qu’une seule prise, vous pouvez vous représenter l’identifiant de prise comme un identifiant de plan source.  Scene identifier : l’identifiant que vous saisissez dans le champ Scene identifie en réalité tant la scène que le plan (la position de la caméra) pour le plan en question. On inscrit généralement dans ce champ la combinaison de lettres ou de chiffres qui apparaît dans le champ Scene du clap. La méthode généralement employée pour identifier les scènes et les plans est d’attribuer un chiffre à la scène et d’ajouter une lettre pour spécifier le plan de la scène. Ainsi, si un clap indique « Scène 12B », il fait référence à la prise B de la scène 12. Cette information est reflétée dans la fenêtre Detail View ; le premier nombre indiqué dans le champ Scene apparaît en regard du mot « Scene » dans la fenêtre Detail View. En regard du mot « Shot », par contre, tant le numéro que la lettre apparaissent. Par exemple, si vous saisissez « 1D » dans le champ Scene, vous voyez apparaître ce qui suit dans le coin supérieur gauche de la fenêtre Detail View :  « 1 » en regard du mot « Scene »  « 1D » en regard du mot « Shot » Astuce : dans le champ Scene, vous pouvez saisir une lettre (de A à D) devant le premier numéro, elle fera partie intégrante de l’identifiant de scène. Ajouter une lettre devant un identifiant de scène est une convention d’appellation utile lorsque vous devez ajouter une scène au milieu d’une série de scènes. Imaginons, que vous ajoutiez une scène nommée A2 entre la scène 1 et la scène 2. Le nouvel ordre serait donc scène 1, scène A2, scène 2, scène 3, et ainsi de suite. L’ajout d’autres lettres (de E à Z) n’ajoute pas de nouvelle scène. Par exemple, la scène G2 est identique à la scène 2. Pour plus d’informations, reportezvous à la section « Détails relatifs à la scène, le plan et la prise » à la page 83.94 Partie I Utilisation de Cinema Tools Saisie d’informations dans un enregistrement de base de données Une fois que vous avez créé un enregistrement de base de données, vous pouvez saisir les informations sur son plan. Pour saisir des informations dans un enregistrement de base de données : 1 Assurez-vous que l’enregistrement souhaité apparaît dans la fenêtre Detail View. (Si nécessaire, cliquez sur l’enregistrement, dans la fenêtre List View, pour l’ouvrir dans la fenêtre Detail View.) Pour en savoir plus, consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80. 2 Saisissez des informations et des réglages dans la fenêtre Detail View. « Réglages de la fenêtre Detail View, » ensuite, décrivez tous les réglages et spécifiez ceux qui sont obligatoires si vous prévoyez d’utiliser la base de données pour générer des listes de conformation ou de modification. Utilisez la touche de tabulation pour passer d’un champ ou d’un réglage à l’autre. ? Astuce : lorsque vous reliez un plan à enregistrement de base de données et que cet enregistrement ne contient pas encore le timecode, le numéro de bobine et la durée du timecode du plan, Cinema Tools recherche ces informations dans le fichier du plan et les introduit automatiquement dans l’enregistrement. Si vous connaissez le code de bordure ou le numéro de timecode d’une autre image d’plan, la fonction Identify peut vous aider à déterminer le timecode ou numéro de code de bordure correct de la première image d’un plan. Consultez à ce sujet la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102. 3 Cliquez sur Save. Les informations affichées dans la fenêtre Detail View ne sont définitivement saisies dans la base de données que si vous les enregistrez. Vous pouvez choisir Database > Revert Record (ou appuyer sur Commande + R) pour revenir à la dernière version enregistrée de l’enregistrement.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 95 I Réglages de la fenêtre Detail View La fenêtre Detail View contient des champs et des boutons servant à la création d’enregistrements de base de données. Parmi ces réglages, seul un petit nombre sert à la création de cut lists ou de listes de modification à partir de la base de données. Réglages nécessaires Les réglages nécessaires dépendant du type de liste à créer et de la méthode que vous allez utiliser pour la créer. Ces réglages sont nécessaires si vous prévoyez de générer une liste de conformation ou de modifier une liste de modifications :  Lab, camera, or daily roll  Key number or ink number Par ailleurs, chaque plan source doit être associé à un enregistrement, sauf si vous pouvez utiliser la méthode basée sur le timecode pour créer les cut lists ou les listes de modification (consultez à ce sujet la section « Gain de temps potentiel lors du transfert camera-roll » à la page 73). Pour utiliser la méthode basée sur le timecode afin de créer des cut lists ou des listes de modification, les éléments suivants sont également requis :  Video reel  Timecode vidéo et durée Ces réglages sont nécessaires pour exporter une liste audio EDL :  Chaque plan source doit être connecté à un enregistrement ou la bande vidéo, le timecode vidéo et la durée doivent être saisis pour chaque enregistrement.  Chaque enregistrement doit comporter le numéro de la bande audio, le timecode audio et la vitesse du timecode audio (Sound TC Rate).96 Partie I Utilisation de Cinema Tools Réglages de la fenêtre Detail View La fenêtre Detail View contient les champs et boutons suivants : Boutons et champs Database Ces boutons et champs s’appliquent à la base de données entière.  Boutons Previous Record et Next Record (flèches) : cliquez sur ces boutons pour passer à l’enregistrement précédent ou suivant (selon l’ordre en vigueur dans la fenêtre List View). Remarque : l’un de ces boutons est estompé lorsque vous vous trouvez au début ou à la fin de la liste et qu’il n’y a pas de plan précédent ou suivant. Vous pouvez utiliser comme raccourci les touches fléchées vers la droite et vers la gauche de votre clavier. Si vous avez apporté des modifications à l’enregistrement courant, une zone de dialogue vous demandant si vous souhaitez enregistrer ces modifications apparaît.  Bouton New Record : cliquez sur ce bouton pour créer un nouvel enregistrement. Dans la zone de dialogue qui s’ouvre, saisissez les identifiants de scène et de prise du nouvel enregistrement. Consultez la section « Utilisation d’identifiants de scène, de plan et de prise » à la page 93 pour en savoir plus.  Bouton Save : cliquez sur ce bouton si vous avez ajouté ou modifié des données dans l’enregistrement actuel. Ces ajouts ou modifications ne seront enregistrés que si vous cliquez sur le bouton Save.  Zone Telecine Session : cette zone, au centre droit de la fenêtre, indique le nom du fichier de liste télécinéma importé dans la base de données (si d’application).  Champ Telecine Session Notes : saisissez d’éventuels commentaires sur la session télécinéma. Remarque : ce champ n’est disponible que si vous avez importé un fichier de liste télécinéma dans la base de données. Champ pour la prise de notes Champ destiné aux notes sur les sessions télécinéma Boutons Previous Record et Next RecordChapitre 4 Création et utilisation d’une base de données Cinema Tools 97 I Champs Scene et Shot Description Ne remplissez ces champs qu’une seule fois par scène. Une fois les données saisies, elles sont ajoutées à tous les enregistrements existants et nouveaux correspondant à la même scène.  Champ de description Scene : décrivez la scène.  Champ de description Shot : décrivez la prise de vue.  Champs Script Pages : saisissez la première et la dernière page de script associées à la scène et à la prise. Réglages du film Les réglages suivants portent sur le film.  Champ Scene : saisissez ou modifiez l’identifiant de la scène dans ce champ. Consultez la section « Utilisation d’identifiants de scène, de plan et de prise » à la page 93 pour en savoir plus.  Champ Take : saisissez un identifiant de prise dans ce champ. En règle générale, des chiffres sont utilisés mais vous pouvez saisir n’importe quelle combinaison de caractères (maximum 15). Si le plan source comporte plusieurs prises, considérez l’identifiant de prise comme un identifiant de sous-plan. À propos des descriptions de scènes et de prises de vue Toutes les prises de vue d’une scène sont reliées à cette scène et tous les plans sources d’une prise de vue sont reliés à cette prise de vue. Comme la base de données mémorise ces liens, vous n’avez à saisir ces descriptions qu’une fois pour chaque scène et prise de vue. Lorsque vous saisissez ou modifiez la description d’une scène, les mêmes informations apparaissent pour toutes les prises de vue associées à la scène, dans les enregistrements existants comme dans ceux que vous créerez ultérieurement et qui porteront le même identifiant de scène. De la même façon, toutes données descriptives que vous saisissez pour un plan apparaîtra dans les enregistrements de base de données existants avec le même identifiant de plan. Dans l’exemple ci-après, tous les enregistrements de la scène A54 auront le même texte descriptif (« Outside ») et les mêmes numéros de page (de 146 à 167). Toutes les prises du plan (A54J) auront le même texte descriptif (« Left » dans cet exemple) et les mêmes numéros de page (de 148 à 155). Chaque prise de ce plan aura aussi une entrée de note de prise unique.98 Partie I Utilisation de Cinema Tools  Champ Cam Roll : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, vous devez compléter un des champs de bobine.) Si vous procédez à un montage à partir des bobines d’une caméra, saisissez l’identifiant de bobine attribué par l’assistant cameraman au cours de la production. Cet identifiant doit être le même que celui qui est affiché sur le clap de la prise. Remarque : souvent, la bobine de caméra et la bobine de laboratoire sont identiques et peuvent donc porter le même identifiant. Vous pouvez saisir des données dans l’un de ces deux champs ou dans les deux. Veillez cependant à être cohérent. Lorsque vous créez une cut list ou une liste de modification, Cinema Tools vous donne l’option d’afficher la bobine caméra, la bobine laboratoire ou la bobine des rushes. Quelle que soit l’option choisie, elle doit apparaître dans tous les enregistrements de la base de données, sinon Cinema Tools signalera une erreur lorsque vous exporterez une liste de film.  Champ Lab Roll : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, vous devez compléter un des champs de bobine.) Si les données que vous montez proviennent de bobines de laboratoire, saisissez l’identifiant attribué par le laboratoire qui a traité votre film. Ou alors saisissez l’identifiant d’une bobine créée à partir de prises choisies, pour l’impression (cette bobine est parfois appelée négatif A). Souvent, la bobine de caméra et la bobine de laboratoire sont identiques et peuvent donc porter le même identifiant (consultez la note ci-avant).  Champ Daily Roll : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, vous devez compléter un des champs de bobine.) Si vous procédez au montage à partir des rushes, saisissez l’identifiant attribué à la bobine de rushes d’où le plan source est tiré.  Champs Key : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, ces champs ou les champs de codification manuelle sont obligatoires.) Le premier champ doit contenir le préfixe utilisé tout au long de la bobine de film. Par exemple, pour le numéro de clé KJ 29 1010 5867+07, le préfixe de clé est « KJ 29 1010 » que l’on saisit sous la forme « KJ291010 ». Vous pouvez saisir jusqu’à huit caractères (y compris les espaces, bien que vous passerez les espaces dans la plupart des cas, comme dans cet exemple). Dans le deuxième champ, saisissez la deuxième partie du numéro de bord (numéro d’image) de la première image du plan. Par exemple, pour le numéro de clé KJ 29 1010 5867+07, le numéro d’image est « 5867+07 ». Le numéro d’image indique chaque pied ou demi-pied de la bobine, complété du numéro de comptage d’image. Si vous connaissez le numéro de clé d’une autre partie du plan, la fonction Identify peut déterminer et saisir le numéro de clé (champs Key) de la première image du plan. Consultez à ce sujet la section « Utilisation de la fonction Identify pour la saisie de numéros de code de bordure et de timecode dans la base de données » à la page 102.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 99 I  Champs Ink : (si vous prévoyez de créer une liste de conformation ou une liste de modifications, ces champs ou les champs de clé sont obligatoires.) Saisissez le numéro du préfixe dans le premier champ et le numéro d’image dans le second. Par exemple, dans la codification manuelle 123 4567+08, le préfixe est « 123 » et le numéro d’image est « 4567+08 », ce qui indique que l’image apparaît à 4567 pieds et 8 images.  Menu local TK Speed : ce menu local vous donne la possibilité de spécifier individuellement la vitesse de transfert de télécinéma pour chaque enregistrement de la base de données. Si l’enregistrement de base de données a été créé à partir d’une liste télécinéma, ce réglage devrait déjà être correct et il ne devrait pas être nécessaire de le modifier. Si vous créez la base de données manuellement, la valeur de ce menu local devrait refléter le réglage de la vitesse du film de télécinéma que vous avez choisi lorsque vous avez défini les valeurs par défaut au niveau du projet. Pour en savoir plus, consultez la section « Vitesse télécinéma » à la page 79.  Menu local Film Std : ce menu permet de spécifier individuellement le format du film pour chaque enregistrement de la base de données. Si l’enregistrement de base de données a été créé à partir d’une liste télécinéma, ce réglage devrait déjà être correct et il ne devrait pas être nécessaire de le modifier. Si vous créez la base de données manuellement, cette valeur doit refléter le réglage choisi dans la zone de dialogue New Database. Pour les plans qui sont en sens inverse, vous pouvez spécifier un sens inverse pour le format de film en choisissant 35.4p.rev (pour les films 35 mm à 4 perforations) ou 16.20.rev (pour les films 16 mm-20). Un film en sens inverse est un film dont les numéros de bord sont en ordre décroissant plutôt que croissant. Cette situation se produit par exemple quand le film a été tourné en sens inverse ou quand la bobine a été placée à l’envers dans la caméra et que les numéros de bord sont alors lus dans l’ordre inverse. Pour en savoir plus, consultez la section « Format de film » à la page 78. Pour les plans qui utilisent le format 35 mm à 3 perforations, choisissez de décalage de la perforation du numéro de bord. Ce décalage (3 perf. •1, 3 perf. •2 ou 3 perf. •3) fait référence à la relation entre la perforation marquée du symbole « • » et l’image du film à ce point. Pour en savoir plus, consultez la section « Décalages 35 mm à 3 perforations » à la page 235. Remarque : le film 35 mm à 3 perforations en sens inverse n’est pas pris en charge.100 Partie I Utilisation de Cinema Tools Réglages vidéo Les réglages suivants portent sur les bandes vidéo.  Champ Video Reel : (à moins que tous les plans que vous allez monter ne soient connectés à la base de données, ce champ est obligatoire si vous prévoyez de créer une liste de conformation, une liste de modifications ou une liste audio EDL.) Saisissez l’identifiant de la bande vidéo contenant cette prise. Ce champ doit être rempli sans faute si vous souhaitez garantir l’exactitude de la cut list ou de la liste de modification. Lorsque vous reliez un plan à un enregistrement de base de données qui ne contient pas encore l’identifiant de bande, Cinema Tools recherche cette information dans le fichier du plan et l’introduit automatiquement dans l’enregistrement. Veillez à ne pas commettre d’erreurs lors de la saisie de cet identifiant afin que l’enregistrement puisse être associé au plan approprié après le montage numérique de votre film. Par exemple, « 001 » est différent de « 0001 ».  Champ Video Timecode : (à moins que tous les plans que vous allez monter ne soient connectés à la base de données, ce champ est obligatoire si vous prévoyez de créer une liste de conformation, une liste de modifications ou une liste audio EDL.) Saisissez le numéro de timecode de la première image du plan. Le lien entre les numéros de code et le timecode est établi lors du transfert du film sur bande vidéo et ces informations sont en général saisies automatiquement lorsque vous créez la base de données à partir d’une liste télécinéma. Lorsque vous reliez un plan à un enregistrement de la base de données qui ne contient pas encore le timecode du plan, Cinema Tools recherche cette information dans le fichier du plan et l’introduit automatiquement dans l’enregistrement. Vous pouvez aussi déterminer la valeur du timecode pour ce champ en jetant un coup d’œil à la première image du plan, à condition que le numéro de bord et le timecode soient gravés dans la vidéo. ? Tip : si vous saisissez les informations de bande vidéo et de timecode dans la fenêtre Detail View, vous pouvez utiliser la base de données pour localiser du matériel source sur la bande vidéo pendant le montage. Si vous êtes par exemple en train de monter un plan et que vous souhaitez vérifier le contenu d’une partie du plan dont la netteté est médiocre, il est alors nécessaire d’utiliser la bande vidéo, où l’image est de meilleure qualité. Vous pouvez consulter l’enregistrement de base de données du plan pour voir quelle bande contient le matériel et l’emplacement de timecode sur la bande.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 101 I  Champ Video Duration : (à moins que tous les plans que vous allez monter ne soient connectés à la base de données, ce champ est obligatoire si vous prévoyez de créer une liste de conformation, une liste de modifications ou une liste audio EDL.) Saisissez la durée du timecode du plan source. Cette valeur peut provenir d’une liste télécinéma. Lorsque vous reliez un plan à un enregistrement de base de données qui ne contient pas encore le timecode du plan, Cinema Tools recherche cette information dans le fichier du plan et l’introduit automatiquement dans l’enregistrement. Cette durée est exprimée en heures, minutes, secondes et images, ce qui peut vous sembler plus parlant que la longueur exprimée en pieds et images. La durée du timecode est particulièrement importante si vous souhaitez réaliser une capture par lot ou créer une cut list ou une liste de modification en faisant correspondre le programme monté avec la bande et le timecode vidéo.  Menu local Video TC Rate : ce menu local affiche la vitesse de timecode vidéo par défaut que vous avez choisie lorsque vous avez créé la base de données ou le format qui figurait dans la liste télécinéma que vous avez importée pour créer la base de données. Le laboratoire qui transfère votre film sur bande vidéo peut vous dire quel type de timecode vidéo est enregistré sur la bande vidéo. Consultez la section « Vitesse du timecode (Video TC Rate) » à la page 78 pour en savoir plus. Réglages du son Les réglages suivants portent sur les bandes son.  Champ Sound Roll : (obligatoire si vous prévoyez de créer une liste audio EDL.) Saisissez le nom de la bande son.  Champ Sound Timecode : (obligatoire si vous prévoyez de créer une liste audio EDL.) Saisissez le numéro de timecode audio de début du plan. Le format du timecode audio peut être différent de celui du timecode vidéo.  Champ Sound TC Rate : (obligatoire si vous prévoyez de créer une liste audio EDL.) Saisissez le type de timecode utilisé sur les bandes son de production. Bouton Clip et réglages Ce qui suit s’applique en particulier au plan lié à cet enregistrement.  Bouton Connect Clip/Open Clip : si aucun plan n’a été associé à l’enregistrement, ce bouton s’intitule Connect Clip. Si un plan est déjà associé, il s’intitule Open Clip.  Cliquez sur Connect Clip pour sélectionner un plan source à relier à cet enregistrement. Lorsque vous sélectionnez un plan, il est relié à la base de données et sa première image s’affiche dans la zone située sous le bouton Connect Clip/Open Clip.  Cliquez sur Open Clip pour ouvrir la fenêtre du plan relié. Si le plan est introuvable, une zone de dialogue s’ouvre pour vous permettre de sélectionner le bon plan.  Appuyez sur la touche Commande pour passer d’Open Clip à Disconnect Clip. Cliquez sur Disconnect Clip pour annuler le lien entre le plan et la base de données.  Champ Take Notes : saisissez-y les commentaires que vous souhaitez inclure à propos du plan source.102 Partie I Utilisation de Cinema Tools Utilisation de la fonction Identify pour saisir et calculer des informations de base de données Vous pouvez utiliser la fonction Identify de la fenêtre Clip pour déterminer le numéro de bord, le numéro de codification manuelle ou les valeurs de timecode des plans de la base de données. Ces valeurs sont obligatoires dans la base de données pour la première image du plan, mais il se peut qu’elles ne soient pas disponibles si vous ne créez pas les enregistrements de base de données à partir d’une liste télécinéma ou si vos plans n’ont pas de fenêtre d’affichage. Pour utiliser la fonction Identify afin de déterminer ou de vérifier le code de bordure ou le timecode :  Vous devez connaître le numéro de bord, la codification manuelle ou le timecode d’au moins une des images du plan.  Le plan doit posséder un enregistrement dans la base de données.  Le lien numéro de bord/timecode doit être continu. Consultez à ce sujet la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72. N’oubliez pas qu’avec la fonction Identify, les champs Key, Ink, Video Timecode et Sound Timecode doivent toujours refléter les valeurs de l’image affichée dans la fenêtre Clip, alors que dans la fenêtre Detail View, ces champs sont associés à la première image du plan. Toutefois, la fonction Identify calcule et introduit les valeurs de la première image qui apparaissent dans la fenêtre Detail View. Utilisation de la fonction Identify pour la saisie de numéros de code de bordure et de timecode dans la base de données Si vous connaissez le code de bordure (numéro de bord ou codification manuelle) et le timecode de toute image d’un plan, vous pouvez utiliser la fonction Identify pour déterminer ces valeurs pour la première image du plan. Ces informations seront alors saisies automatiquement dans la base de données. Cette fonction est particulièrement utile si vous travaillez sur une bande vidéo sans fenêtre d’affichage, car vous devez dans ce cas marquer physiquement une image de chaque plan pour assurer le suivi des timecodes et codes de bordure. Si l’image marquée n’est pas la toute première image du plan, la fonction Identify peut calculer les valeurs de la première image, qui sont alors automatiquement saisies dans la base de données.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 103 I Pour saisir les valeurs du code de bordure et du timecode dans la base de données : 1 Si le plan souhaité n’est pas encore ouvert, ouvrez-le dans la fenêtre Clip en procédant de l’une des manières suivantes :  Choisissez File > Open Clip (ou appuyez sur Commande + O), puis utilisez la zone de dialogue pour sélectionner le plan.  Cliquez sur Open Clip, dans la fenêtre Detail View de l’enregistrement dans la base de données du plan. 2 Cliquez sur Identify dans la fenêtre Clip pour afficher les réglages relatifs à l’image actuelle. 3 Localisez l’image marquée dans la zone de lecture du plan. ? Astuce : utilisez les touches fléchées du clavier pour avancer et reculer image par image. Les réglages Identify sont mis à jour pour afficher les informations de chaque image lorsque vous vous déplacez dans un plan afin que vous puissiez localiser l’image marquée. 4 Saisissez, dans les champs appropriés, les valeurs de code de bordure et de timecode de l’image marquée (l’image affichée dans la fenêtre Clip). Remarque : vous pouvez utiliser soit la codification manuelle, soit les numéros de bord. Dans ce cas, ne remplissez pas le champ inutile. Remarque : pour réinitialiser les valeurs aux valeurs en vigueur à l’ouverture du plan dans la fenêtre, cliquez sur Revert. 5 Lorsque vous identifiez un plan de 35 mm à 3 perforations, vous devez aussi choisir le décalage (3 perf. •1, 3 perf. •2 ou 3 perf. •3) dans le menu local Film Std. Remarque : en principe, vous ne devez pas modifier le réglage du menu local Film Std si vous utilisez l’un des autres formats de film. 6 Cliquez sur Save. Saisissez les valeurs de numéro de bord ou de codification manuelle de l’image marquée. Saisissez la valeur de timecode vidéo de l’image marquée.104 Partie I Utilisation de Cinema Tools L’enregistrement de base de données correspondant à ce plan est immédiatement actualisé avec les valeurs de la première image du plan. De plus, la durée du plan est calculée et saisie. À propos de la modification de données à l’aide de la fonction Identify Vous ne pouvez utiliser la fonction Identify pour un plan que si un enregistrement de base de données a été créé pour ce plan. La sous-fenêtre Identify de la fenêtre Clip contient des champs et des menus locaux pour des réglages qui apparaissent aussi dans la fenêtre Detail View. Vous pouvez modifier ces réglages à l’aide de la fonction Identify, mais gardez les points suivants à l’esprit :  Les champs Key, Ink, Video Timecode et Sound Timecode doivent toujours refléter les valeurs de l’image affichée dans la fenêtre Clip, alors que dans la fenêtre Detail View, ces champs sont associés à la première image du plan. C’est pourquoi il se peut que ce que vous voyez ou saisissez dans la sous-fenêtre Identify de la fenêtre Clip diffère de ce que vous voyez ou saisissez dans la fenêtre Detail View. Consultez à ce sujet la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102.  La fonction Identify ne permet de faire le suivi des numéros de bord que si la relation entre les numéros de bord et les timecodes est continue, comme c’est le cas avec la plupart des transferts caméra-bande. Consultez à ce sujet la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72. Si vous avez modifié les valeurs dans la fenêtre et souhaitez revenir aux valeurs antérieures, cliquez sur Revert plutôt que sur Save. Lorsque vous cliquez sur Save, l’enregistrement de base de données est mis à jour et ces modifications sont reflétées dans la fenêtre Detail View. Modification d’informations dans la base de données Vous pouvez modifier toute information de la base de données en modifiant des réglages dans la fenêtre Detail View et dans la sous-fenêtre Identify de la fenêtre Clip. Certains des calculs que vous faites à l’aide de la fonction Identify modifient automatiquement des informations qui figurent dans la base de données. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour en savoir plus. Chapitre 4 Création et utilisation d’une base de données Cinema Tools 105 I Suppression d’un enregistrement de la base de données Il se peut que vous n’ayez plus besoin de certains enregistrements. Vous pouvez alors les supprimer de la base de données. Remarque : soyez très prudent lors de cette opération car elle est irréversible. Pour supprimer un enregistrement de la base de données : 1 Ouvrez l’enregistrement dans la fenêtre Detail View ou sélectionnez-le dans la fenêtre List View. 2 Choisissez Database > Delete Record (ou appuyez sur Commande + Suppr). Remarque : lorsque vous supprimez un enregistrement de base de données qui est connecté à un fichier de données source, vous ne supprimez pas le fichier du disque dur. Vous ne supprimez que l enregistrement de base de données. Changement de l’affiche d’un plan Par défaut, lorsqu’un plan relié à un enregistrement est ouvert dans la fenêtre Clip, une vignette de la première image du plan est affichée dans la fenêtre Detail View. Cette image est appelée affiche du plan. Vous pouvez choisir une autre affiche si cette image n’est pas pertinente (si elle est noire par exemple). L’affiche de plan par défaut n’apparaît dans la fenêtre Detail View qu’une fois que :  le plan est relié à un enregistrement de la base de données  le plan est ouvert dans la fenêtre Clip Pour choisir une nouvelle affiche : 1 Si le plan souhaité n’est pas encore ouvert, ouvrez-le dans la fenêtre Clip en procédant de l’une des manières suivantes :  Choisissez File > Open Clip (ou appuyez sur Commande + O), puis utilisez la zone de dialogue pour sélectionner le plan.  Cliquez sur Open Clip, dans la fenêtre Detail View de l’enregistrement dans la base de données du plan. 2 Dans la zone de lecture du plan, repérez l’image à utiliser comme affiche.106 Partie I Utilisation de Cinema Tools ? Tip : utilisez les touches fléchées du clavier pour avancer et reculer image par image. 3 Cliquez sur Set Poster Frame une fois que l’image souhaitée apparaît dans la zone de lecture du plan. La nouvelle affiche apparaît dans la fenêtre Detail View du plan. Remarque : quelle que soit l’affiche choisie, la fenêtre Clip s’ouvre toujours sur la première image du plan. Modification des réglages de base de données par défaut Bien que vous ne puissiez pas modifier les réglages par défaut d’une base de données directement, vous pouvez obtenir le même résultat en créant une nouvelle base de données possédant les réglages souhaités, puis en important la base de données original dedans. Pour modifier les réglages par défaut d’une base de données : m Créez une nouvelle base de données, attribuez-lui des réglages par défaut, puis importez-y la base de données originale. Consultez à ce sujet la section « Importation d’une base de données Cinema Tools existante » à la page 90. Vous pouvez faire glisser la tête de lecture pour localiser et afficher l’image que vous voulez utiliser comme affiche de plan. Cliquez sur le bouton Set Poster Frame pour que l’image courante apparaisse comme vignette dans la fenêtre Detail View.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 107 I Modification de tous les identifiants de bobine ou de bande Il s’avère parfois nécessaire de modifier tous les identifiants de bobine ou de bande contenus dans une base de données. Par exemple pour passer d’un identifiant de bobine non compatible EDL à un identifiant compatible, ou pour faire concorder les identifiants d’une base de données avec ceux d’une liste EDL. Remarque : si vous comptez exporter une liste de capture par lot à partir de la base de données, pensez à apporter les modifications de bobine ou de bande avant d’exporter la liste. Pour modifier toutes les occurrences d’un nom de bobine ou de bande dans une base de données : 1 Cliquez sur le bouton Show All dans la fenêtre List View pour vous assurer que tous les enregistrements de base de données apparaissent bien dans la fenêtre List View. 2 Choisissez Database > Change Reel. 3 Effectuez les réglages suivants dans la zone de dialogue Change Reel :  Choisissez le type de bande ou de bobine.  Dans le champ From, saisissez l’identifiant à modifier.  Dans le champ To, saisissez le nouvel identifiant. 4 Cliquez sur OK. Lorsque vous cliquez sur OK, une recherche est lancée dans tous les enregistrements de la fenêtre List View et tous les identifiants trouvés à modifier sont remplacés par le nouvel identifiant. Choisissez le type de bande ou de bobine. Saisissez l’ancien et le nouvel identifiant.108 Partie I Utilisation de Cinema Tools Vérification et correction de numéros de code de bordure de timecode Si vous connaissez les valeurs de timecode, de numéro de bord ou de codification manuelle d’une image de plan, que ce soit par une image marquée ou par une fenêtre d’affichage, vous pouvez utiliser la fonction Identify pour vérifier ces valeurs pour le plan. Cette vérification est importante car l’exactitude de votre cut list ou de votre liste de modification repose sur ces valeurs. La vérification de valeurs à l’aide de la fonction Identify est particulièrement utile lorsque :  vous constatez une différence entre le timecode et les numéros de bord ou de clé de la fenêtre d’affichage et les valeurs de la base de données Cinema Tools ou de Final Cut Pro ;  vous avez saisi les valeurs manuellement et souhaitez contrôler la saisie. Important : la fonction Identify ne permet de faire le suivi des numéros de code de bordure que si la relation entre les numéros de code de bordure et les timecodes est continue, comme c’est le cas avec la plupart des transferts caméra-bande. Consultez à ce sujet la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72. Si la relation entre les numéros de code de bordure et les timecodes est non continue, vous pouvez vérifier et corriger les valeurs de numéro de code de bordure et de timecode pour les plans source en comparant visuellement ces valeurs avec la fenêtre d’affichage et, si nécessaire, en corrigeant manuellement les valeurs de numéro de code de bordure et de timecode dans Cinema Tools et les valeurs de timecode dans Final Cut Pro. Pour vérifier et corriger les valeurs de code de bordure et de timecode saisies pour un plan : 1 Si le plan souhaité n’est pas encore ouvert, ouvrez-le dans la fenêtre Clip en procédant de l’une des manières suivantes :  Choisissez File > Open Clip (ou appuyez sur Commande + O), puis utilisez la zone de dialogue pour sélectionner le plan.  Cliquez sur Open Clip, dans la fenêtre Detail View de l’enregistrement dans la base de données du plan.Chapitre 4 Création et utilisation d’une base de données Cinema Tools 109 I 2 Dans la zone de lecture de plan, localisez une image près du début du plan dont vous connaissez le numéro de code de bordure ou la valeur de timecode. Cela ne pose aucun problème si votre bande vidéo contient une fenêtre d’affichage. 3 Si nécessaire, cliquez sur Identify pour afficher les réglages de l’enregistrement. 4 Regardez si les valeurs des champs Key, Ink et Video Timecode de la sous-fenêtre Identify correspondent à la fenêtre d’affichage de l’image dans la fenêtre Clip. (Vous pouvez utiliser soit la codification manuelle, soit les numéros de bord. Dans ce cas, ne remplissez pas le champ inutile.) 5 Si l’une ou l’autre valeur des champs Key, Ink ou Video Timecode est incorrecte, saisissez la valeur correcte dans le champ correspondant. 6 Dans la zone de lecture de plan, localisez une image près de la fin du plan et répétez les étapes 4 et 5.  Si les valeurs du code de bordure et du timecode sont exactes au début du plan mais pas à la fin : il se peut que des images aient été perdues durant la capture et vous devez alors recapturer le plan. Consultez à ce sujet la section « Comment éviter les pertes d’images » à la page 112. Il se peut aussi que cela soit dû au fait que le plan n’aie pas de relation entre numéro de code de bordure et timecode continue, au quel cas la fonction Identify ne peut pas vous aider à confirmer les valeurs de numéro de code de bordure et de timecode parce que cette fonction utilise un calcul basé sur une relation entre numéro de code de bordure et timecode continue. Cliquez sur Identify pour afficher les réglages de l’image courante. Valeur de timecode gravée Valeur de code de bordure gravée110 Partie I Utilisation de Cinema Tools  Si la valeur de timecode est incorrecte : ouvrez la même image dans Final Cut Pro et regardez si la valeur de timecode est correcte. Si ce n’est pas le cas, corrigez le timecode dans Final Cut Pro. Utilisez pour cela la zone de dialogue Modifier le timecode. Consultez la documentation de Final Cut Pro pour en savoir plus sur la façon de modifier le timecode. Si vous avez utilisé le contrôle de périphérique série, l’inexactitude de timecode peut être dû au fait que vous n’avez pas défini le décalage de timecode voulu dans Final Cut Pro pour l’appareil que vous avez utilisé. Ce réglage doit être effectué une fois pour chaque périphérique et par ordinateur. Pour en savoir plus, consultez la section consacrée à l’étalonnage du signal de timecode dans la documentation de Final Cut Pro. 7 Si vous avez saisi de nouveaux nombres dans les champs, cliquez sur Save. Si les valeurs étaient déjà correctes, fermez la fenêtre.5 111 5 Capture des plans sources et création d’un lien avec la base de données La clef de la réussite d’un projet est l’établissement des liaisons entre les plans sources et la base de données Cinema Tools. Une fois créée la base de données du projet, vous pouvez enfin capturer vos plans source à l’aide de Final Cut Pro. (Les plans sources sont les premiers fichiers multimédias que vous traitez lorsque vous commencez le montage.) Après la capture, établissez des liens entre les enregistrements de la base de données et les plans sources. ? Astuce : utilisez les scénarios de la section « Le flux de production de Cinema Tools » à la page 37 pour connaître les étapes élémentaires nécessaires pour capturer vos plans sources et établir un lien entre eux et la base de données. Les étapes à suivre et l’ordre à respecter dépendent de facteurs qui sont brièvement expliqués dans les exemples de travail. Il n’est par exemple pas toujours nécessaire de créer un lien entre les plans et la base de données. Préparation de la capture Des informations détaillées sur la capture des plans sont présentées dans la documentation de Final Cut Pro. Avant de procéder à la capture, prenez en considération certains des facteurs susceptibles d’affecter votre projet :  comment éviter les pertes d’images au cours de la capture,  comment configurer votre matériel pour la capture vidéo,  les facteurs liés à la capture d’audio,  comment préparer une capture par lot (si vous disposez d’une platine vidéo avec contrôle de périphérique),  les facteurs liés à la capture individuelle de plans sources (si vous ne disposez pas de contrôle de périphérique). 112 Partie I Utilisation de Cinema Tools Comment éviter les pertes d’images Si les performances de votre ordinateur sont médiocres ou que votre disque de travail n’est pas suffisamment rapide, des images peuvent être perdues au cours de la capture, ce qui signifie que plusieurs images ne sont pas capturées. Lorsqu’une image est perdue lors de la capture, l’image précédente est répétée. Ainsi, une image que vous voyez lors du montage peut ne pas être l’image vue lors de la coupe du film. Les pertes d’images peuvent entraîner des erreurs de timecode et donc engendrer une cut list incorrecte et des problèmes lors de la procédure de télécinéma inversé. Vous pouvez éviter ce problème dans Final Cut Pro en réglant le programme pour qu’il arrête la capture et vous prévienne lorsqu’une image est perdue. Pour régler Final Cut Pro afin d’arrêter la capture lorsque des images sont perdues : 1 Dans Final Cut Pro, choisissez Final Cut Pro > Préférences. 2 Dans l’onglet Généralités, assurez-vous que l’option « Interrompre la capture si perte d’images » est sélectionnée. Si cette option est sélectionnée, un message s’affiche dès que des images sont perdues en cours de capture et cette dernière est interrompue. En cas de perte d’images, assurez-vous d’abord qu’aucune autre application n’est ouverte et ralentit de ce fait les performances de l’ordinateur. Ensuite, capturez à nouveau le plan source. Un message d’avertissement est affiché si vous essayez d’utiliser la fonction Télécinéma inversé pour un plan source ayant perdu des images. Avertissement sur l’utilisation d’Offline RT Media avec Cinema Tools Lorsque vous capturez des données avec la configuration simplifiée Offline RT dans Final Cut Pro, les données capturées sont légèrement compressées, ce qui vous permet de capturer plus de plans source sur votre disque dur, approximativement 2 heures de vidéo par gigaoctet (Go) d’espace disque. Sachez toutefois qu’une capture avec compression Offline RT rend la lecture des numéros de bord et des timecodes incrustés très difficile, voire impossible. La fenêtre d’affichage est en général nécessaire pour vérifier et corriger, le cas échéant, les numéros de bord et les timecodes, ainsi que pour utiliser la fonction Télécinéma inverse de Cinema Tools. C’est pour cette raison que l’utilisation d’Offline RT avec Cinema Tools n’est pas idéale. Pour obtenir plus d’informations sur OfflineRT, consultez la documentation de Final Cut Pro.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 113 I Configuration de votre matériel afin de capturer un timecode exact La capacité de Final Cut Pro de capturer un timecode précis image par image pour chaque plan dépend aussi de la configuration de votre matériel de capture. Cette opération s’avère très simple si vous utilisez des platines DV. Dans Final Cut Pro 3 et les versions ultérieures, la capture de vidéo avec une platine DV à l’aide de FireWire à la fois pour le contrôle de périphérique et l’entrée audio et vidéo rendra un timecode exact à 100 %. Si en revanche la capture est réalisée à l’aide d’une platine avec contrôle de périphérique série (par exemple une platine Digital Betacam ou Beta SP), certaines opérations supplémentaires sont nécessaires pour garantir l’exactitude du timecode. Si vous capturez à l’aide d’une platine dotée du contrôle de périphérique série Avant de procéder à la capture à l’aide d’une platine équipée du contrôle de périphérique série, suivez ces conseils pour garantir l’exactitude du timecode :  asservissez votre platine et votre interface de capture vidéo,  calibrez le décalage du timecode. Synchronisation (genlock) de la platine et de l’interface de capture vidéo Connectez d’abord la platine à l’ordinateur à l’aide du câble de contrôle de périphérique série (via un adaptateur d’interface série recommandé), puis branchez tous les connecteurs audio et vidéo nécessaires. Ensuite, assurez-vous que votre platine est synchronisée (genlock) avec votre interface de capture vidéo. Le terme Genlock se réfère au verrouillage de la synchronisation entre deux périphériques vidéo à l’aide d’un générateur de signaux de référence. Qu’est-ce que le Contrôle de périphérique ? Le contrôle de périphérique permet à Final Cut Pro de contrôler votre caméra ou votre platine vidéo. Si votre platine ou caméra vidéo utilise un protocole pris en charge par Final Cut Pro, Final Cut Pro peut échanger les données du timecode et du contrôle de périphérique avec la caméra ou la platine. Si vous disposez du contrôle de périphérique, vous pouvez repérer et capturer plusieurs plans sources à la fois (réaliser une capture par lot). Dans le cas contraire, vous devez capturer les plans sources un par un. Consultez la documentation de Final Cut Pro pour obtenir des informations sur les protocoles de contrôle de périphérique pris en charge.114 Partie I Utilisation de Cinema Tools Si votre platine et votre appareil de capture vidéo prennent en charge l’asservissement (également appelé la synchronisation externe), connectez-les à un générateur de signaux classique (en général, il s’agit d’un générateur de signaux de référence produisant un signal vidéo noir continu). Réalisez cette connexion à l’aide des connecteurs genlock de votre platine vidéo et de votre interface de capture (qui sont parfois intitulés reference video). De cette manière, la platine et l’interface de capture vidéo sont synchronisées et le timecode sera toujours exact. Important : si vous effectuez la capture à partir d’une platine utilisant le contrôle de périphérique série, mais que votre interface de capture vidéo ne peut pas être synchronisée avec la platine, l’exactitude du timecode capturé avec vos plans ne peut pas être garantie. Calibrage du décalage du timecode Même si votre magnétoscope et votre interface de capture vidéo sont asservis, si vous utilisez le contrôle de périphérique série plutôt que le contrôle de périphérique FireWire pour la capture, il est toujours essentiel de calibrer le décalage de capture (dans l’onglet Final Cut Pro Device Control Preset de) avant la capture. Pour utiliser le contrôle de périphérique série, vous devez régler cette option sur la platine et sur l’ordinateur. Pour en savoir plus, consultez la section consacrée au calibrage du signal de timecode dans la documentation de Final Cut Pro. Avant de capturer de l’audio Before you capture your audio with Final Cut Pro, you need to take into account the following :  Si vous pouvez régler la vitesse de l’audio sur la platine audio dont vous disposez pour la synchroniser avec la fréquence d’images de montage si nécessaire : utilisez la platine audio pour ce faire avant de capturer l’audio dans votre ordinateur. Consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129 pour connaître les cas où cet ajustement est nécessaire. Remarque : si vous n’avez pas de platine audio, il existe d’autres moyens d’ajuster l’audio après la capture. Consultez à ce sujet la section « Ajustements de la vitesse audio » à la page 145.  Si vous allez monter à 24 ips (la fréquence d’images à laquelle le film a été enregistré) : capturez l’audio à la fréquence d’images à laquelle il a été enregistré.  Avant de capturer un plan audio à synchroniser avec un plan vidéo : vérifiez que votre platine audio pilotable est bien asservi à une interface de capture vidéo installée sur votre ordinateur. (consultez la documentation de Final Cut Pro pour en savoir plus sur le procédé de genlock de la platine audio et de l’interface de capture). Par ailleurs, sélectionnez dans Final Cut Pro l’option « Synchroniser la capture audio avec la source vidéo éventuelle » dans l’onglet Généralités de la fenêtre Préférences utilisateur.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 115 I Génération d’une liste de capture par lot dans Cinema Tools Si vous disposez d’une platine ou d’une caméra dotée du contrôle de périphérique (soit une caméra DV avec FireWire, soit un magnétoscope ou une caméra vidéo haut de gamme), la manière la plus simple de transférer les données dans votre ordinateur est la capture par lot. Avec la capture par lot, vous connectez un magnétoscope ou une caméra vidéo à votre ordinateur, puis, sur la base d’une liste de plans source générée par Cinema Tools, Final Cut Pro copie tous les plans source de la bande vers l’ordinateur. En d’autres termes, lorsque vous utilisez la capture par lot, vous n’avez pas besoin d’utiliser votre magnétoscope ou caméra vidéo pour localiser manuellement chaque plan source avant de le capturer avec Final Cut Pro. Pour configurer une capture par lot, vous devez spécifier les plans à capturer (après la création de votre base de données Cinema Tools) et Cinema Tools crée une liste à partir des informations de la base de données. Une fois cette liste de capture par lot importée dans Final Cut Pro, ces plans sources apparaissent dans le Navigateur comme plans offline, étant donné qu’ils sont listés et prêts à être capturés par lot. Si vos rushes se trouvent sur plusieurs bandes, vous pouvez également effectuer une capture par lot. Lorsqu’une capture par lot commence, une liste de toutes les bandes vidéo nécessaires s’affiche. Une fois que tous les plans d’une bande ont été capturés, vous êtes invité à choisir une autre bande. Avantages de l’utilisation d’une liste de capture par lot Cinema Tools  Gain de temps : Cinema Tools crée pour vous la liste de capture par lot, vous épargnant la création manuelle.  Exactitude : la liste de capture par lot capture les plans sources qui correspondent aux fiches de votre base de données.  Clarté des noms des plans sources : lorsque la capture par lot est réalisée à partir de la liste de capture par lot d’une base de données, vos fichiers de plans sources sont intitulés en fonction des identifiants de prise et de scène. Par exemple, le fichier de la scène 10, prise 1 sera intitulé 10-1.  Lien automatique entre les plans sources et la base de données : la commande Connect Clips vous permet d’établir un lien automatique entre vos plans sources capturés et les enregistrements appropriés de la base de données.116 Partie I Utilisation de Cinema Tools Remarque : vous ne devez pas obligatoirement créer une liste de capture par lot à partir d’une base de données Cinema Tools. Vous pouvez aussi d’abord capturer par lot les plans avec Final Cut Pro, puis générer une base de données à partir de la liste de capture par lot Final Cut Pro. Cette méthode n’est cependant pas idéale, car vous perdez les avantages liés à la création de votre base de données à partir d’une liste télécinéma ou d’un fichier ALE (Avid Log Exchange). Le principal inconvénient, c’est que les informations des numéros de bord et de bobine ne sont pas ajoutées à chaque enregistrement de la base de données, vous devez donc accomplir cette tâche manuellement. Consultez la section « Importation des informations relatives à une base de données dans une liste de capture de lots Final Cut Pro » à la page 89 pour en savoir plus. À propos des différences entre les listes de capture par lot standard et XML Dans Cinema Tools, vous pouvez créer des listes de capture par lot standard ou XML. Les liste de capture par lot standard sont des fichiers au format Texte qui contiennent des informations sur les bobines, les noms des plans (sur la base du contenu des champs de plan et de prise), les commentaires et le timecode. Les listes de capture par lot XML contiennent les mêmes informations que les listes standard, plus toutes les informations sur le film, comme, par exemple, les valeurs des numéros de bord, le type de film et la vitesse de télécinéma. Ces informations supplémentaires sont ajoutées aux entrées de tous les plans dans le Navigateur Final Cut Pro, où vous pouvez les afficher. Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 117 I Attribution du nom des plans capturés par lot par Cinema Tools Si vous capturez des plans avec une liste de capture par lot et si les enregistrements de la base de données contiennent les identifiants de scène et de prise, Cinema Tools nomme les plans à partir des identifiants de scène et de prise (séparés par un tiret). Par exemple, le plan de la scène 10, prise 1 sera intitulé « 10-1 ». S’il n’y a pas d’identifiants de scène et de prise, Cinema Tools crée un nom de plan en fonction de la bande et du timecode de la vidéo. Par exemple, le plan provenant de la bande 001 et commençant par la valeur de timecode 01:35:30:15 sera intitulé « 001-01.35.30.15 ». Cinema Tools veille à ne jamais attribuer le même nom à deux plans distincts. Si, par exemple, les plans de deux caméras distinctes possèdent les même identifiants de scène et de prise. Lorsque cela se produit, les noms des plans sont distingués par l’ajout des identifiants de bobine ou bande aux plans après le premier. Ainsi, les plans de la scène 4, prise 4, bobine 1A et 1B seront intitulés « 4-4 » et « 4-4B » respectivement. En l’absence d’identifiant de bobine ou de bande, ces plans porteraient les noms “4-4” et “4-4_1.” Remarque : avant d’exporter une liste de capture par lot depuis Cinema Tools, il est recommandé d’effectuer un tri en fonction du critère Slate dans la fenêtre List View, afin de voir s’il existe des plans ayant les mêmes descriptions dans la colonne Slate. Si des plans présentent exactement les mêmes informations dans la colonne Slate, modifiez les champs Scene ou Take dans les enregistrements de la base de données afin de les différencier. Vous garantissez ainsi que tous les plans de la liste de capture par lot auront des noms différents. Important : afin que le processus de connexion des plans soit le plus automatisé possible, ne modifiez pas les noms de fichiers donnés par Cinema Tools aux plans sources lors de la capture.118 Partie I Utilisation de Cinema Tools Utilisation de listes de capture par lot standard L’exportation de listes de capture par lot standard et leur importation dans Final Cut Pro est un processus simple. Pour exporter une liste de capture par lot standard à partir de Cinema Tools : 1 Assurez-vous que la fenêtre List View contient les enregistrements des plans à capturer. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. Important : la liste de capture par lot ne contient que les enregistrements où apparaissent la bande vidéo, le timecode de départ et des valeurs de durée du timecode. Par ailleurs, aucun enregistrement déjà associé à un plan n’apparaîtra dans la liste de capture par lot. 2 Sélectionnez File > Export > Batch Capture. 3 Dans la zone de dialogue Export Batch Capture, sélectionnez les plans à capturer et cliquez sur OK :  Vidéo Final Cut Pro : choisissez cette option pour capturer la totalité de la vidéo et de l’audio contenus dans les plans sources. Lorsque vous choisissez cette option, la liste de capture par lot inclut la bande et le timecode vidéo saisis dans l’enregistrement de chaque plan.  Final Cut Pro Audio : choisissez cette option pour ne capturer que l’audio des plans sources. Lorsque vous choisissez cette option, la liste de capture par lot inclut la bande son et le timecode audio saisis dans l’enregistrement de chaque plan. Dans la fenêtre List View, affichez les enregistrements de base de données auxquels vous souhaitez connecter des plans. Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 119 I 4 Dans la zone de dialogue qui s’affiche, sélectionnez un emplacement pour la liste de capture par lot et donnez-lui un nom. 5 Cliquez sur Save. Une liste de capture par lot au format Texte est crée et enregistrée à l’emplacement spécifié. ? Astuce : vous pouvez modifier la liste de capture par lot dans un éditeur de texte. Veillez toutefois à ne pas supprimer les tabulations qui séparent les champs de chaque ligne. Vous pouvez en revanche supprimer les lignes des plans que vous ne souhaitez pas capturer. Pour importer une liste de capture par lot standard Cinema Tools dans Final Cut Pro : 1 Ouvrez un projet existant ou créez un nouveau projet dans Final Cut Pro. 2 Dans Final Cut Pro, choisissez File > Import > Batch List at [ips en vigueur], où « ips en vigueur » est la fréquence d’images préréglée de la séquence. Vous pouvez modifier la fréquence d’images préréglée de la séquence en choisissant Audio/Video Settings dans le menu de Final Cut Pro. 3 Dans la zone de dialogue qui apparaît, sélectionnez la liste de capture par lot que vous avez exportée à partir de Cinema Tools, puis cliquez sur Choose. Les plans apparaissent dans le Navigateur en tant que plans offline, prêts pour la capture par lot. Consultez la documentation de Final Cut Pro pour des détails sur la capture par lot. Important : si votre vidéo a un timecode non-drop frame, vérifiez que Non-Drop Frame est sélectionné dans le menu local Default Timecode, dans l’onglet Device Control Presets Final Cut Pro de la zone de dialogue Audio/Video Settings avant de lancer la capture. Utilisation de listes de capture par lot XML L’exportation de listes de capture par lot XML à partir de Cinema Tools et l’importation de ces dernières dans Final Cut Pro est un processus similaire au processus utilisés pour les listes de capture par lot standard. Pour exporter une liste de capture par lot XML à partir de Cinema Tools : 1 Assurez-vous que la fenêtre List View contient les enregistrements des plans à capturer. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. Important : la liste de capture par lot ne contient que les enregistrements où apparaissent la bande vidéo, le timecode de départ et des valeurs de durée du timecode. Par ailleurs, aucun enregistrement déjà associé à un plan n’apparaîtra dans la liste de capture par lot.120 Partie I Utilisation de Cinema Tools 2 Choisissez File > Export > XML Batch List. 3 Dans la zone de dialogue qui s’affiche, sélectionnez un emplacement pour la liste de capture par lot et donnez-lui un nom. 4 Cliquez sur Save. Une liste de capture par lot XML est créée et enregistrée à l’emplacement spécifié. Pour importer une liste de capture par lot XML Cinema Tools dans Final Cut Pro : 1 Dans Final Cut Pro, choisissez Fichier > Importer > XML. 2 Dans la zone de dialogue qui apparaît, sélectionnez la liste de capture par lot XML que vous avez exportée à partir de Cinema Tools, puis cliquez sur Choose. La zone de dialogue Importer le fichier XML apparaît. 3 Sélectionnez le projet auquel il faut ajouter les plans de la liste par lot à l’aide du menu local Destination. Vous pouvez aussi créer un nouveau projet à l’aide de ce menu local. 4 Choisissez le préréglage de séquence par défaut à utiliser dans le menu local Default. 5 Lors de l’importation de fichiers XML exportés à partir de Cinema Tools, vous pouvez laisser toutes les cases désélectionnées. 6 Cliquez sur OK pour importer le fichier XML. Les plans apparaissent dans le Navigateur en tant que plans offline, prêts pour la capture par lot. Consultez la documentation de Final Cut Pro pour des détails sur la capture par lot. De plus, vous pouvez afficher les détails du film, comme, par exemple, des informations sur le keycode et la vitesse de film télécinéma (la vitesse TK), dans le Navigateur. Consultez la section « Affichage d’informations relatives au film dans le Navigateur » à la page 157 pour des informations sur l’ajout de colonnes de film dans le Navigateur.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 121 I Ce qu’il faut savoir avant de capturer des plans individuellement Il est également possible de capturer des plans individuellement avec Final Cut Pro sans avoir recours au contrôle de périphérique. (Consultez la documentation de Final Cut Pro pour des détails sur la capture de plans individuels.) Pour capturer vos plans, pensez aux points suivants :  Si vous n’utilisez pas le contrôle de périphérique, Final Cut Pro ne peut pas recevoir le timecode correct pour les plans lors de la capture. Cela signifie que vous devez corriger le timecode pour chaque plan source dans Final Cut Pro. Pour ce faire, ouvrez chaque plan dans le Visualiseur et prenez note de la valeur de timecode qui apparaît dans la fenêtre d’affichage de la première image. Ensuite, choisissez Modify >Timecode et saisissez la valeur que vous avez notée dans le champ Source. Cochez la case Drop Frame, si nécessaire. Enfin, mettez à jour les numéros de bord du plan dans la base de données de Cinema Tools à l’aide de la fonction Identify comme décrit dans la section « Vérification et correction de numéros de code de bordure de timecode » à la page 108.  Si une perte d’images survient lors de la capture, la cut list risque de contenir des informations inexactes et le processus de télécinéma inversé risque de ne pas fonctionner correctement.  Si votre vidéo a un timecode non-drop frame, vérifiez que Non-Drop Frame est sélectionné dans le menu local Default Timecode, dans l’onglet Device Control Presets de Final Cut Pro. Pour le faire rapidement, vous pouvez choisir DV-NDF dans la zone de dialogue Configuration simplifiée de Final Cut Pro. (Consultez la documentation de Final Cut Pro pour plus de détails sur l’utilisation de configurations simplifiées.)  L’attribution de noms aux plans sources est importante car vous devrez relier ces derniers à la base de données. Pour rendre le processus d’établissement de ce lien le plus facile possible, utilisez des conventions de noms qui utilisent les identifiants de scène et de prise. Par exemple, le plan de la scène 33, prise 1 serait intitulé « 33-1 ». Vous pouvez utiliser des traits d’union dans les noms de plans mais pas de barre oblique ni de deux-points. Connexion des plans sources capturés à la base de données Les plans sources et les enregistrements de la base de données étant créés par des méthodes différentes et à des moments différents, le lien entre les deux doit être établi après leur création. On parle de la connexion d’un plan à un enregistrement. La méthode que vous allez utiliser pour connecter les plans à la base de données dépend de la façon dont vous les avez capturés.122 Partie I Utilisation de Cinema Tools  Si vous avez capturé vos plans sources à l’aide d’une liste de capture par lot : utilisez la commande Connect Clips pour relier automatiquement tous vos plans sources à la base de données. Consultez à ce sujet la section « Utilisation de la commande Connect Clips pour connecter des plans sources » à la page 123.  Si vous n’avez pas capturé vos plans sources à l’aide d’une liste de capture par lot : vous devez relier individuellement chaque plan source aux enregistrements de la base de données via la fenêtre Detail View ou la fenêtre Clip. Ces deux méthodes étant d’une facilité d’usage équivalente, votre choix dépendra de la fenêtre qui se trouve déjà ouverte. La fenêtre Clip est plus pratique si vous souhaitez sélectionner une nouvelle affiche pour chaque plan ou si vous souhaitez utiliser la fonction Conform ou Reverse Telecine sur chaque plan, immédiatement après l’avoir relié à la base de données. Pour connecter vos plans, pensez à ces quelques règles :  Chaque enregistrement de la base de données ne peut être connecté qu’à un plan et chaque plan ne peut être connecté qu’à un enregistrement dans la même base de données. En d’autres termes, vous ne pouvez pas connecter deux plans à un enregistrement ni connecter un plan à deux enregistrements dans la même base de données. (Un plan peut toutefois être connecté à des enregistrements de plusieurs bases de données. Par exemple, vous pourriez avoir un plan connecté à un enregistrement dans une base de données principale et à un enregistrement dans une seconde base de données plus petite représentant une séquence montée.) Consultez la section « Synchronisation d’un ensemble de plans sélectionnés pour créer une nouvelle base de données » à la page 75 pour en savoir plus. Un enregistrement de la base de données ne doit pas nécessairement être connecté à un plan.  Vous pouvez relier des plans sources aux enregistrements à n’importe quel moment situé entre la capture des plans et l’exportation des listes.  Si vous utilisez un transfert camera-roll avec un lien numéros de bord/timecode continu, vous pouvez utiliser la méthode de création de liste de film basée sur le timecode, afin de ne pas devoir relier vos plans sources aux enregistrements. Pour plus d’informations, consultez les sections « Gain de temps potentiel lors du transfert camera-roll » à la page 73 et l’annexe B, « Création de listes de films avec Cinema Tools », à la page 245. Évitez de déplacer vos plans sources ou d’en modifier le nom dans le Finder Une fois qu’un plan source est relié à la base de données, le lien doit demeurer intact jusqu’au moment de la création de listes de film. Si le lien est rompu, les listes seront incomplètes. Un lien entre un plan et une base de données est rompu dans les cas suivants :  le nom de fichier du plan source est modifié,  le fichier du plan source est déplacé ou supprimé. Pour rétablir des liens rompus, consultez « Réparation des liens rompus entre les plans et les enregistrements » à la page 126.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 123 I Utilisation de la commande Connect Clips pour connecter des plans sources Si vous avez capturé vos plans à l’aide d’une liste de capture par lot, la commande Connect Clips peut connecter vos fichiers de plans capturés aux enregistrements appropriés de la base de données. Remarque : la commande Connect Clips ne fonctionne pas pour les plans sources renommés après avoir été capturés ni pour les enregistrements qui sont déjà connectés à un plan. Si l’enregistrement n’est pas relié au plan adéquat, utilisez la commande Reconnect Clip pour corriger cette erreur. Pour utiliser la commande Connect Clips afin de relier des plans à la base de données : 1 Assurez-vous que la fenêtre List View contient les enregistrements auxquels vous souhaitez relier des plans. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. 2 Choisissez Database > Connect Clips. 3 Dans la zone de dialogue qui apparaît, naviguez jusqu’au dossier contenant les plans, puis sélectionnez un plan source dans le dossier. Cinema Tools pourra se connecter à tous les plans se trouvant dans le dossier contenant le plan sélectionné. 4 Cliquez sur Choose. Pour chaque enregistrement n’ayant pas de plan associé, Cinema Tools recherche dans le dossier sélectionné un plan dont le nom correspond. Chaque fois que Cinema Tools en trouve un, il le connecte à l’enregistrement approprié. Remarque : l’affiche de chaque plan relié n’apparaît dans la fenêtre Detail View que si vous ouvrez ce plan dans la fenêtre Clip. Dans la fenêtre Detail View, cliquez sur le bouton Open Clip pour ouvrir la fenêtre Clip et faire apparaître l’affiche. Dans la fenêtre List View, affichez les enregistrements de base de données auxquels vous souhaitez connecter des plans. 124 Partie I Utilisation de Cinema Tools Utilisation de la fenêtre Detail View pour connecter et déconnecter des plans sources Dans la fenêtre Detail View, il est possible de déterminer si un enregistrement est relié à un plan en examinant le bouton situé au-dessus de l’affiche du plan. Si le bouton s’intitule Open Clip, c’est que l’enregistrement actuel est déjà connecté à un plan. Si le bouton s’intitule Connect Clip, c’est que l’enregistrement actuel n’est pas connecté à un plan. Pour utiliser la fenêtre Detail View afin de connecter un plan à un enregistrement : 1 Ouvrez la fiche de la base de données dans la fenêtre Detail View. Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour en savoir plus. 2 Cliquez sur le bouton Connect Clip. Remarque : si le bouton s’intitule Open Clip, c’est que l’enregistrement est déjà connecté à un plan. 3 Dans la zone de dialogue qui s’affiche, sélectionnez un plan à relier à l’enregistrement actuel. Lorsque vous sélectionnez le plan, trois choses se produisent:  Le plan est connecté à la base de données.  Une affiche de la première image du plan apparaît dans la fenêtre Detail View et le nom du plan apparaît au-dessus de l’affiche. ? Astuce : de plus, placer le pointeur au-dessus de la vignette affiche une bulle d’aide contenant l’emplacement du plan. Cela est particulièrement utile si le plan est absent, car cela vous permet de voir où Cinema Tools s’attend à trouver le plan. Le bouton Open Clip remplace le bouton Connect Clip si un plan est déjà connecté à l’enregistrement. Le nom du plan apparaît au-dessus de l’affiche du plan.Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 125 I  Une fenêtre Clip s’ouvre pour le plan. Si vous souhaitez changer d’affiche pour représenter le plan, positionnez-vous sur l’image souhaitée, puis cliquez sur le bouton Poster Frame. Pour en savoir plus sur la fenêtre Clip, consultez la section « Fenêtre Clip » à la page 59. Remarque : si vous ne souhaitez pas que la fenêtre Clip s’ouvre après avoir connecté un plan, appuyez sur la touche Commande lorsque vous cliquez sur le bouton Connect Clip. Pour utiliser la fenêtre Detail View afin de déconnecter un plan capturé : 1 Ouvrez l’enregistrement dans la fenêtre Detail View, puis appuyez sur la touche Commande. Le bouton Open Clip se transforme en bouton Disconnect Clip. 2 Cliquez sur Disconnect Clip. Remarque : cette action permet de rompre le lien entre le plan source et l’enregistrement de sorte qu’ils ne sont plus connectés. Le plan n’est pas supprimé de votre disque dur. Utilisation de la fenêtre Clip pour connecter ou déconnecter des plans source Lorsqu’un plan n’est pas connecté à un enregistrement de base de données, la fenêtre Clip contient un bouton nommé Enter in Database. Si un plan est déjà connecté, ce bouton s’intitule Disconnect Clip. Le bouton Enter in Database vous permet de connecter un plan source à un enregistrement de base de données existant ou de créer un nouvel enregistrement de base de données et d’y connecter le plan. Pour utiliser la fenêtre Clip pour connecter un plan source à la base de données : 1 Choisissez File > Open Clip pour ouvrir le plan dans la fenêtre Clip, puis sélectionnez le plan dans la zone de dialogue. 2 Cliquez sur le bouton Enter in Database. Ce bouton se transforme en Disconnect Clip une fois que le plan est connecté à une base de données.126 Partie I Utilisation de Cinema Tools 3 Dans la zone de dialogue qui s’ouvre, saisissez un identifiant de scène et de prise pour le plan source. Important : les textes saisis sont sensibles à la casse. De plus, ne saisissez pas de trait d’union entre le numéro de prise et la valeur pour la scène/la prise. Consultez la section « Utilisation d’identifiants de scène, de plan et de prise » à la page 93 pour en savoir plus. 4 Procédez de l’une des manières suivantes :  Cliquez sur OK pour connecter ce plan à l’enregistrement existant correspondant à la scène et à la prise que vous avez spécifiées dans la zone de dialogue. S’il n’y a pas d’enregistrement pour cette scène et cette prise, un nouvel enregistrement est créé.  Cliquez sur New Record pour créer un nouvel enregistrement, même si un enregistrement correspond déjà à la scène et à la prise que vous avez saisies. Dans les deux cas, le plan source de la fenêtre Clip est connecté à l’enregistrement de sorte que le lien est établi dans la base de données. Un plan source peut être connecté à un enregistrement dans plusieurs bases de données, mais dans une même base de données, il ne peut être connecté ou relié qu’à un seul enregistrement. Si le plan source est déplacé ou renommé, le lien doit être rétabli. Pour utiliser la fenêtre Clip pour annuler le lien d’un plan capturé : 1 Ouvrez le plan dans la fenêtre Clip. 2 Cliquez sur Disconnect Clip. Remarque : cette action permet de rompre le lien entre le plan source et l’enregistrement de sorte qu’ils ne sont plus connectés. Le plan n’est pas supprimé de votre disque dur. Réparation des liens rompus entre les plans et les enregistrements Lorsqu’un plan source qui a été connecté à la base de données est déplacé ou renommé, son lien avec la base de données est rompu et ce plan doit être à nouveau connecté. Pour des plans individuels, cliquez sur le bouton Open Clip de la fenêtre Detail View : une zone de dialogue s’ouvre dans laquelle vous pouvez reconnecter le plan à son enregistrement. Si un groupe (dossier) de plans sources a été déplacé, vous pouvez utiliser la commande Reconnect Clips du menu Database pour rétablir les liens de tous les plans qui partagent le même dossier que le plan sélectionné (il suffit de sélectionner un plan par dossier). Chapitre 5 Capture des plans sources et création d’un lien avec la base de données 127 I Reconnexion de plans individuels ayant été renommés ou déplacés Vous pouvez facilement reconnecter un plan individuel dont le lien avec la base de données est brisé. Pour reconnecter un plan source qui a été renommé ou déplacé : 1 Ouvrez la fiche de la base de données dans la fenêtre Detail View. Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour en savoir plus. 2 Cliquez sur Open Clip. 3 Dans la zone de dialogue qui apparaît, cliquez sur Reconnect, puis sélectionnez le plan. Le plan est connecté à l’enregistrement de la base de données. Détection des liens rompus et reconnexion de groupes de plans ayant été déplacés Pour les plans qui ont été déplacés (mais dont le nom n’a pas été modifié), la commande Reconnect Clips du menu Database permet de détecter aisément les liens rompus et de les réparer pour plusieurs plans d’un même dossier. Cette commande rétablit les liens de tous les plans qui partagent le même dossier que le premier plan sélectionné, de sorte que vous ne devez sélectionner qu’un plan par dossier. Remarque : lorsqu’un volume de disque contenant des plans est démonté, Cinema Tools ne peut pas retrouver les plans tant que ce volume n’a pas été remonté. La commande Reconnect Clips ne permet pas de réparer ce genre de rupture temporaire de lien. Il vous suffit de remonter le volume pour rétablir les liens. Pour détecter et rétablir les liens rompus suite au déplacement des plans sources : 1 Assurez-vous que la fenêtre List View contient le groupe d’enregistrements dans lequel vous souhaitez rechercher des liens rompus. Pour afficher tous les enregistrements de la base de données, cliquez sur Show All dans la fenêtre List View. 2 Choisissez Database > Reconnect Clips.128 Partie I Utilisation de Cinema Tools Une recherche est effectuée dans le groupe d’enregistrements de la fenêtre List View. Si une rupture de lien est détectée, une zone de dialogue vous demande de sélectionner le plan. 3 Dans la zone de dialogue, sélectionnez le plan correct pour l’enregistrement courant, puis cliquez sur Open. Cinema Tools modifie le lien pour refléter le nouvel emplacement du plan et rétablit les liens vers d’autres plans qui se trouvent dans le dossier contenant le plan sélectionné. Si le nom des plans n’a pas été modifié, il suffit de sélectionner un plan par dossier.6 129 6 Préparation des plans sources pour le montage Un examen de vos plans sources avant de débuter le montage peut vous faciliter ensuite le travail. Une fois que vous avez créé la base de données Cinema Tools et capturé vos plans sources, vous devez, avant de passer au montage, suivre certaines étapes importantes. Consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage, » qui suit pour des informations sur ces processus. Si vous avez capturé l’audio et la vidéo séparément, consultez la section « Synchronisation séparée de l’audio et de la vidéo capturés » à la page 146. Par ailleurs, afin d’utiliser au mieux votre espace disque, il est conseillé d’éliminer une partie des données capturées avant de commencer le montage. Consultez la section « Division ou suppression de sections de plans sources avant le montage » à la page 147 pour en savoir plus. Choix d’une méthode de préparation des plans sources en vue du montage Pour déterminer les étapes à suivre pour préparer vos plans sources, vous devez prendre en considération la vitesse du télécinéma, le type de vidéo (NTSC ou PAL) et la vitesse que vous envisagez d’utiliser pour le montage. Vos principaux objectifs sont de :  régler la vitesse de défilement vidéo sur la vitesse que vous souhaitez utiliser pour le montage,  conserver ou rétablir la synchronisation audio/vidéo. Remarque : pour en savoir plus sur l’utilisation de la vidéo 24P, consultez le chapitre 11, « Utilisation de la vidéo 24P et de listes EDL 24 ips », à la page 209.130 Partie I Utilisation de Cinema Tools Sélection d’une vitesse de montage Il est généralement recommandé de monter votre film à la vitesse à laquelle il a été tourné et enregistré. Par exemple, si vous filmez, enregistrez et montez à 24 ips, l’audio, la vidéo et le son et les images originaux sont à la même vitesse. Lorsque la vitesse du montage est la même que celle du tournage et de l’enregistrement, vous pouvez numériser directement à partir des enregistrements sonores originaux car l’image et le son sont synchronisés. Aucun réglage de synchronisation n’est alors nécessaire. Sachez cependant qu’il existe une exception : dans un environnement NTSC, dans lequel vous devez utiliser un équipement NTSC et sortir le fruit de votre travail sur des bandes NTSC, il se peut que vous préfériez monter à 23,98 ips parce que vous pouvez alors profiter de la fonction pulldown Real-Time Effects de Final Cut Pro qui vous permet de sortir votre vidéo à 23,98 ips sur un périphérique FireWire externe sous la forme de vidéo à 29,97 ips. Vous avez le choix entre trois modèles de pulldown (2:3:2:3, 2:3:3:2 et 2:2:2:4). Ces modèles de pulldown ne sont pas disponibles pour la vidéo à 24 ips. Remarque : de plus, Final Cut Pro dispose de deux options de pulldown pour la vidéo PAL à 24 ips qui vous permettent de sortir la vidéo à 24 ips sur un périphérique FireWire externe sous la forme de vidéo à 25 ips. Consultez la section « Ajout d’un pulldown à une vidéo de 23,98 ips » à la page 227 pour en savoir plus sur l’ajout d’un pulldown à l’aide de Final Cut Pro. Consultez la documentation de Final Cut Pro pour en savoir plus sur l’utilisation de la fonction de pulldown Real-Time Effects. Rappelez-vous que si vous enregistrez à 24 ips puis convertissez en 23,98 ips, votre vidéo est lue à une vitesse légèrement inférieure à celle de l’enregistrement original. Étant légèrement plus lente, elle est appelée pulled down. Lorsque de la vidéo est ajustée en 24 images, le son numérisé doit lui aussi être ajusté, soit en ralentissant légèrement la lecture de la bande ou du disque audio original pendant la numérisation (par exemple, au cours du processus de transfert télécinéma) soit en ajustant la vitesse du plan à 99,9 pour cent après la capture. Méthodes de préparation des plans sources Il y a plusieurs façons d’ajuster vos plans sources à la fréquence d’images à laquelle vous souhaitez faire le montage :  Utilisez du matériel spécialisé pour capturer à la vitesse de défilement choisie : si vous utilisez l’appareil adéquat, vous pouvez convertir la vitesse de défilement des images en temps réel pendant que les plans sont capturés et régler la vitesse audio pour la faire concorder. Une fois que vous l’avez fait, les plans sont déjà synchronisés et vous n’avez plus besoin des fonctions Cinema Tools Reverse Telecine ou Conform pour la conversion de la fréquence d’images.Chapitre 6 Préparation des plans sources pour le montage 131 I  Utilisez la fonction de télécinéma inversé dans les cas suivants : si vos plans ont la fréquence d’images NTSC standard de 29,97 ips, vous pouvez utiliser la fonction Reverse Telecine pour inverser le pulldown 3:2 qui fut utilisé pour convertir les plans en 29,97 ips, en supprimant les trames supplémentaires créées par l’ajustement en 24 images et en convertissant les plans en 23,98 ips ou 24 ips. Lorsque les plans contiennent à la fois de l’audio et de la vidéo, la fonction de télécinéma inversé adapte également la vitesse audio, afin que l’audio et la vidéo restent synchronisés après le changement de vitesse.  Utilisez la fonction de conformation : si vos plans ont la fréquence d’images PAL standard de 25 ips, vous pouvez utiliser la fonction Conform pour les convertir à la fréquence d’images à laquelle vous voulez faire le montage. Lorsque les plans contiennent à la fois de l’audio et de la vidéo, la fonction de conformation adapte également la vitesse audio, afin que l’audio et la vidéo restent synchronisés après le changement de vitesse. Remarque : si l’audio a été enregistré séparément et qu’il ne fait pas partie des plans sources, vous devez également synchroniser les éléments audio et vidéo et les fusionner en un seul plan dans Final Cut Pro. Consultez à ce sujet la section « Synchronisation séparée de l’audio et de la vidéo capturés » à la page 146. Utilisation de la fonction de conformation Conformer un plan à une vitesse signifie attribuer à chaque image du plan une durée identique exprimée en secondes, basée sur une vitesse que vous spécifiez. Par exemple, si vous conformez un plan de 360 images à la vitesse de 24 images par seconde, chaque image représente 1/24 de seconde et la durée totale du plan est égale à 360/24 secondes, c’est-à-dire 15 secondes. Utilisez la fonction de conformation pour convertir la vitesse d’un plan en vue du montage. Si le plan contient à la fois de l’audio et de la vidéo, la fonction de conformation adapte également la vitesse audio, afin que l’audio et la vidéo restent synchronisés. Pour savoir s’il faut ou non utiliser la fonction Conform, consultez la section « Choix d’une méthode de préparation des plans sources en vue du montage » à la page 129. Important : la conformation modifie le fichier de données source proprement dit. Vous devez disposer d’autorisations de lecture et d’écriture sur le fichier de données pour que la fonction Conform soit disponible. De plus, vous ne pouvez pas utiliser la commande Annuler pour rétablir la fréquence d’images originale du fichier, par contre vous pouvez utiliser la fonction Conform une seconde fois pour rétablir la fréquence d’images originale, si nécessaire. 132 Partie I Utilisation de Cinema Tools Conformation d’un plan à la fois La conformation se fait un plan à la fois. Pour conformer un plan dans Cinema Tools : 1 Choisissez File > Open Clip, puis sélectionnez le plan voulu dans la zone de dialogue. 2 Dans la fenêtre Clip, cliquez sur le bouton Conform. 3 Dans la zone de dialogue Conform Clip, choisissez une nouvelle vitesse dans le menu local « Conform to », puis cliquez sur Conform. Vous pouvez aussi conformer des plans à 25 ips en 24 ips à partir de Final Cut Pro. Pour conformer un plan dans Final Cut Pro : 1 Sélectionnez le ou les plans à conformer de 25 ips à 24 ips dans le Navigateur. 2 Choisissez Tools > Conform 25 to 24. Les plans sont conformés à 24 ips. Remarque : si l’un ou l’autre des plans sélectionnés n’est pas à 25 ips, un avertissement disant que ce ou ces plans ne seront pas traités apparaît. Conformation par lot de plusieurs plans à la fois Si vous ne souhaitez pas conformer la vitesse de chaque plan individuellement, vous pouvez le faire pour tous les plans d’un dossier sélectionné en utilisant la fonction de conformation par lot « Batch conform ». Pour procéder à une conformation par lot dans Cinema Tools : 1 Veillez à placer tous les plans à conformer dans le même dossier. 2 Choisissez File > Batch Conform. 3 Dans la zone de dialogue qui s’affiche, sélectionnez n’importe quel fichier de plan source dans le dossier contenant les plans à conformer, puis cliquez sur Choose. Remarque : il suffit de sélectionner un fichier. Tous les plans du dossier seront conformés.Chapitre 6 Préparation des plans sources pour le montage 133 I 4 Dans la zone de dialogue Batch Conform, choisissez une vitesse dans le menu local Conform to, puis cliquez sur Conform. Au terme de ce processus, vous obtenez les résultats suivants :  Les plans sont conformés à la fréquence d’images sélectionnée et placés dans un dossier créé par Cinema Tools nommé Conformed [fréquence d’images] où « fréquence d’images » est la nouvelle fréquence d’images des plans. Un dossier peut par exemple porter le nom « Conformed 24.0 ».  Si Cinema Tools n’est pas en mesure d’effectuer jusqu’au bout le processus de conformation d’un plan, ce dernier est placé dans un sous-dossier spécial créé par Cinema Tools et nommé Skipped (Ignorés). (Les plans ne sont pas traités s’il ne contiennent pas de piste vidéo, si leur vitesse n’est pas gérée ou si aucun codec n’est détecté pour leur piste vidéo.)  Un fichier texte nommé « conform.log » apparaît au premier niveau du dossier. Il s’agit d’un historique qui indique la date et l’heure du début et de la fin du traitement pour chaque plan. Si des problèmes surgissent, tels qu’un manque d’espace disque ou de mémoire, un message d’erreur décrivant le problème apparaît également dans l’historique. Inversion du pulldown télécinéma Lorsque vous utilisez un télécinéma pour convertir un film à 24 ips ou 23,98 ips en vidéo NTSC à 29,97 ips, la façon typique de distribuer les images du film dans les images NTSC est la méthode pulldown 3:2. La méthode du pulldown 3:2, comme l’explique la section « Infos générales sur la vitesse de défilement des images » à la page 23, consiste à insérer des trames vidéo supplémentaires. Le télécinéma inversé supprime les trames supplémentaires (comme illustré ci-après) en rétablissant la fréquence d’images du film. En d’autres termes, le télécinéma inversé inverse le pulldown 3:2. En inversant (ou supprimant) le pulldown 3:2, les images de la vidéo et celles du film concordent parfaitement de sorte que vos cut lists sont exactes. 134 Partie I Utilisation de Cinema Tools Remarque : la fonction Reverse Telecine ne peut pas être utilisée avec de la vidéo comprimée dans le temps, comme, par exemple, la vidéo au format MPEG-2. Important : si vos plans sources proviennent d’un type spécial de caméscope DV capable de filmer en mode 24p, tel que le Panasonic AG-DVX100 camcorder, c’est une forme simplifiée de la zone de dialogue Reverse Telecine qui s’affiche. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour des instructions sur l’inversion du pulldown de plans provenant d’une caméra DV compatible 24p. A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A B C D A A B B C C D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 D Field 2 B Field 1 Avant (29,97 ips) Après (23,98 ips) Une seconde 3:2 Suppression du pulldown Conseils d’utilisation du télécinéma inversé  Le télécinéma inversé est plus efficace si la vidéo capturée n’a pas subi de pertes de données. Si vous essayez d’utiliser la fonction Reverse Telecine sur un plan ayant subi des pertes d’images, un avertissement apparaît. Consultez la section « Comment éviter les pertes d’images » à la page 112 pour en savoir plus.  Si vous devez inverser le pulldown de plusieurs plans, il est conseillé d’utiliser la fonction Batch Reverse Telecine (télécinéma inversé par lot) afin de pouvoir les traiter simultanément. Consultez à ce sujet la section « Utilisation de la fonction Batch Reverse Telecine » à la page 141.  L’inversion du pulldown 3:2 à l’aide d’un logiciel est une opération qui exige beaucoup de temps. Vous devrez prévoir un temps d’attente pendant que l’ordinateur traite les données. Il est plus rapide d’effectuer un télécinéma inversé matériel à l’aide d’une carte de capture de tierce partie pendant que la vidéo est capturée sur votre ordinateur.Chapitre 6 Préparation des plans sources pour le montage 135 I Spécification des informations de capture de trame Vous devez saisir des informations de capture de trame dans la zone de dialogue Reverse Telecine. Tous vos plans sont en général créés à partir du même matériel et des mêmes réglages, il suffit donc d’analyser quelques images d’un plan pour déterminer le mode de capture de trame. Un plan peut être capturé comme une trame ou deux trames, avec une priorité de trame 1 ou de trame 2. Dans la fenêtre d’affichage des images vidéo, observez les numéros de bord et les timecodes pour déterminer la séquence d’images et vérifier si la vidéo comporte une trame ou deux. La fenêtre d’affichage des numéros de bord inclut généralement les indicateurs de types d’images A, B, C et D. (En outre, le timecode place souvent le numéro « 1 » à la fin pour indiquer la trame 1 et « 2 » pour indiquer la trame 2.) Dans la fenêtre Clip, utilisez les touches fléchées de votre clavier pour faire défiler quelques images d’un plan et observer la séquence de numéros d’image du film. Consultez le tableau ci-dessous pour trouver vos informations de trame. Si la séquence d’images répétée est Alors votre vidéo contient Dans la zone de dialogue Reverse Telecine, sélectionnez comme Capture Mode AA, BB, BC, CD, DD ou A1A2, B1B2, B3C1, C2D1, D2D3 Les deux trames, avec priorité de la trame 1 Trame 1 - trame 2 AB, BB, CC, DD, DA, ou A2B1, B2B3, C1C2, D1D2, D3A1 Les deux trames, avec priorité de la trame 2 Trame 2 - trame 1 A, B, B, C, D ou A1, B1, B3, C2, D1 Une trame, avec priorité de la trame 1 Trame 1 uniquement A, B, C, D, D ou A2, B2, C1, D1, D3 Une trame, avec priorité de la trame 2 Trame 2 uniquement 136 Partie I Utilisation de Cinema Tools Utilisation de la fonction Reverse Telecine sur un unique plan source dans Cinema Tools Utilisez la fonction de télécinéma inversé à plan unique pour procéder au télécinéma inversé sur un seul plan. Vous pouvez aussi procéder au télécinéma inversé sur des plans à l’aide de Final Cut Pro. Consultez la section « Utilisation de la fonction Reverse Telecine sur des plans source dans Final Cut Pro » à la page 140 pour en savoir plus. La fenêtre d’affichage est généralement nécessaire pour utiliser la fonction Reverse Telecine car vous devez pouvoir observer les numéros de bord ou les timecodes directement sur le plan pour décider des réglages de télécinéma inversé. Cependant, si vos plans sources proviennent d’un type particulier de caméscope gérant le 24P, tel que le modèle AG-DVX100 de Panasonic, la fenêtre d’affichage n’est pas nécessaire pour inverser le pulldown. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour en savoir plus. Remarque : pour que le télécinéma inversé fonctionne correctement, le fichier de données ne peut pas être utilisé par une autre application. De plus, le plan ne peut pas être ouvert dans le Finder ni protégé en écriture. Si vous procédez au télécinéma inversé sur des plans qui sont ouverts dans une autre application, un message d’alerte apparaît pour vous prévenir que le fichier est en cours d’utilisation. Qu’est-ce que la priorité de trame ? La priorité de trame d’un plan capturé est déterminée par le matériel de télécinéma et n’est généralement pas configurable par l’utilisateur. Les images vidéo sont composées de deux trames ; une trame contient toutes les lignes paires de la vidéo et l’autre toutes les lignes impaires. Sur le télécinéma, les deux trames sont numérisées à des moments différents, ce qui signifie que la cadre du film peut avancer entre le moment où la première trame est numérisée et le moment où la seconde trame est numérisée :  Lorsqu’une seule trame est capturée : la priorité de trame 1 signifie que seule la trame 1 est capturée, tandis que la priorité de trame 2 signifie que seule la trame 2 est capturée.  Lorsque les deux trames sont capturées : la priorité de trame 1 signifie que chaque image capturée est numérisée à partir de deux trames vidéo, mais que la trame 1 survient plus tôt. Remarque : avec la priorité de trame 1, les deux trames vidéo numérisées dans chaque image capturée doivent présenter la même adresse de timecode, car le timecode SMPTE est spécifié comme débutant à la trame 1. La priorité de trame 2, lorsque les deux trames sont capturées, signifie que la trame 2 survient plus tôt et que l’image capturée contient des trames vidéo présentant deux valeurs de timecode différentes.Chapitre 6 Préparation des plans sources pour le montage 137 I Pour utiliser la fonction Reverse Telecine sur un unique plan dans Cinema Tools : 1 Choisissez File > Open Clip, puis sélectionnez le plan voulu dans la zone de dialogue. 2 Dans la fenêtre Clip, positionnez la tête de lecture de manière à ce qu’une image fixe avec une fenêtre d’affichage aisément lisible soit affichée. Vous devez voir la fenêtre d’affichage pour pouvoir identifier le type d’image dans la zone de dialogue Reverse Telecine. N’importe quelle image du plan peut convenir (le télécinéma inversé sera appliqué à la totalité du plan quelle que soit l’image affichée). 3 Dans la fenêtre Clip, cliquez sur Reverse Telecine. 4 Dans la zone de dialogue qui apparaît, sélectionnez le mode de capture qui indique la capture de trame correcte pour le plan :  Trame 1 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 1.  Trame 2 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 2.  Field 1 - Field 2 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 1 est prédominante (celle qui apparaît en premier).  Field 2 - Field 1 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 2 est prédominante (celle qui apparaît en premier). Consultez la section « Spécification des informations de capture de trame » à la page 135 pour en savoir plus. Remarque : si Cinema Tools trouve les informations de pulldown incrustées dans les plans sources, la zone de dialogue apparaît dans sa version simplifiée. Consultez à ce sujet la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221. 5 Sélectionnez l’élément en bas de la fenêtre qui indique le type d’image affichée dans la fenêtre Clip. 138 Partie I Utilisation de Cinema Tools Le type d’image dépend du mode de capture de trame choisi. 6 Sélectionnez New (smaller) ou Same (faster) pour spécifier le type de fichier que la fonction Reverse Telecine doit créer :  New (smaller) : crée un nouveau fichier de plan ne contenant pas les images supplémentaires insérées par le pulldown 3:2. La taille du nouveau fichier est réduite d’environ 20 pour cent, mais cette méthode est plus lente. Que le fichier original soit une référence ou autonome, cette méthode crée un fichier autonome. Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.  Same (faster) : modifie le fichier du plan pour faire en sorte que les images surnuméraires ne soient pas visibles pour le système de montage, mais ne supprime pas ces données du fichier. Ce processus est plus rapide, mais ne réduit pas la taille du fichier. Le fichier qui en résulte est autonome s’il était autonome à l’origine ou une référence s’il était une référence à l’origine. Remarque : la méthode Same (faster) n’est disponible que si le plan a été capturé ou recompressé afin d’obtenir seulement une trame par image. Cela est dû au fait que l’inversion du pulldown 3:2 d’un plan contenant deux trames par image requiert le désentrelacement de deux images distinctes, en supprimant une trame de chacune de ces images, puis en créant une nouvelle image à partir des deux autres trames. Lorsque vous créez de nouvelles images, vous devez également créer un nouveau fichier de film. Choisissez le type d’image qui correspond à l’image affichée dans la fenêtre Clip. Si vous souhaitez que vos sélections soient affichées en tant que lettres et chiffres (par exemple, A2, B2, C1, etc), choisissez Style 2 dans le menu local. Différents choix sont disponibles selon le mode de capture sélectionné.Chapitre 6 Préparation des plans sources pour le montage 139 I ? Tip : si vous choisissez la méthode New (smaller), le fichier original devient inutile mais n’est pas automatiquement supprimé. Une zone de dialogue suggère de nommer le nouveau fichier de la même façon que l’original, mais en ajoutant l’extension « .rev ». Pour supprimer le fichier original en le remplaçant par le nouveau fichier, supprimez l’extension « .rev » dans la zone de dialogue afin que le nouveau fichier porte le même nom que l’original. Mais n’oubliez pas que si vous supprimez le fichier original, vous ne pourrez pas utiliser la télécinéma inversé une seconde fois pour essayer un autre réglage. 7 Dans le menu local « Conform to », choisissez la fréquence d’images qui vous permet de maintenir ou de restaurer la synchronisation audio-video :  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.)  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. 8 Laissez la case Standard Upper/Lower sélectionnée. Il est recommandé de sélectionner la case Standard Upper/Lower à moins que vous ne trouviez que le processus de télécinéma inversé ne produit pas les bons résultats. Elle n’est utile que lorsque les deux trames vidéo sont capturées, mais est sans effet si une seule trame est capturée. Pour en savoir plus, consultez la section « Vérification des résultats du télécinéma inversé » à la page 140. 9 Cliquez sur OK pour lancer le télécinéma inversé. Si vous avez sélectionné l’option New (smaller), vous devez attribuer une destination et un nom au nouveau plan inversé. Si le plan d’origine était connecté à un enregistrement de base de données, le nouveau plan inversé remplace cette connexion (qu’il écrase ou non l’ancien plan). Remarque : on tombe parfois sur des plans qui possèdent des durées d’image individuelles plus longues que ce qu’elles ne devraient être. Dans ce cas, la fonction Reverse Telecine peut signaler des pertes d’images qui, en réalité, ne se sont pas produites. Si ce message apparaît, utilisez la fonction Conform, expliquée à la section « Utilisation de la fonction de conformation » à la page 131 pour conformer le plan à 29,97 ips, puis relancez le télécinéma inversé. La fonction Conform garantit une longueur uniforme de tous les plans. Choisissez une vitesse. Laissez cette case sélectionnée.140 Partie I Utilisation de Cinema Tools Si vous avez créé un nouveau fichier (par défaut, avec l’extension « .rev ») et n’avez pas supprimé le fichier original, vous pouvez procéder une seconde fois au télécinéma inversé, si nécessaire (par exemple, pour essayer un autre réglage de trame). Pour préparer une seconde utilisation de la fonction Reverse Telecine sur un plan unique : 1 Déconnectez le fichier inversé courant de son enregistrement de base de données. 2 Connectez le fichier original à l’enregistrement de base de données. 3 Renommez ou déplacez le fichier inversé courant si vous ne voulez pas qu’il soit écrasé. Vous pouvez maintenant utiliser la fonction Reverse Telecine sur un plan unique dans Cinema Tools comme décrit à la page 137. Utilisation de la fonction Reverse Telecine sur des plans source dans Final Cut Pro Final Cut Pro contient une commande de menu qui permet de procéder au télécinéma inversé sur les plans sélectionnés dans le Navigateur. Il est important de comprendre que, si c’est Final Cut Pro qui lance le processus de télécinéma inversé, c’est Cinema Tools qui effectue l’opération. De plus, vous n’avez pas les mêmes choix que lorsque vous utilisez le télécinéma inversé directement dans Cinema Tools (les réglages qui sont utilisés pour le processus de télécinéma inversé à l’aide de Final Cut Pro sont les derniers réglages utilisés dans Cinema Tools). C’est pourquoi il est recommandé de toujours procéder au télécinéma inversé sur un plan directement dans Cinema Tools pour vérifier que les réglages sont corrects avant de traiter des plans à l’aide de Final Cut Pro. Vérification des résultats du télécinéma inversé Après un transfert pulldown 3:2 télécinéma, la trame du dessus est généralement la trame 1 et celle du dessous la trame 2, sauf si le format DV est utilisé. Normalement, lorsque la case « Standard upper/lower » est sélectionnée, Cinema Tools détermine ce qu’il faut faire et les plans sont traités correctement. Il arrive cependant (très rarement) que lors de la capture ou du traitement de la vidéo, l’ordre des trames soit interverti, ce qui entraîne des résultats erronés du télécinéma inversé. Pour savoir si des erreurs se sont produites, observez les images d’un plan sur lequel le télécinéma inversé a été appliqué. En examinant chaque image du plan, vous devez constater que la série d’images A, B, C et D est répétée et que chaque lettre est bien lisible. Vous ne devriez pas voir de scintillement intertrame. Les numéros d’images doivent se suivre en ordre croissant et doivent également être bien lisibles. Si ce n’est pas le cas, procédez de nouveau au télécinéma inversé, mais cette fois sans sélectionner l’option « Standard upper/lower ». Chapitre 6 Préparation des plans sources pour le montage 141 I Important : appliquer le télécinéma inversé à l’aide de Final Cut Pro modifie le fichier de données original (vous n’avez pas la possibilité de créer un nouveau fichier de données comme dans Cinema Tools). Vous devez disposer de privilèges de lecture et d’écriture sur les fichiers de données. Pour utiliser Final Cut Pro pour procéder au télécinéma inversé sur des plans sources : 1 Dans le Navigateur de Final Cut Pro, sélectionnez les plans à traiter. Remarque : seuls les fichiers utilisant une fréquence d’images de 29,97 ips sont traités. 2 Choisissez Tools > Cinema Tools Reverse Telecine. Cinema Tools s’ouvre et applique le télécinéma inversé en affichant une zone de dialogue qui montre la progression de la tâche. Utilisation de la fonction Batch Reverse Telecine Si vous devez inverser le pulldown 3:2 de plusieurs plans, vous pouvez utiliser la commande Batch Reverse Telecine (télécinéma inversé par lot) afin de pouvoir les traiter simultanément. Remarque : si vos plans sources ont été enregistrés à l’aide d’un type particulier de caméscope DV 24P, tel que le modèle AG-DVX100 de Panasonic, consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221. Préparation avant de procéder à un télécinéma inversé par lot Il y a deux choses à faire avant de procéder à un télécinéma inversé par lot :  Commencez par appliquer le télécinéma inversé à un seul plan et observez le résultat afin de vous assurer que les réglages sont corrects. Vous trouverez des instructions à ce sujet dans la section « Utilisation de la fonction Reverse Telecine sur un unique plan source dans Cinema Tools » à la page 136.  Si vous travaillez sur de la vidéo contenant deux trames, assurez-vous que tous vos plans ont la même priorité de trame. Pour en savoir plus, consultez la section « Spécification des informations de capture de trame » à la page 135. Certains matériels de numérisation peuvent basculer de façon imprévisible entre la priorité de trame 1 et la priorité de trame 2. S’il s’avère que la priorité de certains de vos plans diffère des autres plans, vous pouvez séparer vos plans en deux lots et les traiter séparément.142 Partie I Utilisation de Cinema Tools À propos des images A Si votre vidéo a une fenêtre d’affichage, la façon la plus simple de localiser une image « A » est de jeter un œil au numéro de bord dans l’image vidéo qui, normalement, est suivi d’une lettre indiquant le type d’image. Cette lettre s’appelle indicateur de type d’image. Les images A comprennent toutes les images possédant un indicateur de type d’image commençant par « A », y compris les images AA (on parle aussi de A1A2), AB (on parle aussi de A2B1), A1 ou A2. Lorsque vous regardez la vidéo une image à la fois, l’indicateur de type d’image d’une image A est « A » tandis que le numéro d’image est fixe (il ne scintille pas entre deux images). Si vous utilisez un timecode non-drop frame et que vos plans sources n’ont pas encore été montés, les images A surviennent systématiquement toutes les 5 images. Généralement, tout numéro de timecode se terminant par « 0 » ou « 5 » est une image A (par exemple, 1:23:14:10 et 1:23:14:15). Pendant le télécinéma inversé par lot, si un plan commence à un numéro de timecode qui n’est pas divisible par cinq (numéro de timecode se terminant par « 5 » ou « 0 »), Cinema Tools ajuste les images depuis le début du plan, afin que le plan commence à l’image suivante avec un numéro de timecode se terminant par « 0 » ou « 5 ». Cela permet de s’assurer que tous les plans sources commencent sur une image A. Les plans qui sont ajustés sont consignés dans le fichier d’historique de télécinéma inversé par lot, qui est nommé « reverse.log ». Il est plus difficile de localiser les images A lorsque les numéros de bord ne sont pas incrustés dans la vidéo. Si votre vidéo présente beaucoup de mouvement, vous parviendrez peut-être à distinguer l’une des images du film original aux côtés d’une image vidéo. Dans ce cas, recherchez une image vidéo composée de deux trames de l’image originale correspondante, qui soit précédée et suivie d’images de film distinctes. Cette image doit être une image A. L’indicateur de type d’image dans la fenêtre d’affichage vous indique qu’il s’agit d’une image A.Chapitre 6 Préparation des plans sources pour le montage 143 I Utilisation du télécinéma inversé par lot sur plusieurs plans Avant d’utiliser le télécinéma inversé par lot pour traiter plusieurs plans sources à la fois, lisez la section « Préparation avant de procéder à un télécinéma inversé par lot » à la page 141. Pour utiliser le télécinéma inversé par lot : 1 Placez tous les plans à traiter dans le même dossier. 2 Choisissez File > Batch Reverse Telecine. 3 Dans la zone de dialogue qui s’affiche, sélectionnez n’importe quel fichier de plan source dans le dossier contenant les plans sources, puis cliquez sur Choose. 4 Dans la zone de dialogue Batch Reverse Telecine, sélectionnez le mode de capture qui indique la capture de trame correcte pour le plan :  Trame 1 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 1.  Trame 2 uniquement : sélectionnez cette option si la vidéo ne contient que la trame 2.  F1 - F2 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 1 est prédominante (celle qui apparaît en premier).  F2 - F1 : sélectionnez cette option si la vidéo contient les deux trames et que la trame 2 est prédominante (celle qui apparaît en premier). Consultez la section « Spécification des informations de capture de trame » à la page 135 pour en savoir plus. Remarque : si Cinema Tools trouve les informations de pulldown incrustées dans les plans sources, la zone de dialogue apparaît dans sa version simplifiée. Consultez à ce sujet la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221. 5 Dans le menu local « Conform to », choisissez la fréquence d’images qui vous permet de maintenir ou de restaurer la synchronisation audio-video :  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips. (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.) Sélectionnez les informations de capture de trame pour ce plan.144 Partie I Utilisation de Cinema Tools  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. 6 Laissez la case « Standard Upper/Lower » sélectionnée. Il est recommandé de sélectionner la case « Standard Upper/Lower » à moins que vous ne trouviez que le processus de télécinéma inversé ne produit pas les bons résultats. Pour en savoir plus, consultez la section « Vérification des résultats du télécinéma inversé » à la page 140. 7 Pour enregistrer les plans d’origine dans un dossier distinct, laissez la case Keep Originals sélectionnée. Si vous ne souhaitez pas enregistrer les plans originaux, ne la sélectionnez pas (si elle n’est pas sélectionnée, les plans originaux sont supprimés chaque fois qu’un nouveau plan est créé). Important : vous ne pouvez pas annuler une opération de télécinéma inversé. Si vous n’enregistrez pas les plans originaux et si vous trouvez ultérieurement que l’un des réglages n’était pas correct, vous devrez recapturer les plans pour corriger le réglage et procéder au télécinéma inversé sur les plans une seconde fois. 8 Cliquez sur OK pour lancer le télécinéma inversé par lot. Une fois le processus terminé, la situation est la suivante :  Pour chaque plan du dossier est créé un nouveau plan portant le même nom. Il est alors placé dans un sous-dossier créé par Cinema Tools nommé Reversed.  Si vous avez sélectionné Keep Originals, les fichiers d’origine sont placés dans un sous-dossier créé par Cinema Tools et nommé Originals.  Si Cinema Tools ne peut effectuer le processus de télécinéma inverse pour un plan, ce dernier est transféré à un sous-dossier Cinema Tools nommé Skipped. Un plan n’est pas traité s’il ne contient pas de piste vidéo, si sa vitesse n’est pas gérée ou si aucun codec n’est détecté pour la piste vidéo.  Un fichier texte nommé « reverse.log » apparaît au premier niveau du dossier par lequel vous avez commencé. Ce fichier précise la date et l’heure du lancement et de la fin du processus, ainsi que l’heure de début de chaque plan. Si des problèmes surgissent, tels qu’un manque d’espace disque ou de mémoire, un message d’erreur décrivant le problème apparaît également dans l’historique. De plus, vous devrez utiliser la commande Reconnect pour reconnecter les plans inversés nouvellement créés aux enregistrements correspondants. Consultez la section « Réparation des liens rompus entre les plans et les enregistrements » à la page 126 pour en savoir plus.Chapitre 6 Préparation des plans sources pour le montage 145 I Utilisation du télécinéma inversé par lot une seconde fois Si, après avoir procédé au télécinéma inversé par lot, vous devez modifier un réglage et procéder à un nouveau télécinéma inversé par lot, procédez comme suit. Pour préparer l’utilisation du télécinéma inversé par lot une seconde fois : 1 Déplacez les plans du dossier Originals dans leur dossier original. Remarque : si vous n’avez pas sélectionné Keep Originals, vous devez recapturer les plans originaux. 2 Si vous souhaitez garder la version inversée des plans tout en en créant une nouvelle version, vous devez les déplacer du dossier Reversed dans un autre dossier ou renommer le dossier Reversed (par exemple, en Reversed 1). Vous pouvez laisser les fichiers courants là où ils se trouvent si vous souhaitez les écraser. 3 De même, vous devez déplacer ou renommer le fichier « reverse.log » si vous souhaitez le garder. 4 Procédez comme décrit à la section « Utilisation du télécinéma inversé par lot sur plusieurs plans » à la page 143. Remarque : si vous reconnectez les plans inversés originaux aux enregistrements de base de données, les nouveaux plans inversés devraient être connectés automatiquement à la base de données. Ajustements de la vitesse audio Si vous devez procéder à des ajustements de la vitesse audio pour rétablir la synchronisation avec la vidéo, il y a plusieurs façons de faire. Remarque : les fonctions de télécinéma inversé et de conformation ajustent automatiquement la vitesse audio d’un plan afin de l’adapter à la vitesse de défilement vidéo de ce plan.  Vous pouvez modifier la vitesse de défilement à l’aide de la commande Vitesse de Final Cut Pro. Défaites d’abord le lien entre le plan audio et le plan vidéo. Sélectionnez l’élément audio dans la timeline, choisissez Modifier > Vitesse et saisissez un nouveau pourcentage de vitesse. Par exemple, pour ralentir un plan audio de 0,1 pour cent, saisissez « 99,9 ». Reliez à nouveau le plan audio et le plan vidéo lorsque vous avez fini de modifier la vitesse du plan audio.  Certains équipements d’enregistrement et de lecture audio permettent d’ajuster la vitesse de lecture pour la synchroniser avec la vidéo. Ce type d’appareil permet de capturer l’audio à la vitesse de synchronisation appropriée.146 Partie I Utilisation de Cinema Tools  Il existe des appareils spécialisés, tels que ceux de chez Aaton, qui sont conçus pour contrôler et ajuster l’audio de manière à ce que la synchronisation soit possible avec n’importe quelle vitesse vidéo. Ces appareils s’utilisent avant de capturer l’audio dans votre ordinateur.  Si vous n’avez pas besoin d’ajuster la vitesse de l’audio pour le montage, mais devez l’ajuster pour le projet fini, vous pouvez faire finaliser l’audio par une société de postproduction audio capable d’ajuster la vitesse. Synchronisation séparée de l’audio et de la vidéo capturés Si votre son et vos images n’ont pas été pas synchronisés sur la bande vidéo, mais ont été capturés séparément, vous pouvez les synchroniser dans Final Cut Pro. Dans Final Cut Pro, une fonctionnalité nommée les plans fusionnés vous permet de lier un ou plusieurs fichiers de données source entre eux afin d’en faire un seul et unique plan. Vous devez d’abord les synchroniser, puis les fusionner en un plan unique. Les claps de vos prises de vue vous donnent les repères audibles et visibles permettant de synchroniser vos éléments audio et vidéo. Vous pouvez utiliser plusieurs techniques pour synchroniser des plans avant de les fusionner, en fonction de la façon dont vous avez filmé votre métrage :  Si vos clips vidéo et audio ne couvrent pas exactement les mêmes valeurs de timecode et si vous avez mis un clap au début de tous vos plans à l’aide d’une claquette : vous pouvez utiliser des points d’entrée pour aligner tous les plans à fusionner. De cette manière, le début du plan fusionné obtenu correspond au point d’entrée utilisé et tous les éléments sont alignés sur ce point. La fin du plan fusionné correspond à la fin de l’élément possédant la dernière valeur de timecode.  Si vos plans vidéo et audio ne couvrent pas exactement les mêmes valeurs de timecode et si un ou plusieurs plans ont un clap de fin : vous pouvez utiliser des points de sortie pour aligner tous les plans à fusionner. Vidéo Audio Audio Plan fusionnéChapitre 6 Préparation des plans sources pour le montage 147 I De cette manière, la fin du plan fusionné obtenu correspond au point de sortie utilisé et tous les éléments sont alignés sur ce point. Le début du plan fusionné correspond au début de l’élément possédant la première valeur de timecode. Pour des détails sur la façon de synchroniser et de fusionner des plans dans Final Cut Pro, consultez la section, dans la documentation de Final Cut Pro qui décrit l’utilisation de plans fusionnés. Division ou suppression de sections de plans sources avant le montage Avant de monter votre contenu Final Cut Pro, vous avez la possibilité de diviser ou de supprimer encore des parties de plans sources. Si vous avez capturé vos données à l’aide d’une liste de capture par lot et du contrôle de périphérique, vos fichiers de plans contiennent sans doute exactement les données souhaitées. Il se peut toutefois que vous ayez besoin de diviser ces plans sources capturés en prises individuelles ou d’en éliminer certaines données avant de passer au montage et ce, afin d’utiliser rationnellement l’espace disque disponible. Stratégies pour la division de plans sources avant le montage Avant de commencer, si la relation entre le numéro de code de bordure et le timecode n’est pas continue sur l’ensemble de la bobine de caméra dont provient un plan source, sachez que vous devez faire deux ou trois choses importantes après avoir subdivisé des plans sources :  Créez un nouvel enregistrement de base de données pour le nouveau plan source généré suite à la division d’un plan et assurez-vous qu’il est connecté à l’enregistrement.  Mettez à jour l’enregistrement du plan de manière à ce que le numéro de code de la nouvelle première image du plan soit correct. (Cela n’est nécessaire que si vous supprimez du matériel au début d’un plan.) Remarque : consultez la section « Le lien entre les numéros de code de bordure et le timecode est-il continu ou discontinu ? » à la page 72 pour en savoir plus. Vidéo Audio Audio Plan fusionné148 Partie I Utilisation de Cinema Tools Il y a plusieurs façons de subdiviser des plans sources avant le montage :  Final Cut Pro simplifie la division de plans sources en plans plus petits. La première étape consiste à créer un ou plusieurs sous-plans du plan dans le navigateur. Utilisez ensuite le gestionnaire de données pour supprimer les sections de plan qui n’ont pas été sélectionnées comme sous-plan. Consultez la section sur la création et l’utilisation de sous-plans dans la documentation de Final Cut Pro pour en savoir plus.  Une autre méthode de sélection et d’enregistrement de sections d’un plan consiste à utiliser QuickTime Pro. Si vous utilisez QuickTime Pro pour ce faire, n’oubliez pas de choisir « Film autonome » dans la zone de dialogue « Enregistrer sous ». Consultez à ce sujet la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149.  Si les images que vous utilisez sont perforées ou marquées d’un repère (plutôt que dotées d’une fenêtre d’affichage) pour identifier les numéros de bord des plans sources, veillez à ne pas éliminer les images marquées d’un repère.  Si la méthode pulldown 3:2 a été utilisée lors du transfert télécinéma, il est recommandé de faire commencer chaque plan source à une image A. Après le pulldown 3:2, les images A sont les seules images du film à ne pas être divisées en deux images vidéo. Pour cette raison et parce que l’image A est le point de départ du modèle récurrent à cinq images de la vidéo, il est préférable qu’une image A soit la première image dans tous les plans vidéo. Consultez à ce sujet la section « À propos des images A » à la page 142.Chapitre 6 Préparation des plans sources pour le montage 149 I Suppression d’un fichier de plan source Pour éliminer un fichier de plan source indésirable avant de commencer le montage, faites-le glisser dans la Corbeille. puis supprimez l’éventuel enregistrement de la base de données Cinema Tools auquel ce plan était connecté. Consultez la section « Suppression d’un enregistrement de la base de données » à la page 105 pour en savoir plus. La différence entre les fichiers de données autonomes et les fichiers de données de référence Il y a deux types de fichiers vidéo et audio que vous devez connaître, en particulier si vous subdivisez un fichier de données volumineux en fichiers de données plus petits à l’aide de QuickTime Pro. Comme les fichiers vidéo ont tendance à être volumineux, le type de fichier de données que vous créez peut avoir un impact énorme sur l’espace disque.  Fichiers de données autonomes : un fichier de données autonome est complet, vous pouvez supprimer le fichier original, sa copie pourra toujours être lue indépendamment. C’est pourquoi les fichiers de données autonomes sont généralement très volumineux. Il est recommandé d’enregistrer vos données sous la forme d’un fichier autonome si vous prévoyez de ne pas utiliser une grande partie de l’original ; vous pourrez alors supprimer l’original une fois que vous aurez enregistré les parties dont vous avez besoin.  Fichiers de données de référence : un fichier de données de référence est un fichier contenant des dépendances du fichier de données original. Les fichiers de référence ne contiennent en réalité aucunes données, ils ne contiennent que des pointeurs vers des parties bien précises du fichier de données original. Les fichiers de ces plans ne sont pas volumineux. Si vous supprimez, déplacez ou renommez le fichier de données original, tous les fichiers qui y font référence ne pourront plus être lus comme ils ne pourront plus localiser l’original. Une façon de savoir si un fichier de données est autonome ou de référence consiste à l’ouvrir dans la fenêtre Cinema Tools Clip et à cliquez sur le bouton Analysis. La sousfenêtre Analysis affiche cette information. Une autre façon de le savoir consiste à regarder la taille du fichier; les fichiers de données contenant des dépendances sont assez petits (une vingtaine de 20 kilo-octets), alors que les fichiers de données autonomes, même les plus courts, peuvent avoir une taille de plusieurs centaines de mégaoctets ou plus.7 151 7 Montage dans Final Cut Pro Le montage de plans sources issus d’un support film avec Final Cut Pro présente un certain nombre de points originaux. Une fois vos plans sources capturés et préparés, vous pouvez les monter dans Final Cut Pro. Avant de commencer le montage des images provenant d’une pellicule, vous devez tenir compte des éléments suivants :  les configurations simplifiées (Easy Setups) fournies aux utilisateurs de Cinema Tools et la nécessité de régler la base temps ;  les restrictions concernant l’utilisation de pistes audio et vidéo multiples ;  le processus de création d’effets et de transitions pour le film ;  la méthode utilisée pour détecter les usages multiples de vos données sources. À propos des configurations simplifiées et du paramétrage de la base temps Cinema Tools installe des configurations simplifiées qui facilitent la configuration de Final Cut Pro pour les utilisateurs de Cinema Tools. Lorsque vous sélectionnez les configurations simplifiées Final Cut Pro, les réglages de séquence, les réglages de capture, les réglages de contrôle de périphérique et les réglages vidéo externes sont tous préconfigurés et vous n’avez pas besoin de les configurer individuellement. Il est recommandé aux utilisateurs de Cinema Tools de profiter de ces configurations simplifiées :  23.98fps from DV PAL : sélectionnez cette configuration simplifiée pour capturer de la vidéo au format PAL et régler la base temps sur 23,98 ips. Cette option part du principe que vous allez conformer la vidéo capturée à 23,98 ips.  24fps from DV PAL : sélectionnez cette option pour capturer de la vidéo au format PAL et régler la base temps sur 24 ips. Cette option part du principe que vous allez conformer la vidéo capturée à 24 ips.  23.98fps from DV NTSC : sélectionnez cette option pour capturer de la vidéo au format NTSC (au format de timecode non-drop frame) et pour régler la base temps sur 23,98 ips. Cette option part du principe que vous allez inverser la projection télécinéma de la vidéo capturée à 23,98 ips.152 Partie I Utilisation de Cinema Tools  24fps from DV NTSC : sélectionnez cette option pour capturer de la vidéo au format NTSC (au format de timecode non-drop frame) et pour régler la base temps sur 24 ips. Cette option part du principe que vous allez inverser la projection télécinéma de la vidéo capturée à 24 ips.  DV NTSC NDF : sélectionnez cette option pour capturer de la vidéo au format NTSC (au format de timecode non-drop frame) et pour régler la base temps sur 29,97 ips. Cette option part du principe que vous n’allez pas inverser la projection télécinéma de la vidéo capturée.  DV PAL 24 @ 25 : choisissez cette option pour capturer de la vidéo PAL et régler la base temps sur 24 ips, tout en utilisant un timecode de 25 ips. Cette configuration assume part du principe que vous allez conformer la vidéo capturée de 25 ips à 24 ips. Consultez la documentation de Final Cut Pro pour des détails sur l’accès et l’utilisation des configurations simplifiées. Important : si vous n’utilisez pas de configuration simplifiée, vous devez tout de même régler la base temps sur la vitesse de défilement de vos plans sources avant de commencer le montage. De cette façon, les nouvelles séquences que vous créerez dans Final Cut Pro seront réglées pour la vitesse de défilement que vous visez pour le montage. Consultez la documentation de Final Cut Pro pour des détails sur la configuration de la base temps dans l’éditeur de préréglage de séquence. Toutes les configurations simplifiées conçues spécialement pour les utilisateurs de Cinema Tools, à l’exception de « DV PAL 24 @ 25 », ont Cinema Tools dans leur titre. Par exemple, « Cinema Tools - 23.98fps from DV NTSC ». Par défaut, les Easy Setups pour les utilisateurs de Cinema Tools ne s’affichent pas dans le menu local de la zone de dialogue Choose Setup. Pour que tous les Easy Setups du menu local (ceux de Cinema Tools compris) s’affichent, cochez la case Show All dans la zone de dialogue. Ou, pour ajouter des configurations simplifiées spécifiques au menu local, vous pouvez ajouter un astérisque (*) à la fin du nom du fichier de la configuration simplifiée. Par exemple, modifiez le nom de fichier « Cinema Tools - 23.98fps from DV NTSC » comme ceci : « Cinema Tools - 23.98fps from DV NTSC* ». Les fichiers de configuration simplifiée se trouvent à l’emplacement suivant : /Library/Application Support/Final Cut Pro System Support/Custom Settings/.Chapitre 7 Montage dans Final Cut Pro 153 I Utilisation de vidéo à 25 ips conformée à 24 ips La méthode la plus courante pour le transfert d’un film à 24 ips en vidéo PAL est la méthode 24 @ 25 (décrite à la section « Méthode 24 @ 25 » à la page 26). Comme cette méthode nécessite que le film tourne 4 pour cent plus vite, il se peut que vous rencontriez des problèmes de synchronisation audio, au minimum, l’action à l’écran sera accélérée. Pour solutionner les problèmes de synchronisation audio, vous pouvez utiliser la fonction Conform pour ralentir à nouveau la vidéo à sa vitesse originale de 24 ips. Comme le processus de conformation ne modifie par le timecode de 25 ips créé lors du transfert du film, vous pouvez conserver ce format de timecode pendant le montage dans la base temps de 24 ips. Cela peut être utile dans les situations où le monteur négatif préfère recevoir une EDL de 25 ips plutôt qu’une liste de conformation pour la remise en correspondance du film . Consultez la section « Utilisation de la fonction de conformation » à la page 131 pour en savoir plus sur la conformation de vidéo. À propos du timecode Lorsque vous conformez de la vidéo à 25 ips en 24 ips, la fréquence de timecode est réglée sur 24 @ 25. Remarque : comme la base temps et la lecture sont basées sur 24 ips, le timecode de 25 ips ne représente plus exactement le véritable écoulement du temps. Par exemple, la lecture de 38 secondes de vidéo durera en réalité 40 secondes. Vous pouvez voir la fréquence de timecode d’un plan dans la fenêtre Item Properties. Pour vérifier la fréquence de timecode d’un plan : 1 Dans le Navigateur, sélectionnez le plan à vérifier. 2 Effectuez l’une des opérations suivantes pour ouvrir la fenêtre Propriétés de l’élément :  Choisissez Édition > Propriétés de l’élément > Infos de stockage.  Cliquez tout en maintenant la touche Contrôle enfoncée sur le plan, puis choisissez Item Properties > Logging Info dans le menu contextuel. Pour les plans qui ont été conformés de 25 ips à 24 ips, « 24 @ 25 » est affiché dans la ligne TC Rate.154 Partie I Utilisation de Cinema Tools À propos des préréglages de séquence Il y a deux préréglages de séquence conçus pour la vidéo PAL à 24 ips :  DV PAL 48 kHz - 24 @ 25 : ce préréglage utilise une base temps de 24 ips et un timecode de 25 ips pour les points d’entrée et de sortie source comme d’enregistrement, tout en conservant le timecode source original de 25 ips. La configuration simplifiée DV PAL 24 @ 25 utilise ce préréglage de séquence. Lorsque vous exportez une EDL, elle est basée sur des valeurs de timecode de 25 ips. Il est recommandé d’utiliser ce préréglage de séquence lorsque vous prévoyez d’exporter une EDL de 25 ips plutôt qu’une liste de conformation.  DV PAL 48 kHz - 24 : ce préréglage utilise une base temps de 24 ips et un timecode de 24 ips pour les points d’entrée et de sortie source comme d’enregistrement, tout en remplaçant le timecode source original de 25 ips. Il est recommandé d’utiliser ce préréglage de séquence lorsque vous prévoyez d’exporter une liste de conformation. Affichage d’informations relatives au film dans Final Cut Pro Vous pouvez afficher toute une série d’informations relatives au film lors du montage des plans du film dans Final Cut Pro. Il y a quatre zones que vous pouvez contrôler :  La fenêtre Propriétés de l’élément : l’onglet Film de la fenêtre Propriétés de l’élément contient les informations relatives au film auquel appartient le plan. Consultez la section « Affichage d’informations relatives au film dans la fenêtre Propriétés de l’élément » à la page 157 pour en savoir plus.  Le Navigateur : vous pouvez ajouter des colonnes contenant des informations relatives au film telles que les numéros de bord et la vitesse télécinéma (champ Vitesse TK). Ces informations apparaissent aussi dans la fenêtre Propriétés de l’élément. Consultez la section « Affichage d’informations relatives au film dans le Navigateur » à la page 157 pour en savoir plus.  Le Visualiseur et le Canevas : vous pouvez ajouter le keycode et la codification manuelle aux valeurs de timecode de l’incrustation. Consultez la section « Affichage d’incrustations relatives au film dans le Visualiseur et le Canevas » à la page 157 pour en savoir plus.  La Chronologie, le Visualiseur et le Canevas : vous pouvez afficher le numéro d’image au format pieds et images. Consultez la section « Affichage de numéros d’image basés sur le film » à la page 158 pour en savoir plus. Pour afficher des informations relatives au film dans Final Cut Pro, vous devez d’abord importer les informations en provenance de Cinema Tools. Il y a trois façon de le faire :  Lorsque vous importez une liste de capture par lot XML exportée à partir de Cinema Tools, les informations relatives au film sont elles aussi importées. Consultez la section « Utilisation de listes de capture par lot XML » à la page 119 pour en savoir plus.Chapitre 7 Montage dans Final Cut Pro 155 I  Utilisez Final Cut Pro pour importer une liste télécinéma. Cela ajoute les informations relatives au film qui figurent dans le fichier de la liste télécinéma aux plans offline. Consultez la section « Importation de listes télécinéma à l’aide de Final Cut Pro » à la page 87 pour en savoir plus.  Utilisez la commande Synchroniser avec Cinema Tools décrite ci-après. Important : il n’est pas nécessaire d’importer ni d’afficher des informations relatives au film dans Final Cut Pro pour exporter des listes de film. Synchronisation de plans Final Cut Pro avec Cinema Tools La modification d’informations relatives au film ou leur ajout à des plans ne peut pas se faire manuellement dans Final Cut Pro. Les informations doivent être importées depuis une base de données Cinema Tools. Final Cut Pro permet de synchroniser un ou plusieurs plans sélectionnés avec une base de données Cinema Tools. C’est particulièrement utile lorsque vous avez importé une liste télécinéma et capturé les plans car la synchronisation des plans avec leur base de données connectera automatiquement les plans aux enregistrements correspondants. Vous pouvez aussi créer une nouvelle base de données qui ajoutera les informations de chaque plan à l’enregistrement correspondant. ? Astuce : créer une nouvelle base de données à partir d’un groupe de plan qui figurent déjà dans une autre base de données permet de créer des bases de données spécialisées à partir de Final Cut Pro. Toutes les informations relatives au film que les plans contiennent déjà sont ajoutées automatiquement aux enregistrements correspondants dans la nouvelle base de données. Pour synchroniser des plans Final Cut Pro avec une base de données Cinema Tools : 1 Dans le Navigateur de Final Cut Pro, sélectionnez les plans à synchroniser avec une base de données Cinema Tools. Il peut s’agir de plans qui figurent déjà dans la base de données et dont les informations doivent être mises à jour ou de plans qui ne figurent pas dans la base de données. Dans ce cas, de nouveaux enregistrements sont ajoutés à la base de données pour chaque plan et toutes les informations d’application sont ajoutées aux différents enregistrements. 2 Choisissez Outils > Synchroniser avec Cinema Tools. Une zone de dialogue apparaît dans laquelle vous pouvez configurer le processus de synchronisation. Le champ Database indique la base de données sélectionnée. 156 Partie I Utilisation de Cinema Tools 3 Sélectionnez la case « Ajouter de nouveaux enregistrements » si vous souhaitez ajouter automatiquement à la base de données de nouveaux enregistrements pour les plans sélectionnés qui n’y figurent pas encore. Cette option doit être sélectionnée en cas de synchronisation avec une nouvelle base de données. 4 Sélectionnez la case Connecter automatiquement si vous voulez que la base de données connecte automatiquement les plans à tout nouvel enregistrement qui est créé dans la base de données. 5 Procédez de l’une des manières suivantes :  Si la base de données affichée dans le champ Database est la bonne, cliquez sur OK. (Le champ Base de donées est mis à jour si vous utilisez le bouton Nouvelle base de donées ou Choisir un base de donées.)  Cliquez sur Nouvelle base de données pour créer une nouvelle base de données Cinema Tools. Cela a pour effet d’ouvrir une zone de dialogue dans laquelle vous pouvez saisir le nom et l’emplacement de la base de données ainsi que définir des réglages par défaut. Consultez la section « Réglages de la zone de dialogue Nouvelle base de donées » à la page 77 pour des informations sur ces réglages. Cliquez sur Enregistrer lorsque vous avez fini.  Cliquez sur Choisir una base de donées pour sélectionner une base de données existante. Cela a pour effet d’ouvrir une zone de dialogue dans laquelle vous pouvez sélectionner la base de données existante avec laquelle les plans doivent être synchronisés. Cliquez sur Ouvrir lorsque vous avez fini. 6 Si vous avez utilisé le bouton Nouvelle base de données ou Choisir un base de donées, cliquez sur OK. Les plans sélectionnés sont synchronisés avec la base de données sélectionnée. Chapitre 7 Montage dans Final Cut Pro 157 I Affichage d’informations relatives au film dans la fenêtre Propriétés de l’élément L’onglet Film de la fenêtre Propriétés de l’élément contient les informations relatives au film de chaque plan. Pour afficher des informations relatives au film dans la fenêtre Propriétés de l’élément : 1 Sélectionnez un plan dans le Navigateur. 2 Procédez de l’une des manières suivantes :  Choisissez Édition > Propriétés de l’élément > Film.  Cliquez tout en maintenant la touche Contrôle enfoncée sur le plan, puis choisissez Propriétés de l’élément > Film dans le menu contextuel.  Appuyez sur Commande + ç pour ouvrir la fenêtre Propriétés de l’élément, puis cliquez sur l’onglet Film. Remarque : les commentaires ajoutés à un enregistrement dans Cinema Tools ou à un enregistrement dans un fichier de liste télécinéma apparaissent dans la ligne Take Note. Affichage d’informations relatives au film dans le Navigateur Vous pouvez ajouter des colonnes au Navigateur pour afficher les informations relatives au film dont vous avez besoin. Pour ajouter des colonnes au Navigateur : m Cliquez tout en maintenant la touche Contrôle enfoncée sur l’en-tête la colonne devant laquelle vous souhaitez insérer la nouvelle colonne, puis choisissez la colonne à ajouter dans le menu contextuel. Consultez la documentation de Final Cut Pro pour en savoir plus sur l’organisation des colonnes dans le Navigateur. Remarque : les commentaires ajoutés à un enregistrement dans Cinema Tools ou à un enregistrement dans un fichier de liste télécinéma apparaissent dans la colonne Take Note. Affichage d’incrustations relatives au film dans le Visualiseur et le Canevas Vous pouvez configurer les incrustations du Visualiseur et du Canevas pour afficher le keycode et la codification manuelle d’un plan en plus du timecode. Pour afficher des incrustations relatives au film dans le Visualiseur et le Canevas : 1 Cliquez dans le Visualiseur ou le Canevas pour l’activer. 2 Choisissez Présentation > Afficher les incrustations (ou appuyez sur Option + Contrôle + W). 3 Pour configurer l’incrustation, choisissez Présentation > Incrustations de timecode pour afficher la liste des éléments que vous pouvez afficher. Cliquez sur l’élément souhaité pour l’afficher ou le masquer. (Des coches apparaissent en regard des éléments qui sont affichés.)158 Partie I Utilisation de Cinema Tools Affichage de numéros d’image basés sur le film Vous pouvez configurer le format d’affichage du timecode d’un projet en mode pieds+image, ce qui donne aux monteurs une façon plus familière de juger la longueur d’un projet. Ce réglage affecte l’affichage du temps dans le haut de la Chronologie ainsi que dans les champs pour le timecode, dans le haut du Visualiseur et du Canevas. Pour configurer un projet de façon à afficher le timecode en mode pieds+image : 1 Sélectionnez l’onglet Project dans le Navigateur. 2 Choisissez Édition > Propriétés du projet. La fenêtre Propriétés du projet apparaît. 3 Choisissez Pieds+images dans le menu local Affichage du temps. 4 Choisissez le format de film dans le menu local Standard de film par défaut. Le format de film détermine le nombre d’images par pied. Important : pour vous assurer que les bonnes listes de film seront exportées, vérifiez que ce réglage correspond bien au format de film défini dans la base de données Cinema Tools. Consultez la documentation de Final Cut Pro pour en savoir plus sur la fenêtre Propriétés du projet. Vous pouvez aussi contrôler l’affichage du timecode dans la Chronologie, le Visualiseur et le Canevas séparément. Pour modifier l’affichage du timecode dans la Chronologie, le Visualiseur ou le Canevas : m Cliquez tout en maintenant la touche Contrôle enfoncée dans un champ de timecode, dans la fenêtre dont vous souhaitez modifier l’affichage du timecode, puis choisissez le mode souhaité dans le menu contextuel. Cela affecte les champs de timecode qui se trouvent dans le haut du Visualiseur et du Canevas ainsi que les champs de timecode des onglets du Visualiseur. Pour la Chronologie, cela affecte le timecode affiché dans le haut de la fenêtre ainsi que le champ Timecode actuel. Le timecode est affiché dans l’éditeur de transition et cela affecte aussi les fenêtres Ajustage.Chapitre 7 Montage dans Final Cut Pro 159 I Important : les valeurs de pieds et d’image qui sont affichées diffèrent du keycode et de la codification manuelle. Les valeurs de pieds et d’image commencent toujours à 0000+00 au début de la séquence ou du plan. Lorsque vous utilisez le mode d’affichage du timecode Feet+Frame, vous pouvez saisir des valeurs aux endroits où vous pouvez saisir des valeurs de timecode. Par exemple, vous pouvez saisir une valeur dans le champ Current Timecode du Visualiseur pour positionner la tête de lecture dans la Chronologie. Pour être sûr que le nombre que vous avez saisi est correctement interprété par Final Cut Pro, utilisez l’un des caractères suivants pour séparer les valeurs de pieds et d’images : signe plus (+), esperluette (&), point (.) ou virgule (,). Ouverture de plans Final Cut Pro dans Cinema Tools Vous ne pouvez pas modifier des éléments directement dans une base de données Cinema Tools pendant que vous êtes dans Final Cut Pro. Vous pouvez toutefois ouvrir un plan dans Cinema Tools à partir de Final Cut Pro pour apporter des modifications à l’enregistrement de base de données de ce plan. Une fois que c’est fait, vous devez synchroniser ce plan afin que les modifications apparaissent dans Final Cut Pro. Pour ouvrir un plan dans Cinema Tools à partir de Final Cut Pro : 1 Sélectionnez un plan ou un groupe de plans dans le Navigateur . 2 Choisissez Présentation > Ouvrir dans Cinema Tools. Le plan s’ouvre dans une fenêtre Cinema Tools Clip. Si vous avez sélectionné plusieurs plans, chacun s’ouvre dans sa propre fenêtre Clip. Toute modification que vous apportez, comme, par exemple, à un numéro de bobine de caméra, est ajoutée à l’enregistrement de base de données du plan. Une fois que vous avez fini d’apporter des modifications, vous pouvez synchroniser les plans dans Final Cut Pro avec la base de données Cinema Tools modifiée. Consultez la section « Synchronisation de plans Final Cut Pro avec Cinema Tools » à la page 155 pour en savoir plus. Restrictions concernant l’utilisation de pistes multiples Final Cut Pro vous permet de réaliser des montages sur des pistes audio et vidéo multiples. Bien qu’il y ait des avantages à utiliser de nombreuses pistes, il faut garder certaines restrictions à l’esprit lorsque vous utilisez Final Cut Pro avec Cinema Tools :  Lorsque vous exportez vos listes de film, vous spécifiez la piste vidéo sur laquelle la liste doit être basée. Si vous avez mis des titres et des images superposées sur une seconde piste vidéo, vous devez exporter une seconde liste de film contenant ces informations.  Si vous devez exporter une liste EDL audio, vous devez restreindre l’audio aux huit premières pistes de la timeline de Final Cut Pro. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus.160 Partie I Utilisation de Cinema Tools Utilisation d’effets, de filtres et de transitions Final Cut Pro provides extensive effects capabilities for video, including common film effects such as dissolves, wipes, motion effects, and titles. Lorsque vous comptez terminer votre projet sur pellicule souvenez-vous que ces effets doivent être recréés sur pellicule, mais vous pouvez néanmoins utiliser Final Cut Pro lors du processus de création pour choisir et essayer les effets souhaités. Les effets et les transitions des films montés numériquement sont en général effectués des différentes façons suivantes (en raison de la nature très évolutive de l’industrie du cinéma, votre expérience de la chose est peut-être différente) :  Transitions, titres et animations de base : ces effets sont habituellement recréés dans des studios, spécialisés dans le tirage optique ou par contact, qui utilisent les instructions contenues dans une liste de film générée par Cinema Tools. Certains types de transitions peuvent être créés à l’aide de la méthode du tirage par contact (parfois appelé tirage A/B roll ), où le support d’émulsion du négatif original et la pellicule sont en contact pendant que le film original est projeté sur le nouveau tirage. Les transitions, titres et animations peuvent aussi être réalisés par tirage optique, où les effets sont générés par un procédé de manipulation et de projection du négatif original sur une autre pellicule à travers la lentille d’une tireuse optique. Ce processus est souvent appelé création d’effets d’optique.. Certains facteurs de décision pour le choix entre le tirage optique et le tirage par contact sont détaillés dans la section « Tirage par contact et tirage optique » à la page 163.  Effets complexes nécessitant du compositing : les effets tels que le fond bleu et les animations peuvent être recréés numériquement en haute définition sur une station de travail numérique de pointe, puis appliqués sur le film grâce à un enregistreur sur film numérique. Cette méthode est parfois appelée méthode film-numérique-film. Le négatif de caméra original est d’abord numérisé, puis la copie numérique résultant de la numérisation est importée dans un poste de travail de film numérique et les effets spéciaux y sont créés avant d’être réenregistrés sur film. Certains laboratoires d’effets numériques offrent ce service en utilisant votre liste de film comme référence pour déterminer l’emplacement et la durée des effets d’animation et de compositing en surimpression tels que les fonds bleus. La méthode film-numérique-film peut donner de très bons résultats, mais il est important de savoir qu’elle peut s’avérer beaucoup plus chère que la méthode de tirage optique.  Effets impliquant des filtres et une correction de couleur : la restauration de films numériques et la suppression des artefacts sont d’autres types de manipulations numériques pour lesquelles la méthode film-numérique-film est utilisée. Les manipulations numériques de ce genre sont documentées dans la liste des effets de filtre, qui fait partie de la liste optique. Toutes les corrections de couleur et effets de type filtre effectués dans le film fini sont créés par un spécialiste dans un atelier de tirage de films ou à l’aide de la méthode film-numérique-film. Vous pouvez travailler directement avec un spécialiste de la couleur (souvent désigné par le terme anglais de color timer) pour effectuer l’étalonnage de votre film.Chapitre 7 Montage dans Final Cut Pro 161 I Ajout de titres, de surimpressions et de transitions Le flux de production suivant illustre la façon dont des effets, de surimpressions (d’images superposées) et des transitions peuvent être ajoutées à un film monté dans Final Cut Pro. Cette description est très succincte et comprend des étapes d’intégration d’effets optiques et d’effets de tirage par contact, mais vous ne pouvez utiliser que l’une ou l’autre des deux méthodes. Important : l’évolution très rapide de ce secteur et la variété des possibilités offertes font que la méthode de travail la mieux adaptée pour vous n’est pas forcément celle qui suit. Renseignez-vous auprès de votre laboratoire pour obtenir des informations les plus précises et les conseils les mieux adaptés à votre cas personnel. Étape 1: assurez-vous que votre laboratoire répond à vos besoins et qu’il peut vous assister Si votre budget le permet, il est conseillé de consulter le laboratoire (l’atelier d’effets spéciaux ou tout autre atelier qui tirera vos effets) avant le montage pour voir ce qu’il peut offrir. Souvent, les laboratoires disposent d’effets standard parmi lesquels vous pouvez faire votre choix, les effets personnalisés pouvant coûter nettement plus cher ou ne pas être disponibles. Le laboratoire peut aussi vous expliquer ce que vous devrez fournir exactement. Étape 2: créations d’effets et de transitions dans Final Cut Pro Vous avez intérêt à faire différentes expérimentations en termes de styles et de durées dans Final Cut Pro. Cela vous permettra de communiquer avec précision vos besoins à votre laboratoire. Comme vous pouvez exporter une liste de conformation distincte pour chaque piste vidéo, vous pouvez ajouter des titres et des images superposées à plusieurs pistes vidéo, comme versions alternatives par exemple, et choisir laquelle inclure dans la liste de film à exporter. Étape 3: exportation d’une liste de film Une fois que vous avez terminé votre montage, exportez une liste de film en suivant la procédure décrite dans le chapitre 8, « Création de listes de film et de listes de modification », à la page 167. La liste de film peut contenir plusieurs types de listes différents. La liste optique contient la description des effets de transition, de filtre et de mouvement. Vous devrez aussi exporter une liste de film pour chaque piste vidéo contenant des titres ou des images superposées. Si vous avez l’intention de créer toutes vos transitions par contact au lieu de créer des effets d’optique, sélectionnez « Toutes des cuts » dans le menu local Transitions. Consultez également la section « Répartition des transitions entre le tirage par contact et le tirage optique » à la page 164.162 Partie I Utilisation de Cinema Tools Étape 4: (tirage optique) confiez la liste de film et les images appropriées au laboratoire Si vos effets et vos transitions sont créés via la méthode optique, le laboratoire utilise les spécifications et les descriptions de votre liste de film pour créer les effets d’optique. Le laboratoire a besoin des bonnes séquences de film pour créer les effets d’optique. Il se peut que le laboratoire de trucage optique vous demande de fournir des intermédiaires positifs ou que le laboratoire les imprime. Il se peut que le laboratoire vous demande aussi une bande vidéo de votre film comme référence. Si vous avez réalisé une copie de travail, vous pouvez la fournir comme référence au laboratoire ou lui donner une copie couleur (un « internégatif ») des parties de la copie de travail qui contiennent les effets d’optique. Toutes ces options peuvent faire l’objet d’une discussion préalable entre le laboratoire et vous. Étape 5: (tirage optique) effectuez le transfert des effets d’optique par télécinéma, ajoutez-les à la base de données, capturez-les dans votre séquence, puis exportez une cut list Si vous décidez de créer des effets d’optiques pour votre film, cette étape est idéale car elle fournit une cut list qui détaille très précisément les effets d’optique et elle vous permet de visualiser les effets dans votre séquence afin de voir s’ils vous conviennent. Par contre, si vous disposez d’une copie de travail, le monteur négatif pourra l’utiliser comme guide pour découper les effets d’optique de votre film afin que vous n’ayez pas à les transférer sur bande vidéo ni à créer une nouvelle cut list. N’oubliez pas de demander à votre monteur négatif ce dont il a besoin. À propos des interpositifs Le métrage d’origine étant négatif, toute la pellicule doit être développée à partir d’images négatives afin d’obtenir une image positive normale. Cela signifie que vos effets d’optique doivent être négatifs lorsqu’ils sont collés sur votre négatif original. Le laboratoire optique utilise habituellement un tirage à faible contraste des parties correspondantes du négatif original, appelé interpositif, comme source à partir de laquelle sont assemblés les effets d’optique. Une fois que les effets d’optique ont été assemblés à partir de l’interpositif, ils sont développés comme des effets d’optiques négatifs qui peuvent être collés sur le négatif original. D’habitude, avant la création de l’interpositif final, un ou plusieurs tirages de test sont réalisés avec l’aide d’un spécialiste de la couleur pour trouver la combinaison d’exposition et de balance de couleurs idéale. Remarque : dans certains cas, lorsque les effets d’optique nécessitent une image très stable (comme dans le cas d’images sous du texte), un interpositif de calage est nécessaire. L’utilisation d’un interpositif de calage diminue le flottement latéral indésirable de la pellicule dans le cadre de la lentille de la tireuse optique. Le laboratoire d’effets optiques vous indiquera si un interpositif de calage est nécessaire. Chapitre 7 Montage dans Final Cut Pro 163 I Étape 6: (tirage optique) confiez le négatif optique au monteur négatif À partir du moment où vous avez visionné les effets d’optique et que vous en êtes satisfait, confiez le négatif optique, le négatif original et la liste de film complète au monteur négatif. Grâce à la liste de film (et à la copie de travail éventuelle), le monteur négatif pourra couper et coller les effets dans votre film. Étape 7: (tirage par contact) confiez la liste de film à la personne chargée du tirage par contact Lorsque le négatif conformé est prêt à être imprimé sur tireuse par contact, assurezvous que le technicien a reçu une liste de film contenant des informations sur les titres, les images superposées et les transitions à inclure dans le film. Remarque : le monteur négatif établit une liste des repères de tirage, incluant les transitions, cette liste est ensuite confiée au tireur avec le négatif original découpé. Tirage par contact et tirage optique Le choix entre le tirage par contact et le tirage optique dépend de plusieurs facteurs. Il est possible d’utiliser une méthode pour créer certains effets et l’autre méthode pour en créer d’autres. Voici les éléments à prendre en compte :  Conservation du métrage original : le tirage par contact implique la découpe et le collage du négatif original. Le tirage optique aboutit de fait à la création d’un nouveau négatif, ce qui permet de réutiliser le métrage original.  Prévisualisation : si vos transitions sont imprimées par un imprimeur par contact, vous ne pouvez pas voir les transitions finies avant le montage du négatif, mais si elles sont imprimées sur une tireuse optique, vous pouvez. Une fois sur pellicule, il se peut que les transitions et les effets n’apparaissent pas exactement tels qu’ils étaient sur votre système de montage numérique. Pour avoir une idée exacte de l’aspect que prendra une transition une fois le film terminé, faites-la réaliser par la méthode optique avant de finaliser le montage. Transférez ensuite l’effet d’optique sur bande vidéo. Il est possible d’effectuer le montage de l’effet transféré dans votre programme numérique afin de le prévisualiser.  Coût : si vous avez des transitions de longueur standard et si ces dernières sont nombreuses, cela vous coûtera sans doute moins cher de les tirer sur une tireuse par contact. Alors que le tirage optique offre l’avantage de donner un nouveau négatif que vous pouvez monter dans votre programme numérique pour voir à quoi il ressemble et inclure dans votre liste de conformation, le négatif du tirage optique doit d’abord être transféré sur vidéo pour un coût supplémentaire. Il est judicieux de comparer les coûts des différentes méthodes de réalisation de vos transitions. 164 Partie I Utilisation de Cinema Tools  Longueur : à l’inverse du tirage optique, le tirage par contact impose une longueur de transition standard. Cinema Tools identifie les longueurs standard pour les données à 24 ips ou 23,98 ips comme des durées de 16, 24, 32, 48, 64 et 96 images. Cinema Tools identifie les longueurs standard pour les données à 29,97 ips sous la forme d’une « durée » de 20, 30, 40, 60, 80 ou 120 images. (Vérifiez les longueurs standard requises pour les différentes fréquences d’image avec votre imprimeur par contact.) Comparaison des devis Pour obtenir des devis afin de comparer les coûts du tirage par contact et du tirage optique, vous devez exporter deux versions de la liste de film. Pour exporter différentes listes de film à donner aux tireurs pour l’obtention de devis : 1 Dans la zone de dialogue Exporter les listes de film, choisissez « Toutes des cuts » dans le menu local Transitions pour exporter une liste de film pour un devis de tirage par contact. 2 Après l’exportation, sélectionnez « Toutes des trucages optiques » dans le menu local Transitions pour exporter une liste film destinée à à obtenir un devis pour le tirage optique. Répartition des transitions entre le tirage par contact et le tirage optique Vous pouvez faire créer les transitions de longueur standard par un imprimeur par contact et le reste des transitions sous la forme d’effets d’optique. Pour ce faire, vous devez exporter une liste de film dans laquelle les transitions de longueur standard sont répertoriées comme coupes pour le tirage par contact et les transitions de longueur non standard sont répertoriées comme effets d’optique.Chapitre 7 Montage dans Final Cut Pro 165 I Pour exporter une liste de film prenant en charge à la fois le tirage par contact et le tirage optique : m Dans la zone de dialogue Exporter les listes de films, choisissez « Les standards sont des cuts » dans le menu local Transitions. Pour plus de renseignements sur la création d’une liste de film, consultez la section « Exportation de listes de film à l’aide de Final Cut Pro » à la page 174. Détection des usages multiples des plans sources Cinema Tools permet de détecter les utilisations multiples du même élément source dans votre séquence montée. Ce suivi est nécessaire pour deux raisons :  Si vous voulez utiliser le même contenu source plus d’une fois dans votre projet : vous pouvez exporter une liste des contretypes et la fournir au laboratoire dans le cadre d’une commande de contretype négatif.  Si vous ne voulez pas dépenser d’argent pour la création d’un contretype négatif : vous devez faire attention à ne pas utiliser le même contenu plus d’une fois lors du montage car vous ne disposez que d’un seul négatif de caméra original. Lors d’un montage numérique, il est tellement facile d’utiliser plusieurs fois un même élément source que vous risquez de ne pas vous en rendre compte, Cinema Tools vous offre toutefois la possibilité de vérifier régulièrement de telles utilisations multiples. Lorsqu’il détermine si certaines images ont été utilisées plus d’une fois, Cinema Tools part du principe qu’au moins la moitié d’une image sera perdu au point d’entrée et au point de sortie de chaque coupe du film à cause du collage de bobine A et B typique. Cinema Tools, désigne ces images sous le nom cut handles (images de transition). Some negative cutters may want to use more than a half-frame on each side of a cut. Dans la zone de dialogue Export Film Lists, vous pouvez spécifier jusqu’à cinq images et demi d’images de transition. Si vous incorporez par accident dans une séquence des images requises comme images de transition, Cinema Tools les signale comme doublons dans la liste des doublons et dans les avertissements en cas de doublons.166 Partie I Utilisation de Cinema Tools Il est important de rechercher les utilisations multiples avant de finaliser l’image et de préparer le montage du négatif original. Pour apprendre comment exporter une liste des doublons et inclure des informations sur l’utilisation de doublons dans une liste de film, consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167. Si vous montez votre projet en plusieurs séquences (par exemple, une séquence par bobine), il est recommandé de rassembler toutes les séquences avant d’exporter une liste des doublons. De cette manière, Cinema Tools sera en mesure de rechercher les utilisations multiples dans la totalité du projet. Le plus facile, c’est de placer toutes les séquences dans une séquence imbriquée avant de produire une liste des doublons. Cependant, si vous avez l’intention d’exporter une liste de film, n’imbriquez pas une partie de séquence dans une autre séquence. Seule l’imbrication de séquence entière est prise en charge lorsque vous exportez une liste Cinema Tools. Consultez la documentation de Final Cut Pro pour des informations sur la création de séquences imbriquées. Exactitude des listes de conformation lors du montage de vidéo pulldown 3:2 ou 24 & 1 Avec la vidéo NTSC pulldown 3:2 ou la vidéo PAL 24 & 1 (également appelée vidéo pulldown 24 @ 25 dans Final Cut Pro), toute image de film remise en correspondance à partir de vos coupes peut en fait être située juste avant ou juste après le point de montage original. (Vous trouverez des explications plus complètes à la section « Infos générales sur la vitesse de défilement des images » à la page 23.) Avec la vidéo NTSC pulldown 3:2, vous pouvez éviter de telles imprécisions de remise en correspondance en utilisant la fonction Cinema Tools Reverse Telecine ou du matériel de télécinéma inverse de tierce partie pour inverser le pulldown télécinéma 3:2 avant de commencer le montage. Si vous n’avez pas inversé le pulldown 3:2 en vidéo NTSC (ou si vous travaillez en vidéo PAL 24 & 1), vous pouvez toujours éviter les imprécisions de liste de conformation en soignant le montage. L’objectif étant que pour chaque plan, l’image montrant le clap, ou la dernière image du plan précédent, n’apparaisse pas dans le film terminé :  Lorsque vous déterminez des points de coupe dans un plan, veillez à ne pas placer le point d’entrée sur la première image valable du plan (ou le point de sortie sur la dernière image). En d’autres termes, fixez le point d’entrée à au moins une image après le début de votre plan et le point de sortie à au moins une image avant la dernière image du plan.  Si vous devez faire un raccord sur la première ou la dernière image d’un plan, notez le numéro de bord de la fenêtre d’affichage, puis vérifiez la cut list plus tard pour confirmer que le numéro de bord est identique dans la cut list.  Évitez de placer des points de sortie ou d’entrée à des images possédant deux champs provenant de deux images différentes du film. Ne placez pas un raccord sur une image BC ou CD par exemple. 8 167 8 Création de listes de film et de listes de modification Cinema Tools vous permet de créer différentes listes relatives à votre projet de montage. Une fois que vous avez fini le montage et que vous êtes prêt pour le montage des négatifs de caméra originaux ou pour la conformation d’une copie de travail, le temps est venu d’exporter une liste de films. En utilisant les informations de la base de données, Cinema Tools convertit les modifications effectuées dans Final Cut Pro en informations pourvant servir de guide à un monteur de film. Ces informations sont fournies sous la forme d’une cut list. De nombreuses autres listes utiles pour le film peuvent être exportées avec la cut list. Toutes ces listes, y compris la cut list, sont appelées listes de film. Un fichier de liste de film peut contenir plusieurs listes associées, comme par exemple les listes suivantes :  liste de coupe : liste des informations de montage et de titrage (on parle aussi de liste d’assemblage) ;  liste des éléments manquants : liste contenant les informations nécessaires introuvables dans la base de données ;  liste des doublons : liste des utilisations multiples d’une même source ;  liste optique : liste destinée aux effets spéciaux, décrivant les transitions, les filtres et les effets de mouvement ;  liste Pull : liste destinée à aider le laboratoire à tirer les négatifs dont il a besoin ;  liste des scènes : liste de toutes les scènes utilisées dans votre projet et des plans utilisés pour les effets d’optique. Vous pouvez créer une autre sorte de liste appelée liste des modifications, après la création d’une première cut list. La liste des modifications part du principe qu’une copie de travail a été montée selon les spécifications de la liste de conformation (ou de la liste de modifications antérieure) et elle indique d’autres modifications à apporter à la copie de travail en fonction des modifications que vous avez apportées à la séquence dans Final Cut Pro. Pour plus de renseignements sur la création de listes de modification, consultez la section « Création de listes de modification » à la page 182.168 Partie I Utilisation de Cinema Tools Sélection du format de liste Cinema Tools propose deux formats pour l’exportation des listes :  Fichier PDF : format permettant une visualisation aisée contenant uniquement les informations que vous spécifiez  Fichier XML : format pour l’utilisation avec un autre logiciel contenant toutes les informations sur le film provenant de la séquence Consultez la section « Exportation de listes de film à l’aide de Final Cut Pro » à la page 174 pour des informations sur la création de listes de film PDF et XML à l’aide de Final Cut Pro et la section « Création de listes de film basées sur une liste EDL ou un fichier XML » à la page 199 pour des informations sur la création de listes de film à l’aide de Cinema Tools. Remarque : Cinema Tools ne prend plus en charge l’exportation de listes de film au format Texte. À propos des listes de film au format PDF L’exportation d’une liste de film au format PDF crée un fichier pouvant être ouvert dans Aperçu ou dans tout autre visualiseur PDF. Vous pouvez choisir les éléments qui doivent figurer dans la liste et même en déterminer l’ordre. ? Astuce : bien qu’il ne soit pas possible de modifier directement le texte d’un fichier PDF lorsqu’il est visualisé à l’aide de l’application Aperçu, vous pouvez utiliser l’outil d’annotation d’Aperçu pour ajouter vos commentaires. Pour plus d’informations, reportez-vous à l’Aide Aperçu. À propos des listes de film au format XML L’exportation d’une liste de film au format XML crée un fichier contenant toutes les informations relatives au film provenant de la séquence Final Cut Pro. Important : les listes de film au format XML ne sont pas liées aux autres fichiers XML que l’on peut exporter à partir de Final Cut Pro. Contrairement aux listes de film au format PDF, les listes de film au format XML ne sont pas conçues pour une impression aisée ni pour la lecture par des humains. Le format XML est destiné à l’échange d’informations entre applications logicielles. La raison d’être des listes de film au format XML est de fournir toutes les informations sur une séquence Final Cut Pro dans un format que l’utilisateur peut importer dans un autre logiciel personnalisé utilisé dans la flux de production du film. Remarque : vous pouvez ouvrir une liste de film au format XML dans un éditeur de Texte, comme, par exemple, TextEdit, pour voir la structure et les informations qu’elle contient. Chapitre 8 Création de listes de film et de listes de modification 169 I Listes que vous pouvez exporter Vous pouvez exporter une grande variété de listes très utiles à l’aide des zones de dialogue Export Film Lists et Export XML Film Lists. Lorsque vous exportez une liste de film, un seul fichier de liste de film contenant toutes les listes sélectionnées dans la zone de dialogue est généré. Toute liste non sélectionnée ne sera pas incluse dans le fichier de liste de film exporté. Remarque : toutes les listes que vous exportez dans la liste de film sont basées sur la piste vidéo que vous avez sélectionnée dans le menu local Track. Vous pouvez sélectionner une autre piste et exporter une seconde liste si nécessaire. Par exemple, si votre séquence contient des titres (y compris d’éventuelles images superposées) sur la piste vidéo 2, vous pouvez exporter une seconde liste de film contenant les informations de montage de ces derniers. Cela permet de configurer des pistes de titrage alternatives et d’exporter des listes de film pour chacune des versions. Cut list La première liste que vous pouvez sélectionner pour l’exporter est la cut list (liste de conformation). La liste de conformation que vous exportez depuis Final Cut Pro est la liste contenant les instructions de montage du négatif d’origine ou de la copie de travail, afin qu’il ou elle corresponde au montage numérique. On appelle également ces listes des listes d’assemblage. Liste des éléments manquants : La liste des éléments manquants répertorie tous les plans d’une séquence pour lesquels soit aucun enregistrement correspondant n’a été trouvé dans la base de données, soit les informations sont incomplètes. Il est important d’exporter et d’examiner la liste des éléments manquants afin de s’assurer qu’aucun élément ne manque avant que le monteur négatif ne commence la conformation du négatif. L’élément manquant est spécifié pour chaque plan apparaissant dans la liste des éléments manquants. Le numéro de plan pour lequel ce plan apparaît dans la cut list est indiqué sur une ligne distincte. Si un des éléments suivants vient à manquer, il apparaîtra dans la liste des éléments manquants :  Laboratoire, caméra ou bobine journalière.  Numéro de clé ou codification manuelle. De plus, chaque plan source doit être connecté à un enregistrement, sauf si vous utilisez la méthode de création de cut list basée sur le timecode (consultez la section « Gain de temps potentiel lors du transfert camera-roll » à la page 73). Pour utiliser la méthode de création de cut list basée sur le timecode, chaque enregistrement doit également inclure les éléments suivants :  video reel  timecode et durée170 Partie I Utilisation de Cinema Tools Traitement des éléments manquants Le traitement d’un élément manquant consiste soit à trouver, s’il existe, l’enregistrement de base de données correspondant et à compléter les informations manquantes, soit à créer un nouvel enregistrement dans la base de données s’il n’y en a pas. Pour localiser l’enregistrement, deux méthodes sont possibles. Si le nom du plan figure dans la liste des éléments manquants : Vous pouvez utilisez ce nom pour rechercher le plan dans la fenêtre List View. Dans la fenêtre List View, cliquez sur Clip pour trier les enregistrements par nom de plan. Ou, si le nom du plan contient son identifiant de scène, vous pouvez utiliser la commande Find pour rechercher le plan par l’identifiant de scène. Si aucun enregistrement correspondant au plan n’est trouvé, créez-en un, puis connectez-y le plan. Utilisez la fonction Identify de la fenêtre Clip pour saisir les informations requises. Si la bande vidéo et le timecode figurent dans la liste des éléments manquants : Vous pouvez utiliser la bande vidéo et le timecode pour rechercher l’enregistrement de base de données existant du plan. Dans la fenêtre List View, choisissez Video dans le menu local du haut de la fenêtre. Cliquez sur Reel ou sur Timecode pour trier les enregistrements par bande vidéo ou par timecode. Recherchez la bande vidéo ou la valeur de timecode manquante (ou une valeur de timecode similaire). N’oubliez pas que la valeur de timecode qui figure dans la liste des éléments manquants ne correspond généralement pas exactement à l’enregistrement de base de données parce que la valeur de timecode de la base de données correspond à la première image du plan. Vous aurez trouvé l’enregistrement de base de données recherché si la valeur de timecode de la liste des éléments manquants apparaît avant la fin de la durée de timecode spécifiée dans l enregistrement de base de données. Remarque : n’oubliez pas que le nom de bande vidéo doit apparaître exactement tel qu’il est dans la liste des éléments manquants. Par exemple, la bande « 001 » ne correspond pas à la bande « 0001. »  Si vous trouvez la valeur de timecode, mais si le nom de la bande vidéo ne correspond pas à celle qui figure dans la liste des éléments manquants : mettez à jour le nom de la bande dans l’enregistrement de base de données ou modifiez-le dans Final Cut Pro.  Si le nom de la bande correspond à un ou plusieurs enregistrements de la base de données, mais si la liste des éléments manquants indique que l’enregistrement de base de données manque : le timecode est incorrect. La meilleure façon de résoudre ce problème est de créer un enregistrement dans la base de données et d’y connecter le plan source. Vous pouvez ensuite utiliser la fonction Identify pour déterminer et saisir le code de bordure et le timecode du plan. Si vous créez un enregistrement, supprimez l’enregistrement incorrect. Vous pouvez aussi mettre à jour les champs Video Timecode ou Video Duration de l’enregistrement, mais il vous faudra alors également mettre à jour les champs Key et Ink. Chapitre 8 Création de listes de film et de listes de modification 171 I Liste des doublons et avertissements en cas de doublons Lorsque l’on effectue un montage numérique, il est très facile d’inclure un plan ou une partie de plan plusieurs fois dans le montage. Lorsque cela se produit, vous devez soit créer un double du négatif soit remodifier le programme pour supprimer les doublons, parce que la séquence n’existe qu’une seule fois sur le négatif de caméra original. Mais vous devez d’abord savoir où les doublons se trouvent. C’est précisément à cela que servent la liste des doublons et les avertissements en cas de doublons. Liste des doublons La liste des doublons est le document que vous fournissez au laboratoire si vous souhaitez que ce dernier tire des plans spécifiques de vos bandes de négatif et et en fasse des doubles négatifs. Elle répertorie tous les plans utilisés plus d’une fois. Remarque : les éléments faisant partie d’effets d’optique ne sont pas considérés comme des utilisations multiples. Toutefois, placer une transition de fondu entre deux plans lorsqu’il n’y a pas d’autre séquence source entre les deux (comme, par exemple, deux plans qui constituaient un seul et même plan à l’origine) donne des doublons. Avertissements en cas de doublons Si vous choisissez le menu local « Warn from the Duplicates » dans la zone de dialogue Export Film Lists, un message d’avertissement apparaît à l’endroit des doublons dans la liste de conformation. Le message indique quelles images sont utilisées plus d’une fois et l’endroit exact où elles sont utilisées dans votre projet de montage. Tous ces messages figurent aussi dans la liste des avertissements de doublons. Liste optique La liste optique sert de liste principale pour les effets de transition, de filtre et de mouvement. Dans le cas d’une série de transitions et d’effets de mouvement connectés, la liste optique les combine et les décrit comme un seul effet d’optique. La liste optique est confiée aux services de réalisation d’effets afin de préciser la manière dont les plans à effets doivent être assemblés. Remarque : les titres, une sorte d’effet d’optique parmi d’autres, utilisent une seconde piste vidéo et ne figurent pas dans la liste optique. Vous pouvez exporter une liste de conformation distincte pour la piste qui contient les titres. Consultez la section « Utilisation d’effets, de filtres et de transitions » à la page 160 pour en savoir plus.172 Partie I Utilisation de Cinema Tools Une liste optique comporte en réalité jusqu’à quatre listes distinctes :  La liste optique : cette liste contient une entrée pour chaque événement de liste de conformation qui utilise un effet d’optique. En fonction du type d’effet d’optique, chaque entrée est liée à l’une des trois listes d’effets (voir description ci-après) qui composent la liste optique. Ces listes d’effets contiennent les détails des effets d’optique.  La liste des effets de transition : cette liste contient une entrée pour chaque entrée de liste optique qui contient un effet de transition tel qu’un fondu enchaîné ou un balayage. Consultez la section « Liste des effets de transition » à la page 172 pour en savoir plus.  La liste des effets de filtre : cette liste contient une entrée pour chaque entrée de liste optique qui contient un effet de filtre tel qu’un flou ou un étalonnage. Consultez la section « Liste des effets de filtre » à la page 173 pour en savoir plus.  La liste des effets de mouvement : cette liste contient une entrée pour chaque entrée de liste optique qui contient un effet de mouvement tel qu’une modification de vitesse par Time Remapping. Consultez la section « Liste des effets de mouvement » à la page 173 pour en savoir plus. Comment les entrées des listes sont liées Si une entrée de liste optique contient plusieurs types d’effets, comme un effet de transition, un effet de filtre et un effet de mouvement, l’entrée de liste optique n’est liée qu’à une seule des listes d’effets.  Si l’entrée de liste optique comprend un effet de transition : l’entrée est liée à une entrée de la liste des effets de transition. Si l’entrée de liste optique contient également un effet de filtre, l’entrée de la liste des effets de transition est liée à une entrée de la liste des effets de filtre qui, à son tour, est liée à une entrée de la liste d’effets de mouvement si un tel effet de mouvement est également utilisé.  Si l’entrée de liste optique contient uniquement un filtre et un effet de mouvement : l’entrée est liée à une entrée de la liste des effets de filtre, qui est liée à une entrée de la liste d’effets de mouvement.  Si l’entrée de liste optique contient uniquement un effet de mouvement : l’entrée est liée directement à une entrée de la liste des effets de mouvement. Chaque entrée de la liste d’effets contient le numéro d’entrée de liste optique original, ainsi que le numéro de l’événement de liste de conformation original auquel l’entrée s’applique, ce qui permet de relier facilement les différentes listes entre elles. Liste des effets de transition La liste des effets de transition contient des informations sur les fondus, les fondus enchaînés et les autres transitions provenant de votre programme monté. Les transitions peuvent être traitées comme des coupes ou comme des effets d’optique, selon ce que vous choisissez dans le menu local Transitions dans la zone de dialogue Export Film Lists. Si vous décidez de traiter toutes les transitions comme des coupes, la liste des effets de transition sera vide et les transitions seront détaillées comme des coupes dans la cut list.Chapitre 8 Création de listes de film et de listes de modification 173 I Liste des effets de filtre La liste des effets de filtre contient des informations, comprenant le nom du filtre et sa catégorie, sur tous les effets de filtre appliqués à la séquence. Liste des effets de mouvement Si un plan a une vitesse différente de la vitesse avant normale de 24 ips, une entrée est créée dans la liste des effets de mouvement, tandis que la liste optique fait référence à la liste des effets de mouvement pour ce plan. Un système de montage numérique peut faire défiler un plan à n’importe quelle vitesse pour créer un effet de mouvement de façon numérique, mais ni la bande vidéo ni la pellicule ne peuvent reproduire toutes les vitesses de défilement d’un système de montage numérique. Par conséquent, sachez que les effets qui sont recréés sur le négatif ne ressembleront pas forcément aux effets de mouvement tels qu’ils apparaissaient dans le système de montage. Important : en raison des changements de vitesse de défilement qu’impliquent les effets de mouvement, les numéros de bord indiqués dans la liste des effets de mouvement ne seront pas forcément exacts. Si vous disposez d’une fenêtre d’affichage des numéros de bord, vous devriez vous assurer que les numéros de bord de la liste des effets de mouvement sont corrects et les corriger si nécessaire. Liste Pull La liste Pull est identique à la cut list mais les plans y sont répertoriés dans leur ordre d’apparition sur les bobines de négatif. Le laboratoire peut se baser sur la liste Pull en parcourant les bobines de négatif pour trouver les plans qui seront montés sur la pellicule. Chaque élément de la liste Pull affiche le numéro de plan de la cut list. Scene List La liste des scènes répertorie tous les plans utilisés dans la cut list, chaque plan n’y apparaissant qu’une fois. Il est possible d’utiliser la liste des scènes pour commander des retirages de plans de votre programme afin de pouvoir conformer une copie de travail avant le découpage du négatif. Liste des scènes optiques Si vous sélectionnez « Optical list » et « Scene list » dans la zone de dialogue Export Film Lists, une liste des scènes optiques est générée en même temps que la liste des scènes. La liste des scènes optiques est une liste de tous les plans utilisés dans l’ensemble des effets d’optique et de mouvement, chaque plan n’y apparaît qu’une fois. Le laboratoire peut utiliser cette liste pour tirer les images nécessaires à la réalisation des effets.174 Partie I Utilisation de Cinema Tools Exportation de listes de film à l’aide de Final Cut Pro Dans la plupart des situations, vous utiliserez Final Cut Pro pour exporter les listes décrites ci-avant. Si vous disposez d’un fichier EDL, vous pouvez aussi exporter des listes de film directement à partir de Cinema Tools. Consultez la section « Création de listes de film basées sur une liste EDL ou un fichier XML » à la page 199 pour en savoir plus. Dans les deux cas, un fichier de liste de film XML ou PDF contenant toutes les listes que vous avez sélectionnées dans la zone de dialogue d’exportation est généré. Exportation de listes de film L’exportation de fichiers de liste de film fonctionne de la même manière pour les listes de film en format PDF et XML. Pour exporter un fichier de liste de film : 1 Dans le Navigateur ou la chronologie de Final Cut Pro, sélectionnez la séquence pour laquelle vous voulez créer une liste. 2 Procédez de l’une des manières suivantes :  Pour exporter un fichier de liste de film au format PDF : choisissez Fichier > Exporter > Listes de films Cinema Tools. La zone de dialogue Exporter les listes de films apparaît.Chapitre 8 Création de listes de film et de listes de modification 175 I  Pour exporter un fichier de liste de film au format XML : choisissez Fichier > Exporter > Listes de films XML Cinema Tools. La zone de dialogue Exporter les listes de film XML apparaît. 3 Définissez les réglages souhaités dans la zone de dialogue d’exportation, puis cliquez sur OK. Pour en savoir plus sur les réglages, consultez la section « Réglages communs aux deux zones de dialogue d’exportation » à la page 176. Si vous prévoyez d’apporter des modifications à la séquence Final Cut Pro et d’exporter une liste des modifications ultérieurement, sélectionnez « Enregistrer un fichier de programme Cinema Tools ». Vous aurez besoin de ce fichier de programme pour exporter une liste des modifications comparant cette version de la séquence à une autre version. 4 Si vous avez sélectionné « Enregistrer un fichier de programme Cinema Tools », tapez un nom de fichier et un emplacement pour ce fichier de programme dans la zone de dialogue qui s’affiche. 5 Dans la zone de dialogue suivante, tapez un nom de fichier pour la liste de film, sélectionnez un emplacement, puis cliquez sur Enregistrer. Important : donnez au fichier de programme un nom qui identifie clairement la séquence et la version, afin de pouvoir le localiser facilement plus tard lorsque vous devrez exporter une liste des modifications comparant cette séquence à la nouvelle version. 6 Dans la zone dialogue qui s’affiche, sélectionnez le fichier de base de données que Cinema Tools doit utiliser pour produire les listes que vous avez sélectionnées. (Sélectionnez la base de données que vous avez créée pour les plans sources utilisés dans la séquence.) Une liste de film est générée sous la forme d’un fichier contenant toutes les listes sélectionnées. Si vous avez exporté une liste au format PDF, elle s’ouvre automatiquement dans Aperçu (ou l’application que vous avez défini comme application par défaut pour l’ouverture des fichiers PDF). 176 Partie I Utilisation de Cinema Tools Après avoir exporté une liste de film, il est conseillé de comparer le code bordure (numé- ros de bord ou codification manuelle) de la liste de film au code de bordure de la fenêtre d’affichage à l’emplacement de l’image de point d’entrée de chaque point de montage. Bien que parcourir toutes les modifications et comparer les numéros de code de bordure prennent beaucoup de temps, cela permet d’éviter les pertes de temps et, partant, d’argent provoquées par des coupures incorrectes. Il est particulièrement important de vérifier les codes de bordure si vous ne procédez pas à la conformation d’une copie de travail avant de monter votre négatif. Réglages communs aux deux zones de dialogue d’exportation Les zones de dialogue Exporter les listes de films et Exporter les listes de film XML contiennent toutes les deux les réglages suivants pour la sélection et la configuration des listes. Consultez la section « Réglages de configuration PDF dans la zone de dialogue Exporter les listes de films » à la page 179 pour en savoir plus sur la configuration de listes de film PDF.  Titre de liste : tapez un nom pour le fichier de liste de film que vous allez exporter.  Format standard de film : sélectionnez le format de film correspondant à celui que vous utilisez. Ce format doit être identique au format de film spécifié lors de la création de la base de données du projet. Cinema Tools utilise le format de film sélectionné ici pour calculer le piétage de la cut list.  Vitesse de télécinéma : sélectionnez la vitesse à laquelle le film a été transféré :  Si vous travaillez avec la vidéo NTSC, vous optez généralement pour une vitesse télécinéma de 24 ips, alors que la vitesse télécinéma réelle était d’approximativement 23,98 ips.  Si vous avez monté de la vidéo NTSC transférée à 29,97 ips, sélectionnez 30 ips.  Si votre film a été transféré à 24 ips, sélectionnez 24 ips. Chapitre 8 Création de listes de film et de listes de modification 177 I  Si votre film a été transféré à 25 ips, sélectionnez 25 ips.  Doublons : il est possible d’être averti chaque fois qu’une utilisation multiple d’élé- ments sources est détectée. Si vous sélectionnez Warn, un message d’avertissement s’affiche dans la cut list à chaque utilisation multiple. Le message indique quelles images sont utilisées plus d’une fois et l’endroit exact où elles sont utilisées dans votre projet de montage. Tous ces messages figurent également dans une liste d’avertissements de doublons. Si vous sélectionnez Ignore, ces avertissements ne sont pas affichés.  Transitions : permet de choisir la manière dont les transitions sont répertoriées dans la liste de film. Consultez la section « Tirage par contact et tirage optique » à la page 163 pour en savoir plus. Vous avez trois possibilités :  Toutes des cuts : toutes les transitions sont représentées par une coupe au milieu de la transition, que les transitions soient ou non de longueur standard. Sélectionnez cette option si vous exportez une liste destinée à la conformation d’une copie de travail. Cinema Tools insère également des notes indiquant le début et la fin de la transition pour les plans d’ouverture et de fermeture. Ces notes peuvent servir de guide pour marquer les transitions sur la copie de travail conformée.  Les standards sont des cuts : les transitions de longueur standard sont répertoriées comme des coupes et les autres sont répertoriées comme des effets d’optique. Sélectionnez cette option si vos transitions sont destinées à être tirées par contact. Si vous choisissez cette option, les transitions de longueur standard apparaissent dans la liste de conformation, mais pas dans la liste optique, et sont affichées comme une coupure au milieu de la transition. Les points de début et de fin de la transition apparaissent également dans la cut list sous la forme de trois lignes pour un fondu enchaîné et de deux lignes pour un fondu. La cut list contient toutes les informations dont le monteur négatif a besoin pour préparer les bobines A et B pour ces transitions.  Toutes des trucages optiques : tous les plans faisant partie d’un fondu ou d’un fondu enchaîné sont répertoriés dans la liste optique. Sélectionnez cette option si vous souhaitez que tous vos fondus et vos fondus enchaînés soient réalisés par procédé optique, indépendamment de leur longueur. Définition des transitions de longueur standard par Cinema Tools Cinema Tools identifie les longueurs standard pour les données à 24 ips ou 23,98 ips comme des durées de 16, 24, 32, 48, 64 et 96 images. Cinema Tools identifie les longueurs standard pour les données à 29,97 ips sous la forme de « durées » de 20, 30, 40, 60, 80 et 120 images. (Vérifiez les longueurs standard requises pour les différentes fréquences d’image pour votre tireuse par contact.)178 Partie I Utilisation de Cinema Tools  Poignées : il est possible que le monteur négatif ou le studio de tirage optique souhaite disposer d’images de réserve de part et d’autre d’une transition. Dans Cinema Tools, ces images sont appelées transition handles (images de transition). Tapez un nombre compris entre 0 et 32. Lorsqu’il vérifie si des images sont utilisées plusieurs fois, Cinema Tools ajoute ce nombre d’images plus une moitié devant le plan entrant et derrière le plan sortant pour chaque transition. (Le paramètre choisi pour les images de coupes ne s’applique pas aux transitions.)  Poignées des cuts : lorsqu’il détermine si des images ont été utilisées plus d’une fois, Cinema Tools part du principe qu’au moins la moitié de l’image est détruite tant au point d’entrée qu’au point de sortie de chaque coupe. Certains monteurs peuvent vouloir utiliser plus qu’une demi-image de chaque côté d’une coupe. Vous pouvez spécifier jusqu’à cinq images et demie de transition. Si vous incorporez par accident dans une séquence des images requises comme poignée de cut, Cinema Tools les signale comme doublons dans la liste des doublons et les avertissements en cas de doublons.  Piste : vous pouvez choisir la piste vidéo sur laquelle vous souhaitez baser la liste exportée.  Métrage de début : saisissez le numéro de début à utiliser pour la valeur « Feet & frames » de la liste de film. La valeur par défaut est 0000+00.  Heure de début : saisissez le numéro de timecode de début pour la valeur Time de la liste de film. La valeur par défaut est la valeur de timecode de début de la séquence.  Compte de début : saisissez le numéro de comptage d’image de début pour la valeur Count de la liste de film. La valeur par défaut est 0000.  Enregistrer un fichier de programme Cinema Tools : un fichier de programme est essentiel si vous souhaitez créer ultérieurement pour cette séquence une liste des modifications qui reflétera les opérations de montage réalisées après ce stade. Astuces pour la saisie du point de départ Voici quelques astuces sur la façon d’utiliser les entrées « Début » :  Si vous générez une liste de conformation pour la conformation du négatif : vous voudrez sans doute commencer à zéro.  Si vous montez votre film scène par scène ou bande par bande : vous voudrez probablement saisir un point de départ identique au point de fin de la scène ou bande précédente dans les champs « Début ». Ce champ est complété automatiquement avec le point de départ de la séquence que vous avez définie dans la chronologie de Final Cut Pro.  Si vous voulez générer une liste de conformation avec timecode afin de pouvoir comparer des événements de la liste avec des modifications qui dans Final Cut Pro ou dans la EDL : commencez la liste de conformation à la même valeur de timecode que la séquence de la chronologie ou la date de début de la EDL. Chapitre 8 Création de listes de film et de listes de modification 179 I Un fichier de programme est également nécessaire si vous souhaitez exporter une liste EDL audio à partir de Cinema Tools. L’exportation d’une liste EDL audio depuis Final Cut Pro est plus automatisée et ne nécessite pas de fichier de programme Cinema Tools. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus.  Commencer avec 8 secondes d’amorce : indiquez si vous souhaitez commencer la liste de conformation avec 8 secondes d’amorce. Huit secondes constitue la durée standard de l’amorce Academy ou SMPTE. Si vous sélectionnez cette option, 8 secondes d’amorce sont insérées au début de la liste de conformation. Si un plan d’amorce est déjà inclu au début de la séquence, ne cochez pas cette case. (Il est préférable d’utiliser un plan d’amorce dans votre séquence plutôt que de sélectionner cette option dans la cut list car le timecode de la séquence numérique ne correspondra pas au timecode de la cut list, à moins qu’un plan d’amorce n’existe réellement dans la séquence.)  Cases à cocher Film list : sélectionnez les types de liste à inclure dans la liste de film à exporter.  Listes de cuts : sélectionnez cette option pour inclure une cut list. Les cut lists sont décrites à la section « Cut list » à la page 169.  Listes des doublons : sélectionnez cette option pour inclure une liste des doublons. Les listes des doublons sont décrites à la section « Liste des doublons et avertissements en cas de doublons » à la page 171.  Listes des trucages optiques : sélectionnez cette option pour inclure une liste optique. Les listes optiques sont décrites à la section « Liste optique » à la page 171.  Liste des épreuves : sélectionnez cette option pour inclure une liste Pull. Les listes Pull sont décrites à la section « Liste Pull » à la page 173.  Liste des scènes : sélectionnez cette option pour inclure une liste de scènes. Les listes de scènes sont décrites à la section « Scene List » à la page 173.  Liste des éléments manquants : sélectionnez cette option pour inclure une liste d’éléments manquants. Les listes d’éléments manquants sont décrites à la section « Liste des éléments manquants : » à la page 169. Réglages de configuration PDF dans la zone de dialogue Exporter les listes de films Lors de l’exportation d’une liste de film au format PDF, vous pouvez contrôler les éléments qui apparaissent dans la liste et leur ordre. Cela vous permet de créer une liste de film qui contient exactement les informations souhaitées. Pour configurer une liste de film PDF, effectuez l’une des opérations suivantes : m Faites glisser des éléments de la colonne de gauche vers la colonne de droite pour les ajouter à la liste. m Sélectionnez des éléments dans la colonne de droite et appuyez sur Supprimer pour les supprimer de la liste.180 Partie I Utilisation de Cinema Tools m Faites glisser des éléments vers le haut ou le bas dans la colonne de droite pour définir l’ordre d’apparition des éléments dans la liste de film PDF. La largeur de la liste de film PDF est limitée et il est possible d’ajouter des éléments qui n’apparaîtront pas dans la liste. En utilisant les réglages de la section Layout Options de la zone de dialogue Export Film Lists, vous pouvez personnaliser la mise en page des pages PDF et la taille de police pour pouvoir exporter plus de colonnes. Pour personnaliser la mise en page des pages PDF : 1 Choisissez Portrait ou Landscape dans le menu local Orientation. 2 Choisissez une taille de police dans le menu local Taille de la police. Il est possible d’enregistrer et de charger des fichiers de réglages comprenant la configuration des colonnes et les réglages d’orientation et de taille de police. De plus, la plupart des autres réglages de la zone de dialogue sont également enregistrés dans le fichier de réglages. Les seules exceptions sont les réglages Piste, Métrage de début, Heure de début et Compte de début. La possibilité d’enregistrer et de charger les fichiers de réglages de cette zone de dialogue simplifie la configuration de plusieurs systèmes Cinema Tools afin qu’ils utilisent la même configuration de listes pour l’exportation. Remarque : chaque zone de dialogue que vous utilisez pour exporter des listes de films et de modifications mémorise automatiquement les derniers réglages utilisés et se sert de ces réglages lors de son ouverture suivante. La colonne de droite énumère les éléments qui doivent apparaître dans la liste de film PDF, dans l’ordre. La colonne de gauche énumère tous les éléments pouvant apparaître dans la liste de film PDF.Chapitre 8 Création de listes de film et de listes de modification 181 I Pour enregistrer les réglages actuels : 1 Cliquez sur le bouton Save Settings. 2 Dans la zone de dialogue qui s’ouvre, saisissez un nom de fichier et un emplacement pour le fichier de réglages. 3 Cliquez sur Enregistrer. Pour charger un fichier de réglages : 1 Cliquez sur le bouton Load Settings. 2 Sélectionnez le fichier de réglages, puis cliquez sur Ouvrir. Voici la liste des éléments que vous pouvez faire figurer dans une liste de film PDF que vous exportez. Nom de l’élément Nom PDF Contenu Pieds et images Footage Piétage courant en commen- çant à la valeur Starting Footage Temps Time Timecode courant en commen- çant à la valeur Starting Time Comptage Count Numéro d’image courant en commençant à la valeur Starting Count Longueur métrage Longueur Longueur de chaque événement en pieds et images Longueur temps Longueur Longueur de chaque événement en timecode Longueur comptage Longueur Longueur de chaque événement en images Numéros de clés Prefix and Key Numéro de bord source de début de chaque événement Codification manuelle Prefix and Ink Codification manuelle de début de chaque événement Bande source Bande Numéro de la bande source Temps source Src Time Numéro de timecode de début de chaque événement Bobine de caméra Cam Roll Numéro de bobine de caméra Bobine de laboratoire Lab roll Numéro de bobine de laboratoire Bobine journalière Dly Roll Numéro de bobine journalière Nom du clip Clip name Nom du plan source Scène et prise Scene and Take Réglages de scène et prise182 Partie I Utilisation de Cinema Tools Création de listes de modification Une liste des modifications énumère les différences entre deux versions d’une même séquence montée dans Final Cut Pro. Sa raison d’être est la description des modifications apportées à la copie de travail ou au négatif depuis qu’elle ou il fut conformé(e) à une version antérieure de la séquence. Lorsque vous exportez un fichier de liste des modifications, vous pouvez aussi exporter une nouvelle liste de conformation (et d’autres listes de film) pour la séquence. Vous avez aussi la possibilité de générer une liste Pull de modification qui répertorie les bobines de film dans l’ordre où elles doivent être tirées afin d’ajouter de nouveaux extraits de film à la copie de travail. De plus, vous pouvez inclure une liste des éliminés reprenant les sections à supprimer. Remarque : seules les listes des modifications au format PDF sont prises en charge. Quand utilise-t-on des listes de modification ? Les listes de modification sont habituellement utilisées dans des processus de travail cycliques mettant en œuvre à la fois un montage numérique et des copies de travail. Plus de modifications nécessaires Final Cut Pro avec base de données Cinema Tools Montage de la séquence Conformation de la copie de travail à la liste de modifications Conformation de la copie de travail à la cut list Projection de la copie de travail Création de la copie de travail Conformation du négatif original à la cut list et à la copie de travail les plus récentes Transfert sur bande vidéo Exportation de la cut list Oui Non Exportation de la liste de modifications et de la cut list 1 2Chapitre 8 Création de listes de film et de listes de modification 183 I Voici un flux de production de liste des modifications typique : Étape 1 : faites une copie de travail du négatif de la caméra originale dans laquelle la codification manuelle est appliquée à la bordure et faites une vidéo de transfert télécinéma de la copie de travail Étape 2 : montez la vidéo de la copie de travail dans un système de montage numé- rique et exportez la liste de conformation (généralement basée sur la codification manuelle) à utiliser comme guide pour la conformation de la copie de travail Étape 3 : visionnez la copie de travail montée et décidez ce que vous allez ajouter ou couper au film Étape 4 : apportez toutes les modifications souhaitées au film dans le système de montage numérique Étape 5 : exportez une liste des modifications contenant des instructions sur la modification de la copie de travail pour la conformer à la nouvelle version du film Étape 6 : en utilisant la liste des modifications comme guide, conformez la copie de travail afin qu’elle corresponde à la nouvelle version du film Répétez les étapes 3 à 6 jusqu’à ce que le film soit verrouillé. Finalement, le négatif original est monté pour correspondre à la copie de travail et à la cut list finales. Exportation de listes des modifications à l’aide de Final Cut Pro L’exportation d’une liste des modifications est similaire à l’exportation d’une cut list. Notez ce qui suit avant de commencer :  Seules les premières pistes vidéo sont comparées : une liste des modifications décrit les différences entre la piste vidéo 1 d’une séquence et la piste vidéo 1 d’une autre séquence. Elle ne décrit pas d’autres pistes vidéo ou audio.  Évitez de modifier la base de données Cinema Tools entre deux exportations de listes de modification : lorsqu’une base de données est modifiée après l’exportation de la liste précédente, la nouvelle liste des modifications risque de ne pas être fiable. Toutefois, si vous avez modifié la base de données après l’exportation de la liste précédente, vous pouvez éliminer ce risque en exportant une nouvelle liste de conformation de la séquence précédente et en enregistrant un nouveau fichier de programme. Utilisez ensuite ce fichier de programme lorsque vous exportez la liste des modifications.  Si vous avez mis chaque bande dans une séquence distincte dans Final Cut Pro et souhaitez équilibrer des bandes : procédez à l’équilibrage des bandes après toutes les autres modifications. Consultez la section « Si vous devez équilibrer les bobines » à la page 186 pour en savoir plus.  Les listes des modifications utilisent le format contrairement aux listes de film, qui peuvent être soit au format PDF soit au format XML, les listes des modifications ne sont qu’au format PDF.184 Partie I Utilisation de Cinema Tools Remarque : consultez la section « Utilisation de la fonctionnalité d’exportation de liste de modifications depuis Cinema Tools » à la page 189 pour des informations sur l’exportation de listes des modifications à l’aide de Cinema Tools. Pour exporter une liste des modifications à l’aide de Final Cut Pro : 1 Dans Final Cut Pro, sélectionnez la nouvelle version de la séquence, puis choisissez Fichier > Exporter > Liste de modifications Cinema Tools. 2 Dans la zone de dialogue qui s’affiche, sélectionnez le fichier de programme (.pgm) que vous avez sauvegardé lorsque vous avez exporté une liste pour la version antérieure de la séquence. (Il contient des informations nécessaires sur la séquence précédente.) 3 Dans la zone de dialogue Exporter la Liste de modification qui apparaît, configurez les réglages, puis cliquez sur OK. À propos des listes de modification, des effets, des vides et des bandes-son Si vous ajoutez des effets de mouvement à un programme, un trucage optique devra être réalisé et la longueur de la portion de film concernée sera modifiée, la synchronisation s’en trouvera donc affectée. L’assistant réalisateur qui conforme la copie de travail doit savoir où placer des éléments de remplissage afin de conserver la synchronisation pendant la réalisation du trucage. C’est pourquoi Cinema Tools énumère les effets de mouvement dans la liste des modifications de la même façon que les information d’amorce. Pour les effets de mouvement, « Insert Leader » apparaît dans la colonne Do This, tandis que « Effect » est affiché dans la colonne First/Last Key. Les vides d’une séquence sont également décrits comme des amorces dans les listes de modification. Une liste des modifications ne fournit pas d’informations sur les transitions,les titres superposés, les filtres ni les bandes son. Cependant, pour vérifier si des transitions ou des surimpressions ont été modifiées ou ajoutées, il est possible d’exporter une cut list ou une liste optique pour chaque séquence et de comparer les listes. Ou bien, si vous marquez les transitions sur la copie de travail, il est possible d’exporter une cut list avec la liste des modifications, puis de faire passer la copie de travail conformée dans le synchronisateur, en notant le début ou la fin des transitions à différents endroits de la cut list. Chapitre 8 Création de listes de film et de listes de modification 185 I Consultez la section « Réglages dans la zone de dialogue Exporter la Liste de modifications » à la page 187 pour en savoir plus. Lorsque vous sélectionnez les listes de film dans la section Réglages de la zone de dialogue Exporter la Liste de modifications, le fichier de liste de modifications contient (outre les options de liste de modifications sélectionnées) le même contenu que si vous exportiez ces listes à l’aide de la zone de dialogue Exporter les listes de films. Remarque : gardez à l’esprit que les réglages suivants doivent être les mêmes pour les deux séquences que vous comparez : le format de film, la vitesse télécinéma, le fait que les numéros de bord ou la codification manuelle figurent dans la zone Colonnes incluses ou non et le fait que vous ayez sélectionné la case « Commencer avec 8 secondes d’amorce » ou non. Les deux séquences doivent aussi avoir la même base temps (définie dans Final Cut Pro). 4 Dans la zone de dialogue qui apparaît, saisissez un nom de fichier et choisissez un emplacement. 5 Cliquez sur Choisir une base de données pour sélectionner la base de données associée au plans dans les séquences que vous comparez. (Veillez à sélectionner la même base de données que celle utilisée lors de l’exportation de la liste précédente.) 6 Cliquez sur Enregistrer. Ces listes fournissent des informations sur la séquence entière. Ces listes fournissent des informations sur les modifications.186 Partie I Utilisation de Cinema Tools 7 Si vous avez sélectionné « Enregistrer un fichier de programme Cinema Tools », saisissez le nom de fichier et l’emplacement dans la zone de dialogue qui apparaît. Donnez au fichier de programme un nom qui identifie clairement la séquence et la version afin de pouvoir le localiser facilement ultérieurement le jour où vous devez exporter une autre liste des modifications. Un fichier de liste des modifications contenant toutes les listes que vous avez sélectionnées dans la zone de dialogue Exporter la Liste de modifications est généré. Si vous devez équilibrer les bobines Lors de l’équilibrage de bobines, les points d’entrée et de sortie des bobines sont répartis à nouveau afin de s’assurer que la longueur de chaque bobine se trouve dans la plage correcte. Si vous souhaitez effectuer un équilibrage de bobines dans Final Cut Pro, réalisez les opérations d’équilibrage séparément de tout autre changement. Pour déplacer une scène du début d’une bobine à la fin d’une autre, par exemple, conformez d’abord les deux bobines en fonction des listes de modifications exportées de leurs séquences correspondantes. Ensuite, dans Final Cut Pro, coupez la scène à partir du début de la séquence pour la bobine 1, puis collez-la à la fin de la séquence pour la bobine 2. Enfin, exportez les nouvelles listes de modifications et de conformation pour les deux séquences, puis utilisez ces listes comme guides pour équilibrer les deux bobines. Les plans supprimés d’une bobine doivent avoir exactement la même longueur que les plans ajoutés à l’autre.Chapitre 8 Création de listes de film et de listes de modification 187 I Réglages dans la zone de dialogue Exporter la Liste de modifications La zone de dialogue Exporter la Liste de modifications accessible à partir de Final Cut Pro contient les mêmes réglages que la zone de dialogue Exporter les listes de films (décrite à la section « Réglages communs aux deux zones de dialogue d’exportation » à la page 176) et les mêmes options de colonne PDF (décrites à la section « Réglages de configuration PDF dans la zone de dialogue Exporter les listes de films » à la page 179, sauf pour les exceptions et les ajouts décrits ci-après.  Transitions : le meilleur choix pour le traitement des transitions lors de l’exportation d’une liste des modifications est « Toutes des cuts », dans laquelle les transitions sont représentées par une ligne de coupe au milieu de chacune d’elles, qu’elles soient de longueur standard ou non. Cinema Tools ajoute des notes à la cut list (exportée avec la liste des modifications) pour indiquer les emplacements de début et de fin de la transition pour les plans d’ouverture et les plans de fermeture. Ces notes peuvent servir de guide pour marquer les transitions sur la copie de travail conformée. Consultez la section « Réglages communs aux deux zones de dialogue d’exportation » à la page 176 pour des informations sur les autres réglages.  Options de la liste des modifications : les options suivantes contrôlent ce qui est inclus dans les liste de modifications :  Liste des épreuves : sélectionnez cette option pour ajouter une liste Pull de modification où apparaît toute portion de film devant être ajoutée à la copie de travail.  Liste Éliminés : sélectionnez cette option pour ajouter une liste de chutes qui ne répertorie que les plans à supprimer de la copie de travail. 188 Partie I Utilisation de Cinema Tools  Afficher uniquement modifications : si cette option est sélectionnée, la liste des modifications ne contient que des entrées relatives aux nouvelles modifications. Le métrage inchangé n’est pas affiché. (Toutefois, si vous sélectionnez la case Cut List, une liste de conformation contenant l’ensemble du métrage de la séquence, y compris le métrage inchangé, est incluse dans le fichier de liste des modifications.)  Combiner les suppresions : si vous sélectionnez cette option, les suppressions de métrages contigus sont énumérées comme une seule et même suppression plutôt que comme des suppressions individuelles. Cela indique à l’assistant réalisateur que ces portions doivent être coupées en une seule lift, pièce et conservées intactes plutôt que sous la forme de petits morceaux séparés. Les assistants réalisateurs préfèrent généralement procéder de cette manière car cela rend l’opération plus simple et plus rapide. À propos des éléments et des listes des modifications PDF Contrairement aux listes de conformation, les listes des modifications ne peuvent quasiment pas être personnalisées. Les listes des modifications fournissent des informations spécifiques et doivent posséder les colonnes nécessaires pour ces informations. Toutefois, les éléments que vous faites glisser dans la colonne de droite de la zone de dialogue Exporter la Liste de modifications peuvent avoir une incidence sur le type de données affiché dans ces colonnes. Vous devez ajouter un élément pour chacune de ces trois catégories :  Name identifier : « Scène et prise » ou « Nom du clip »  Roll number : « Bobine de caméra », « Bobine de laboratoire » ou « Bobine journailière »  Edge code : « Numéro de clés » ou « Codification manuelle » Important : si vous ajoutez plusieurs éléments du même type (par exemple, si vous ajoutez « Numéro de clés » et « Configuration manuelle » à la colonne de droite dans la zone de dialogue Exporter la Liste de modifications), c’est le premier qui apparaît dans la colonne de droite qui sera utilisé par la liste des modifications. Si vous décidez d’inclure une liste de conformation dans la liste des modifications, vous pouvez ajouter des éléments supplémentaires à la colonne de droite et les mettre dans l’ordre dans lequel ils doivent apparaître dans la liste de conformation.Chapitre 8 Création de listes de film et de listes de modification 189 I Utilisation de la fonctionnalité d’exportation de liste de modifications depuis Cinema Tools Si la version la plus récente d’une séquence n’est pas disponible ou facilement accessible, ou si elle est endommagée, vous pouvez toujours créer une liste des modifications tant que vous disposez des fichiers de programme (.pgm) exportés des deux séquences à comparer. Vous pouvez exporter la liste des modifications à partir de Cinema Tools à l’aide des fichiers de programme, au lieu d’exporter la liste des modifications à partir de Final Cut Pro (où vous devez sélectionner une séquence). Lorsque vous exportez une liste des modifications à partir de Cinema Tools, vous ne pouvez pas inclure de liste de conformation ni aucune des autres listes de film que vous pouvez exporter à l’aide de la zone de dialogue Export Film Lists ; vous ne pouvez exporter que les listes et les informations spécifiques aux listes des modifications. Pour ouvrir la zone de dialogue Export Change List depuis Cinema Tools : m Sélectionnez File>Export>Change List. Le logiciel vous invite à saisir les emplacements des fichiers de programme ainsi que le nom et l’emplacement de la liste des modifications. Pour en savoir plus sur les réglages de cette zone de dialogue, consultez la section « Réglages dans la zone de dialogue Exporter la Liste de modifications » à la page 187.9 191 9 Observations à propos de l’exportation et création de listes EDL audio Une fois que vous avez monté votre projet, vous voudrez sans doute l’exporter sur bande vidéo, exporter l’audio ou exporter une liste EDL audio basée sur le projet monté. La principale raison d’être de Cinema Tools est de permettre de générer des listes de conformation. Vous pouvez, dans la plupart des projets, créer d’autres éléments utiles à partir de votre film monté :  une bande vidéo du film : elle peut servir à montrer le film à d’autres personnes ou constituer un guide visuel pour le monteur négatif. Certains éléments comme la vitesse de défilement du montage ou le matériel spécialisé nécessaire sont à prendre en considération. Pour plus de détails, consultez la section « Observations à propos de l’exportation sur bande vidéo, ».  un fichier contenant la bande-son du programme : on crée généralement ce fichier lorsque l’on souhaite utiliser l’audio du programme, mais aussi le finaliser à l’aide d´un logiciel audio spécialisé ou dans un studio de postproduction audio. Il existe pour cela plusieurs approches et vous devez être conscient de certains points. Consultez la section « Observations à propos de l’exportation audio » à la page 192 pour en savoir plus.  une liste EDL audio : vous avez besoin d’une telle liste si vous voulez recapturer l’audio à l’aide d’un équipement spécialisé et le remonter à l’aide du timecode audio à partir du programme monté. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour en savoir plus.192 Partie I Utilisation de Cinema Tools Observations à propos de l’exportation sur bande vidéo Il se peut que vous souhaitiez produire une bande vidéo de votre programme monté, soit pour en faciliter le visionnage soit pour fournir une référence visuelle au monteur de film. Il existe plusieurs manières de créer une bande vidéo à partir d’un programme monté, et ces différentes méthodes sont expliquées dans la documentation de Final Cut Pro. Toutefois, si vous avez monté la vidéo à 24 ips et que vous souhaitez créer une vidéo au format PAL ou NTSC, les points suivants sont à prendre en considération. Lorsque vous créez une bande vidéo à partir d’une séquence à 24 ips, certains appareils de sortie vidéo créent un signal NTSC ou PAL en ajoutant les trames supplémentaires nécessaires au passage de 24 ips à 25 ips ou 29,97 ips. Une telle bande est généralement adaptée au visionnage, mais elle n’est pas suffisamment précise pour servir de référence visuelle pour le montage du négatif. N’oubliez pas de prévenir le monteur de film si vous avez rencontré des problèmes avec la bande vidéo (comme, par exemple, si la vidéo affiche de temps en temps la mauvaise image). Observations à propos de l’exportation audio Selon l’étendue de vos besoins pour le projet, il est possible que vous puissiez utiliser directement l’audio déjà monté dans Final Cut Pro dans la copie d’exploitation du film. La plupart du temps il faudra effectuer la finition du montage audio soit à l’aide d’une application spécialisée, soit dans un studio spécialisé dans le traitement final du son. C’est généralement à ce stade que l’on ajoute ou améliore le bruitage, la musique et les dialogues. Il y a un certain nombre d’éléments à prendre en considération lorsque vous exportez de l’audio :  le type de fichier audio requis : vous pouvez exporter un fichier Open Media Framework (OMF) ou Audio Interchange File Format (AIFF).  la vitesse audio : en fonction de la manière dont la vidéo a été transférée, il est possible que vous ayez légèrement modifié la vitesse audio pour conserver la synchronisation. Si vous avez décidé de recapturer et de faire remonter l’audio dans un studio de postproduction audio, consultez la section « Exportation d’une liste EDL audio » à la page 193 pour les détails. Fichiers OMF Un fichier OMF contient non seulement le son, mais aussi une description des opérations de montage du son. Les stations de travail audio numériques (DAW) capables d’importer des fichiers OMF peuvent tirer parti de la disponibilité des points d’entrée et de sortie des coupes ainsi que d’autres informations, tels que les fondus enchaînés, pour effectuer de petites modifications. Les fichiers OMF contiennent généralement toutes les pistes audio utilisées dans le film (d’autres formats d’exportation sont plus limités).Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio 193 I Un autre avantage des fichiers OMF, c’est qu’ils peuvent contenir l’audio et des informations sur le montage provenant de sources non basées sur le timecode, comme, par exemple, du contenu de CD audio. (Les listes EDL audio ne décrivent que les coupes faites sur des sources basées sur le timecode et ne contiennent aucune référence à des sources comme, par exemple, des CD audio.) Consultez la documentation de Final Cut Pro pour plus d’informations sur l’exportation de fichiers OMF. Fichiers AIFF Un fichier AIFF ne contient que l’audio et ne peut pas être modifié facilement. Vous devez exporter un fichier séparé pour chaque piste audio. Comme les fichiers OMF, les fichiers AIFF peuvent contenir de l’audio provenant de sources non basées sur le timecode, comme, par exemple, du contenu de CD audio. (Les listes EDL audio ne décrivent que les opérations de montage basées sur le timecode.) Consultez la documentation de Final Cut Pro pour des informations sur l’exportation de plusieurs pistes sous la forme de fichiers AIFF. Vitesse Audio La vitesse de lecture de l’audio monté est souvent légèrement différente de la vitesse de l’enregistrement initial (la vitesse naturelle). Cette différence compense les variations de vitesse de la pellicule se produisant lors du transfert télécinéma. Lorsque vous effectuez un montage à 29,97 ips ou 23,98 ips, le son défile à 0,1 pour cent moins vite que sa vitesse naturelle. Si vous montez à 25 ips et si la vitesse du film de transfert télécinéma était de 25 ips, l’audio est 4 pour cent plus rapide. Cette différence de vitesse est maintenue si vous exportez un fichier AIFF ou OMF. N’oubliez pas de vous renseigner sur les exigences de votre studio de postproduction audio en matière de vitesse de l’audio avant d’exporter les fichiers. Exportation d’une liste EDL audio À l’instar du montage vidéo final de Final Cut Pro, qui n’est en général pas utilisé pour la conformation du négatif, le montage audio n’est en général pas utilisé. Si vous prévoyez de recapturer et de faire remonter l’audio dans un studio de postproduction audio, vous avez besoin d’une liste EDL audio (ou liste EDL) indiquant comment les clips audio sont utilisés dans le montage. Alors que la liste EDL Final Cut Pro contient des informations vidéo et audio, elle peut ne pas contenir de références aux timecodes et au numéros de bande provenant des bandes audio de production originales ; cela dépend de la façon dont les plans ont été capturés et de la façon dont la vidéo a été synchronisée avec l’audio. Une base de données Cinema Tools permet de générer une liste EDL audio avec les timecode et numéros de bobine de la production originale.194 Partie I Utilisation de Cinema Tools Emplacement du timecode audio Les productions de film utilisent l’enregistrement à deux systèmes (une caméra et un magnétoscope) pour capturer les images et le son. Vous devez synchroniser ces deux systèmes, soit au cours du transfert télécinéma, soit avant la capture des plans avec Final Cut Pro. Si votre audio est synchronisé pendant le transfert télécinéma et enregistré sur les pistes audio de la bande vidéo, le timecode et le numéro de bande de la bande audio source originale ne sont plus indiqués dans le clip et toutes les coupes, dans Final Cut Pro, ne font plus référence qu’au timecode vidéo et au numéro de bande. Heureusement, la liste télécinéma crée pendant le transfert contient généralement les informations audio, ce qui permet de les ajouter à la base de données lorsque vous importer la liste télécinéma dans Cinema Tools. Vous pouvez également possible saisir manuellement les informations audio si aucune liste télécinéma n’est disponible. Using Cinema Tools to Export an Audio EDL Cinema Tools peut exporter une liste EDL audio tant que sa base de données contient, dans chaque enregistrement, des informations précises sur le son (un numéro de timecode audio correspondant à la première image vidéo du plan ainsi que le numéro de bobine audio). À cause de la façon dont l’audio est enregistré pendant la production (en utilisant l’enregistrement à deux systèmes, un enregistreur audio qui est lancé et arrêté indépendamment de la caméra), la fonction Export Audio EDL de Cinema Tools ne peut être utilisée que lorsque la base de données du projet contient un enregistrement par prise (comme pour les transferts scène-prise). Il est impératif que la valeur qui figure dans le champ Sound Timecode corresponde à la première image vidéo du plan. C’est habituellement le cas lorsque vous importez les informations relatives au son depuis une liste télécinéma. Utilisez la fonction Identify de la fenêtre Clip pour saisir (ou vérifier) la valeur du timecode audio d’un point connu dans le plan (généralement à la fermeture du clap). À partir de cette valeur, Cinema Tools calcule le timecode pour la première image. Consultez la section « Utilisation de la fonction Identify pour saisir et calculer des informations de base de données » à la page 102 pour obtenir des informations sur l’utilisation de la fonction Identify de cette façon. Une fois le montage terminé et les informations de numéro de bobine et de timecode audio ajoutées à la base de données, vous êtes prêt pour exporter la liste EDL audio. Pour exporter une liste EDL audio : 1 Dans la Chronologie ou le Navigateur de Final Cut Pro, sélectionnez la séquence de laquelle vous souhaitez exporter une liste EDL audio. 2 Sélectionnez Fichier > Exporter > EDL audio Cinema Tools. Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio 195 I Cinema Tools s’ouvre et la zone de dialogue Export Audio EDL s’affiche. 3 Entrez et sélectionnez des réglages dans la zone de dialogue Export Audio EDL, puis cliquez sur OK. Pour obtenir des informations sur ces réglages, consultez la section « Paramètres de la zone de dialogue Export Audio EDL, » ci dessous. 4 Dans la zone de dialogue qui s’affiche, sélectionnez le fichier de base de données Cinema Tools à utiliser, puis cliquez sur Choose. Une fois la base de données sélectionnée, Cinema Tools commence à y faire correspondre des événements de la séquence :  Pour chaque opération de montage impliquant une piste activée dans la zone de dialogue Export Audio EDL, Cinema Tools inspecte la base de données pour vérifier si le plan vidéo de cette opération est connecté à l’un des enregistrements de la base de données. Si ce n’est pas le cas, il utilise le numéro de bande vidéo de la coupe pour essayer de localiser un enregistrement qui contient les points d’entrée et de sortie du timecode de la coupe. Consultez la section « Utilisation des pistes audio » à la page 198 pour obtenir des informations sur les pistes audio.  Si Cinema Tools trouve un enregistrement valable, il vérifie si ce dernier comprend des informations audio (timecode et numéro de bobine). Si c’est le cas, une entrée est ajoutée à la liste EDL et Cinema Tools passe à la coupe suivante.  Il est possible que Cinema Tools ne soit pas en mesure de faire correspondre toutes les opérations de montage audio dans la séquence. Cela peut être dû à des enregistrements de base de données incomplets ou à l’utilisation du son provenant d’autres sources que les bandes sonores listées. Pour les coupes qui ne peuvent pas être remises en relation avec la base de données, une entrée est ajoutée à la liste EDL en utilisant les informations de bande et de timecode provenant de la séquence et cette entrée est identifiée par un astérisque en regard du nom de la bande. Un commentaire précisant qu’aucun enregistrement de la base données n’a été trouvé est également ajouté à l’entrée de liste EDL.196 Partie I Utilisation de Cinema Tools Cinema Tools crée deux fichiers lors de l’exportation : un fichier au format de liste EDL CMX 3600 et un fichier texte contenant des informations sur l’exportation de la liste EDL :  Le format de liste EDL CMX 3600 est très utilisé comme norme pour les échanges de listes EDL et devrait être accepté par pratiquement tous les studios.  Le fichier texte créé en même temps que le fichier EDL utilise le nom de fichier de la liste EDL et y ajoute une extension « .txt ». Le fichier contient des informations concernant la séquence utilisée ainsi que tous les paramètres de la zone de dialogue Export Audio EDL, y compris le nombre de pistes et leur affectation. Il répertorie également les erreurs survenues pendant l’exportation. Paramètres de la zone de dialogue Export Audio EDL Cinema Tools utilise des informations provenant de la séquence pour remplir plusieurs champs de la partie supérieure de la zone de dialogue Export Audio EDL :  File : nom du programme Cinema Tools que vous venez d’ouvrir. Il n’est utilisé que lors de l’exportation de listes EDL audio directement à partir de Cinema Tools. Consultez la section « Utilisation de la fonction Export Audio EDL à partir de Cinema Tools » à la page 198 pour en savoir plus.  Audio Tracks : nombre de pistes audio utilisées dans la coupe.  Project name : nom de la séquence Final Cut Pro sur laquelle le fichier est basé.  Project timebase : fréquence d’images de la séquence dans la Chronologie.  Start time : heure de début de la séquence qui est assignée dans la fenêtre Audio/Video Settings de Final Cut Pro.  EDL Title : nom de la liste EDL. Par défaut, il s’agit du même nom que le nom de projet de la séquence.  EDL start time and timecode format : heure de début de la liste EDL et format de timecode à utiliser. Par défaut, l’heure de début est la même que l’heure de début de la séquence. Il est recommandé de ne pas modifier l’heure de début, sauf si votre studio de postproduction audio vous le demande.Chapitre 9 Observations à propos de l’exportation et création de listes EDL audio 197 I Le reste de la zone de dialogue contient des champs et des commandes servant à configurer la liste audio EDL :  Audio Mapping : sert à affecter chacune des huit pistes audio de séquence possibles aux quatre pistes EDL audio (nombre maximal géré par des listes EDL audio). Consultez la section « Utilisation des pistes audio, » pour des détails sur la configuration de ces réglages.  Include clip comments : lorsque cette option est sélectionnée, la liste EDL audio contient le nom de fichier du clip (s’il est connu) sous la forme d’un commentaire pour chaque événement de la liste.  Include scene and take comments : lorsque cette option est sélectionnée, la liste EDL audio contient les numéros de scène et de prise sous la forme de commentaires pour chaque événement de la liste.  Open in text editor : lorsque cette option est sélectionnée, la liste EDL audio exportée s’ouvre dans l’éditeur de texte spécifié dans le menu local. La liste EDL audio étant un fichier texte, l’application TextEdit est habituellement utilisée.198 Partie I Utilisation de Cinema Tools Utilisation des pistes audio Bien que Final Cut Pro prenne en charge de nombreuses pistes audio, la fonction Export Audio EDL de Cinema Tools ne tient compte que des huit premières et les listes EDL audio n’en prennent en charge que quatre. La zone de dialogue Export Audio EDL contient des réglages pour chacune des huit pistes audio possibles vous permettant de les mettre en correspondance avec les quatre pistes de la liste EDL. Les sélections de configuration de piste sont actives pour les pistes qui sont incluses dans la séquence (elles ne sont pas disponibles pour les autres). Bien qu’il soit possible d’affecter plusieurs pistes à une seule piste EDL, la liste EDL qui en résulte peut être confuse et comporte souvent des erreurs. Comme il n’est pas possible de mettre les huit pistes sur les quatre pistes de la liste EDL, vous devez exporter deux listes EDL : une liste EDL en ayant activé les pistes 1 à 4 (et désactivé les autres) et une autre liste EDL en ayant activé les pistes 5 à 8. Sachez que certains monteurs son peuvent préférer une seule piste par liste EDL, ce qui vous oblige à exporter plusieurs listes EDL audio. N’oubliez pas de consulter votre monteur son avant d’exporter la liste EDL audio. Utilisation de la fonction Export Audio EDL à partir de Cinema Tools Vous utiliserez souvent la fonction Export Audio EDL de Cinema Tools à partir de Final Cut Pro. Vous pouvez utiliser cette fonction à partir de Cinema Tools, mais comme la séquence montée n’est pas directement disponible pour Cinema Tools, une étape supplémentaire consistant à créer un fichier de programme Cinema Tools est nécessaire. Final Cut Pro crée un fichier de programme Cinema Tools si vous sélectionnez « Save a Cinema Tools program file » dans la zone de dialogue Export Film Lists. Un fichier de programme Cinema Tools contient des informations sur le montage de la séquence, présentées dans un format utilisable par Cinema Tools pour créer la liste EDL audio. Les autres réglages de la zone de dialogue Export Film Lists, comme, par exemple, s’il faut inclure les différentes listes disponibles ou pas, n’ont pas d’incidence sur le fichier de programme.10 199 10 Utilisation de fichiers EDL, XML et ALE externes Utilisation de Cinema Tools pour des projets commencés sur d’autres systèmes. Il se peut que vous souhaitiez un jour créer des listes de film, y compris une liste de conformation, basées sur des coupes provenant d’un système de montage autre que Final Cut Pro ou d’une installation Final Cut Pro d’un autre ordinateur. C’est pourquoi Cinema Tools vous permet de générer des listes de film basées sur des listes EDL (pour l´anglais Edit Decision Lists) crées avec Final Cut Pro et d’autres systèmes ainsi que des listes de film basées sur des fichiers XML Final Cut Pro. Cinema Tools permet également l’importation et l’exportation de fichiers ALE (Avid Log Exchange). Ces fichiers contiennent la plupart des informations sur le film, la bande vidéo et l’audio, que l’on trouve dans une base de données Cinema Tools, dans un format compatible avec la plupart des systèmes de montage basés sur film. Les fichiers ALE ne contiennent pas d’informations sur les coupes (telles qu´on trouve dans une liste EDL). Création de listes de film basées sur une liste EDL ou un fichier XML Les points à prendre en compte lorsqu’on crée des listes de film depuis Final Cut Pro sont les mêmes dans les autres applications de montage vidéo. Il faut que :  la base de données Cinema Tools doit être complète, exacte et contenir les informations du film et du timecode ;  le timecode vidéo et les numéros de bande du fichier EDL ou XML correspondent exactement à ceux qui figurent dans la base de données Cinema Tools  vous devez savoir comment gérer les problèmes de vitesse audio qui peuvent dérégler la synchronisation avec l’image.200 Partie I Utilisation de Cinema Tools Tous les aspects liés au transfert télécinéma, notamment le choix d’un transfert « sceneand-take » ou « camera-roll », sont également à prendre en compte. Rappelez-vous que la meilleure manière de créer une base de données Cinema Tools est de le faire à partir d’une liste télécinéma produite lors d’un transfert « scene-and-take ». Consultez le chapitre 4, « Création et utilisation d’une base de données Cinema Tools », à la page 69 pour des informations sur la création d’une base de données Cinema Tools. Important : lorsque vous exportez des listes de film à partir d’un fichier EDL ou d’un fichier XML, Cinema Tools doit utiliser la méthode du timecode de la création de liste de film. Assurez-vous par conséquent de l’exactitude des timecodes vidéo de la base de données, car ils servent de seule et unique référence pour la création des listes (les plans ne sont pas pris comme référence). Il y a deux façons de générer des listes de film à partir d’une liste EDL :  Utiliser les commandes Export de Cinema Tools : cette méthode est la plus simple. Consultez la section « Utilisation des commandes Export de Cinema Tools, » ci-après.  Importer la liste EDL dans une séquence Final Cut Pro : cette méthode est un peu plus laborieuse mais présente l’avantage d’afficher les points de coupes sur une timeline (sans vidéo ni audio si les plans ne sont pas disponibles). Si les plans sont disponibles, il est possible de lire et de modifier la séquence avant d’exporter les listes. Pour des informations sur l’importation de listes EDL, consultez la documentation de Final Cut Pro. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 de ce manuel pour des détails sur la génération de listes de film à partir de Final Cut Pro. Utilisation des commandes Export de Cinema Tools En plus de la base de données Cinema Tools, vous devez disposer d’un fichier EDL ou d’un fichier XML adéquat pour créer des listes de film à partir de Cinema Tools. Caractéristiques requises des listes EDL Cinema Tools prend en charge les listes EDL aux formats CMX 3600 et GVG. En règle générale, toutes les options « pre-read » ou « B-reels » doivent être désactivées, car elles s’appliquent directement au montage sur bande. Le cas échéant, Cinema Tools peut travailler avec des données « pre-read », mais le nom de la bande « pre-read » doit être PREREAD. N’oubliez pas d’inclure des commentaires car ces derniers permettent d’afficher les noms des plans, des transitions et des effets. Ils seront reconnus par Cinema Tools et insérés dans les commentaires de la cut list. Les noms de bandes qui apparaissent dans la liste EDL doivent concorder avec ceux de la base de données Cinema Tools. La moindre différence, comme, par exemple, une espace ou un « 0 » initial supplémentaire (« 001 » au lieu de « 0001 ») peut provoquer des problèmes. Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 201 I Vous devez également savoir que certains systèmes de montage modifient les noms des bandes lors de l’exportation des listes EDL. Le format CMX 3600 autorise des noms de huit caractères maximum et uniquement les chiffres et les lettres majuscules (pas d’espaces). Une liste de conversion des bandes est souvent ajoutée à la fin de la liste EDL pour aider à solutionner les éventuels problèmes de noms. Vous pouvez utiliser la commande Change Reel de Cinema Tools pour modifier toutes les occurrences d’un nom de bande dans la base de données afin d’obtenir une concordance exacte avec la liste EDL (vous pouvez par exemple remplacer tous les noms Tape 004 par TAPE004). Consultez la section « Modification de tous les identifiants de bobine ou de bande » à la page 107 pour en savoir plus. Normes vidéo EDL Les listes EDL sont créées en prenant comme référence les points de timecode vidéo. Cela signifie que les listes EDL ont généralement une fréquence d’images de 29,97 ips (NTSC), 25 ips (PAL), ou 23,98 ips ou 24 ips (selon soit la fréquence d’images du film, soit la fréquence d’images de la vidéo 24p). De plus, les listes EDL NTSC doivent contenir une ligne commençant par « FCM » près du début. Cela indique si le timecode est « drop frame » ou « non-drop frame ». Les timecodes PAL et 24 ips sont toujours « non-drop frame » et ne nécessitent pas la ligne commençant par « FCM » (bien qu’ils puissent apparaître comme non-drop frame). Malheureusement, une liste EDL n’inclut pas de ligne indiquant sa vitesse. Cinema Tools considère que la vitesse de la liste EDL est la même que celle de la dernière base de données ouverte. Il est par conséquent conseillé d’ouvrir la base de données avec laquelle la liste EDL sera utilisée, avant d’exporter les listes de film. Important : c’est à vous de connaître la fréquence d’images de la liste EDL et de vous assurer qu’elle correspond à la base de données avec laquelle elle est utilisée. Conditions requises pour le XML Cinema Tools prend en charge les fichiers XML Final Cut Pro. Comme les fichiers XML contiennent bien plus d’informations sur une séquence montée qu’un fichier EDL, le format XML est le format recommandé pour l’exportation de listes de film à l’aide de Cinema Tools. Exportation de listes de film à partir de Cinema Tools Le processus d’exportation d’une liste de film à partir de Cinema Tools est similaire, qu’il soit basé sur un fichier EDL ou XML. Dans les deux cas, vous pouvez exporter une liste de film au format PDF ou au format XML.202 Partie I Utilisation de Cinema Tools Pour créer des listes de film à l’aide de la commande Export de Cinema Tools : 1 Ouvrez la base de données Cinema Tools correspondant au fichier EDL ou XML que vous allez utiliser pour créer les listes de film. Cela permet de s’assurer que la fréquence d’images de la liste et la fréquence d’images de la base de données correspondent. 2 Procédez de l’une des manières suivantes :  Pour exporter une liste de film au format PDF basée sur un fichier EDL : choisissez File > Export > Film Lists from EDL.  Pour exporter une liste de film au format XML basée sur un fichier EDL : choisissez File > Export > XML Film Lists from EDL.  Pour exporter une liste de film au format PDF basée sur un fichier XML Final Cut Pro : choisissez File > Export > Film Lists from XML.  Pour exporter une liste de film au format XML basée sur un fichier XML Final Cut Pro : choisissez File > Export > XML Film Lists from XML. 3 Sélectionnez le fichier EDL ou XML dans la zone de dialogue qui apparaît, puis cliquez sur Choose. 4 Choisissez l’emplacement et le nom du fichier de liste de film à créer, puis cliquez sur Save. Remarque : si Cinema Tools rencontre des problèmes au cours du traitement du fichier EDL, le message « parsing error » (erreur d’analyse) s’affiche. Il indique le numéro de la ligne où l’erreur s’est produite. Consultez la section « Que se passe-t-il avec la liste EDL ? » à la page 203 pour en savoir plus. 5 Dans la zone de dialogue Export Film Lists Cinema Tools, choisissez les réglages souhaités, puis cliquez sur OK. Consultez le chapitre 8, « Création de listes de film et de listes de modification », à la page 167 pour des détails sur les réglages de cette zone de dialogue.Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 203 I 6 Si vous choisissez de créer un fichier de programme Cinema Tools dans la zone de dialogue Export Film Lists, choisissez l’emplacement et le nom du fichier, puis cliquez sur OK. 7 Sélectionnez la base de données Cinema Tools à utiliser pour l’exportation de la liste, puis cliquez sur Choose. La liste de film est générée. Que se passe-t-il avec la liste EDL ? Une fois l’exportation de la liste de film lancée, Cinema Tools commence par traiter le fichier EDL, puis crée une version destinée à son usage interne. Au cours de ce traitement, Cinema Tools recherche d’éventuelles erreurs qui rendraient la liste EDL inutilisable pour la création d’une liste de film. Si des éléments anormaux ou inattendus sont détectés, l’exportation est interrompue et un message indiquant la ligne où s’est produite l’erreur s’affiche. Ce type d’erreur est appelé parsing error. Les erreurs détectées dans une liste EDL peuvent souvent être corrigées manuellement. Les listes EDL étant en fait des fichiers de texte, elles peuvent être ouvertes dans TextEdit. Attention : il arrive souvent que la ligne affichée ne contienne pas l’erreur, qui se trouve parfois dans la ligne précédente. Pour détecter le problème, essayez de supprimer des lignes et de les comparer avec des lignes similaires situées plus avant dans la liste EDL. Consultez la section « Utilisation de TextEdit pour modifier une liste EDL, » ci-dessous pour en savoir plus. Cinema Tools recherche aussi d’éventuels conflits au sein de la liste EDL, comme, par exemple, lorsque deux coupes se superposent. Cinema Tools nettoie ces coupes en enlevant toutes les portions sur lesquelles des coupes qui suivent seraient enregistrées. Toutes les transitions ou surimpressions complètement recouvertes par une coupe suivante sont supprimées. Si la transition ou surimpression n’est que partiellement recouverte, elle est marquée comme conflit, la coupe suivante est supprimée et une entrée indiquant l’opération est ajoutée à la cut list. Une fois que Cinema Tools a traité une liste EDL avec succès, il place un résumé des événements traités au début de la liste de film. Le nombre d’occurrences de chaque événement y est indiqué (coupe, fondu, volet et clé). Ce nombre d’évènements doit concorder avec celui de la liste EDL.204 Partie I Utilisation de Cinema Tools Utilisation de TextEdit pour modifier une liste EDL Par défaut, TextEdit enregistre les fichiers au format RTF, mais la liste EDL doit être enregistrée comme fichier texte. Les étapes suivantes permettent de modifier une liste EDL dans TextEdit et de la sauvegarder au format texte. Pour modifier un fichier EDL dans TextEdit : 1 Ouvrez TextEdit. 2 Choisissez Fichier > Ouvrir, recherchez le fichier EDL, sélectionnez-le et cliquez sur Ouvrir. 3 Choisissez Format > Convertir au format Texte, puis cliquez sur OK dans la zone de dialogue qui apparaît. La police est convertie en Monaco, une police non proportionnelle qui garantit l’alignement des colonnes de texte. Le fichier prend le nom de « Sans titre ». 4 Apportez vos modifications et choisissez Fichier > Enregistrer. Le nom par défaut est « Sans titre » et l’extension « .txt » est ajoutée. 5 Saisissez un nom de fichier et remplacez « .txt » par l’extension « .edl » (ou par l’extension utilisée dans le fichier original), puis cliquez sur Enregistrer. Une zone de dialogue s’affiche vous demandant si vous souhaitez que l’extension « .txt » soit ajoutée au nom du fichier. 6 Cliquez sur Ne pas ajouter. Si vous éditez souvent des fichiers au format texte, vous pouvez configurer les préférences TextEdit pour faciliter l’opération. Remarque : un double clic sur un nom de fichier comportant l’extension « .edl » entraîne l’ouverture de ce fichier dans une fenêtre en lecture seule de Final Cut Pro. Utilisation de fichiers ALE Le format ALE (Avid Log Exchange) a été conçu pour permettre le transfert du contenu des bases de données de film d’un système à l’autre. Comme Cinema Tools gère l’exportation et l’importation de fichiers ALE, vous pouvez partager vos bases de données avec d’autres systèmes. Comme les fichiers EDL, les fichiers ALE sont des fichiers de texte qui peuvent être ouverts et modifiés dans un éditeur de texte. La seule différence est qu’ils sont délimités par des tabulations, ce qui rend leur lecture un peu plus difficile. Faites très attention à ne pas corrompre le fichier en supprimant involontairement une tabulation lorsque vous apportez vos modifications. Avertissement : la modification de fichiers EDL doit se faire avec précaution : certains éléments insignifiants au demeurant peuvent revêtir une grande importance. Veillez à toujours conserver une copie de sauvegarde au cas où des modifications irréversibles étaient apportées à votre copie de travail.Chapitre 10 Utilisation de fichiers EDL, XML et ALE externes 205 I Champs ALE gérés Chaque ligne d’un fichier ALE correspond à un enregistrement de la base de données. Cinema Tools gère les champs ALE suivants : Champs relatifs au film  Camroll : contient le numéro utilisé pour le champ Cam Roll.  Labroll : contient le numéro utilisé pour le champ Lab Roll.  Daily roll : contient le numéro utilisé pour le champ Daily Roll.  Ink number : contient les valeurs du champ Ink.  KN Start : contient les valeurs du champ Key. Champs relatifs à la bande vidéo  Tape : contient la valeur du champ Video Reel.  Start : contient la valeur du champ Video Timecode.  End : dans Cinema Tools, il s’agit d’une valeur calculée crée en additionnant la valeur du champ Video Duration et la valeur du champ Video Timecode.  Duration : contient le contenu du champ Video Duration.  TC 24 : contient une valeur de timecode vidéo basée sur 24 ips qui est utilisée à la place de la valeur du champ Start si la base de données dans laquelle vous importez le fichier est réglée sur un timecode de 24 ips. De plus, si le fichier ALE ne contient pas de colonne Sound TC, les valeurs de la colonne TC 24 sont ajoutées à la base de données comme valeurs de timecode audio. Champs relatifs à l’audio  Tracks : Cinema Tools insère « VA1 » dans ce champ au cours de l’exportation.  Soundroll : contient le contenu du champ Sound Roll.  Sound TC : contient le contenu du champ Sound Timecode représentant la valeur de timecode de la première image. Champs généraux  Name : lors de l’exportation, contient le nom de fichier du plan connecté (s’il y en a un) ou un nom créé par Cinema Tools en combinant les numéros de scène et de prise (s’ils ont été saisis) ou, en dernier recours, les valeurs de bande vidéo et de timecode séparées par un trait d’union.  Scene : contient le contenu du champ Scene.  Take : contient le contenu du champ Take.  Notes : contient les remarques que vous avez saisies dans l’enregistrement de base de données.206 Partie I Utilisation de Cinema Tools Importation d’un fichier ALE Pour importer un fichier ALE, utilisez la commande Import Telecine Log. Vous pouvez importer un fichier ALE dans une base de données Cinema Tools existante ou dans sa propre nouvelle base de données. Il est conseillé de l’importer dans une nouvelle base de données (vous pourrez l’importer dans une autre par la suite). Vous pouvez aussi importer le fichier ALE à l’aide de Final Cut Pro ou de Cinema Tools. Consultez la section « Importation d’informations à partir d’une liste télécinéma ou d’un fichier ALE » à la page 85 pour en savoir plus sur l’importation de fichiers ALE et de liste télécinéma à l’aide de Final Cut Pro ou de Cinema Tools. Exportation d’un fichier ALE Cinema Tools exporte un fichier ALE en prenant comme référence l’ensemble trouvé actuel (current found set). Pour éviter de rencontrer un problème, assurez-vous que tous les enregistrements sont complets et corrects avant l’exportation. Pour exporter un fichier ALE : 1 Créez un nouvel ensemble trouvé (found set) contenant les fiches que vous souhaitez exporter. (Consultez la section « Recherche et ouverture d’enregistrements de base de donnée » à la page 80 pour des détails sur la création d’ensembles d’enregistrements trouvés.) 2 Dans Cinema Tools, choisissez File > Export > Avid Log Exchange. 3 Attribuez un nom au nouveau fichier et donnez-lui un emplacement. Il est conseillé d’ajouter l’extension « .ale » au nom de fichier. 4 Cliquez sur Save pour exporter le fichier.II Partie II : Utilisation de la vidéo 24P Cette section détaille l’utilisation de Cinema Tools pendant le montage de projets de vidéo haute définition. Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 11 209 11 Utilisation de la vidéo 24P et de listes EDL 24 ips Cinema Tools offre plusieurs outils utiles pour monter de la vidéo 24p. La prolifération des normes vidéo haute définition (HD) et la volonté de diffuser des contenus vidéo dans le monde entier ont créé une demande pour une norme vidéo qui puisse être convertie facilement vers toutes les autres normes. Par ailleurs il s’avère nécessaire de disposer d’un format aisément convertible en film et offrant une méthode de qualité supé- rieure permettant la création et le montage en vidéo avant d’achever le projet sur film. La vidéo 24p permet tout cela. Elle utilise la même vitesse de défilement de 24 ips que les films, ce qui permet de tirer parti des dispositifs de conversion existants pour créer des versions NTSC et PAL de votre projet. Elle utilise un schéma de balayage progressif et généralement une image HD pour créer une sortie convenant à la projection sur grand écran et à la conversion en film. De plus, la vidéo 24p permet de produire des transferts télécinéma 24 ips de haute qualité à partir d’un film. Ceux-ci sont particulièrement utiles si vous comptez diffuser le produit finalisé selon différents standard TV. Remarque : plusieurs des fonctionnalités mentionnées ici figurent dans Final Cut Pro et ne requièrent pas Cinema Tools. Ces fonctionnalités sont toutefois décrites ici parce qu’elles concernent l’utilisation de la vidéo 24p, ce qui intéresse particulièrement de nombreux réalisateurs.210 Partie II Utilisation de la vidéo 24P Éléments à prendre en compte lors de la création sur film Lors du montage d’images 24P provenant d’un film, tenez compte des points ci-après :  Si vous souhaitez conformer le film pour le faire correspondre à la vidéo montée, une base de données Cinema Tools doit assurer le suivi de son code de bordure. (Consultez la section « Code de bordure du film » à la page 233 pour des détails sur le code de bordure.)  Le film doit être transféré sur bande vidéo à l’aide d’un télécinéma. En général, le résultat vidéo télécinéma offline contient des timecodes vidéo et audio incrustés, ainsi que des numéros de bord. Ces valeurs (figurant dans une fenêtre d’affichage) sont fort précieuses pour la conformation ultérieure du film. Il se pose malheureusement un problème de visibilité si vous tentez d’utiliser le format 24P pour produire une version vidéo du film. C’est pour cela que si vous souhaitez produire à la fois un film conforme et une version vidéo montée du projet, vous pouvez faire fonctionner le télécinéma sur deux magné- toscopes à la fois (l’un avec la fenêtre d’affichage, l’autre sans).  Que l’on tourne un film ou de la vidéo 24p, le son est presque toujours enregistré séparément des images avec un enregistreur dédié. On parle souvent dans ce cas d’enregistrement de son à deux systèmes. Si les productions en 24p permettent l’enregistrement du son sur le magnétoscope 24P, fournissant ainsi un son synchronisé et aisément capturé avec Final Cut Pro, les productions de film n’ont pas la possibilité d’enregistrer le son sur la pellicule ; celui-ci doit donc être synchronisé à un moment ultérieur du processus. Il est préférable de synchroniser le son lors du transfert télécinéma. Cela facilite la capture de l’audio en même temps que des plans vidéo pour montage dans Final Cut Pro. La base de données Cinema Tools permet de gérer les numéros des bandes son originales et le timecode et de générer une liste audio EDL pouvant être utilisée pour recapturer et monter le son dans un studio de postproduction audio. Consultez la section « Transfert du film sur bande vidéo » à la page 19 pour des informations sur les transferts télécinéma. Consultez la section « Exportation d’une liste EDL audio » à la page 193 pour des informations sur l’exportation de listes audio EDL. Tournage du film Conversion en vidéo avec un télécinéma Conformation du négatif Système de montage online Magné- toscope 24P Liste télécinéma Négatif original Cut list Liste EDL 24 ips 24P video Master film monté Master vidéo monté Final Cut Pro avec Cinema Tools (montage offline) Capture et traitement Montage Exportation de la cut list Exportation de la liste EDL 24 ips Cinema Tools Création de la base de donnéesChapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 211 II Montage de vidéo 24P avec Final Cut Pro L’excellente qualité offerte par la vidéo 24P se transforme en inconvénient au moment du montage, du fait de la largeur de bande et de l’espace de stockage nécessaires. Le travail sur de la vidéo 24p très peu compressée directement dans Final Cut Pro réclame un système doté d’un disque dur de grande capacité et à haut débit, ainsi qu’une carte de capture spécialisée. Même avec un système bien configuré, vous ne pourrez capturer que la vidéo que vous comptez vraiment utiliser, pas les 20 à 100 heures que vous aurez probablement tournées. Le montage de vidéo 24p avec Final Cut Pro se déroule en général en deux étapes : un montage offline avec des plans 24P compressés ou convertis à la baisse (à la résolution standard NTSC) et d’autres plans compressés, suivi d’un montage online avec des plans non compressés et recapturés. Utilisation du même système Final Cut Pro pour le montage 24p offline et online Idéalement, vous pourriez utiliser le même système Final Cut Pro pour le montage offline et online. Cela rend le processus à la fois simple et sans erreur. Dans le cas d’un système unique pour les deux types de montage, le déroulement des opérations se présente comme suit : Étape 1 : capturez votre vidéo 24p sous la forme de plans compressés Étape 2 : montez les plans offline Étape 3 : utilisez le Gestionnaire de données pour créer une copie du projet qui n’utilise que les plans et les sections de plans dont vous avez besoin Étape 4 : supprimez les plans originaux Étape 5 : recapturez le matériel dans votre copie de projet sous la forme de vidéo 24p sans compression Que signifie « vidéo convertie à la baisse » ? Il est souvent nécessaire d’utiliser de la vidéo HD (24p par exemple) dans les systèmes conçus pour de la vidéo NTSC SD. Le processus de conversion de la vidéo HD en vidéo SD est appelé la conversion à la baisse. La plupart des magnétoscopes HD comportent une option permettant de sortir de la vidéo SD. Il existe également plusieurs modèles d’appareils spécialisés pour ce type de conversion. Consultez la section « À propos des questions de proportions » à la page 217 pour des informations sur la façon de gérer les différences de proportions entre les normes lors de la conversion à la baisse.212 Partie II Utilisation de la vidéo 24P Même si votre système Final Cut Pro n’est pas configuré pour travailler sur de la vidéo 24p non compressée, il peut servir de système de montage offline pour ensuite exporter une liste EDL 24 ips qui servira sur le système de montage online. Mieux encore, si votre système de montage 24p online fait appel à Final Cut Pro, vous pouvez simplement copier le projet depuis le système offline, ce qui permet de préserver beaucoup plus d’informations de montage qu’avec seulement la liste EDL. Consultez les sections « Utilisation de Final Cut Pro comme système de montage 24p online » à la page 213 et « Utilisation de Final Cut Pro comme système de montage offline 24P » à la page 214 pour en savoir plus sur les différentes options. Utilisation de la vidéo 24p avec Final Cut Pro et Cinema Tools Final Cut Pro et Cinema Tools vous donnent les moyens de traiter différentes situations liées au montage vidéo 24p :  Importation de listes EDL 24 ips : permet le montage online d’images vidéo 24P montées offline sur un autre système. Consultez la section « Utilisation de Final Cut Pro comme système de montage 24p online, » ci-après.  Exportation de listes EDL 24 ips : permet le montage offline d’images vidéo 24P avec une base temps de 24 ips. Consultez à ce sujet la section « Utilisation de Final Cut Pro comme système de montage offline 24P » à la page 214.  Conversion d’une liste EDL à 24 ips ou à partir de 24 ips : permet soit le montage offline de vidéo 24P à l’aide d’une base temps NTSC, soit le montage online de vidéo 24P montée offline sur un système NTSC. Consultez à ce sujet la section « Utilisation de Final Cut Pro comme système de montage offline 24P » à la page 214.  Suppression du pulldown 2:3:3:2 ou 2:3:2:3 : permet de capturer vos plans source à partir d’un caméscope numérique ayant appliqué le pulldown 2:3:3:2 ou 2:3:2:3 à de la vidéo 24P. Cette fonction élimine proprement les trames d’image redondantes créées par le pulldown sans aucune recompression afin que vous puissiez faire le montage à 23,98 ips ou 24 ips. Consultez à ce sujet la section « Utilisation du pulldown 2:3:3:2 » à la page 219.  Ajout de pulldown : permet de sortir de la vidéo à 23,98 ips dans un format lisible sur un appareil NTSC, tel qu’un moniteur NTSC, et de l’enregistrer comme vidéo à 29,97 ips. Cette fonction vous permet de sortir de la vidéo à 23,98 ips via FireWire au format vidéo NTSC à 29,97 ips. Consultez à ce sujet la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225.  Création d’une liste audio EDL lors de l’utilisation de son à deux systèmes : utile si vous avez l’intention de recapturer le son ailleurs pour le traitement final. Consultez à ce sujet la section « Utilisation de listes EDL audio pour le son à deux systèmes » à la page 227.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 213 II Utilisation de Final Cut Pro comme système de montage 24p online Si vous utilisez Final Cut Pro comme système de montage online, la façon dont vous allez importer les informations de montage offline est un point important. Si vous employez un système de montage offline distinct, vous avez le choix entre trois méthodes pour obtenir les informations de montage de ce dernier (présentées par ordre de préférence) :  Copier le projet : peut être utilisé lorsqu’un système Final Cut Pro séparé est le système offline et utilisait une base temps de montage de 24 ips.  Importer une liste EDL 24 ips : peut être utilisé lorsque votre système offline prend en charge l’exportation de listes EDL à 24 ips.  Importer une liste EDL NTSC : peut être utilisé lorsque votre système offline ne peut monter que des version NTSC converties à la baisse de la vidéo 24p et exporter une liste EDL NTSC. Copie du projet La copie d’un projet depuis le système de montage offline Final Cut Pro au système de montage online Final Cut Pro permet de préserver non seulement les informations relatives aux points d’entrée et de sortie de coupe, mais également toutes les autres informations liées au projet, notamment les utilisations de filtres et d’effets. Pour utiliser cette méthode, vous devez avoir fait le montage avec une base temps de 24 ips sur le système offline. Importation de listes EDL Si vous utilisez un autre système que Final Cut Pro pour le montage offline (ou un système Final Cut Pro pour travailler sur des versions NTSC converties à la baisse de la vidéo 24p d’origine), vous devez importer une liste EDL. Final Cut Pro permet tant l’importation de listes EDL à 24 ips que la conversion de listes EDL NTSC vers 24 ips. Important : avant d’importer une liste EDL dans Final Cut Pro, assurez-vous que la base temps pour la séquence possède la même vitesse que la liste EDL. Si ces vitesses ne sont pas identiques, la liste EDL ne sera pas correctement importée. Vidéo source 24P Vidéo 24P montée Liste EDL offline (24 ips ou NTSC) Final Cut Pro avec Cinema Tools Montage online Vidéo 24P Montage online de vidéo 24P Capture de vidéo 24P non compressée Exportation de film Final Cut Pro214 Partie II Utilisation de la vidéo 24P Importation de listes EDL 24 ips Lorsque le système de montage offline n’est pas un système Final Cut Pro, la meilleure façon d’importer des informations sur le montage offline consiste à fournir une liste EDL. Les listes EDL ne contiennent que les informations basiques relatives au projet de montage : les points d’entrée et de sortie pour les deux premières pistes vidéo et les quatre premières pistes audio, des informations sur les transitions simples et tout commentaire que vous avez ajouté. Pour importer une liste EDL 24 ips dans Final Cut Pro : 1 Ouvrez une projet Final Cut Pro existant ou créez-en un nouveau. 2 Choisissez Fichier > Importer > EDL. 3 Configurez les options de la zone de dialogue « Importer les options », puis cliquez sur OK. Remarque : si la zone de dialogue ne vous permet pas de choisir 24 ips comme base temps, cela est probablement dû au fait que les configurations simplifiées incluses avec Cinema Tools n’ont pas été installées. Dans ce cas, réinstallez Cinema Tools. 4 Choisissez le nom et l’emplacement du fichier EDL, puis cliquez sur Choisir. Une nouvelle séquence contenant les opérations de montages de la liste EDL s’ouvre dans le projet, ce qui indique que les données sont offline. Le navigateur comporte une liste des données utilisées dans le montage. Vous pouvez ensuite utiliser le Gestionnaire de données de Final Cut Pro pour capturer les plans pour le montage online. Consultez la documentation de Final Cut Pro pour des détails sur la capture de plans, l’importation de listes EDL et la configuration de la zone de dialogue Import Options. Importation de listes EDL NTSC Vous pouvez ainsi procéder à un montage offline de votre vidéo 24p convertie à la baisse sur un système NTSC, puis exporter une liste EDL convertible et utilisable par un système Final Cut Pro online. Pour importer une liste EDL NTSC à utiliser avec un projet 24p, vous devez d’abord convertir la liste EDL 29,97 ips NTSC en 24 ips (ou, dans la plupart des cas, en 23,98 ips). Remarque : Cinema Tools ne gère pas la conversion de listes EDL PAL en 24 ips. Consultez la section « Conversion de listes EDL NTSC en 24 ips » à la page 216 pour en savoir plus. Une fois que vous avez converti la liste EDL, vous pouvez importer la liste EDL 24 ips dans Final Cut Pro à l’aide du processus décrit à la section « Importation de listes EDL 24 ips, » ci-avant. Utilisation de Final Cut Pro comme système de montage offline 24P Le montage de vidéo 24P haute résolution (HD) requiert généralement un montage offline préalable. Cela vous permet de choisir les données à utiliser tout en travaillant avec des versions converties à la baisse ou compressées de vidéo 24P.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 215 II Lorsque le système online utilise aussi Final Cut Pro, il est fortement recommandé de procéder au montage offline en utilisant une base temps de 24 ips. Cela vous permet d’ouvrir le projet avec le système online et de conserver tous les réglages, effets et filtres spéciaux, tous ces éléments qui ne figurent pas dans les listes EDL. Avec les systèmes online autres que Final Cut Pro, vous devez fournir une liste EDL 24 ips provenant du projet. Cinema Tools dispose de plusieurs outils qui facilitent l’usage de Final Cut Pro comme système de montage offline 24p :  Reverse Telecine et Conform : utile si vous avez capturé des versions converties à la baisse de vidéo 24P et souhaitez les convertir en 24 ips.  24 fps EDL export : utile si vous effectuez le montage avec une base temps de 24 ips et que vous avez besoin d’une liste EDL 24 ips pour le système online.  NTSC–to–24 fps EDL conversion : utile si vous effectuez le montage à l’aide d’une base temps de 29,97 ips NTSC tout en ayant besoin d’une liste EDL de 23,98 ips ou de 24 ips. Pour le montage offline, il est préférable que la vidéo 24P soit directement compressée et capturée, sans conversion de vitesse. Cela réduit les possibilités d’erreur pendant les conversions de vidéo et de fréquence de timecode et rend superflue la conversion des proportions de la vidéo (consultez la section « À propos des questions de proportions » à la page 217). Il faut toutefois disposer pour cela d’un matériel spécialisé ; les solutions alternatives exposées ci-après ont donc été mises au point avec des versions standard converties à la baisse de vidéo 24P. Utilisation des fonctions Reverse Telecine et Conform La vidéo 24P est souvent convertie à la baisse pour en simplifier l’utilisation avec un équipement vidéo standard. Cinema Tools fournit des outils pour la reconversion de plans capturés NTSC ou PAL en vidéo 24 ips originale, ce qui vous permet de procéder au montage à l’aide d’une base temps de 24 ips :  NTSC : la conversion de vidéo 24p en NTSC requiert l’utilisation d’une méthode de pulldown qui ajoute des trames redondantes en maintenant la vitesse originale de l’action (1 seconde de vidéo 24p est égale à 1 seconde de vidéo NTSC). La fonction Reverse Telecine supprime le pulldown en éliminant les trames superflues et en restaurant la vitesse originale de 24 ips. Consultez la section « Inversion du pulldown télécinéma » à la page 133 pour des informations sur l’utilisation de la fonction Reverse Telecine. Si vos plans sources proviennent d’un type spécial de caméscope DV capable de filmer en 24p, comme le Panasonic AG-DVX100, c’est une forme simplifiée de la fonction Reverse Telecine qui vous est proposée. Consultez la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221 pour des instructions sur l’inversion du pulldown de plans provenant d’un caméscope DV compatible 24p.216 Partie II Utilisation de la vidéo 24P  PAL : il existe plusieurs méthodes de conversion de vidéo 24P en PAL. La plus courante consiste à lire la bande 4 pour cent plus vite, ce qui fournit une relation de un à un entre les images 24p et PAL, mais accélère l’action de 4 pour cent. Cinema Tools et Final Cut Pro offrent une fonction Conform que vous pouvez utiliser pour remettre la vidéo en 24 ips pour la monter en 24 ips dans Final Cut Pro. Consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 pour des informations sur les problèmes de fréquence d’images. Exportation de listes EDL 24 ips Lorsque le système de montage 24p n’est pas un système Final Cut Pro, la meilleure façon de fournir les informations de montage du projet consiste à exporter une liste EDL à partir de Final Cut Pro, puis à importer cette dernière dans le système de montage online. Les listes EDL ne contiennent que les informations basiques relatives au projet de montage : les points d’entrée et de sortie pour les deux premières pistes vidéo et les quatre premières pistes audio, des informations sur les transitions simples et tout commentaire que vous avez ajouté. Cinema Tools donne à Final Cut Pro la capacité d’exporter les listes EDL à 24 ips. Pour exporter une liste EDL 24 ips à partir de Final Cut Pro : 1 Dans la Chronologie de Final Cut Pro, sélectionnez la séquence pour laquelle vous voulez exporter une liste EDL. 2 Choisissez Fichier > Exporter > EDL. 3 Configurez la zone de dialogue « Options d’exportation EDL » comme il se doit, puis cliquez sur OK. 4 Choisissez le nom et l’emplacement du fichier EDL et cliquez sur Enregistrer. Consultez la documentation de Final Cut Pro pour des détails sur l’exportation de listes EDL et la configuration de la zone de dialogue EDL Export Options. Conversion de listes EDL NTSC en 24 ips Il se peut que vous décidiez de monter la version NTSC convertie à la baisse de la vidéo 24p en utilisant une base temps 29,97 ips NTSC standard. Sachez toutefois que la plupart des systèmes de montage online 24p requièrent une liste EDL 23,98 ips ou 24 ips. Cinema Tools comporte une fonction permettant de convertir des listes EDL 29,97 ips NTSC en 23,98 ips ou 24 ips. Vous pouvez ainsi réaliser un montage offline de votre vidéo 24P convertie à la baisse sur un système NTSC, puis exporter une liste EDL convertible et utilisable par un système online. Remarque : Cinema Tools ne gère pas la conversion de listes EDL PAL en 24 ips. Pour convertir une liste EDL NTSC en 24 ips, il faut convertir le fichier de la liste EDL au format CMX 3600 ou GVG. La base de données Cinema Tools n’est pas nécessaire.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 217 II Pour convertir une liste EDL NTSC en 24 ips : 1 Dans Cinema Tools, choisissez File > Export > Converted EDL > 24 FPS from 30 FPS. 2 Dans la zone de dialogue qui s’ouvre, localisez et choisissez le fichier EDL à convertir. 3 Dans la suivante, choisissez le nom et l’emplacement du fichier à créer, puis cliquez sur Save. Le nouveau fichier EDL est identique à celui d’origine, à l’exception des valeurs de timecode et de durée des effets qui ont été converties afin de correspondre à la nouvelle vitesse de défilement. Important : le timecode 24P est toujours non-drop frame et le timecode NTSC à convertir doit l’être également. Cinema Tools ne vous empêche pas de convertir une liste EDL NTSC basée sur un timecode drop frame, mais il la traite comme s’il s’agissait d’un timecode non-drop frame. La liste EDL 24 ips exportée comportera des erreurs et Cinema Tools insère un message d’avertissement dans la liste EDL. Vous pouvez désormais importer les listes EDL à 24 ips dans Final Cut Pro en suivant les instructions fournis à la section « Importation de listes EDL 24 ips » à la page 214. À propos des questions de proportions Lorsque vous capturez de la vidéo NTSC ou PAL à partir de sources 24P, vous devez généralement décider comment gérer leurs différences de proportions. La vidéo SD (NTSC ou PAL) a des proportions de 4:3 (1,33). La hauteur de l’image équivaut donc à 75% de sa largeur. De nombreux formats 24p utilisent des proportions de 16:9 (1,78) plus proche des proportions habituelles du film de 1,85 et identiques aux formats HD de diffusion écran large. De nombreux magnétoscopes HD peuvent convertir à la baisse de la vidéo 16:9 en vidéo 4:3 SD. Les systèmes Final Cut Pro qui ne sont pas capables de capturer de la vidéo 24p directement peuvent réaliser la capture à l’aide d’une de ces sorties vidéo SD pour le montage. Consultez le Manuel de l’utilisateur de Final Cut Pro pour des informations détaillées sur les options pour la conversion de vidéo 16:9 en vidéo 4:3.218 Partie II Utilisation de la vidéo 24P Ajout et suppression du pulldown dans les plans 24P Cinema Tools et Final Cut Pro possèdent des fonctions d’ajout et de suppression de pulldown qui permettent de régler des problèmes propres à la manipulation de vidéo 24P. Comme cela a déjà été expliqué dans la section « Infos générales sur la vitesse de défilement des images » à la page 23, le pulldown est un processus qui ajoute des trames redondantes à la vidéo afin de répartir 24 images par seconde sur les 29,97 images par seconde du standard NTSC. Certains caméscopes, tel que le modèle AG-DVX100 de Panasonic, sont conçus pour filmer en mode progressif à 24 ips (23,98 ips, exactement), puis enregistrer la vidéo sur bande sous forme d’un signal entrelacé de 60 trames, en appliquant un type particulier de pulldown nommé pulldown 2:3:3:2 avancé. Avec Final Cut Pro ou Cinema Tools, vous pouvez supprimer les trames redondantes créées par le pulldown de la caméra afin de pouvoir procéder au montage à 23,98 ips ou 24 ips. Dans le cas d’un montage à 23,98 ips, il se peut que vous deviez sortir la vidéo sur un moniteur NTSC, l’enregistrer sur une cassette NTSC ou l’envoyer à un autre type d’appareil NTSC. Sachant que le standard NTSC suppose une vitesse de défilement de 29,97 ips, Final Cut Pro vous permet de rajouter le pulldown à la vidéo lorsque vous la sortez. Pour répondre à divers cas de figure, Final Cut Pro fournit plusieurs modèles de pulldown permettant de sortir votre vidéo à 23,98 ips comme vidéo à 29,97 ips : pulldown 3:2, 2:3:3:2 et 2:2:2:4. (Ces modèles sont décrits dans la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225.) Les sections suivantes présentent plusieurs modes d’utilisation de Final Cut Pro ou de Cinema Tools pour supprimer le pulldown 2:3:3:2 avancé ou le pulldown 2:3:2:3 des plans vidéonumériques. Vous pouvez ainsi :  utiliser Final Cut Pro pour supprimer le pulldown 2:3:3:2 pendant ou après la phase de capture,  utiliser Cinema Tools pour supprimer le pulldown 2:3:3:2 ou 2:3:2:3 sur un plan à la fois,  utiliser Cinema Tools pour supprimer le pulldown 2:3:3:2 ou 2:3:2:3 sur plusieurs plans à la fois. En quoi consiste le pulldown 2:3:2:3 ? Le modèle de pulldown 2:3:2:3 est identique à celui du pulldown 3:2, sauf qu’il s’applique à l’aide d’un caméscope numérique (et non à l’aide de tout autre type d’équipement capable d’appliquer ce même modèle). Dans le présent manuel, nous utilisons le terme 2:3:2:3 pour faire référence au pulldown réalisé par les caméscopes vidéo numériques 24p. Ce type de pulldown peut être supprimé à l’aide de la forme automatisée de télécinéma inversé décrite à la section « Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools » à la page 221.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 219 II Utilisation du pulldown 2:3:3:2 Certains caméscopes, tels que le modèle AG-DVX100 de Panasonic, sont conçus pour filmer en mode progressif à 24 ips (23,98, exactement), puis enregistrer la vidéo sur bande sous forme de signal entrelacé de 60 trames en appliquant le pulldown 2:3:3:2. Le pulldown 2:3:3:2 est semblable, par son concept, au pulldown 3:2, mais possède un autre modèle de répétition des trames, comme illustré ci-après. Il y a quelques avantages à filmer avec le pulldown 2:3:3:2, puis à le supprimer plutôt que d’utiliser le pulldown 3:2 :  Final Cut Pro peut facilement supprimer le pulldown 2:3:3:2 pendant la capture afin que vous puissiez monter de la vidéo progressive en 24 ips (à 23,98 ips pour être précis). A A B B B C C C D D A A B B B C C C D D A A B B C C C D D A A B B B D B C C C D D A B A B B C C C D A B A B B C C C D D Avant (23,98 ips) A B C D A D A B C D A B C D A B C D A B C D B C 2:3:3:2 Pulldown Après (29,97 ips) Une seconde A B C D A A B B B C C C D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2220 Partie II Utilisation de la vidéo 24P  Contrairement au pulldown 3:2, la suppression du pulldown 2:3:3:2 ne requiert pas un nouvel effort de compression et de création d’images, ce qui procure une meilleure qualité d’image. Final Cut Pro élimine les trames redondantes en retirant simplement les images contenant des trames comprenant deux images différentes (images géné- rées à partir de deux images originales distincte). Seules les images contenant une seule image fixe sont conservées, ce qui donne un résultat plus net. Vous pouvez supprimer le pulldown 2:3:3:2 soit avec Final Cut Pro lors de la capture des données source, soit avec Final Cut Pro ou Cinema Tools après la capture. Remarque : pour en savoir plus sur l’application (plutôt que la suppression) du pulldown 2:3:3:2 à une vidéo, consultez la section « Pulldown 2:3:3:2 » à la page 226. Suppression de pulldown 2:3:3:2 avec Final Cut Pro Vous pouvez supprimer le pulldown 2:3:3:2 avec Final Cut Pro soit lors de la capture de la vidéo soit après la capture des plans. Pour supprimer le pulldown lors de la capture à partir d’une source vidéo numérique : 1 Dans Final Cut Pro, choisissez Final Cut Pro > Réglages audio/vidéo. 2 Cliquez sur l’onglet Prérég. de capture. 3 Sélectionnez le préréglage souhaité et cliquez sur Modifier. 4 Sélectionnez « Supprimer le pulldown avancé et/ou les images en doube des sources FireWire ». A A B B B C C C D D A A B B B C C C D D A A B B C C C D D A A B B B D B C C C D D A B A B B C C C D A B A B B C C C D D A B C D A D A B C D A B C D A B C D A B C D B C A B C D A A B B C D D Field 1 Field 2 Field 1 Field 2 Field 1 C Field 2 Field 2 Field 1 B Field 1 C Field 2 Avant (29,97 ips) Après (23,98 ips) Une seconde 2:3:3:2 Suppression du pulldownChapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 221 II Après avoir supprimé le pulldown 2:3:3:2, il se peut que vous deviez sortir la vidéo en y rajoutant le pulldown 2:3:3:2, afin de la capturer à nouveau avec la caméra. Dans le cas d’une diffusion ou d’une distribution au format NTSC, vous pouvez appliquer le pulldown 3:2 plus répandu. La sortie vidéo 24P peut s’effectuer dans l’un de ces modèles de pulldown. Consultez à ce sujet la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225. Pour supprimer le pulldown dans Final Cut Pro après la capture : 1 Dans Final Cut Pro, sélectionnez les plans ou le programme. 2 Choisissez Outils > Supprimer le pulldown avancé. Suppression de pulldown 2:3:3:2 ou 2:3:2:3 avec Cinema Tools Dans les plans capturés à partir de caméscopes vidéo numériques en 24p, comme, par exemple, le caméscope Panasonic AG-DVX100, les informations du modèle de pulldown (on parle aussi de cadence) sont intégrées d’une façon lisible pour Cinema Tools. Si Cinema Tools détecte ces informations de cadence lorsque vous utilisez la fonction Reverse Telecine, la zone de dialogue Automated Reverse Telecine apparaît. Il s’agit d’une version simplifiée de la zone de dialogue Reverse Telecine. Remarque : la fonction Reverse Telecine ne peut pas être utilisée avec de la vidéo comprimée dans le temps, comme, par exemple, la vidéo au format MPEG-2. Vous pouvez utiliser le télécinéma inversé automatisé pour supprimer le pulldown soit d’un plan à la fois soit d’un groupe de plans (par lot). Pour utiliser le télécinéma inversé automatisé dans le but de supprimer le pulldown dans un seul plan : 1 Choisissez File > Open Clip, puis sélectionnez le plan voulu dans la zone de dialogue. 2 Dans la fenêtre Clip, cliquez sur Reverse Telecine. 3 Choisissez une vitesse de défilement dans le menu local Conform.  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips. (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.)  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. Choisissez une vitesse de défilement dans le menu local.222 Partie II Utilisation de la vidéo 24P 4 Sélectionnez New (smaller) ou Same (faster) afin de préciser le type de fichier que vous voulez créer :  New (smaller) : crée un fichier de données ne contenant pas les images supplémentaires insérées par le pulldown. La taille du nouveau fichier est environ 20 pour cent plus petite, mais cette méthode est plus lente. Que le fichier original soit une référence ou autonome, cette méthode crée un fichier autonome. (Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.)  Same (faster) : modifie le fichier de données courant afin que les images supplémentaires ne soient pas visibles par le système de montage, mais sans supprimer ces données du fichier. Ce processus est plus rapide, mais ne réduit pas la taille du fichier. Le fichier qui en résulte est autonome s’il était autonome à l’origine ou une référence s’il était une référence. À propos de la vérification de discontinuité de la cadence : en supprimant le pulldown, Cinema Tools recherche d’éventuels trous dans la cadence du pulldown. S’il en trouve, il ajuste le traitement pour s’accommoder de ces discontinuités. Une discontinuité de cadence peut se produire si un enregistrement a été arrêté puis relancé à un autre point dans la séquence de cinq images. Cette vérification demande plus de temps pour l’option Same que pour l’option New. Par conséquent, si vous sélectionnez Same (faster), vous pouvez décocher la case « Check for cadence discontinuities » afin d’accélérer le traitement. Remarque : si cette case est décochée et que le plan présente des discontinuités de cadence, ou si la cadence passe de 2:3:3:2 à 2:3:2:3 (ou à tout autre modèle) en milieu de plan car les réglages ont été modifiés en cours d’enregistrement, le télécinéma inversé ne peut pas être correctement appliqué à ce plan. 5 Cliquez sur OK pour lancer le processus de suppression de pulldown. Si vous avez sélectionné l’option New file, vous devez préciser le nom et l’emplacement du nouveau plan. Si le plan d’origine était connecté à un enregistrement de base de données, le nouveau plan inversé remplace cette connexion (qu’il écrase ou non l’ancien plan). Si vous sélectionnez New, l’option « Check for cadence discontinuities » est activée. Pour Same, vous pouvez désélectionner cette option pour accélérer le traitement. Si vous sélectionnez New, le fichier sera plus petit. Si vous sélectionnez Same, le traitement sera plus rapide.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 223 II Pour utiliser le télécinéma inversé par lot automatisé dans le but de supprimer le pulldown de plusieurs plans à la fois : 1 Placez tous les plans à traiter dans le même dossier. (Assurez-vous que tous ont été capturés à l’aide d’un caméscope numérique 24P.) 2 Choisissez File > Batch Reverse Telecine. 3 Dans la zone de dialogue qui s’affiche, sélectionnez n’importe quel fichier de plan source dans le dossier contenant les plans à traiter, puis cliquez sur Choose. 4 Choisissez une vitesse de défilement dans le menu local Conform.  23.98 : cette vitesse est utile si vous comptez utiliser ultérieurement la fonction pulldown de Final Cut Pro qui permet de sortir la vidéo 23,98 ips à 29,97 ips (Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour en savoir plus.)  24.0 : vous pouvez avoir intérêt à conformer et à monter les plans à cette vitesse si vous comptez les inclure à un projet contenant d’autres plans à exactement 24 ips. Remarque : si le plan contient à la fois la vidéo et l’audio et si vous choisissez 24.0 dans ce menu local, la fonction Reverse Telecine accélère très légèrement l’audio pour qu’elle soit synchrone avec la vitesse de 24 ips et non de 23,98. 5 Sélectionnez New (smaller) ou Same (faster) afin de préciser le type de fichier que vous voulez créer :  New (smaller) : crée des fichiers de plan ne contenant pas les images supplémentaires introduites par le pulldown. La taille des nouveaux fichiers est environ 20 pour cent plus petite, mais cette méthode est plus lente. Que les fichiers originaux soient des références ou autonomes, cette méthode crée des fichiers autonomes. (Consultez la section « La différence entre les fichiers de données autonomes et les fichiers de données de référence » à la page 149 pour en savoir plus.) Si vous sélectionnez New (smaller), vous pouvez également choisir de conserver ou de supprimer les fichiers de plan d’origine. Pour enregistrer les plans d’origine dans un dossier distinct, cochez la case Keep Originals. Choisissez une vitesse de défilement dans le menu local.224 Partie II Utilisation de la vidéo 24P  Same (faster) : modifie le fichier du plan sélectionné de sorte que ses images surnuméraires ne soient plus visible pour le système de montage, mais ces données ne sont pas supprimées du fichier. Ce processus est plus rapide, mais ne réduit pas la taille du fichier. Le fichier qui en résulte est autonome s’il était autonome à l’origine ou une référence s’il était une référence. À propos de la vérification de discontinuité de la cadence : en supprimant le pulldown, Cinema Tools recherche d’éventuels trous dans la cadence du pulldown. S’il en trouve, il ajuste le traitement pour s’accommoder de ces discontinuités. Une discontinuité de cadence peut se produire si un enregistrement a été arrêté puis relancé à un autre point dans la séquence de cinq images. Cette vérification demande plus de temps pour l’option Same que pour l’option New. Par conséquent, si vous sélectionnez Same (faster), vous pouvez décocher la case « Check for cadence discontinuities » afin d’accélérer le traitement. Remarque : si cette case est décochée et que le plan présente des discontinuités de cadence, ou si la cadence passe de 2:3:3:2 à 2:3:2:3 (ou à tout autre modèle) en milieu de plan car les réglages ont été modifiés en cours d’enregistrement, le télécinéma inversé ne peut pas être correctement appliqué à ce plan. 6 Cliquez sur OK pour lancer la suppression de pulldown. Une fois le processus terminé, la situation est la suivante :  Si vous avez sélectionné New (smaller), un nouveau plan portant le même nom que l’original est créé pour chaque plan du dossier. Ce nouveau plan est placé dans un sous-dossier créé par Cinema Tools et nommé Reversed. Si vous avez sélectionné Keep Originals, les fichiers d’origine sont placés dans un sous-dossier créé par Cinema Tools et nommé Originals. Si vous avez sélectionné Same (faster), les nouvelles versions des plans remplacent les versions antérieures dans leur dossier d’origine.  Si Cinema Tools ne peut effectuer le processus de télécinéma inverse pour un plan, ce dernier est transféré à un sous-dossier Cinema Tools nommé Skipped. Un plan n’est pas traité s’il est dépourvu de piste vidéo, si sa vitesse n’est pas compatible, si ce plan ne contient pas d’informations sur la cadence ou si aucun codec n’est disponible pour la piste vidéo. Si vous choisissez Same, vous pouvez désactiver l’option « Check for cadence discontinuities » afin d’accélérer le traitement. Si vous choisissez New, l’option « Selecting Keep Originals » enregistre les plans originaux dans un dossier. Si vous sélectionnez New, le fichier sera plus petit. Si vous sélectionnez Same, le traitement sera plus rapide.Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 225 II  Un fichier texte nommé « reverse.log » apparaît au premier niveau du dossier par lequel vous avez commencé. Ce fichier précise la date et l’heure du lancement et de la fin du processus, ainsi que l’heure de début de chaque plan. Si des problèmes surgissent, tels qu’un manque d’espace disque ou de mémoire, un message d’erreur décrivant le problème apparaît également dans l’historique. Modèles de pulldown applicables à la vidéo 23,98 ips Dans le cas d’un montage vidéo à 23,98 ips, il se peut que vous deviez sortir la vidéo sur un moniteur NTSC, l’enregistrer sur une cassette NTSC ou l’envoyer à un autre type d’appareil NTSC. Vous disposez pour cela de la fonction d’ajout de pulldown de Final Cut Pro. L’ajout de pulldown est une méthode logicielle de conversion de vidéo 23,98 ips en vidéo NTSC 29,97 ips. Final Cut Pro peut appliquer plusieurs modèles de pulldowns à une vidéo 23,98 ips. Pulldown 3:2 Le pulldown 3:2 est du même type que celui utilisé par le télécinéma, comme décrit à la section « Réalisation d’un 3:2 pulldown » à la page 23. Comme le modèle 3:2 est le modèle de pulldown généralement pris en charge par les appareils NTSC, vous devez l’utiliser pour enregistrer sur un appareil NTSC tel qu’un téléviseur SD, un encodeur MPEG-2 ou un système de finalisation haut de gamme. Avant (23,98 ips) A B A B B C C D D D A B C D A D A B C D A B C D A B C D A B C D B C A A B B B C C D D D A A B B B C C D D D A A B B C C D D D A A B B B D B C C D D D A B A B B C C D D A B C D A A B B B C C D D D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 3:2 Pulldown Après (29,97 ips) Une seconde226 Partie II Utilisation de la vidéo 24P Pulldown 2:3:3:2 Le pulldown 2:3:3:2 constitue un autre type de pulldown que vous pouvez utiliser. Comme pour le pulldown 3:2, le « 3 » du modèle représente trois trames, une trame redondante étant ajoutée aux deux trames originales de l’image. Consultez la section « Utilisation du pulldown 2:3:3:2 » à la page 219 pour en savoir plus sur ce modèle et ses avantages. Bien que le modèle 3:2 soit traditionnellement pris en charge par les appareils NTSC, il est conseillé d’utiliser le pulldown 2:3:3:2 pour sortir de la vidéo que vous pouvez enregistrer sur bande et, plus tard, la reconvertir en 23,98 ips en profitant des avantages de la suppression du 2:3:3:2 (possibilité de supprimer le pulldown sans qu’il soit nécessaire de compresser et de créer à nouveau des images). Pulldown 2:2:2:4 Le modèle de pulldown 2:2:2:4 n’est pas toujours pris en charge par les appareils d’enregistrement ou les caméras, mais comme il requiert le moins de puissance de traitement, c’est un bon choix si vous montez de la vidéo à 23,98 ips et souhaitez la visionner avec autant d’effets en temps réel que possible sur un moniteur NTSC. Ce modèle s’avère également utile si vous devez afficher la vidéo provenant d’un ordinateur plus ancien et plus lent (ou d’un ordinateur supportant une charge de traitement élevée) qui provoque des pertes d’images lorsque vous essayez d’utiliser le pulldown 3:2 ou 2:3:3:2. A A B B C C D D D D A A B B C C D D D D A A B B C D D D D A A B C C D B B D C D D D A B A B C D C D D A B A C D C D D D A B C D A A B B C C D D D D Field 1 D Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Field 1 Field 2 Une seconde Avant (23,98 ips) A B C D A D A B C D A B C D A B C D A B C D B C 2:2:2:4 Pulldown Après (29,97 ips)Chapitre 11 Utilisation de la vidéo 24P et de listes EDL 24 ips 227 II Ajout d’un pulldown à une vidéo de 23,98 ips Final Cut Pro vous permet d’ajouter un pulldown à une vidéo de 23,98 ips lors de sa sortie via FireWire. Comme expliqué à la section précédente, l’opération présente un intérêt lors du montage d’une vidéo de 23,98 ips que vous voulez sortir sur un appareil NTSC. Important : un périphérique FireWire doit être connecté à votre ordinateur et la séquence doit avoir une base temps de 23,98 ips pour que les options de pulldown apparaissent. Elles n’apparaissent pas si la séquence a une base temps de 24 ips. Pour rajouter un pulldown lors de l’envoi d’un signal vidéo de 23,98 ips à un périphérique NTSC via FireWire : 1 Dans Final Cut Pro, sélectionnez la séquence dans la Chronologie. 2 Choisissez le type de pulldown à utiliser dans le menu local Real-Time Effects (RT), dans la Chronologie. Consultez la section « Modèles de pulldown applicables à la vidéo 23,98 ips » à la page 225 pour des détails sur les modèles disponibles. 3 Sortez la vidéo via votre connexion FireWire. Consultez la documentation de Final Cut Pro pour des détails sur la sortie de vidéo. Le pulldown est effectué sur la vidéo envoyée de votre ordinateur via FireWire. Utilisation de listes EDL audio pour le son à deux systèmes À l’instar des productions sur film, les productions en vidéo 24P utilisent également un enregistreur audio distinct pour séparer l’enregistrement du son et des images. On parle souvent d’enregistrement de son à deux systèmes. Ce son est souvent enregistré simultané- ment sur la cassette vidéo du magnétoscope 24P, ce qui facilite la capture ultérieure de la vidéo et du son, ce dernier étant déjà synchronisé avec les images pour le montage. Bande vidéo Système de montage 24P online Master monté achevé Traitement final du son Magnétoscope 24P Vidéo 24P Bandes audio originales Vidéo synchronisée Son synchronisé Liste EDL 24 ips Liste EDL audio Final Cut Pro avec Cinema Tools Mixeur audio de production Enregistreur audio Montage offline Base de données pour l’exportation de la liste EDL audio Exportation de la liste EDL vidéo 228 Partie II Utilisation de la vidéo 24P Dans la plupart des cas, une fois que vous avez fini le montage, vous voudrez recapturer l’audio à partir des bandes de production originales et le faire finaliser par un studio de postproduction audio. La difficulté, c’est que la liste EDL de Final Cut Pro ne « connaît pas » les numéros de bande et les timecodes des bandes audio d’origine ; elle ne contient que les informations sur la bande vidéo. Comme l’enregistreur audio de production démarre et s’arrête indépendamment du magnétoscope, son timecode ne correspond pas à celui de ce dernier. À l’aide de sa fonction de base de données, Cinema Tools peut mettre en correspondance les modifications en utilisant l’audio des bandes vidéo avec les bandes audio de production originales et générer une liste EDL audio qui pourra ensuite être utilisée pour recapturer et finaliser l’audio. Pour utiliser cette fonction, vous devez d’abord créer une base de données Cinema Tools. Consultez la section « Création et configuration d’une nouvelle base de données » à la page 74 pour des détails sur la création d’une base de données et la section « Exportation d’une liste EDL audio » à la page 193 pour des détails sur l’exportation d’une liste EDL audio à partir de Cinema Tools.III Partie III: Annexes Ces annexes propose des informations complémentaires générales sur l’utilisation de Cinema Tools. Le glossaire et l’index peuvent vous aider à retrouver rapidement les informations que vous cherchez. Annexe A Principes généraux Annexe B Création de listes de films avec Cinema Tools Annexe C Solutions aux problèmes fréquents et assistance client Glossaire Index 231 A Annexe A Principes généraux Avant d’utiliser Cinema Tools pour monter votre film, il est utile de posséder quelques connaissances générales sur les propriétés d’un film et d’être familiarisé avec les méthodes traditionnelles de montage. Cette annexe vous présente quelques informations générales sur les films et les méthodes de montage traditionnelles et numériques. La plupart de ces informations sont très générales et ne sont pas destinées à constituer un guide exhaustif sur le traitement du film. Il existe une grande quantité de sources d’informations qui pourront vous fournir des renseignements plus détaillés à ce sujet. Notions élémentaires sur le film Un certain nombre d’éléments permettent de distinguer les différents formats de film. Les plus courants sont :  le format d’image,  la disposition des perforations par image sur le côté de la bande,  les codes de bordure, comprenant les numéros de bord et la codification manuelle,  la vitesse de défilement (le nombre d’images par secondes). Les sections suivantes traitent de ces points en relation avec Cinema Tools.232 Partie III Annexes Le format d’image Cinema Tools prend en charge deux formats de film courants : le 16 mm et le 35 mm. Le rapport hauteur/largeur de chaque format est différent. En raison de son moindre coût, le 16 mm est habituellement utilisé pour les productions à petits budgets. Si vous avez l’intention de filmer en 16 mm mais de sortir votre projet en 35 mm à 4 perforations, il est préférable d’utiliser une pellicule Super 16 mm. Elle est perforée sur un seul côté et son format d’image plus grand s’adapte mieux au rapport hauteur/largeur du 35 mm 4-perf. La pellicule 35 mm est habituellement utilisée pour les salles de cinéma, la version à 4 perforations par image (4-perf) étant la plus courante. Une autre version utilise 3 perforations par image. Il existe d’autres versions du format 35 mm, comme, par exemple, le format à 8 perforations, mais elles ne sont actuellement pas prises en charge par Cinema Tools. Perforations Les caméras et le matériel de projection utilisent des perforations (également appelées trous d’entraînement) situées le long d’un ou des deux côtés de la pellicule pour la faire passer devant l’obturateur. Format 16 mm Super 16mm Format 35 mm 4-perf Format 35 mm 3-perfAnnexe A Principes généraux 233 III Film 16 mm Le film 16 mm a une seule perforation par image, ce qui donne 40 perforations par pied. Le 16 mm existe en version perforé d’un seul côté (ce qui laisse de la place pour une piste optique ou, dans le cas du film Super 16 mm, pour une image plus grande) et perforé des deux côtés (perforations le long des deux bordures). Cinema Tools prend en charge les films 16 mm perforés d’un seul côté et des deux côtés à condition qu’ils possèdent un numéro de clé toutes les 20 images. Consultez la section « Numéros de bord » à la page 234 pour en savoir plus. Film 35 mm Le film 35 mm a 64 perforations par pied. Cinema Tools prend en charge les formats 35 mm à 4 perforations et 35 mm à 3 perforations pour tous les types de listes de film et de listes des modifications. Ces derniers sont, de loin, les formats 35 mm les plus courants. Le format de film 35 mm à 4 perforations a 16 images par pied. Le format 35 mm à 3 perforations ne possède pas un nombre entier d’images par pied (il y en a 21 et un tiers par pied). Pour éviter de devoir gérer des fractions d’images, on considère que le format 35 mm à 3 perforations est composé d’une succession de motifs composés de deux pieds à 21 images suivis d’un pied à 22 images. Consultez la section « Décalages 35 mm à 3 perforations » à la page 235 pour en savoir plus. Code de bordure du film Pour faciliter la localisation d’images spécifiques, les fabricants de films placent des chiffres le long de la bordure du film. Ces numéros de bord (également appelés code de bordure latent) n’apparaissent qu’une fois le film développé. Pour les copies de travail, les laboratoires peuvent ajouter des numéros appelés codification manuelle (également appelée codification Acmade). Les codes de bordure sont essentiels à votre base de données Cinema Tools car ils vous permettent d’exporter des cut lists ou des listes de modification qui spécifient précisé- ment où vos négatifs ou copies de travail doivent être coupés afin de correspondre à vos coupes numériques.234 Partie III Annexes Numéros de bord Les numéros de bord fournissent à la fois un numéro d’identification pour chaque bobine de film et une numérotation permettant d’identifier des images spécifiques. Ils apparaissent souvent à la fois comme texte normal et comme code à barres. Chaque format de film utilise les numéros de bord de manière différente :  Les films au format 16 mm peuvent contenir un numéro de bord toutes les 20 images (type le plus courant) ou 40 images, selon l’émulsion cinématographique. Cinema Tools prend en charge le format 16 mm-20.  Le film 35 mm a un numéro de clé toutes les 64 perforations (ce qui équivaut à toutes les 16 images avec le format à 4 perforations ou toutes les 21 images et un tiers avec le format à 3 perforations). Contrairement au timecode vidéo qui comporte un numéro par image vidéo, les numéros de bord n’apparaissent pas sur chaque image de la pellicule. C’est pourquoi, lorsque l’on identifie une image donnée dans un relevé ou dans Cinema Tools, les numéros de bord comportent une extension permettant de spécifier chaque image. L’extension « +08 » ajoutée à un numéro de bord indique qu’il s’agit de la huitième image à partir de la première de ce numéro de bord. Numéro de bordAnnexe A Principes généraux 235 III Dans l’illustration précédente, le numéro de clé réel de l’image du centre est KJ 29 1234 5678+00. L’extension « • » suivant le numéro indique l’image 00 du numéro de clé. (Sur une pellicule 4-perf, comme celle de l’illustration, il y a 16 images par numéro de bord, la première correspondant à « 00 ».) L’image de droite a donc le numéro de clé KJ 29 1234 5678+01. L’image de gauche est la dernière image du numéro de clé précédent, KJ 29 1234 5677+15. (Le film 16 mm place le symbole « • » au début du numéro de clé.) La pellicule 35 mm comprend également des marqueurs tous les demi pied, à mi-chemin entre les marqueurs d’image zéro. Ils permettent de localiser plus facilement le point médian (l’image « +08 » dans l’exemple précédent) et de diminuer les risques d’erreur de décompte. Ces marqueurs utilisent le même numéro de bord en y ajoutant « +32 » (indiquant le numéro de perforation et non le numéro d’image) dans une taille de police plus petite. Décalages 35 mm à 3 perforations Comme le format 35 mm à 3 perforations ne possède pas un nombre d’images entier entre les numéros de clé, un numéro de décalage de perforation supplémentaire est ajouté à la fin du numéro de clé. Ce numéro indique la relation de la perforation marquée d’un « • » avec l’image à cette position. Codification manuelle La codification manuelle, souvent utilisée pour les copies de travail, est une méthode supplémentaire de codification sur la bordure de la pellicule permettant de mesurer le pié- tage et de compter les images. La codification manuelle est ajoutée aux copies de travail et aux bandes (son des bandes magnétiques correspondantes) une fois la copie de travail et la bande son synchronisées. Sur les copies de travail transférées, la codification manuelle est plus facile à lire que les numéros de bord et elle constitue un mécanisme de comptage synchronisé pour la bande-son et la copie de travail. La codification manuelle est parfois appelée codification Acmade car Acmade est le constructeur d’une machine utilisée pour l’impression de codification manuelle. Ces machines sont habituellement louées ou sont la propriété des équipes de tournage qui les utilisent. Décalage 1 Décalage 2 Décalage 3236 Partie III Annexes La codification manuelle est habituellement constituée d’un préfixe à trois chiffres, d’un caractère ou d’une espace, de quatre chiffres représentant le numéro du métrage et de chiffres représentant la vue de référence. Dans la codification manuelle 123 4567 +08, par exemple, « 123 » est le préfixe et « 4567+08 » est le numéro d’image, indiquant que l’image se trouve à 4567 pieds et 8 images. En réalité, la codification manuelle indiquée sur la pellicule ne comprend pas la dernière partie (le numéro de la vue de réfé- rence). Cette dernière est calculée lors du transfert télécinéma et apparaît dans la liste télécinéma. Le nombre de chiffres constituant le préfixe peut être supérieur ou inférieur à trois et la méthode de numérotation utilisée est habituellement déterminée par un assistant monteur. La numérotation pourrait, par exemple, être associée au numéro de scène, tel que « 042 » pour le métrage de la scène 42, ou les préfixes pourraient représenter les numéros de bobines journalières. Fenêtre d’affichage Lors du processus de transfert télécinéma (décrit dans la section « Transfert du film sur bande vidéo » à la page 19), le numéro de bord est habituellement incrusté dans l’image vidéo (en même temps que le timecode vidéo et audio) afin de faciliter l’identification d’images particulières. On appelle ces codes incrustés la fenêtre d’affichage. Cinema Tools s’avère bien plus simple à utiliser si les numéros de bord sont visibles. Il est possible d’utiliser Cinema Tools sans la fenêtre d’affichage, mais cela demandera plus d’efforts de votre part pour vous assurer que les coupes sont correctement détectées. Remarque : une fois vos images vidéo capturées, mais avant le montage, vérifiez que les numéros de bord et le timecode incrustés correspondent à ceux de la pellicule et de la bande vidéo. Une erreur à ce stade entraînerait de sérieux problèmes lors de la conformation du négatif. La méthode la plus courante pour vérifier ces codes est de demander au laboratoire ou au studio de transfert de perforer ou d’appliquer une marque sur une image de la pellicule, de noter son numéro de bord et de le comparer au numéro de bord incrusté lors du visionnage de la vidéo transférée.Annexe A Principes généraux 237 III Vitesse de défilement Un film possède normalement une fréquence d’images de 24 images par secondes (ips). Ce qui veut dire qu’une nouvelle image est exposée ou projetée 24 fois par seconde. Afin de faciliter la conversion aux vitesses de défilement vidéo, il est courant de faire tourner le film à d’autres vitesses que 24 ips durant le transfert télécinéma. Cinema Tools prend en charge les films transférés sur bande vidéo à des vitesses de télécinéma de 23,98 ips, 24 ips, 25 ips et 29,97 ips (souvent appelé 30 ips). Pour de plus amples renseignements sur la vitesse de défilement, consultez la section « Infos générales sur la vitesse de défilement des images » à la page 23 . Montage selon les méthodes traditionnelles La procédure traditionnelle de montage a peu évolué au fil du temps. Alors que le maté- riel utilisé a connu de profondes améliorations, les étapes du processus sont restées fondamentalement les mêmes. Vous trouverez ci-dessous le déroulement simplifié du processus de montage d’un film. Remarquez que le négatif original n’est presque pas utilisé pendant la partie créative du montage. Le négatif doit être manipulé aussi peu que possible, par des professionnels et dans un environnement adéquat, afin d’éviter tout risque d’endommagement. Étape 1 : tournage et enregistrement du son Le son est toujours enregistré séparément sur un enregistreur audio indépendant. On appelle ce procédé le tournage à système sonore séparé. Au moment de tourner le film, vous devez inclure une méthode de synchronisation du son et de l’image. La méthode la plus courante consiste à utiliser un clap (également appelé ardoise ou claquette) au début de chaque prise. Il existe de nombreuses autres méthodes utilisables, l’idée étant d’utiliser un signal court et ponctuel, à la fois audible et visible (il faut que l’on voie ce qui provoque le bruit). Étape 2 : développement du film La pellicule développée est appelée négatif de caméra original. Ce négatif sera conformé afin de créer le film abouti et doit être manipulé avec soin pour éviter toute possibilité de rayure ou de contamination. Le négatif est normalement utilisé pour créer une copie de travail (film positif), puis mis de côté jusqu’à sa conformation. Création de la copie de travail Montage de la copie de travai Montage de pistes audio de travail Tournage du film Développement du film Création de pistes audio de travail Enregistrement du son Mixage de pistes audio Ajout de bruitages Conformation du négatif original à la copie de travail Création de copies d’exploitation Négatif original Bandes audio originales238 Partie III Annexes Étape 3 : création de la copie de travail La copie de travail est créée à partir du négatif original et vous fournit une copie du film brut à utiliser pour le montage. Les copies de travail étant des épreuves positives de la pellicule, elles peuvent être projetées et utilisées comme rushes, afin que vous puissiez visualiser ce qui a été tourné. Étape 4 : création de pistes audio de travail Une piste de travail audio est comparable à la copie de travail du film: c’est la copie de la bande-son à utiliser lors du montage. En fonction du type d’appareil de montage mécanique que vous compter utiliser, vous devrez souvent créer une piste audio de travail sur bande magnétique. La bande magnétique, également appelée bande-son, utilise des perforations comme la pellicule, mais elle est recouverte d’un revêtement magnétique. Une fois synchronisée avec le film sur la monteuse, le monteur fait défiler la bande-son et la copie de travail en même temps, tout en maintenant leur synchronisation durant le montage. Étape 5 : montage de la copie de travail C’est à ce stade où vous décidez quelles parties du métrage vous voulez utiliser et de la manière de les agencer. Le montage de la copie de travail implique de couper et de coller sur chaque point de montage. Changer d’avis sur l’emplacement exact d’une coupe ou essayer différents raccords prend du temps et a tendance à fragiliser la pellicule. (C’est cette partie du processus que le montage numérique facilite énormément.) Lorsque vous êtes satisfait par la copie de travail montée, elle peut être envoyée au monteur négatif. Étape 6 : conformation du négatif La copie de travail montée est utilisée comme guide pour le découpage du négatif original. Ce processus est appelé conformation. Étant donné qu’il n’y a qu’un seul négatif, il est primordial de ne faire aucune erreur à ce stade. Contrairement aux méthodes de découpe et de collage utilisées sur la copie de travail, les méthodes utilisées pour la conformation du négatif détruisent les images de début et de fin du plan monté. Cela rend l’allongement d’un montage virtuellement impossible et constitue l’une des raisons pour lesquelles vous devez être absolument sûr de vos points de coupe avant d’entamer la conformation. Étape 7 : montage du son Le son est généralement monté « bout-à-bout » pendant le montage de la copie de travail. Pendant la conformation du négatif, le son est monté (à l’aide des bandes originales) puis on y rajoute les bruitages et les modifications de dialogues nécessaires.Annexe A Principes généraux 239 III Étape 8 : création des copies d’étalonnage et d’exploitation Une fois que vous avez conformé le négatif original et terminé le montage audio, vous pouvez créer une copie d’étalonnage. Cette copie est utilisée pour l’amélioration des couleurs finales, étape au cours de laquelle l’équilibre des couleurs et l’exposition de chaque prise sont retouchés afin d’assurer le bon enchaînement des prises. Il peut s’avérer nécessaire de créer plusieurs copies d’étalonnage avant d’obtenir des résultats satisfaisants. Une fois que la copie d’étalonnage vous convient, la copie d’exploitation est réalisée. Montage à l’aide des méthodes numériques Le processus de montage numérique de film est en constante évolution, mais le principe reste le même : vous commencez et vous finissez sur pellicule, seule le travail de création du montage change. Vous trouverez ci-dessous le déroulement simplifié des étapes de base. (Pour une explication détaillée de ces étapes, consultez le chapitre 2, « Le flux de production de Cinema Tools », à la page 37.) Bien que ce flux de production paraisse plus compliqué que la méthode de montage traditionnelle, beaucoup de ces étapes peuvent être automatisées. Pour la plupart des réalisateurs, la possibilité de faire le montage en numérique compense largement le fait qu’il y ait des procédures supplémentaires. De nombreuses étapes du montage numérique sont identiques à la méthode traditionnelle, seule la phase intermédiaire du montage est affectée par le montage numérique. Étape 1 : tournage et enregistrement du son Le son est toujours enregistré séparément sur un enregistreur audio indépendant. On appelle ce procédé le tournage à système sonore séparé. Au moment de tourner le film, vous devez inclure une méthode de synchronisation du son et de l’image. La méthode la plus courante consiste à utiliser un clap (également appelé ardoise ou claquette) au début de chaque prise. Il existe de nombreuses autres méthodes utilisables, l’idée étant d’utiliser un signal court et ponctuel, à la fois audible et visible (il faut que l’on voie ce qui provoque le bruit). Tournage du film Mixage des pistes audio Ajout de bruitages Conformation du négatif original à la cut list Création de copies d’exploi- tation Conversion en vidéo avec un télécinéma Dévelop- pement du film Décisions de montage Liste télécinéma Son pour le montage Liste EDL audio Cut list Négatif original Bandes audio originales Montage vidéo et audio Final Cut Pro Télécinéma inversé Conformation Capture du son Capture de la vidéo Prépara- tion des plans Enregis- trement du son Cinema Tools Base de données Cinema Tools Exportation de la cut list en fonction du montage 240 Partie III Annexes Étape 2 : développement du film La pellicule développée est appelée le négatif de caméra original. Ce négatif sera utilisé pour créer le film abouti et doit être manipulé avec soin pour éviter toute possibilité de rayure ou de contamination. Le négatif est utilisé pour créer un transfert sur bande vidéo (et habituellement une copie de travail comme dans la méthode traditionnelle) puis mis de côté jusqu’à sa conformation. Étape 3 : transfert du film sur bande vidéo La première étape de la conversion du film vers un format utilisable dans Final Cut Pro est le transfert sur vidéo, généralement à l’aide d’un télécinéma. Les télécinémas sont des appareils qui numérisent une à une toutes les images d’un film à l’aide d’un capteur CCD (charge-coupled device) pour les convertir en images vidéo. Bien que la vidéo générée par le télécinéma ne soit utilisée que pour déterminer les points de coupe, il est conseillé de réaliser un transfert de la meilleure qualité possible. Si vous décidez de ne pas faire de copies de travail, c’est peut-être là votre unique chance de déceler des éléments indésirables (comme une perche ou une ombre de micro dans le champ) dans chaque prise avant de les valider. La version vidéo doit comporter le numéro de bord du film, le timecode vidéo et le timecode audio incrustés sur chaque image. Le format de bande vidéo utilisé pour le transfert est sans importance, tant que des timecodes fiables sont utilisés. Vous pourrez ensuite capturer la vidéo et l’audio numé- riquement sur ordinateur avant le montage. Vous pouvez néanmoins décider d’utiliser le transfert vidéo pour créer également une version vidéo montée du projet, afin de réaliser une bande annonce par exemple. Cela nécessite deux bandes vidéo réalisées lors du transfert : une de qualité supérieure, sans fenêtre d’affichage et une autre avec fenêtre d’affichage. Il est fortement recommandé de synchroniser l’audio sur la vidéo, puis de l’enregistrer sur la bande en même temps que la vidéo lors du transfert télécinéma. Il existe également certaines méthodes pour synchroniser l’audio une fois que le transfert télécinéma est complet. Il est important de pouvoir capturer simultanément la vidéo et l’audio synchronisé avec Final Cut Pro. Étape 4 : création d’une base de données Cinema Tools La base de données de Cinema Tools constitue l’élément clé de son utilisation. Cette base de données est semblable au « code book » (livre de codes) utilisé par les réalisateurs. Elle contient des informations sur tous les éléments impliqués dans un projet, y compris les numéros de bord du film, les timecodes vidéo et audio et les fichiers de plan utilisés par Final Cut Pro. En fonction de votre situation, la base de données peut contenir soit un enregistrement de chaque prise utilisée dans le montage, soit des enregistrements uniques pour chaque bobine de pellicule. Le transfert pellicule/vidéo génère un journal que Cinema Tools peut importer pour constituer sa base de données. C’est cette base de données que Cinema Tools utilise pour faire correspondre vos montages Final Cut Pro avec les numéros de clé du film en générant la cut list. Annexe A Principes généraux 241 III Il n’est pas nécessaire que la base de données soit créée avant la capture du son et de la vidéo, ou même avant qu’ils ne soient montés. Le seul impératif est qu’elle doit être créée avant qu’une cut list ne puisse être exportée. L’atout que présente la création de la base de données avant la capture de la vidéo et de l’audio est de permettre ensuite de l’utiliser pour créer des listes de capture par lot, ce qui permet à Final Cut Pro de capturer les plans. La base de données peut également être mise à jour et modifiée pendant le montage. Étape 5 : capture de la vidéo et du son La vidéo crée au cours du processus de télécinéma doit être capturée sous la forme d’un fichier numérique pouvant être monté avec Final Cut Pro. La méthode employée dépend du format de la bande utilisée pour le transfert télécinéma et des performances de votre ordinateur. Pour capturer des fichiers provenant d’une Betacam SP ou d’un magnétophone à bobines Digital Betacam, vous devez disposer d’une carte de capture de tierce partie. Si vous utilisez une source DVCam, l’importation peut se faire directement via FireWire. Pour pouvoir bénéficier de la fonctionnalité de capture par lot de Final Cut Pro, vous devriez utiliser une source aux images précises et contrôlable par périphérique. Contrairement à la vidéo capturée, qui n’est jamais utilisée dans le film final, le son monté peut être utilisé. Vous pouvez décider de capturer le son à un niveau de qualité supérieur, puis l’exporter une fois monté sous forme de fichier OMF (Open Media Framework) qui peut être importé, pour la finition, sur une plateforme de travail DAW (Digital Audio Workstation). Une autre façon de faire consiste à capturer l’audio en basse qualité, puis, une fois le montage terminé, à exporter une liste EDL audio pouvant être utilisée par un studio de postproduction audio où le son de production peut être capturé et traité en très haute qualité. Étape 6 : traitement des plans vidéo et audio En fonction de la façon dont vous utilisez Cinema Tools, les plans capturés peuvent être reliés à la base de données Cinema Tools. Ils peuvent aussi être traités à l’aide des fonctions Reverse Telecine et Conform de Cinema Tools pour garantir la compatibilité avec la base temps de montage de Final Cut Pro. La fonction de télécinéma inversé de Cinema Tools vous permet, par exemple, de retirer les images supplémentaires ajoutées lors du transfert du film sur bande vidéo NTSC à l’aide du procédé pulldown 3:2. Étape 7 : montage vidéo et audio Vous pouvez maintenant modifier le projet à l’aide de Final Cut Pro. Dans les grandes lignes, le montage de votre projet de film se fait comme pour tout projet vidéo. Si vous avez capturé le son séparément de la vidéo, il est possible de les synchroniser à l’aide de Final Cut Pro. Tous les effets que vous appliquez, tels que les fondus, transitions, variations de vitesse ou titres, ne sont pas utilisés directement. Ils doivent être créés sur pellicule par une unité spécialisée dans les effets visuels. 242 Partie III Annexes Sortir une bande vidéo du montage final du projet peut constituer une aide précieuse pour la personne chargée du montage du négatif. Même si la cut list contient toutes les informations nécessaires pour faire correspondre la pellicule au montage vidéo, il est utile de pouvoir visualiser les coupes. Étape 8 : exportation des listes de film Une fois le montage terminé, vous pouvez exporter toutes sortes de listes concernant le film, comme, par exemple, la liste de conformation, utilisée par le monteur négatif pour mettre en correspondance le négatif caméra original avec la vidéo montée. Il est également possible de créer d’autres listes, comme la liste des doublons, qui indique si des plans sont utilisés plusieurs fois. Étape 9 : création d’une coupe test sur une copie de travail Avant de conformer le négatif original, il est fermement recommandé de conformer une copie de travail à la cut list afin de s’assurer de la fiabilité de cette dernière (certains monteurs négatif exigent de travailler à partir d’une copie de travail conformée). De nombreux facteurs peuvent entraîner des inexactitudes dans la cut list :  des numéros de bord endommagés ou mal lus introduits pendant le transfert télécinéma,  des valeurs de timecode incorrectes,  des erreurs de timecode survenues pendant le processus de capture,  des problèmes de pulldown 3:2 avec le format vidéo NTSC. Outre la vérification de la cut list, d’autres problèmes, tels que le rythme d’une scène, sont des éléments souvent difficiles à appréhender avant d’avoir vu le film projeté sur grand-écran. Cela vous permet également de vous assurer que les plans choisis ne posent aucun problème inattendu. Si des projections et des modifications de la copie de travail font partie de votre processus de production, vous pouvez également exporter une liste de modifications décrivant les changements à réaliser sur la copie de travail afin qu’elle corresponde à une nouvelle version de la séquence montée dans Final Cut Pro. Étape 10 : conformation du négatif Le monteur négatif utilise la liste de conformation, la copie de travail montée et la version vidéo montée (si elle est disponible) comme guide pour effectuer le montage sur le négatif original. Étant donné qu’il n’y a qu’un seul négatif, il est primordial de ne faire aucune erreur à ce stade. Contrairement aux méthodes de découpe et de collage utilisées sur la copie de travail, les méthodes utilisées pour la conformation du négatif détruisent les images de début et de fin du plan monté. Cela rend l’allongement d’un montage virtuellement impossible et constitue l’une des raisons pour lesquelles vous devez être absolument sûr de vos points de coupe avant d’entamer la conformation.Annexe A Principes généraux 243 III Étape 11 : finition audio Le son est généralement monté « bout-à-bout » pendant le montage de la vidéo (étape 7), la finition étant normalement effectuée pendant la conformation du film. Comme indiqué à l’étape 5, vous pouvez utiliser une version OMF exportée de l’audio Final Cut Pro monté ou exporter une liste EDL audio et recapturer le son de production (à l’aide des bandes originales) sur un poste de travail audionumérique. La finition audio est l’étape où l’on effectue le mixage final du son, y compris l’élimination des problèmes de dialogues et l’ajout des bruitages, des arrière-plans et de la musique. Étape 12 : création des copies d’étalonnage et d’exploitation Une fois que vous avez conformé le négatif original et terminé le montage audio, vous pouvez créer une copie d’étalonnage. Cette copie est utilisée pour l’amélioration des couleurs finales, étape au cours de laquelle l’équilibre des couleurs et l’exposition de chaque prise sont retouchés afin d’assurer le bon enchaînement des prises. Il peut s’avérer nécessaire de créer plusieurs copies d’étalonnage avant d’obtenir des résultats satisfaisants. Une fois que la copie d’étalonnage vous convient, la copie d’exploitation est réalisée. 245 B Annexe B Création de listes de films avec Cinema Tools Cinema Tools ne peut créer une liste de film que s’il parvient à faire coïncider les coupes faites dans le système de montage et les enregistrements de la base de données de Cinema Tools. Un enregistrement contient des informations sur la bande du film et sur les numéros de bord requises par Cinema Tools pour décrire les coupes dans la liste de film. Pour créer une liste de film, Cinema Tools utilise deux méthodes pour rechercher un enregistrement de la base de données associée à une coupe particulière :  Méthode basée sur les plans : Cinema Tools obtient le nom du plan de Final Cut Pro, puis recherche le plan dans la base de données. Cinema Tools tente d’abord de localiser le plan d’après le chemin d’accès au plan indiqué dans le système de montage. Si cette méthode ne permet pas de trouver le plan, la recherche est effectuée à l’aide du nom et de la date de modification du plan. Lorsque Cinema Tools trouve le plan dans la base de données, il peut également localiser l’enregistrement correspondant, car chaque plan est obligatoirement associé à un enregistrement.  Méthode basée sur le timecode : si Cinema Tools ne trouve pas l’enregistrement de base de données sur la base du nom du plan, il recherche l’enregistrement de base de données en cherchant les informations de bobine vidéo et de timecode associées à la coupe dans la séquence dansFinal Cut Pro.246 Partie III Annexes Cinema Tools utilise autant que possible la méthode de localisation basée sur les plans. S’il ne trouve aucun plan correspondant, il utilise la méthode de localisation basée sur le timecode. Si Cinema Tools ne parvient pas à trouver un enregistrement de base de données approprié, une entrée est effectuée dans la liste des éléments manquants (si vous choisissez d’inclure une liste d’éléments manquants dans la liste de film). Ce processus apparaît dans le diagramme ci-dessous. À propos de la méthode basée sur les plans Pour localiser un enregistrement de la base de données grâce à la méthode basée sur les plans, Cinema Tools n’a besoin de connaître que le lien entre le plan source et les numéros de bord ou la codification manuelle. Avec la méthode basée sur le timecode en revanche, Cinema Tools doit connaître le lien entre les numéros de bord ou la codification manuelle et la bande et le timecode vidéo. La méthode des plans s’avère plus fiable car elle utilise moins de critères. C’est pourquoi Cinema Tools l’utilise toujours en premier. Oui Non Oui Non Cinema Tools obtient le nom du plan à partir de Final Cut Pro Cinema Tools recherche le nom du plan dans la base de données Cinema Tools obtient le timecode du planet l’identifiant de bobine à partir de Final Cut Pro Cinema Tools utilise les informations de bobine et de numéro de bord pour décrire la coupe dans la cut list Enregistrement trouvé dans la base de données ? Cinema Tool recherche le timecode du plan et l’identifiant de bobine dans la base de données L’élément manquant est noté dans la cut list et ajouté à la liste des éléments manquants Enregistrement trouvé dans la base de données ?Annexe B Création de listes de films avec Cinema Tools 247 III À propos de la méthode basée sur le timecode Cette méthode s’avère très utile, voire essentielle, dans certaines situations :  Si vous n’avez pas listé vos plans dans la base de données de Cinema Tools en les associant aux enregistrements, seule la méthode basée sur le timecode permet de localiser ces enregistrements. Si la base de données contient les données nécessaires pour pouvoir mettre en correspondance le numéro de bord et le timecode et les plans source ont été capturés par Final Cut Pro en utilisant un contrôle de périphérique aux images précises, Final Cut Pro devrait connaître les informations de bobine de film et de timecode de chaque plan et pouvoir produire une liste de film à partir de ces informations. (Dans ce cas, il n’est pas nécessaire d’établir un lien entre les plans sources et les enregistrements de la base de données, ce qui constitue un gain de temps appréciable.)  Si vous générez une liste de film à partir d’une liste EDL externe, la méthode basée sur le timecode est utilisée (en supposant que vous n’avez pas relié les plans sources à la base de données).  Si les fichiers de plans sont inaccessibles (offline) lorsque la liste de film est créée, seule la méthode basée sur le timecode peut localiser les enregistrements de la base de données. 249 C Annexe C Solutions aux problèmes fréquents et assistance client Si vous rencontrez des problèmes avec Cinema Tools, plusieurs ressources d’aide sont à votre disposition.  Cette annexe : cette annexe contient des informations relatives aux problèmes les plus fréquents rencontrés par les utilisateurs.  Informations de dernière minute : le menu Aide de Cinema Tools contient les informations de dernière minute qui n’ont pas pu être incluses dans le manuel. Consultez cette page d’aide dès que vous installez ou mettez à jour Cinema Tools.  Base d’informations techniques AppleCare : l’assistance AppleCare gère une base de données des problèmes d’assistance les plus courants, qui est mise à jour et agrandie au fur et à mesure que de nouvelles questions surgissent. Elle constitue une ressource gratuite très intéressante pour les utilisateurs de Cinema Tools. Pour accéder à la base de connaissances AppleCare, rendez-vous sur la page de support AppleCare à l’adresse http://www.apple.com/fr/support.  Assistance AppleCare : les utilisateurs de Cinema Tools peuvent choisir entre plusieurs options d’assistance. Pour en savoir plus, consultez la documentation sur les options d’assistance qui accompagnait Cinema Tools. Solutions aux problèmes fréquents Voici la liste des problèmes courants que vous pouvez rencontrer lors de l’utilisation de Cinema Tools avec une ou plusieurs solutions à chaque problème. Affichage d’avertissements concernant des utilisations multiples d’une même source.  Si le nombre d’images réutilisées est inférieur au nombre d’images que vous avez indiqué dans les réglages Cut Handles ou Transition Handles de la zone de dialogue Film List Export, il se peut qu’un message d’avertissement concernant des utilisations multiples soit affiché comme résultat des Cut Handles ou des Transition Handles. Pour vérifier si c’est le cas, réglez l’option Transition Handles sur zéro image et l’option Cut Handles sur une demi image, puis exportez de nouveau la liste de film. 250 Partie III Annexes  Lorsque votre programme monté contient des utilisations multiples de données sources et que vous ne disposez que d’un négatif original à couper, deux options s’offrent à vous. Vous pouvez monter à nouveau votre scène (ou vos scènes) afin d’éviter d’utiliser les données plusieurs fois. Vous pouvez aussi exporter une liste de doublons et la confier à un laboratoire pour qu’il crée plusieurs négatifs de chaque plan utilisé plus d’une fois. Transférez ensuite les doublons des négatifs sur vidéo et capturez-les dans Final Cut Pro, listez-les dans la base de données Cinema Tools et utilisez-les pour remplacer les doublons de section dans le projet monté. Les numéros de bord de la cut list ne concordent pas avec ceux des plans numériques.  Vous devez tout d’abord vous assurer qu’il s’agit d’un problème grave. Lorsque vous effectuez un montage à la vitesse vidéo NTSC de 30 ips (29,97 ips exactement), il arrive que les numéros de bord présentent un écart de plus ou moins 1 image. Ce résultat est donc tout à fait normal et ne doit pas vous préoccuper. (Consultez à ce propos la section « Infos générales sur la vitesse de défilement des images » à la page 23.) Il arrive également que le numéro de bord présente un écart supérieur à une image à la fin de la coupe, dans le cas où une image a été ajoutée ou supprimée pour conserver la synchronisation avec le son. Cet écart ne doit cependant jamais dépasser une image au début de la coupe. Par ailleurs, si vous effectuez un montage vidéo PAL à 24 ips, le numéro de bord incrusté dans l’image doit toujours être identique à celui des points d’entrée et de sortie de la cut list.  Si l’écart est supérieur à une image, il est très probable que le plan n’est pas correctement identifié dans la base de données Cinema Tools. Pour vérifier s’il est correctement identifié, ouvrez l’enregistrement correspondant et cliquez sur Open Clip pour ouvrir la fenêtre Clip. Utilisez la fonction Identify pour vérifier les numéros de bord en plusieurs points du plan et voir, de cette manière, si les images sont bien identifiées. Si le numéro de clé est incorrect, corrigez-le dans la sous-fenêtre Identify de la fenêtre Clip. Consultez la section « Vérification et correction de numéros de code de bordure de timecode » à la page 108 pour en savoir plus. Ensuite, générez à nouveau la cut list et vérifiez l’exactitude des numéros de bord affichés.  Assurez-vous que le timecode est correct dans Final Cut Pro. Si vous avez utilisé le contrôle de périphérique pour capturer les plans, mais constatez que Cinema Tools indique le mauvais timecode, il y a de fortes chances que le timecode soit incorrect dans Final Cut Pro. Si le timecode est incorrect dans Final Cut Pro, vous devez recapturer les plans source. Si vous avez utilisé le contrôle de périphérique série, il a pu se produire un décalage du timecode si vous n’avez pas réglé le décalage de timecode approprié dans Final Cut Pro pour la platine spécifique que vous avez utilisée. Vous devez réaliser ce réglage pour chaque platine et chaque ordinateur. Si le décalage de timecode n’a pas été spécifié, faites-le et recapturez les plans sources. Pour en savoir plus, consultez la section consacrée au calibrage du signal de timecode dans la documentation de Final Cut Pro.Annexe C Solutions aux problèmes fréquents et assistance client 251 III  Assurez-vous que tous les plans de la séquence ont la même fréquence d’images que la base temps de la séquence dans Final Cut Pro. Consultez la section la documentation de Final Cut Pro pour des détails sur la configuration de la base temps de montage dans l’Éditeur de préréglage de séquence.  La vidéo peut présenter des pertes d’images ou une discontinuité des numéros de bord. Dans ce cas, essayez de recapturer les plans. Lorsque vous tentez d’utiliser la fonction de télécinéma inversé, un message vous indique que des données ont été perdues.  Il arrive que des plans contiennent des images trop longues. Dans ce cas, la fonction de télécinéma inversé de Cinema Tools peut signaler des pertes d’images qui ne se sont en fait pas produites. Essayez de conformer le plan à 29,97 ips à l’aide de la fonction de conformation, puis relancez le processus de télécinéma inversé.  Si des pertes d’images se sont réellement produites lors de la capture, il est préférable de recapturer les plans sources sans pertes d’images car ces dernières peuvent perturber le processus de télécinéma inversé. Consultez à ce sujet la section « Comment éviter les pertes d’images » à la page 112. Vous trouvez des fichiers .tmp inattendus.  Cinema Tools crée parfois plusieurs fichiers temporaires lorsqu’il produit la cut list. Ces fichiers sont généralement supprimés une fois la liste créée et vous ne pouvez donc pas les voir. Si une erreur système se produit avant que la liste ne soit créée, il arrive que ces fichiers ne soient pas supprimés. Si vous trouvez des fichiers créés par Cinema Tools avec le suffixe « .tmp », « .tmp.dat » ou « .tmp.idx », vous pouvez les supprimer. Une erreur relative à un fichier temporaire apparaît dans la cut list.  Si une erreur se produit pendant que Cinema Tools est en train de créer un fichier temporaire, des messages d’erreur relatifs à ces fichiers peuvent apparaître dans la cut list. Ce problème est sans doute dû à un manque d’espace sur votre volume de stockage. Vérifiez que l’espace disponible sur le volume de stockage est suffisant.252 Partie III Annexes Contact de l’assistance AppleCare Votre coffret Final Cut Studio comprend de la documentation sur les options d’assistance disponibles chez Apple. Plusieurs types d’assistance vous sont proposés selon vos besoins. Quel que soit votre problème, il est recommandé que vous ayez les informations suivantes à portée de la main lorsque vous prenez contact avec l’assistance d’Apple. Vous réglerez plus rapidement votre problème si vous pouvez communiquer ces informations sans délai aux agents d’assistance.  L’identifiant d’assistance qui se trouve sur la couverture du fascicule Installing Your Software qui accompagnait Final Cut Studio. Remarque : l’identifiant d’assistance à 11 chiffres est différent du numéro de série du produit utilisé pour installer Final Cut Studio.  La version de Mac OS X que vous avez installée. Cette information est accessible via la commande À propos de ce Mac, dans le menu Pomme.  La version de Cinema Tools installée, y compris les mises à jour le cas échéant. Le numéro de la version se trouve dans Cinema Tools > About Cinema Tools.  Le modèle d’ordinateur utilisé.  La quantité de mémoire RAM installée sur votre ordinateur et la quantité allouée à Cinema Tools. Pour connaître la quantité de mémoire RAM installée, choisissez À propos de ce Mac dans le menu Pomme du Finder.  Les autres matériels tiers installés sur votre ordinateur ou reliés à celui-ci, ainsi que leur fabricant. Cela inclut les disques durs, les cartes vidéo, etc.  Modules de tierce partie ou autres logiciels installés avec Cinema Tools. Dans certains cas, AppleCare peut demander des informations sur votre ordinateur et la façon dont l’application est configurée. Choisissez Help > Create Support Profile crée un fichier contenant les informations nécessaires pouvant être envoyé à AppleCare par courrier électronique. En principe, n’utilisez cette fonctionnalité que si un membre du service AppleCare vous le demande. Vous pouvez accéder à l’assistance AppleCare en ligne à l’adresse http://www.apple.com/fr/support/cinematools. 253 Glossaire Glossaire 24 @ 25 Il s’agit de la méthode la plus courante de transfert de film vers le format vidéo PAL, qui consiste à accélérer le film à 25 ips lors du transfert télécinéma. Chaque image du film correspond exactement à une image de la vidéo, mais l’action s’en trouve accélérée de 4 pour cent. Voir aussi 24 & 1 ; pulldown 24 @ 25. 24&1 Cette méthode de transfert de film au format vidéo PAL consiste à ajouter deux trames supplémentaires par seconde à la vidéo, afin que les 24 ips de film remplissent les 25 ips du format vidéo PAL. Cette méthode maintient la vitesse d’origine de l’action. Voir aussi 24 @ 25 ; pulldown 24 @ 25. 24P Ce format vidéo de haute résolution utilise une vitesse de 24 ips et la technologie du balayage progressif. Il est de plus en plus utilisé dans la production de films à cause de sa haute qualité et fréquence d’images identique. Il est en outre facilement convertible dans la plupart des formats vidéo standard et haute résolution à 29,97 ips et 25 ips. 35 mm 4-perf Format courant de film 35 mm géré par Cinema Tools. Il comporte quatre perforations (trous d’entraînement) par image. 35 mm à 3 perforations Format de film 35 mm pris en charge par Cinema Tools. Il comporte trois perforations (trous d’entraînement) par image. Il gagne en popularité, en particulier avec la télévision par épisodes, car il contient 25 pour cents d’images en plus par pied de film que le format 35 mm à 4 perforations plus courant. 3:2 pulldown Méthode de distribution des 24 images par seconde du film sur les 29,97 images par seconde du standard vidéo NTSC lors du transfert de films ou de vidéos 24P. Dans le transfert, l’enregistrement alterne deux trames d’une image puis trois trames de la suivante afin que les 24 images d’une seconde de film ou de vidéo 24p remplissent les 30 images en 1 seconde de vidéo NTSC. Cette méthode est également connue sous le nom de pulldown 2:3. amorce Blanc ou métrage de substitution utilisé pour remplir des espaces vides où le métrage est temporairement manquant, afin de conserver la synchronisation entre l’image et la bande son.254 Glossaire code de bordure Fait référence à la numérotation en pieds et images qui se trouve sur la bordure du film. Cette codification peut se présenter soit sous forme de numéros de bord latents sur le négatif original, soit sous forme de codification manuelle ajoutée sur la bordure des copies de travail. Voir aussi codification manuelle ; numéro de bord. codification manuelle Décompte en pieds et images ajouté sur la bordure des copies de travail et des bandes sonores magnétiques. Également appelé numéro Acmade. conformation (film) Cette opération consiste à découper et à assembler un négatif original afin qu’il corresponde au montage effectué sur un système de montage numérique. Cela permet également d’assembler la vidéo ou le son sur la base d’une liste EDL (Edit Decision List). Voir aussi liste de conformation ; liste EDL. conformation (vidéo) Cette opération consiste à changer la vitesse de défilement d’un plan vidéo. Il est possible, par exemple, d’utiliser la fonction de conformation (Conform) de Cinema Tools pour faire passer la vitesse de défilement d’un plan vidéo PAL (25 ips) à celle d’un film (24 ips). Vous pouvez également conformer un plan à sa vitesse de défilement actuelle afin de vous assurer qu’il ne contient aucune erreur de vitesse de défilement. contrôle de périphérique Technologie permettant à Final Cut Pro de commander un périphérique externe, par exemple un magnétoscope ou une caméra. copie d’étalonnage C’est la première copie du film comprenant le son et l’image, livrée par le laboratoire afin de la soumettre à l’approbation du client. copie d’exploitation Une copie positive du film abouti ; le produit fini prêt à la distribution. copie de travail Copie positive du négatif original, découpée afin de constituer une trace et un prototype du montage créatif. Dans l’industrie du cinéma traditionnel, la copie de travail est montée en premier, puis utilisée par le monteur comme guide pour le montage du négatif de caméra original. Dans la réalisation de film numérique, la copie de travail est habituellement utilisée pour vérifier la cut list et créer un prototype du film pouvant être projeté sur grand écran avant la conformation du négatif. Sometimes called a work pix or cut pix. correspondance Remettre en correspondance les coupes d’un programme vidéo provenant d’un film avec le négatif de caméra original. Toutes les opérations de montage de la vidéo sont détaillées dans une cut list utilisée par le monteur négatif pour monter la copie de travail et le négatif original de la caméra. DF Voir timecode drop frame. effets d’optique Effets réalisés par une tireuse optique, comme par exemple les transitions et les titres en surimpression. Voir également tireuse optique.Glossaire 255 ensemble des enregistrements trouvés Il s’agit du groupe d’enregistrements affiché dans la fenêtre List View de Cinema Tools. Ce groupe est appelé l’ensemble des enregistrements trouvés parce que l’on utilise la commande Find pour l’afficher. entrelacé Voir vidéo entrelacée. fenêtre d’affichage Informations de timecode et de keycode superposées aux images vidéo. Elle apparaît habituellement sur la bande inférieure ou supérieure de l’image et fournit des informations de codification au monteur, sans masquer aucune image. fichier ALE Sigle de Avid Log Exchange. Un format de fichier qui permet le partage des bases de données de film entre des systèmes différents. Voir également liste télécinéma. fichier FLEx Format de fichier de liste télécinéma courant. Voir également liste télécinéma. identifiant de prise C’est, dans Cinema Tools, un code constitué d’une ou plusieurs lettres, nombres, ou les deux à la fois, servant à identifier un plan, une scène, une prise, une bobine vidéo, une bobine son, une bobine de laboratoire ou de caméra. image Une image unique. Le film et la vidéo sont constitués de ces images. Bien qu’une image de film soit une image photographique, une image vidéo contient une ou plusieurs trames. image « A » C’est la première des cinq images de la séquence répétitive du pulldown 3:2. Dans la vidéo pulldown 3:2 à deux trames, elle constitue la seule image qui contient complètement les deux trames d’une seule image du film. Les images B, C, et D ont leurs trames réparties sur deux images vidéo. Les images A surviennent normalement sur les numéros de timecode se terminant par « 0 » ou « 5 » (lors de l’utilisation d’un timecode « non-drop frame »). Voir aussi pulldown 3:2 ; trame. interpositif C’est une copie positive à faible contraste réalisée à partir du négatif original de la caméra. Elle ne peut pas être projetée comme une image en couleurs car elle porte un masque orange, comme un négatif. L’interpositif est habituellement utilisé comme étape intermédiaire dans la création des effets d’optique et des copies de négatifs. ips Abréviation d’images par seconde. liste de conformation (cut list) C’est un fichier texte qui détaille de façon séquentielle les opérations de montage qui constituent votre film. Le monteur négatif utilise la cut list pour conformer le négatif original. La liste de conformation est un sous-ensemble de la liste de film que vous pouvez exporter à partir de Final Cut Pro en utilisant Cinema Tools. On l’appelle aussi liste d’assemblage.256 Glossaire liste de film Fichier texte que vous fournissez au monteur de film comme guide pour la conformation du négatif de caméra original. La liste de film peut contenir un ou plusieurs des éléments suivants : une liste de conformation, une liste des éléments manquants, une liste des doublons, une liste des trucages optiques, une liste des épreuves et une liste des scènes. Elle peut aussi contenir des informations supplémentaires pour sortir les bobines de négatif, tirer des doubles des négatifs, réaliser une copie de travail ou des effets. liste de modification Liste que vous pouvez exporter à partir de Final Cut Pro en utilisant Cinema Tools, en partant du principe qu’une copie de travail ou un négatif a été coupé aux spécifications d’une liste de conformation (ou, auparavant, d’une liste des modifications) et décrit d’autres modifications à apporter sur la base de nouvelles coupes que vous avez apportées à une séquence Final Cut Pro. liste des doublons C’est une liste de film que les utilisateurs de Cinema Tools peuvent exporter et qui indique les utilisations multiples d’une même source dans un programme monté. Également appelée liste des doublons. liste des scènes Liste de film que les utilisateurs de Cinema Tools peuvent exporter. Elle détaille tous les plans qui sont dans la cut list, chaque plan n’y figure qu’une fois. Les listes de scènes sont habituellement utilisées pour commander des copies de plans afin de pouvoir conformer une copie de travail avant de découper le négatif original. liste EDL (Edit Decision List) C’est un fichier texte qui détaille de façon séquentielle toutes les opérations de montage et les plans individuels utilisés dans une séquence. Les listes EDL servent soit à faire migrer un projet d’une application de montage vers une autre, soit à harmoniser l’ensemble d’un programme dans un studio de montage online sur bande. liste optique Une liste de film que les utilisateurs de Cinema Tools peuvent exporter pour faire réaliser des effets dans des studios de trucage optique. La liste optique décrit les transitions et les effets de mouvement créés lors du montage numérique. liste Pull Liste de film que les utilisateurs de Cinema Tools peuvent exporter et dans laquelle les plans de la cut list sont répertoriés dans l’ordre où ils se trouvent sur les bobines de négatif. Le laboratoire se base sur une liste Pull lorsqu’il parcourt vos bobines de négatifs pour sortir les plans destinés à une copie de travail ou une coupe du négatif original. liste télécinéma Fichier généré par le technicien pendant le transfert télécinéma. Enregistre les numéros de bord du négatif original et le timecode du transfert vidéo, assurant ainsi le suivi de leur lien. Parfois appelé fichier FLEx. montage offline C’est la partie créative du montage, où les décisions de montage sont prises. Lorsque le montage offline est terminé, le matériau est souvent capturé à nouveau à une qualité supérieure ou une liste EDL est générée dans le but de recréer le montage sur un autre système. Voir liste EDL.Glossaire 257 montage online L’étape finale du processus de montage, au cours de laquelle toutes les décisions prises lors du montage offline sont mises en œuvre soit sur le négatif original, soit sur des bandes vidéo pleine résolution. monteur négatif Professionnel qui conforme le négatif original à partir d’une cut list et/ou d’une référence visuelle telle que la copie de travail ou une cassette vidéo créée par le système de montage numérique. NDF Voir timecode non-drop frame. négatif original de la caméra Également appelé OCN. Il s’agit des négatifs du tournage, de la pellicule d’origine. Le négatif original est découpé par le monteur négatif une fois que le montage est finalisé dans le système de montage numérique. Il n’existe qu’un seul négatif original. (Des copies peuvent être réalisées, mais elles sont chères.) NTSC Sigle de National Television Standards Committee, l’organisme qui définit les normes de diffusion en Amérique du Nord. Le terme vidéo NTSC se réfère à cette norme vidéo définie par le comité et dont les caractéristiques sont : 29,97 ips, 525 lignes par image et entrelacement. numéro Acmade See codification manuelle. numéro d’image C’est la partie finale du numéro de bord. Le numéro d’image est composé du numéro de métrage et du compteur d’image et indique à combien de pieds et d’images du début du film une image apparaît. Voir aussi numéros de bord. numéro de métrage C’est une partie du numéro de bord qui correspond au numéro à quatre chiffres indiquant la position sur une bobine de pellicule. Voir aussi numéro d’image ; numéro de bord. numéros de bord Numéros de décompte en pieds et images inscrits sur la bordure de la pellicule. Les numéros de bord sont souvent superposés par le télécinématographe sur le bord des images vidéo (on appelle cela la fenêtre d’affichage). Cinema Tools se sert des numéros de bord pour aider à faire correspondre les opérations de montage numérique et le négatif original. Les numéros de bord se composent d’un préfixe clé, qui reste identique tout le long de la bobine de pellicule et d’un numéro d’image, lui même composé d’un numéro de métrage et d’un numéro de décompte d’images. Les systèmes de transfert télécinéma ajoutent souvent également un identificateur de type d’image au numéro de bord. Par exemple, dans le numéro de bord KJ 291010 5867+07, « KJ 291010 » est le préfixe clé et « 5867+07 » est le numéro d’image. Également appelé code de bordure. numéros de bord latents Numéro ajouté sur la bordure de la pellicule lors de son processus de fabrication. Également appelé code de bordure latent. Voir également numéros de bord.258 Glossaire OMF Sigle de Open Media Format. Format d’échange de données pris en charge par de nombreux postes de travail audionumériques qui permet d’exporter tout l’audio et tous les points de montage qui figurent dans une séquence audio sous la forme d’un fichier autonome. Les fichiers OMF sont souvent transmis à un studio de postproduction audio, où ils sont finalisés, puis utilisés comme audio final dans une fonction. PAL Sigle de Phase Alternating Line. Format vidéo utilisé dans de nombreux pays européens et dans d’autres pays en dehors de l’Amérique du Nord. Le standard PAL est de 25 ips, 625 lignes par image et entrelacé. pertes d’images Images qui ne sont pas capturées. Si les performances de votre ordinateur ne sont pas optimales ou si votre disque de travail n’est pas assez rapide, il est possible que des pertes d’images surviennent lors du processus de capture. Lorsqu’une image est perdue lors de la capture, l’image précédente est répétée. Les pertes d’images peuvent engendrer une cut list incorrecte et interférer avec le processus de télécinéma inversé. plan Prise de vue continue ne comprenant aucune coupe. Un plan est un sousensemble de scène. plans sources Les fichiers de données avec lesquels on commence lorsqu’on débute le montage. Ce sont des fichiers capturés sur votre ordinateur et reliés à la base de données Cinema Tools avant de commencer le montage. priorité de trame Désigne la première trame d’une image vidéo entrelacée. Si une seule trame est capturée, « priorité de trame 1 » signifie que seule la trame 1 est capturée, alors que « priorité de trame 2 » signifie que seule la trame 2 est capturée. Voir aussi trame. prise Une prise est une version d’un plan particulier. Lors du tournage d’un film, il peut y avoir plusieurs prises de chaque plan. proportions (rapport largeur/hauteur) C’est le rapport entre la largeur d’une image et sa hauteur, exprimé soit par deux chiffres (largeur:hauteur), soit par une valeur égale à la hauteur divisé par la largeur. La vidéo en définition standard utilise le format 4:3 (0,75), alors que la vidéo haute définition utilise généralement le format 16:9 (0,56). Pour les films, ce rapport dépend du format et des objectifs utilisés. pulldown 24 @ 25 Terme Final Cut Pro désignant la même méthode que 24 & 1. Voir aussi 24 & 1 ; 24 @ 25.Glossaire 259 pulldown 2:3:2:3 Il s’agit d’une méthode de pulldown identique au pulldown 3:2, sauf qu’elle est appliquée par un caméscope numérique (plutôt que par tout autre type de matériel capable d’appliquer le même modèle de pulldown). Dans le présent manuel, nous utilisons le terme 2:3:2:3 pour faire référence au pulldown réalisé par les caméscopes vidéo numériques 24p. Ce type de pulldown peut être supprimé à l’aide de la forme automatisée de télécinéma inversé . Voir également pulldown 3:2. pulldown 2:3:3:2 Méthode de distribution des 24 images par seconde du film sur les 29,97 images par seconde du standard vidéo NTSC lors du transfert de films ou de vidéos 24P. Lors du transfert, l’enregistrement alterne deux trames d’une image puis trois trames des deux images suivantes, suivi de deux trames de l’image suivante. De cette façon, les 24 images en 1 seconde de film ou de vidéo 24p remplissent les 30 images en 1 seconde de vidéo NTSC. Bien que le 3:2 constitue le modèle de pulldown habituellement géré par les appareils NTSC, certaines caméras et certains systèmes de montage numériques commencent à gérer le pulldown 2:3:3:2. scène En cinéma, cela désigne le moment et l’endroit d’une série d’une ou de plusieurs prises de vues, habituellement reliées entre elles par une intrigue commune ou certains personnages. SMPTE Sigle de Society of Motion Picture and Television Engineers. L’organisme de normalisation qui a définit la norme du timecode SMPTE pour la vidéo. Le timecode SMPTE est le format de timecode le plus couramment utilisé. son à deux systèmes Tout type de production utilisant des appareils distincts pour enregistrer le son et l’image. Toujours utilisé pour les productions cinématographiques et souvent utilisé pour les productions en 24P. Également appelé production double système. supers Abréviation de superimposed (surimpression en français). Superposition d’images ou de texte sur des images du film. Les titres, par exemple, sont superposés à des images. synchro Apocope de synchronisation. Lorsque le son et l’image sont synchrones, on dit qu’ils sont synchronisés. synchroniseur Petit appareil mécanique équipé de galets d’entraînement montés sur un axe en rotation. Situé entre les bobines de pellicule, monté sur des enrouleuses, il accepte une bande de pellicule et de bande son perforée par galet d’entraînement. Une fois la pellicule et la piste en place sur les galets, elles peuvent être placées en état de synchronisation mécanique exacte et conserveront cette synchronisation en passant dans le synchroniseur. Le synchroniseur garde aussi la trace du métrage déroulé à l’aide d’un compteur de pieds et d’images mécanique actionné par les galets d’entraînement. Ègalement appelé bloc de synchronisation ou synchroniseur.260 Glossaire télécinéma Machine qui reproduit les images du négatif original sur une bande vidéo, en ajoutant souvent une fenêtre d’affichage du code de bordure de la pellicule. Voir aussi fenêtre d’affichage. télécinéma inversé C’est le processus qui supprime les images supplémentaires de la vidéo pulldown 3:2, en revenant à sa vitesse de défilement initiale de 24 ips. La fonction de télécinéma inversé crée une corrélation image pour image entre la vidéo et les images de la pellicule, afin d’obtenir des cut lists précises. L’inversion du pulldown 3:2 peut être réalisée matériellement en temps réel durant la capture, cependant, si vous ne disposez pas de l’équipement approprié, vous pouvez utiliser la fonction télécinéma inversé de Cinema Tools. Voir pulldown 3:2. timecode Format dans lequel une unité temporelle séquentielle unique est attribuée à chaque image vidéo. Le format se présente ainsi : heures: minutes: secondes: images. timecode drop frame Timecode NTSC qui saute deux numéros d’image par minute, sauf pour les minutes terminant par « 0 », afin que le timecode total final s’accorde avec le temps effectif écoulé. (Certains numéros de timecode sont ignorés, mais aucune image vidéo n’est omise.) Cette omission corrige la fréquence d’images réelle du NTSC qui est de 29,97 ips, ce qui provoque une imprécision de 3 secondes et 18 images par heure par rapport au temps réellement écoulé lorsqu’un timecode non-drop frame est utilisé. Afin d’éviter toute confusion, le timecode drop frame doit être évité pour les productions basées sur pellicule. Voir aussi timecode non-drop frame. timecode non-drop frame Timecode NTSC normal, dans lequel les images sont numérotées séquentiellement et où 30 images défilent en une seconde, 60 secondes par minute et 60 minutes par heure. La vitesse de défilement du format NTSC étant en fait de 29,97 ips, le timecode non-drop frame est dépassé de 3 secondes et 18 images par heure par rapport au temps effectivement écoulé. Comparez avec timecode dropframe. tirage par contact C’est une méthode de développement de pellicule au cours de laquelle l’émulsion du négatif original est mise en contact avec une pellicule de retirage pendant que le négatif est projeté sur cette pellicule. Une image de couleur et de lumière inversées est ainsi créée (par exemple le noir devient blanc et vice versa). tireuse optique Machine servant à reproduire un ou plusieurs éléments de la pellicule sur une nouvelle section de la pellicule. Le tirage optique permet d’ajouter ou de retirer de la lumière dans une image, de créer des effets de surimpression ou de réaliser des transitions entre les scènes, telles que des fondus, fondus enchaînés ou balayages.Glossaire 261 trame Moitié d’une image vidéo entrelacée constituée par le balayage des lignes paires ou des lignes impaires. Les trames vidéo alternantes sont tracées tous les 1/60 de seconde pour la vidéo NTSC (1/50 de seconde pour le format PAL) afin de créer la vidéo à 29.97 ips perçues (25 ips PAL). Il y a deux trames par image, une trame supérieure et une trame inférieure. Il n’est possible de capturer qu’une seule trame par image. Voir également entrelacement. vidéo convertie à la baisse C’est de la vidéo créée à l’issue d’une conversion de vidéo haute résolution (comme la vidéo 24P) vers de la vidéo de définition standard (NTSC ou PAL). vidéo de résolution standard Se réfère aux formats vidéo NTSC et PAL. Voir également vidéo haute résolution, NTSC, PAL. vidéo entrelacée Format d’image vidéo qui divise les lignes en deux trames, chacune composée de lignes paires et impaires alternées, balayées à des moments différents. Utilisé pour la vidéo de résolution standard. Voir aussi trame ; priorité de trame ; vidéo progressive. vidéo haute définition Fait référence à tous les formats vidéo à écran large, y compris au format 24p, qui fournissent une image de meilleure qualité que la vidéo en définition standard. Les améliorations peuvent consister en une résolution accrue, un rapport largeur/hauteur plus important (image plus large) ou un balayage progressif. Voir aussi vidéo progressive ; video en définition standard. vidéo HD Voir vidéo haute définition. vidéo progressive Un format d’image vidéo qui balaye progressivement toutes les lignes d’une image. Voir également vidéo entrelacée. vidéo SD Voir vidéo de résolution standard. vitesse de défilement de la pellicule lors du télécinéma Vitesse de défilement de la pellicule dans l’appareil de télécinéma lors du transfert vidéo. vitesse TK Voir vitesse de défilement télécinéma. XML Sigle de Extensible Markup Language. Un langage de balisage universel qui combine du texte interprétable par l’utilisateur avec des informations supplémentaires spécialisées. À cause de la grande variété d’outils disponibles, les fichiers XML sont très utilisés pour échanger des informations entre des applications. 263 Index Index 2:3:2:3 pulldown Voir également 3:2 pulldown 2:3:3:2 pulldown 27 2:3 pulldown. Voir 3:2 pulldown 3:2 pulldown description 23 exactitude de la cut list 166 images « A » 25 suppression des trames supplémentaires avec la fonctionnalité Reverse Telecine 25 35 mm à 3 perforations 235 A affiche 105, 123, 124 Apple Store 13 ardoise 32, 237, 239 Assistance AppleCare 252 audio Voir également EDL audio, synchronisation audio/ vidéo ajustement de la vitesse 145 capture 114, 241 Cinema Tools 9 enregistrement au format double 32 enregistreurs 30, 32, 114 exportation d’une liste EDL 31, 193–196, 241 exportation d’un fichier OMF 31, 192, 241 finition 241, 243 mixage audio final 31 montage dans Final Cut Pro 9, 31 montage traditionnel 238 observations à propos de l’exportation 192–193 problèmes de vitesse 193 synchronisation avec la vidéo. Voir synchro audio/ vidéo timecode 30, 32, 194 traitement final dans Final Cut Pro 31 audio double système 32 avertissement d’utilisations multiples 171, 249 B balayage progressif 26, 209 bande magnétique, pistes audio de travail 238 bande vidéo création pour le monteur négatif 34, 242 exportation des séquences à 24 ips sur 192 problèmes lors du montage à 24 ips 34 vidéo NTSC 34 vidéo PAL 34 base d’informations techniques AppleCare 249 base de données. Voir base de données Cinema Tools base de données Cinema Tools Voir également enregistrements de la base de données champs Scene et Take 92 changement de nom 84 connexion des plans sources à la 45, 121–126 création 37–41, 74–115, 240–241 création à l’aide d’une liste télécinéma ou d’un fichier ALE 71 création à partir d’une autre base de données Cinema Tools 90 création à partir d’une liste de capture par lot Final Cut Pro 71, 89–90 création à partir d’une liste télécinéma ou d’un fichier ALE 85–89 création d’un enregistrement 92 création de la cut list 240 création sans liste télécinéma ou fichier ALE 72 créer avec Final Cut Pro 75–77 déconnexion de plans de la 124–125, 125–126 description 38, 69, 240 données de la liste télécinéma/réglages par défaut 74 entrée manuelle de fiche 40 fonctionnement 38 lien entre scènes, plans et prises 91, 97 listes de capture par lot et 241 listes télécinéma 39, 71, 85–89 modification d’informations 104–107 modification des identifiants de bande ou de bobine 107 modification des réglages par défaut du projet 106 ouverture 80264 Index ouverture d’enregistrements 80 recherche d’enregistrements 80, 81–84 recherche d’informations dans 77 reconnexion des plans à la 126–128 saisie d’informations 85–104 saisie d’informations à l’aide de la fonction Identify 102–104 saisie d’informations via la fenêtre Detail View 94 sauvegarde 84 sélection d’une nouvelle affiche de plan 105 sélection d’une vitesse télécinéma (TK Speed) 80 sélection d’un format de film 78 sélection d’un timecode audio 79 sélection d’un timecode vidéo (Video TC Rate) 78 sélection des réglages par défaut 77–80 structure élémentaire 70 suppression d’un enregistrement 105 synchroniser avec Final Cut Pro 155–156 transferts camera-roll 39, 73 transferts scene-and-take et 39 utilisation 69, 73, 74 vérification et correction des codes de bordure et du timecode 108–110 verrouillage 84 base temps exactitude de la cut list 25 exactitude de la cut list et 34 réglage dans Final Cut Pro 34, 129 base temps de montage conformation de plans 46 bouton Connect Clip/Open Clip 101 C capture perte d’images et 112 plans individuels 121 préparation de la capture de plans sources 111– 121 capture par lot 22, 42, 43, 71, 241 XML 116 chaînes de film 20 champ Cam Roll 98 champ Daily Roll 98 champ Key 98 champ Lab Roll 98 champ Scene 92, 93, 97 champ Sound Roll 101 champ Sound Timecode 101 champ Take 92, 97 champ Video Duration 101 champ Video Reel 100 champ Video Timecode 100 Cinema Tools création d’une cut list et 45, 245–247 description 7–9 étapes fondamentales du flux de production 37– 47 exemples de flux de production 47–52 interface utilisateur 53–68 clap 32, 237, 239 claquette 32, 237, 239 code book (livre de codes) 240 code de bordure 233 Voir également numéros de bord, codification manuelle le déterminer avec la fonction Identify 102–104 vérification 176 vérification et correction 108–110 code de bordure latent. Voir code de bordure code habituel de postproduction 69 codification Acmade. Voir codification manuelle codification manuelle 235–236 Voir égalementcode de bordure commande Connect Clips 123 commande Export 202–203 commande Reconnect Clips 127–128 compression 42 configurations simplifiées 151 conformation de vitesse vidéo 29, 131 Voir également fonction Conform conformation du négatif original 238 contrôle de périphérique 22, 42–43, 115–116, 241 conversion du film en vidéo. Voir transfert du film sur bande vidéo copie d’étalonnage 239, 243 copie d’exploitation 239, 243 copie de travail 19, 20, 21, 237, 238 conformation à la cut list 242 listes des modifications et 47 montage 238 cut list 9, 22, 38, 242 avertissement en cas d’utilisations multiples 171 base temps et 25, 34 couche de premier plan 169 description 169 exactitude 34, 100, 166 fichiers temporaires 251 informations sur les effets et 161–163 méthode de création basée sur les plans 246 méthode de création basée sur le timecode 73, 95, 169, 245–246, 247 réglages nécessaires dans la fenêtre Detail View 95 D dépannage 249–252 contacter l’assistance AppleCare 252 double système audio. Voir audio double systèmeIndex 265 E Edit Decision List. Voir listes EDL audio, listes EDL EDL 214 Voir également EDL audio conversion NTSC en 24 ips 216–217 exportation de listes 24 ips 216 importation à 24 ips 214 importation NTSC 214 effets 160–163, 241 enregistrement de base de donnée création 92 enregistrements de base de données création d’une fiche par bobine caméra 73 saisie d’informations via la fenêtre Detail View 94 vérification et correction des valeurs de code de bordure et de timecode 108–110 enregistrements de la base de données conditions pour listes de capture par lot 118, 119 connexion des plans sources aux 121–126 création à partir d’une autre base de données Cinema Tools 90 modification de tous les identifiants de bande ou de bobine 107 navigation 80 ouverture 80 recherche 80–84, 170 reconnexion des plans aux 126–128 règles élémentaires pour la connexion des plans 122 saisie d’informations à l’aide de la fonction Identify 102–104 structure élémentaire 70 suppression 105 utilisations 73 enregistreurs audio 30, 32, 114 exportation sur bande vidéo 192 F fenêtre Clip introduction et déconnexion des plans dans la 125–126 ouverture 59 paramètres de la 60 sous-fenêtre Analysis 84 sous-fenêtre Identify 104 fenêtre d’affichage 9 description 236 Offline RT 112 original propre 20 utilisation de la fonction Identify sur les bandes vidéo dépourvues de 102 fenêtre Detail View affichage des enregistrements de la base de données 80 connexion et déconnexion de clips dans la 124– 125 données scènes et plans 97 identifiants 93 navigation dans les enregistrements 81 ouverture 55 ouverture d’un enregistrement dans la 58 reconnexion de plans individuels à l’aide de la 127 réglages 95–101 réglages nécessaires à la création d’une cut list ou d’une liste de modification 95 réglages requis pour exporter une liste EDL audio 95 saisie d’informations dans des enregistrements de base de données 94 sélection d’une nouvelle affiche de plan 105 suppression d’un enregistrement à l’aide de la 105 fenêtre List View 56–58 ouverture des enregistrements de la base de données 80 fenêtre Welcome 53 fiches de la base de données Voir également base de données Cinema Tools création à partir d’une liste de capture par lot Final Cut Pro 89–90 entrée manuelle 40 informations entrées 38 réglages par défaut 75–80 fiches de référence création à partir d’une liste télécinéma ou d’un fichier ALE 85–89 fichiers AIFF (Audio Interchange File Format) 193 fichiers ALE avantages 71 champs gérés par Cinema Tools 205 création d’une base de données Cinema Tools avec 71 exportation 206 importation 206 utilisation 204–206 fichiers Avid Log Exchange. Voir fichiers ALE fichiers de séquence QuickTime 45 fichiers FLEx 71 fichiers Open Media Framework. Voir fichiers OMF film 16 mm 18, 232 16 mm-20 18 35 mm 18, 232 35 mm à 4 perforations 232 35mm à 4 perforations 18 à propos de l’audio 30–33 avant de filmer 18 code de bordure 233 codification manuelle et 235–236266 Index combinaison des formats 18 formats 232 formats pris en charge par Cinema Tools 18, 232 inversé 99 montage numérique 8–9, 239–243 montage traditionnel 237–239 notions élémentaires 231–243 numéros de bord et 234–235 perforations 232 Super 16 232 transfert sur bande vidéo 19–29, 240 utilisation d’un clap avec timecode 32 vitesse 237 vitesse de défilement 23, 237 film 16 mm 18, 232, 234 film 35 mm 18, 232, 233, 234, 235 Final Cut Pro affichage d’informations relatives au film dans 154–159 commandes de Cinema Tools dans 47 configurations simplifiées pour les utilisateurs de Cinema Tools 151 conformation de 25 ips à 24 ips 132, 153 créer une base de données 75–77 exportation de fichiers OMF 31, 192, 241 exportation de listes EDL audio 31 importer une liste télécinéma 87 mémoire allouée 252 montage de vidéo 24P avec 211–228 ouvrir des plans dans Cinema Tools 159 perte d’images et 112 réglage de la base temps 25, 34 synchroniser avec Cinema Tools 75, 155–156 traitement audio final dans 31 utilisation comme système de montage offline de vidéo 24P 214–217 utilisation comme système de montage online de vidéo 24P 213–214 utilisation comme système de montage online et offline de vidéo 24P 211–212 utiliser le télécinéma inversé 140 FireWire site web 13 fonction Batch Reverse Telecine 141 utiliser une seconde fois 145 fonction Conform 45, 241 conformation de plans individuels 132 conformation de plans par lot 132–133 dans Final Cut Pro 132, 153 vidéo 24P et 215–216 fonction de Télécinéma inversé 133, 241 perte d’images et 112, 139, 251 fonction Identify 102–104 bande vidéo sans fenêtre d’affichage 102 lien code de bordure/timecode 108, 109 vérification et correction des codes de bordure et du timecode 108–110 fonction Reverse Telecine 145 conseils d’utilisation 134 dans Final Cut Pro 140 informations de trame 135–136 utilisation sur plusieurs plans à la fois (télécinéma inversé par lot) 141, ??–145 utilisation sur un seul plan 136–140 vidéo 24P et 215–216 format de film menu local de la fenêtre Detail View 99 sélection d’un format par défaut 78 found set 58, 80 G genlock 113–114 I identifiant de plans 93 identifiant de prises 93, 97 identifiant de scène 93, 97 identifiants de bande 107 identifiants de bobine 107 images 23, 29 comment éviter les pertes 112 pertes 109 images « A » description 25 modèle cinq images 25 images « A » localisation 142 timecode « non-drop frame » 25, 28 Ink, champ 99 interpositifs 162 L La 45 lien code de bordure/timecode continu/discontinu 72–73 transferts camera-roll 72–73 liste de capture par lot 115, 118–121 XML 119–120 liste de coupes non-concordance des numéros de bord 250–251 liste de modification réglages nécessaires dans la fenêtr 95–?? réglages nécessaires dans la fenêtre Deta ??–95 liste de modifications méthode de création basée sur le timecode 95 liste des doublons 46, 165, 171 liste des effets de filtre 173 liste des effets de mouvement description 173 numéros de bord et 173Index 267 liste des effets de transition 172 liste des éléments manquants 38, 46 description 169–170 traitement 170 liste des modifications 47 description 182–183 exportation 183–186 exportation depuis Cinema Tools 189 gestion des effets 184 quand l’utiliser 182 réglages de la zone de dialogue 187–188 sauvegarde de fichiers de programme 175 utilisation pour l’équilibrage des bobines 186 liste des scènes 47, 173 liste des scènes optiques 173 liste optique 47, 171 liste Pull 47, 173 listes de capture par lot XML 116 listes de film 167, 242 Consultez également les noms de listes spécifiques À propos du format PDF 168 À propos du format XML 168 code de bordure et 176 création à l’aide de la commande Export de Cinema Tools 202–203 création à partir d’une liste EDL externe 200–204 création dans d’autres applications de montage vidéo 199–204 description 167–173 exporter à partir de Final Cut Pro 174–176 fichiers temporaires 251 méthode de création basée sur le timecode 73 réglages PDF 179 sélectionner le format 168 listes de film PDF à propos des 168 chargement d’un fichier de réglages 181 enregistrement d’un fichier de réglages 181 présentation personnalisée 180 réglages 179 réglages communs avec XML 176–179 listes de film XML À propos des 168 réglages communs avec PDF 176–179 listes des effets 171 listes EDL correction d’erreurs 203 format d’enregistrement 204 gérées par Cinema Tools 200–201 modifications dans TextEdit 204 noms de bande et 200–201 normes vidéo 201 traitement dans Cinema Tools 203 utilisation pour la création de listes de film 200– 204 vitesse de défilement 201 listes EDL audio 74, 79 exportation 31, 193–196 exportation à partir de Cinema Tools 198 réglages requis dans la fenêtre Detail View 95 utilisation des pistes et 198 utiliser pour le son à deux systèmes 24p 227 listes télécinéma cut lists et 39 transferts scene-and-take et 39 liste télécinéma 20 avantages 71 création d’une base de données Cinema Tools avec 71 cut lists et 39 données utilisées dans la base de données 74 exportation de listes EDL audio 33 extensions de fichier 85 gérée par Cinema Tools 85 importer avec Cinema Tools 86 importer avec Final Cut Pro 87 transferts camera-roll et 39 M Mac OS version de 252 mémoire allouée à Final Cut Pro 252 méthode 24 & 1 26, 166 méthode 24 @ 25 26 méthode de pulldown 24 @ 25 26 méthode film-numérique-film 160 méthode pulldown 24 @ 25 166 montage numérique 8 avant de commencer 17–18 Cinema Tools et 8, 9 étapes de base 239–243 Final Cut Pro et le 9 préparation des plans sources 129–149 monteur négatif 238, 242 N négatif. Voir négatif original de la caméra négatif original 237, 238, 240, 242 numéros de bord Cinema Tools et les 233 description 234 différence entre valeurs de la liste de coupes et valeurs des plans numériques 250–251 fenêtre d’affichage 236 film 16 mm et 234 film 35 mm et 234, 235 liste des effets de mouvement et 173 Offline RT 112 recherche 81 vérification 41, 236268 Index O Offline RT 112 OMF files 31, 192, 241 opération de télécinéma inversé par lot 141 préparation 141 P parsing error 202, 203 perte d’images comment éviter 112 fonction de Télécinéma inversé et 112, 251 pistes audio de travail 238 plans. Voir plans sources plans autonomes 149 plans référencés 149 plans sources accès aux informations 84 attribution de noms aux plans de capture par lot 117 autonomes 149 base temps et 34 capture. Voir le processus de capture ce qu’il faut savoir sur la capture individuelle 121 changement de la fréquence d’images 46 changement de nom 84 conformation 45–46, 131, 133 connexion à la base de données 45, 121–126 déconnexion de la base de données 124–126 détection des usages multiples 165 division ou suppression de sections avant le montage 147–149 préparation de la capture 111–121 préparation pour le montage numérique 129– 149 problèmes liés au déplacement et au changement de nom dans le Finder 122 reconnexion à la base de données 126–128 référencés 149 règles élémentaires pour leur connexion à la base de données 122 reverse telecine et 45 sélection d’une nouvelle affiche 105 suppression 149 positif 19, 237 priorité de trame 136 procédé télécinéma inversé effets sur le timecode 28, 29 processus de capture capture de plans manuelle 42 compression et 42 contrôle de périphérique et 42–43 transferts camera-roll et 43 transferts scene-and-take et 43 processus de télécinéma inversé par lots télécinéma inversé par lots automatisé 223–225 utilisation avec la vidéo 24P 223 pulldown 2:2:2:4 226 pulldown 2:3:2:3 description 218 suppression avec Cinema Tools 221 pulldown 2:3:3:2 avantages 219 description 219 suppression avec Cinema Tools 221 suppression avec Final Cut Pro 220 pulldown 3:2 suppressions des champs supplémentaires avec la fonction Reverse Telecine 133 R rushes, création d’une base de données 74 S sites web Apple Store 13 assistance AppleCare 252 FireWire 13 sites web Apple 13 sites web Apple 12–13 son. Voir audio son double système 210, 227 timecode pour 194 sound TC Rate (vitesse du timecode son) 95 menu local de la fenêtre Detail View 101 sous-fenêtre Analysis 84 sous-fenêtre Identify 104 Station de travail audio DAW (Digital Audio Workstation) 241 synchro audio/vidéo 32–33 enregistreurs audio 30, 32 infos générales 32 méthode 24@25 26 transferts camera-roll et 22, 33 transferts scene-and-take 22 transferts télécinéma 30, 33 vidéo NTSC et 33 vidéo PAL et 33 synchronisation audio/vidéo 145, 240 synchronisation de la base de données avec Final Cut Pro 75, 155 système de montage non linéaire 8 T télécinéma 19, 240 télécinéma inversé pulldown 3:2 et 133 vérification des résultats 140 timecode 27–29 24P 217 audio 28, 30, 32Index 269 calibrage du décalage 114 capture exacte 113–114 conformation et 29 conseils généraux 27 contrôle de périphérique série 113–114 différences entre la fenêtre d’affichage et les valeurs de Final Cut Pro 28 drop frame 28, 30 free run 27 genlock et 113–114 géré par Cinema Tools 28 géré par Final Cut Pro 28 inexactitudes dans Final Cut Pro 110, 113–114 le déterminer avec la fonction Identify 102–104 non-drop frame 28 NTSC 28–29 PAL 28 poignées de pre-roll et post-roll 27 record run 27 ruptures 27 télécinéma inversé et 29 timecode non-drop frame 30 vérification de l’exactitude à l’aide de FireWire 41 vérification et correction à l’aide de la fonction Identify 108–110 timecode « non-drop frame » images « A » 25, 28 timecode drop frame 28, 30 timecode non-drop frame 28, 30 tirage optique 160, 162–163 tirage par contact 160, 163, 165 TK Speed (vitesse du film du télécinéma) menu local de la fenêtre Detail View 99 sélection d’un réglage par défaut 79 trames 23, 26, 29 fonction Reverse Telecine et 135–136 transfert du film sur bande vidéo 19–29 enregistrement d’une image projetée à l’aide d’un caméscope 21 lecture du film à 30 ips 25 méthode 24&1 26 méthode 24@25 26 méthode 3:2 pull-down 23–25 méthode de pulldown 24 @ 25 26 options pour la vidéo NTSC 23–25 options pour la vidéo PAL 25–26 transferts camera-roll 21, 22 transferts scene-and-take 21, 22 utilisation d’une chaîne de film 20 utilisation d’un télécinéma 19 vidéo 24P 26 transferts camera-roll capture de plans et 43 cut lists et 39 division d’un grand plan en plusieurs plans de petite taille 22 exemples de flux de production 50–52 inconvénients 22 listes télécinéma et 39 questions de synchronisation audio 22, 33 structure de la base de données 70 transferts de pellicule création de base de données 73 transferts de pellicules de caméra lien code de bordure/timecode continu/ discontinu 72–73 transferts scene-and-take avantages 22 capture de plans et 43 cut lists et 39 exemples de flux de production 49–50 listes télécinémas et 39 questions de synchronisation audio 22 structure de la base de données 70 transferts télécinéma camera-roll 21, 22 fenêtre d’affichage 19 Final Cut Pro et 34–35 scene-and-take 21, 22 sortie vidéo 19, 240 synchro audio/vidéo et 19, 30, 33, 240 vidéo 24P 26 vitesses gérées par Cinema Tools 237 transitions 160–163 trous d’entraînement. Voir perforations U usages multiples des plans sources 165, 249 V vidéo capture 41–44, 241 concordance avec la base temps de Final Cut Pro 34, 46, 129, 241 vidéo 23,98 ips ajout d’un pulldown pour une sortie FireWire NTSC 227 conversion en NTSC 225 vidéo 24P ajout et suppression de pulldown 218–227 à propos des proportions 217 Cinema Tools et 10 conversion de listes EDL NTSC à 24 ips 216–217 conversion en NTSC 215 conversion en PAL 216 description 10, 209 exportation de listes EDL 24 ips 216 Final Cut Pro et 10, 27 fonction Conform et 215–216 fonction Reverse Telecine et 215–216 importation de listes EDL 24 ips 214270 Index importation de listes EDL NTSC 214 listes EDL audio et 227 montage 11 montage avec Final Cut Pro 211–228 montage d’images provenant d’un film 210 timecode utilisé 217 transferts télécinéma et 10, 26 utilisation de Final Cut Pro comme système de montage offline 214–217 utilisation de Final Cut Pro comme système de montage online 213–214 utilisation de Final Cut Pro comme système de montage online et offline 211–212 vérification des discontinuités de cadence 222 vitesse 10, 23 vitesse sur systèmes NTSC 27 vidéo convertie à la baisse 211 vidéo de résolution standard 217 vidéo haute résolution 10 Voir également vidéo 24P vidéo HD. Voir vidéo haute résolution vidéo NTSC 3:2 pull-down et 23–25 conversion en 23,98 ips 225 conversion en 24P 215 fréquence de trame 23 listes EDL 201 problèmes de synchronisation audio 33 sortie sur bande 34 timecode 28–29 transfert du film sur 23–25 utilisation 23–25 vitesse 23 vidéo PAL conversion à partir du format vidéo 24P 216 problèmes de synchronisation audio 33, 34 sortie sur bande 34 timecode 28 transfert du film sur 25–26 utilisation 25–26 vitesse 23, 25 vidéo SD. Voir vidéo de résolution standard Video TC Rate (vitesse du timecode vidéo) menu local de la fenêtre Detail View 101 vitesse du timecode audio sélection d’un réglage par défaut 79 vitesse du timecode vidéo sélection d’un réglage par défaut 78 vitesses Consultez également vidéo 24P, vidéo PAL, vidéo NTSC film 23 infos générales 23–29 vidéo NTSC 23 vidéo PAL 25 vitesses de défilement concordance avec la base temps de Final Cut Pro 34, 129 vitesse télécinéma choisir une valeur par défaut 79 Z zone de dialogue Batch Reverse Telecine réglages de la version automatisée 223 réglages détaillés 143–144 zone de dialogue Change Reel 63 zone de dialogue Conform Clip 62 zone de dialogue d’exportation de listes de film réglages communs 176–179 zone de dialogue Database Properties 63, 77 zone de dialogue Export Audio 196–197 zone de dialogue Export Audio EDL 67–68 zone de dialogue Export Change List 66–67, 187 zone de dialogue Export Film Lists 64–65, 174 zone de dialogue Export XML Film Lists 65, 175 s’ouvre à partir de Cinema Tools 65 s’ouvre à partir de Final Cut Pro 65 zone de dialogue Find 58 recherche d’enregistrements de la base de données 81–84 zone de dialogue New Database 54, 74 réglages 77–80 zone de dialogue Reverse Telecine 61–62 réglages de la version automatisée 221–222 réglages détaillés 137–139 version automatisée 62 iMac G5 Guide de l’utilisateur Comprend des informations sur la configuration, l’expansion et le dépannage de votre ordinateur iMac G5 F3027Q45C\D.book Page 1 Thursday, April 7, 2005 3:18 PMK Apple Computer, Inc. © 2005 Apple Computer Inc. Tous droits réservés. Ce manuel est protégé par la loi du 11 mars 1957 sur la propriété littéraire et artistique, complétée par la loi du 3 juillet 1985 et par toutes les conventions internationales applicables aux droits d’auteurs. En vertu de ces lois et conventions, aucune reproduction totale ni partielle de ce manuel n’est autorisée, sauf consentement écrit préalable d’Apple. 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 œuvre pour que les informations présentées dans ce manuel soient exactes. Apple n’est pas responsable des erreurs de reproduction ou d’impression. Apple 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, le logo Apple, AirPort, Final Cut Pro, FireWire, iCal, iLife, iMac, iMovie, iPod, iTunes, Mac, le logo Mac, Mac OS et Macintosh sont des marques d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. AirPort Express, Finder, iDVD, iPhoto, iSight, Safari, SuperDrive et Tiger sont des marques d’Apple Computer, Inc. AppleCare et Apple Store sont des marques de service d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. .Mac est une marque de service d’Apple Computer, Inc. La marque et les logos Bluetooth sont la propriété de Bluetooth SIG, Inc. et sont utilisés sous licence par Apple Computer, Inc. ENERGY STAR® est une marque déposée aux États-Unis. Les autres noms de produits et de sociétés sont la propriété de leurs détenteurs respectifs. 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Tout démontage ou ingénierie inverse est interdit. Réclamations concernant l’appareillage aux États-Unis. Brevets n° 4,631,603, 4,577,216, 4,819,098 et 4,907,093 sous licence à des fins de visualisation limitée uniquement. Publié simultanément aux États-Unis et au Canada. F3027Q45C\D.book Page 2 Thursday, April 7, 2005 3:18 PM 3 1 Table des matières Chapitre 1 5 Premiers contacts 8 Et ensuite ? 9 Procédure au terme de l’utilisation de votre iMac G5 Chapitre 2 11 Découverte de votre iMac G5 12 iMac G5 – Vue avant 14 iMac G5 – Vue arrière 16 À propos de Mac OS X 17 Personnalisation du bureau et réglage des préférences 18 Connexion à une imprimante 19 Lecture d’un CD et connexion d’un casque d’écoute 19 Mise à jour constante de vos logiciels 19 Connexion d’une caméra ou d’autres périphériques FireWire 20 Connexion à un réseau 20 Utilisation d’Internet 20 Transfert de fichiers vers un autre ordinateur 21 Lorsqu’une application ne répond pas 22 Obtention de réponses grâce à l’Aide Mac 22 Utilisation des applications Chapitre 3 23 Utilisation de votre ordinateur 24 USB (Universal Serial Bus) 26 FireWire 28 Réseau sans fil AirPort Extreme 29 Technologie sans fil Bluetooth 32 Ethernet (10/100/1000Base-T) 33 Support audio 34 Gestion de vidéo externe (VGA, Composite et S-Vidéo) 36 Utilisation de votre lecteur optique 39 Commandes du clavier 40 Protection de votre ordinateur Chapitre 4 41 Extension des capacités de votre ordinateur 41 Ajout de mémoire F3027Q45C\D.book Page 3 Thursday, April 7, 2005 3:18 PM4 Table des matières 48 Remplacement de la pile de secours interne Chapitre 5 53 Dépannage 53 Problèmes vous empêchant d’utiliser votre ordinateur 55 Réinstallation des logiciels fournis avec votre ordinateur 56 Autres problèmes 58 Localisation du numéro de série de votre produit 58 Utilisation de Apple Hardware Test Annexe A 59 Caractéristiques Annexe B 61 Consignes d’entretien, d’utilisation et de sécurité 61 Nettoyage de votre iMac G5 61 Transport de votre iMac G5 62 Consignes de sécurité pour la configuration et l’utilisation de votre ordinateur 63 Connecteurs et ports 63 Prévention des dommages auditifs 64 Ergonomie 65 Apple et l’environnement Annexe C 67 Connexion à Internet 69 Fiche technique Assistant réglages 71 Configuration manuelle de votre connexion à Internet 71 Connexion commutée 75 Connexions à Internet par ligne DSL, modem câble ou réseau LAN 80 Connexion sans fil AirPort 83 Dépannage de votre connexion 85 Communications Regulation Information F3027Q45C\D.book Page 4 Thursday, April 7, 2005 3:18 PM1 5 1 Premiers contacts Votre ordinateur iMac G5 a été conçu pour être configuré rapidement et être utilisé immédiatement. Si vous n’avez jamais utilisé d’iMac G5 ou n’êtes pas familiarisé avec les ordinateurs Macintosh, vous trouverez dans ce chapitre des instructions pour débuter. Si vous êtes un utilisateur expérimenté, peut-être êtes-vous déjà en mesure d’utiliser votre nouvel ordinateur. Veillez néanmoins à consulter les informations du chapitre 2, “Découverte de votre iMac G5”, pour découvrir les nouvelles fonctionnalités de cet iMac G5. Câble CA Câble téléphonique Clavier Souris F3027Q45C\D.book Page 5 Thursday, April 7, 2005 3:18 PM6 Chapitre 1 Premiers contacts Suivez les instructions des deux pages suivantes pour configurer votre iMac G5. Étape 1 : Branchez le câble d’alimentation. Étape 2 : Pour accéder à Internet, branchez un câble Ethernet ou un câble téléphonique. W G F3027Q45C\D.book Page 6 Thursday, April 7, 2005 3:18 PMChapitre 1 Premiers contacts 7 Étape 3 : Branchez les câbles du clavier et de la souris. Étape 4 : Appuyez sur le bouton d’alimentation (®) pour mettre l’ordinateur sous tension. d ® F3027Q45C\D.book Page 7 Thursday, April 7, 2005 3:18 PM8 Chapitre 1 Premiers contacts Utilisation d’un clavier et d’une souris sans fil Si vous avez fait l’acquisition d’un clavier Apple Wireless Keyboard et d’une souris Apple Wireless Mouse avec votre iMac G5, consultez les instructions fournies avec ces périphériques pour les configurer avec votre ordinateur. Et ensuite ? Grâce à ces étapes, votre iMac G5 est désormais opérationnel. La première fois que vous démarrez votre ordinateur, l’Assistant réglages se met en route. L’Assistant réglages vous aide à saisir les informations relatives à Internet et à votre courrier électronique ainsi qu’à configurer un utilisateur sur votre ordinateur. Si vous possédez déjà un ordinateur Mac, l’Assistant réglages peut également vous aider à transférer automatiquement des fichiers, des applications et d’autres informations de votre ancien Mac vers votre nouvel iMac G5. Transfert d’informations vers votre iMac G5 Vous pouvez utiliser l’Assistant réglages pour transférer automatiquement des informations d’un autre Mac vers votre nouvel iMac G5. Pour transférer des informations, assurez-vous des points suivants :  Votre autre ordinateur Mac doit disposer d’un port FireWire intégré et prendre en charge le mode disque cible FireWire.  L’autre ordinateur Mac dont vous disposez doit Mac OS X 10.1 ou ultérieur installé.  Il vous faut un câble FireWire pour relier les deux ordinateurs. L’Assistant réglages vous guide tout au long du processus de transfert d’informations ; il vous suffit de suivre les instructions à l’écran. Le transfert d’informations vers votre iMac G5 n’affecte pas les informations se trouvant sur votre autre Mac. Avec l’Assistant réglages, vous pouvez transférer :  les comptes d’utilisateur, y compris les préférences et le courrier électronique ;  les réglages de réseau, pour que votre nouvel ordinateur soit automatiquement configuré avec les mêmes réglages de réseau que votre autre Mac ;  le dossier Applications, pour que les applications que vous utilisez sur votre autre Mac se trouvent à présent sur votre nouvel iMac G5 (certaines des applications transférées devront peut-être être réinstallées) ;  des fichiers et dossiers stockés sur votre disque dur. Si vous n’utilisez pas l’Assistant réglages pour transférer des informations lorsque vous démarrez votre iMac G5 pour la première fois, vous pouvez effectuer ce transfert plus tard à l’aide de l’Assistant migration. Pour cela, ouvrez le dossier Applications, ouvrez le dossier Utilitaires, puis double-cliquez sur l’icône Assistant migration. F3027Q45C\D.book Page 8 Thursday, April 7, 2005 3:18 PMChapitre 1 Premiers contacts 9 Remarque : si vous effectuez votre transfert d’informations à l’aide de l’Assistant migration, veillez à ce que FileVault soit désactivé sur votre ancien ordinateur. Pour désactiver FileVault, sélectionnez le menu Pomme (?) > Préférences Système, cliquez sur Sécurité, puis suivez les instructions qui s’affichent à l’écran. Configuration de votre iMac G5 pour Internet Si vous n’avez pas transféré vos réglages de réseau, l’Assistant réglages peut également vous guider tout au long de la configuration de votre ordinateur en vue de la connexion à Internet. Pour les particuliers, l’accès à Internet requiert généralement l’ouverture d’un compte auprès d’un fournisseur d’accès à Internet (FAI) (payant dans certains cas). Si vous disposez déjà d’un compte Internet, consultez l’annexe C, “Connexion à Internet”, à la page 67 pour savoir quelles sont les informations à saisir. Informations supplémentaires Pour obtenir davantage d’informations, consultez les sections suivantes : Procédure au terme de l’utilisation de votre iMac G5 Lorsque vous avez terminé de travailler avec votre iMac G5, suspendez l’activité de votre ordinateur ou éteignez-le. Suspendre l’activité de votre iMac G5 afin d’économiser de l’énergie Si vous envisagez de ne pas utiliser votre iMac G5 pendant une période inférieure à quelques jours, suspendez-en l’activité. Lorsque l’activité de l’ordinateur est suspendue, son écran s’éteint et une petite lumière blanche située dans l’angle inférieur droit de l’écran clignote. Vous pouvez le réactiver rapidement sans passer par la procédure de démarrage. Pour en savoir plus sur... Consultez... L’extinction ou la suspension d’activité de votre ordinateur “Procédure au terme de l’utilisation de votre iMac G5” ci-dessous. L’utilisation des différentes parties de votre iMac G5 et la réalisation de certaines tâches courantes le chapitre 2, “Découverte de votre iMac G5”. La recherche d’informations supplémentaires disponibles dans l’aide à l’écran “Obtention de réponses grâce à l’Aide Mac” à la page 22. L’utilisation d’une fonctionnalité spécifique de l’iMac G5 ou la connexion d’un périphérique numérique tel qu’un iPod le chapitre 3, “Utilisation de votre ordinateur”. L’installation de mémoire le chapitre 4, “Extension des capacités de votre ordinateur”. Le dépannage de votre iMac G5 en cas de problème le chapitre 5, “Dépannage”. F3027Q45C\D.book Page 9 Thursday, April 7, 2005 3:18 PM10 Chapitre 1 Premiers contacts Pour suspendre rapidement l’activité de votre ordinateur, procédez de l’une des façons suivantes :  Choisissez Pomme (?) > Suspendre l’activité.  Appuyez sur le bouton d’alimentation situé à l’arrière de l’ordinateur.  Choisissez Pomme (?) > Préférences Système, cliquez sur Économiseur d’énergie et indiquez un délai pour suspendre l’activité. Pour réactiver votre ordinateur, appuyez sur une touche quelconque du clavier. À la réactivation de l’ordinateur, vos applications, documents et réglages d’ordinateur réapparaissent exactement tels que vous les aviez laissés. Éteindre votre iMac G5 Si vous ne comptez pas utiliser votre iMac G5 pendant plusieurs jours, éteignez-le. m Choisissez Pomme (?) > Éteindre. Avertissement : éteignez votre iMac G5 avant de le déplacer. Tout déplacement de votre ordinateur lorsque le disque dur est en train de tourner risque d’endommager ce dernier et d’entraîner une perte de données ou l’impossibilité de démarrer à partir du disque dur. F3027Q45C\D.book Page 10 Thursday, April 7, 2005 3:18 PM2 11 2 Découverte de votre iMac G5 Dans ce chapitre, vous trouverez des informations élémentaires à propos de votre iMac G5. La lecture de ce chapitre vous permettra d’avoir une vue d’ensemble sur les différents éléments de votre ordinateur et Mac OS X, et des informations sommaires sur les tâches basiques telles que personnaliser l’apparence du bureau, se connecter à une imprimante, lire un CD, connecter un appareil photo numérique, utiliser Internet, obtenir des réponses lorsque vous avez besoin d’aide, etc. Pour obtenir les informations les plus récentes Apple publiant fréquemment des nouvelles versions et mises à jour de ses logiciels système, il est possible que les images de ce manuel soient légèrement différentes de ce que vous voyez à l’écran. Le site Web d’Apple, à l’adresse www.apple.com, vous donne accès aux informations, téléchargements gratuits et catalogues en ligne des logiciels et matériaux Apple les plus récents destinés à votre iMac. Vous trouverez également les manuels de nombreux produits Apple, ainsi que l’assistance technique pour tous les produits Apple, sur le site Web de services et d’assistance www.apple.com/fr/support. F3027Q45C\D.book Page 11 Thursday, April 7, 2005 3:18 PM12 Chapitre 2 Découverte de votre iMac G5 iMac G5 – Vue avant Ports USB Haut-parleur intégré Capteur de lumière intégré Haut-parleur intégré Micro intégré Lecteur de disque optique à chargement par fente Touche d’éjection de disque Boutons de réglage du volume Clavier Apple Keyboard Souris Apple Mouse Voyant lumineux d’alimentation d C - F3027Q45C\D.book Page 12 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 13 Lecteur de disque optique à chargement frontal Votre ordinateur possède une unité combinée dite “Combo” DVD-ROM/CD-RW ou bien un SuperDrive DVD+R DL/DVD±RW/CD-RW. Tous ces lecteurs peuvent lire les CD-ROM, les CD de photos, les disques audio ordinaires et autres types de supports. Le lecteur Combo peut également lire les DVD et les DVD vidéo, graver de la musique, des documents et autres fichiers numériques sur des disques CD-R et CD-RW. De plus, le lecteur SuperDrive vous permet de lire et graver des DVD-R, DVD-RW, DVD+R, DVD+RW et des DVD+R double couche (DL). Témoin lumineux d’alimentation Un témoin blanc indique que l’ordinateur est en veille. Lorsque votre iMac G5 est allumé, ce voyant est éteint. Micro intégré Enregistrez des sons directement sur votre iMac G5 ou parlez avec des amis en direct sur Internet avec l’application intégrée iChat AV. Haut-parleurs intégrés Écoutez de la musique, le son de vos films, jeux et fichiers multimédia. - Boutons de réglage du volume Ces boutons permettent d’augmenter ou de baisser le volume du son provenant des haut-parleurs intégrés et du port de sortie audio. C Touche d’éjection de disque Maintenez cette touche enfoncée pour éjecter un CD ou un DVD. Il est également possible d’éjecter un disque en faisant glisser son icône dans la Corbeille. Souris Apple Mouse Utilisez la souris optique de précision sans tapis de souris sur la plupart des surfaces. d Le clavier Apple Keyboard est doté de deux ports USB (Universal Serial Bus) 1.1 Branchez des périphériques USB 1.1 à faible consommation, tels qu’une souris, un appareil photo numérique ou une manette de jeu, au clavier de votre ordinateur iMac G5. Connectez votre souris Apple Mouse à l’un des ports USB du clavier (trois ports USB 2.0 haute vitesse se trouvent également à l’arrière de votre ordinateur). Capteur de lumière intégré Votre ordinateur est équipé d’un système qui capte la lumière ambiante et ajuste automatiquement la luminosité du témoin lumineux d’alimentation en fonction de la lumière disponible lorsque l’ordinateur est en veille. F3027Q45C\D.book Page 13 Thursday, April 7, 2005 3:18 PM14 Chapitre 2 Découverte de votre iMac G5 iMac G5 – Vue arrière Port de sortie vidéo Port de sortie casque/ sortie audio optique Port d’entrée audio Ports USB (3) Ports FireWire (2) Port Modem Port Ethernet (10/100/1000Base-T) Bouton d’alimentation Port d’alimentation Logement de sécurité digital ® , f £ d H W G F3027Q45C\D.book Page 14 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 15 , Port d’entrée audio Ce port permet l’entrée audio d’un microphone ou de tout autre appareil audio connecté à votre iMac G5. f Port de sortie casque/sortie audio optique Ce port permet de connecter des écouteurs ou tout autre périphérique de sortie audio. Il permet également de brancher votre iMac G5 à un récepteur, à un système home cinéma ou à tout autre équipement numérique audio à l’aide d’un câble audio optique muni d’une mini-prise. £ Port de sortie vidéo La carte VGA Apple facultative (disponible sur www.apple.com/francestore) vous permet de connecter à votre ordinateur un moniteur externe ou un projecteur utilisant un port VGA. L’adaptateur vidéo Apple (disponible sur www.apple.com/francestore) vous permet de connecter un téléviseur, un magnétoscope ou autre appareil vidéo doté d’un connecteur vidéo S-vidéo ou composite. d Trois ports USB (Universal Serial Bus) 2.0 Ces ports vous permettent de raccorder des imprimantes, des lecteurs Zip ou autres, des appareils photo numériques, des manettes de jeu, etc. Vous pouvez brancher des appareils USB 1.1 et des appareils USB 2.0 à haute vitesse. H Deux ports FireWire 400 Ces ports permettent de connecter des périphériques à haute vitesse tels qu’un iPod, des caméras vidéo numériques et des unités de stockage externes. W Port modem (selon le modèle) Il permet de connecter une ligne téléphonique standard directement au modem interne 56K v.92. G Port Ethernet (10/100/1000Base-T) Connectez-vous à un réseau Ethernet 10/100/1000 Base-T à grande vitesse ou à un modem câble ou DSL, ou bien connectez-vous à un autre ordinateur et transférez les fichiers. Le port Ethernet détecte automatiquement les autres périphériques Ethernet. Pour établir des connexions à d’autres périphériques Ethernet, il est inutile d’utiliser un câble croisé Ethernet. ® Bouton d’alimentation Il permet d’allumer votre iMac G5 ou de suspendre son activité. Maintenez ce bouton enfoncé pour réinitialiser l’ordinateur lors des procédures de dépannage. = Port secteur Branchez-y le câble d’alimentation de l’ordinateur. Logement de sécurité Fixez un verrou et un câble antivol (disponibles sur le site www.apple.com/francestore). Accès mémoire (à l’intérieur) Votre iMac G5 contient au moins 512 mégaoctets (Mo) de mémoire DDR-SDRAM (Double Data Rate Synchronous Dynamic Random Access) PC 3200 à 400 MHz . Vous pouvez ajouter de la mémoire à votre iMac G5 afin d’obtenir jusqu’à 2 Go. Pour plus d’informations et d’instructions sur l’installation de mémoire, consultez la section “Ajout de mémoire” à la page 41. Z AirPort Extreme Connectez-vous à un réseau sans fil grâce au module AirPort Extreme installé sur votre ordinateur ? Technologie sans fil Bluetooth® Connectez-vous sans fil aux périphériques utilisant la technologie Bluetooth, tels que téléphones portables, assistants personnels (PDA) et imprimantes, ainsi qu’au clavier sans fil Apple Wireless Keyboard et à la souris sans fil Apple Wireless Mouse (le clavier et la souris Apple Wireless Keyboard and Mouse sont en vente sur le site www.apple.com/francestore). F3027Q45C\D.book Page 15 Thursday, April 7, 2005 3:18 PM16 Chapitre 2 Découverte de votre iMac G5 À propos de Mac OS X Votre ordinateur est livré avec Mac OS X. Doté d’une interface utilisateur élégante et de capacités graphiques ultramodernes, ce système d’exploitation offre une plus grande stabilité et de meilleures performances du système. Pour en savoir plus sur Mac OS X et les applications iLife primées installées sur votre ordinateur, consultez le livret Bienvenue sur Tiger inclus avec votre iMac G5. Vous pouvez également ouvrir l’Aide Mac et parcourir les informations qu’elle contient. Vous trouverez un grand volume d’informations pour les utilisateurs novices et expérimentés, et pour ceux qui passent au Mac. Si vous rencontrez des problèmes lors de l’utilisation de Mac OS X, reportez-vous aux informations de dépannage au dos de ce manuel ou allez dans la barre des menus en haut de l’écran et sélectionnez Aide > Aide Mac. Pour avoir des informations sur la compatibilité des applications logicielles avec Mac OS X, ou pour en savoir plus sur Mac OS X, visitez le site Web d’Apple : www.apple.com/fr/macosx. Remarque : si vous voulez utiliser les applications Mac OS 9 avec votre ordinateur, vous devez installer Mac OS 9 (voir “Installation de Mac OS 9” à la page 56). Mac OS 9 ne peut pas être installé comme système d’exploitation principal sur votre iMac G5 et il n’est pas possible de démarrer l’ordinateur sous Mac OS 9. F3027Q45C\D.book Page 16 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 17 Personnalisation du bureau et réglage des préférences Au moyen des Préférences Système, vous pouvez donner à votre bureau l’apparence souhaitée sans perdre de temps. Choisissez Pomme (?) > Préférences Système dans la barre des menus. N’hésitez pas à changer et essayer ce qui suit :  Bureau et économiseur d’écran : Sélectionnez cette sous-fenêtre de préférences pour changer la couleur et le motif du bureau ou pour la remplacer par la photo ou l’image de votre choix. Vous pouvez également choisir un effet d’écran accrocheur qui apparaîtra lorsque l’ordinateur reste inactif.  Dock : Sélectionnez cette sous-fenêtre de préférences pour changer l’apparence, l’emplacement et le comportement de votre Dock.  Apparence : Sélectionnez cette sous-fenêtre de préférences pour changer entre autres les couleurs des boutons, menus, fenêtres et la couleur de contraste. Tout en vous familiarisant avec votre ordinateur, découvrez progressivement les autres Préférences Système. Il s’agit du centre de contrôle de la plupart des réglages de votre iMac G5. Pour plus d’informations, sélectionnez Aide > Aide Mac et recherchez “Préfé- rences Système” ou la sous-fenêtre spécifique que vous souhaitez modifier. F3027Q45C\D.book Page 17 Thursday, April 7, 2005 3:18 PM18 Chapitre 2 Découverte de votre iMac G5 Connexion à une imprimante Lorsque vous branchez une imprimante sur le port USB ou FireWire, votre iMac G5 peut la détecter automatiquement et l’ajouter à la liste des imprimantes utilisables. Il se peut que vous deviez configurer les imprimantes connectées à un réseau avant de pouvoir les utiliser. Si vous avez une borne d’accès AirPort Extreme, vous pouvez y raccorder une imprimante USB (au lieu de la raccorder à votre ordinateur) et imprimer sans fil. Pour configurer une imprimante : 1 Ouvrez Préférences Système et cliquez sur l’icône Imprimer et faxer. 2 Cliquez sur Impression puis sur le bouton Ajouter (+) pour ajouter une imprimante. 3 Sélectionnez l’imprimante que vous souhaitez ajouter. 4 Utilisez les boutons Ajouter (+) et Supprimer (–) pour choisir les imprimantes que vous voulez voir apparaître dans la Liste des imprimantes. Remarque : si vous vous connectez à une imprimante via un réseau, il vous faudra peut-être savoir le nom de réseau ou l’adresse de l’imprimante pour la sélectionner. Contactez votre administrateur système. Contrôle de l’impression Lorsque vous avez envoyé un document à l’impression, vous pouvez contrôler l’impression, l’arrêter ou la mettre en attente temporairement. Pour contrôler l’impression : m Cliquez sur l’icône de l’imprimante dans le Dock pour ouvrir la fenêtre Liste des imprimantes. Vous voyez alors la liste des travaux d’impression et la file d’attente sur lesquelles vous pouvez intervenir. F3027Q45C\D.book Page 18 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 19 Plus d’informations Pour plus d’informations, ouvrez l’Aide Mac (voir la page 22) et recherchez “impression”. Pour réaliser une installation spécifique ou connaître les instructions de configuration, vous pouvez également vous reporter au manuel fourni avec votre imprimante. Lecture d’un CD et connexion d’un casque d’écoute Si vous souhaitez écouter de la musique pendant que vous travaillez sur votre iMac G5, insérez un CD dans le lecteur optique. iTunes, un lecteur de musique convivial, s’ouvre automatiquement. Pour une écoute privée, branchez des écouteurs dotés d’une prise mini-jack au port de sortie casque/sortie audio optique (f) de votre iMac G5. Pour en savoir plus sur iTunes : m Ouvrez iTunes et choisissez Aide > Aide iTunes et Music Store. Pour en savoir plus sur votre lecteur optique, consultez la section “Utilisation de votre lecteur optique” à la page 36. Mise à jour constante de vos logiciels Vous pouvez vous connecter à Internet et télécharger et installer automatiquement les dernières versions de logiciels, gestionnaires et autres améliorations fournies par Apple. Une fois connecté à Internet, l’application Mise à jour de logiciels recherche dans les serveurs d’Apple les mises à jour disponibles pour votre ordinateur. Vous pouvez configurer votre Mac afin qu’il recherche régulièrement dans le serveur Apple des mises à jour de logiciels, puis qu’il les télécharge et les installe sur votre ordinateur. Pour rechercher des logiciels mis à jour : 1 Choisissez Pomme (?) > Mise à jour de logiciels. La fenêtre Mise à jour de logiciels s’ouvre. Les mises à jour disponibles apparaissent dans une liste. 2 Cochez les cases situées en regard des éléments à installer, puis cliquez sur Installer. 3 Saisissez un nom et un mot de passe d’administrateur (utilisés lors de la configuration initiale de votre ordinateur). Une fois les mises à jour terminées, l’application Mise à jour de logiciels recherche à nouveau des mises à jour. En effet, certaines mises à jour requièrent l’installation des mises à jour précédentes. Pour plus d’informations, effectuez une recherche sur “Mise à jour de logiciels” dans l’Aide Mac OS (voir la page 22). Connexion d’une caméra ou d’autres périphériques FireWire Si vous avez un iPod, une caméra iSight, un caméscope numérique FireWire ou autre périphérique équipé d’un connecteur FireWire, vous pouvez les connecter à votre iMac G5. Suivez les instructions d’installation fournies avec votre appareil. Pour plus d’informations à propos de FireWire, consultez “FireWire” à la page 26. F3027Q45C\D.book Page 19 Thursday, April 7, 2005 3:18 PM20 Chapitre 2 Découverte de votre iMac G5 Connexion à un réseau Si vous souhaitez connecter votre iMac G5 à un réseau Ethernet, à un modem câble ou DSL ou à un réseau sans fil, consultez “Ethernet (10/100/1000Base-T)” à la page 32 et “Réseau sans fil AirPort Extreme” à la page 28 pour plus d’informations sur la configuration d’une connexion Ethernet ou AirPort. Vous pouvez également consulter l’Aide Mac (voir la page 22) et y rechercher “Ethernet” ou “AirPort”. Utilisation d’Internet Lors du réglage initial de votre iMac G5, des instructions vous ont été données sur la manière de vous connecter à Internet. Pour utiliser une connexion de type différent, telle que par modem DSL ou câble, réseau local (LAN) Ethernet ou réseau AirPort Extreme, vous trouverez plus d’informations dans l’annexe C, “Connexion à Internet”, à la page 67. Transfert de fichiers vers un autre ordinateur Plusieurs solutions vous sont offertes pour transférer des fichiers ou des documents de ou vers votre iMac G5.  Vous pouvez facilement transférer des fichiers à l’aide de l’Assistant réglages. Pour plus d’informations, consultez la section “Transfert d’informations vers votre iMac G5” à la page 8.  Vous pouvez transférer des fichiers via Internet en utilisant .Mac ou d’autres comptes Internet. Pour plus d’informations, rendez-vous sur le site www.mac.com.  Si votre ordinateur est connecté à un réseau Ethernet, vous pouvez transférer des fichiers vers un autre ordinateur en réseau. Pour accéder à un autre serveur ou ordinateur, ouvrez une fenêtre du Finder et cliquez sur Réseau. Si vous connaissez le nom ou l’adresse réseau de l’ordinateur, choisissez Aller > Se connecter au serveur dans la barre des menus du Finder.  Vous pouvez créer un réseau Ethernet de petite taille en reliant votre iMac G5 au port Ethernet d’un autre ordinateur à l’aide d’un câble Ethernet. Pour plus d’informations, ouvrez l’aide Mac OS et recherchez “Connexion de deux ordinateurs”.  Vous pouvez également vous connecter à un autre Mac au moyen d’un câble FireWire. Votre iMac G5 apparaît comme un lecteur de disque sur l’autre ordinateur. Vous pouvez alors transférer les fichiers. Pour plus d’informations sur l’utilisation de FireWire pour le transfert de fichiers, consultez la section “Mode disque cible FireWire” à la page 27.  Vous pouvez vous connecter à un réseau sans fil AirPort pour transférer des fichiers. Pour plus d’informations, consultez la section “Réseau sans fil AirPort Extreme” à la page 28. Pour plus d’informations sur le transfert de fichiers et de documents, ouvrez l’Aide Mac (voir la page 22) et recherchez “Création d’un petit réseau”. F3027Q45C\D.book Page 20 Thursday, April 7, 2005 3:18 PMChapitre 2 Découverte de votre iMac G5 21 Lorsqu’une application ne répond pas Même si c’est assez rare, il se peut qu’une application se fige à l’écran. Mac OS X permet de quitter une application qui ne répond plus sans redémarrer votre ordinateur, ce qui permet d’enregistrer le travail effectué dans d’autres applications ouvertes. Pour forcer une application à quitter : 1 Appuyez sur Commande (x) + Option + Échap ou choisissez Forcer à quitter dans le menu Pomme (?). La zone de dialogue Forcer à quitter des applications apparaît avec l’application sélectionnée. 2 Cliquez sur Forcer à quitter. L’application quitte, en laissant toutes les autres applications ouvertes. Si besoin est, vous pouvez forcer la fermeture de l’environnement Classic, ce qui ferme alors toutes les applications Mac OS 9. Vous pouvez également redémarrer le Finder à partir de cette boîte de dialogue. Si vous rencontrez d’autres difficultés, consultez le chapitre 5, “Dépannage”, à la page 53. F3027Q45C\D.book Page 21 Thursday, April 7, 2005 3:18 PM22 Chapitre 2 Découverte de votre iMac G5 Obtention de réponses grâce à l’Aide Mac Vous pouvez trouver des réponses à la plupart de vos questions concernant l’utilisation de votre ordinateur et de Mac OS X dans l’Aide Mac. Pour utiliser l’Aide Mac : 1 Cliquez sur l’icône du Finder dans le Dock. 2 Sélectionnez Aide > Aide Mac (cliquez sur le menu Aide et sélectionnez Aide Mac). 3 Tapez une question dans le champ “Posez une question”, puis appuyez sur la touche Retour du clavier. 4 Double-cliquez sur l’un des éléments apparaissant dans la liste des rubriques d’aide. Utilisation des applications Votre iMac G5 est fourni avec des logiciels, dont la suite iLife, qui vous permettront d’envoyer des messages électroniques, de naviguer sur Internet, de discuter en ligne, d’organiser vos morceaux de musique et vos photos numériques, de créer des vidéos et bien plus encore. Pour plus d’informations sur l’une de ces applications, ouvrez cette dernière puis l’Aide Mac correspondante. F3027Q45C\D.book Page 22 Thursday, April 7, 2005 3:18 PM3 23 3 Utilisation de votre ordinateur Votre iMac G5 comporte de nombreuses fonctionnalités et capacités d’extension intégrées permettant de le personnaliser selon vos besoins. Voici quelques-unes des fonctionnalités et capacités de votre ordinateur :  Des ports USB (Universal Serial Bus) 2.0 à haute vitesse pour la connexion de matériel supplémentaire, tel qu’une imprimante, un scanneur, une manette de jeu, un clavier, un appareil photo numérique et un lecteur de disquettes.  Des ports FireWire 400 pour la connexion de périphériques à haute vitesse, tels que l’iPod, la caméra iSight, des caméras vidéo numériques et des disques durs externes.  La technologie Bluetooth pour se connecter sans fil à des périphériques numériques.  Les toutes dernières technologies de communication, telles qu’un modem 56K v.92 (sur certains modèles), une carte Ethernet 10/100/1000 Base-T et une connexion de réseau sans fil AirPort Extreme.  Port combiné sortie casque/sortie audio optique, pour connecter des écouteurs ou un équipement audio numérique.  La sortie VGA et l’adaptateur VGA (disponibles sur www.apple.com/francestore) vous permettent de connecter votre iMac G5 à un moniteur externe ou à un appareil de projection. Utilisez le port de sortie vidéo de votre ordinateur iMac G5 et l’adaptateur vidéo Apple (disponible sur www.apple.com/francestore) pour afficher l’écran de votre ordinateur sur n’importe quel téléviseur gérant le format composite ou S-vidéo. Pour en savoir plus sur les capacités de votre iMac G5, commencez par lire ce chapitre. Vous trouverez des informations supplémentaires dans l’Aide Mac (voir la page 22) et sur le site Web Service & Support d’Apple à l’adresse www.apple.com/fr/support. F3027Q45C\D.book Page 23 Thursday, April 7, 2005 3:18 PM24 Chapitre 3 Utilisation de votre ordinateur USB (Universal Serial Bus) Votre iMac G5 est muni de cinq ports USB (d) (trois ports à haute vitesse USB 2.0 sur l’ordinateur et deux ports USB 1.1 sur le clavier) que vous pouvez utiliser pour connecter de nombreux types de périphériques tels que les imprimantes, scanners, appareils photo numériques, manettes de jeu, claviers et lecteurs de disquette. La technologie USB facilite la connexion de périphériques. Dans la plupart des cas, vous pouvez connecter et déconnecter un périphérique USB pendant que l’ordinateur fonctionne. Vous pouvez utiliser les périphériques dès leur branchement, Utilisation de périphériques USB Pour utiliser un périphérique USB avec votre ordinateur, il suffit de connecter le périphérique à l’ordinateur. L’ordinateur charge le logiciel adéquat chaque fois que vous connectez un nouveau périphérique. Les ports USB 2.0 situés à l’arrière de l’ordinateur vous permettent de brancher des périphériques USB 1.1 et USB 2.0 à haute vitesse. Les périphériques USB 1.1 ne bénéficieront pas du taux de transfert plus rapide de l’USB 2.0. De même, vous pouvez brancher des périphériques USB 2.0 sur les ports USB 1.1 du clavier, mais ils fonctionneront peut-être à des vitesses moindres. Remarque : Apple fournit d’origine des logiciels compatibles avec de nombreux périphériques USB. Si votre iMac G5 ne trouve pas le logiciel adéquat pour un périphérique USB connecté, vous pouvez installer le logiciel fourni avec ce périphérique ou consulter le site Web du fabricant pour connaître les dernières versions. Ports USB d d d F3027Q45C\D.book Page 24 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 25 Utilisation simultanée de plusieurs périphériques USB Si tous vos ports USB sont occupés et que vous souhaitez connecter davantage de périphériques USB, vous pouvez vous procurer un concentrateur USB. Ce dernier se connecte à un port USB disponible de votre ordinateur et vous permet de disposer de ports USB supplémentaires (en général quatre ou sept). La plupart des concentrateurs USB disposent d’un adaptateur secteur et doivent être branchés sur une prise électrique. Informations supplémentaires sur la technologie USB Des informations supplémentaires sur USB sont disponibles dans l’Aide Mac (consultez la page 22). Choisissez Aide > Aide Mac et recherchez “USB”. Vous trouverez d’autres informations sur le site Web USB d’Apple, à l’adresse www.apple.com/fr/usb. Pour obtenir des informations sur les périphériques USB disponibles pour votre ordinateur, consultez le Guide des produits Macintosh à l’adresse www.apple.com/fr/guide. Concentrateur USB F3027Q45C\D.book Page 25 Thursday, April 7, 2005 3:18 PM26 Chapitre 3 Utilisation de votre ordinateur FireWire Votre ordinateur est muni de deux ports FireWire 400 (H). FireWire facilite la connexion et déconnexion des périphériques haute vitesse, tels que l’iPod, la caméra iSight, les caméras vidéo numériques, les imprimantes, les scanneurs et les disques durs. Vous pouvez connecter et déconnecter des périphériques FireWire sans redémarrer votre ordinateur. La liste ci-dessous répertorie certaines des opérations possibles avec FireWire :  Connecter un iPod et transférer des milliers de chansons provenant d’iTunes ou synchroniser vos adresses et les données de votre agenda à l’aide d’iSync.  Connecter une caméra iSight Apple et utiliser l’application iChat AV fournie pour participer à une vidéoconférence avec vos amis ou votre famille via une connexion Internet à haut débit.  Connecter une caméra vidéo numérique pour capturer, transférer et faire des montages vidéo de grande qualité directement sur votre ordinateur au moyen de logiciels de montage vidéo tels qu’iMovie (fourni avec votre ordinateur), Final Cut Express ou Final Cut Pro.  Connecter un disque dur FireWire externe sur le port FireWire et l’utiliser pour sauvegarder des données ou transférer des fichiers. Une icône de disque dur FireWire s’affiche sur le bureau dès que vous connectez le disque dur à votre iMac G5.  Démarrer à partir d’un disque dur externe FireWire. Connectez un disque FireWire externe (équipé d’un système d’exploitation valide), ouvrez la sous-fenêtre Démarrage des Préférences Système, et cliquez sur le disque FireWire. Redémarrez votre ordinateur. Ports FireWire H H F3027Q45C\D.book Page 26 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 27 Utilisation de périphériques FireWire Pour utiliser un périphérique FireWire avec votre ordinateur, il suffit de connecter ce périphérique à l’ordinateur. Apple fournit d’origine des logiciels compatibles avec de nombreux périphériques FireWire. Si votre iMac G5 ne trouve pas le logiciel adéquat pour un périphérique FireWire connecté, vous pouvez installer le logiciel fourni avec ce périphérique ou consulter le site Web du fabricant pour obtenir les dernières versions. Remarque : le port FireWire est conçu pour alimenter les périphériques FireWire (8 watts maximum). Vous pouvez connecter plusieurs périphériques entre eux et relier en chaîne les périphériques (“guirlande”) au port FireWire de votre ordinateur. Dans la plupart des cas, l’ordinateur ne doit pas alimenter plus de deux périphériques. Si vous connectez plus de deux périphériques, les autres périphériques de la guirlande doivent être alimentés au travers d’adaptateurs électriques séparés. Connecter plus de deux périphériques FireWire alimentés par l’ordinateur peut provoquer des problèmes. En cas de problème, éteignez l’ordinateur, déconnectez les périphériques FireWire, puis redémarrez l’ordinateur. Mode disque cible FireWire Si vous souhaitez transférer des fichiers de votre iMac G5 vers un autre ordinateur équipé de la technologie FireWire ou êtes confronté à un problème empêchant le démarrage de votre ordinateur, utilisez le mode disque cible FireWire pour vous connecter à un autre ordinateur. Pour connecter votre iMac G5 en mode disque cible FireWire, procédez de la manière suivante : 1 Assurez-vous que votre iMac G5 est éteint. 2 Utilisez un câble FireWire muni d’un connecteur standard à 6 broches à chaque extrémité pour connecter votre iMac G5 à un autre ordinateur équipé de FireWire. 3 Démarrez votre iMac G5 et appuyez immédiatement sur la touche T en la maintenant enfoncée. Le logo FireWire s’affiche sur l’écran de votre iMac G5. L’écran de l’autre ordinateur affiche l’icône du disque dur interne de votre iMac G5 et l’icône d’un CD ou d’un DVD inséré dans le lecteur optique de votre iMac G5. 4 Faites glisser l’icône du disque dur de l’iMac G5 et l’icône du CD ou DVD dans la Corbeille lorsque vous avez terminé le transfert de fichiers. 5 Appuyez sur le bouton d’alimentation du de l’iMac G5 pour l’éteindre. 6 Débranchez le câble FireWire. Informations supplémentaires sur la technologie FireWire Des informations supplémentaires sur FireWire sont disponibles dans l’Aide Mac (consultez la page 22). Choisissez Aide > Aide Mac, puis recherchez “FireWire”. Vous trouverez d’autres informations sur le site Web FireWire d’Apple, à l’adresse www.apple.com/fr/firewire. F3027Q45C\D.book Page 27 Thursday, April 7, 2005 3:18 PM28 Chapitre 3 Utilisation de votre ordinateur Réseau sans fil AirPort Extreme La technologie AirPort Extreme est déjà installée sur votre iMac G5. AirPort permet d’accéder sans fil à Internet en toute simplicité et sans vous ruiner n’importe où, que ce soit chez vous, au bureau ou dans un établissement scolaire. Au lieu de faire appel à des câbles classiques, AirPort utilise la technologie de réseau local (LAN) sans fil permettant une communication sans fil entre plusieurs ordinateurs. Un réseau sans fil vous permet d’établir un accès à Internet, de transférer des fichiers, de jouer à plusieurs, etc. Remarque : vous aurez également besoin d’une borne d’accès AirPort et d’un accès à Internet (ce service peut être payant). Certains fournisseurs d’accès à Internet ne sont pas encore compatibles avec AirPort. La portée varie en fonction des conditions d’emplacement. Fonctionnement de l’accès sans fil à Internet via AirPort Le système AirPort permet d’établir une connexion sans fil avec un appareil appelé borne d’accès qui dispose, lui, d’une connexion physique à Internet. La technologie AirPort fonctionne comme un téléphone sans fil. Grâce à la technologie AirPort Extreme, votre ordinateur établit une connexion sans fil à une borne d’accès, ellemême connectée à Internet via une ligne téléphonique ou un modem DSL ou câble. Connexion à Internet Sortie CA Antennes AirPort Modem câble ou DSL Borne d’accès AirPort Express F3027Q45C\D.book Page 28 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 29 Informations complémentaires à propos d’AirPort Pour acheter une borne d’accès AirPort, contactez votre fournisseur agréé Apple ou rendez-vous sur le site Web Apple Store, à l’adresse www.apple.com/francestore. Des informations supplémentaires sur AirPort sont disponibles dans l’Aide AirPort. Sélectionnez Aide > Aide Mac, puis Centre d’aide > Aide AirPort. Vous pouvez également trouver des informations sur le site Web AirPort d’Apple à l’adresse www.apple.com/fr/airport. Technologie sans fil Bluetooth La technologie Bluetooth est déjà installée sur votre iMac G5. Cette dernière vous permet de créer des connexions sans fil de faible portée entre des ordinateurs de bureaux et portables, des assistants personnels, des téléphones portables, des téléphones appareils photo, des imprimantes, des appareils photo numériques et des périphériques d’entrée sans fil tels que le clavier Apple Wireless Keyboard ou la souris Apple Wireless Mouse (disponibles à la vente sur le site www.apple.com/francestore). La technologie sans fil Bluetooth permet d’éliminer les câbles reliant normalement les périphériques. Les périphériques prenant en charge Bluetooth peuvent se connecter l’un à l’autre sans besoin de liaison physique, dans la mesure où ils sont séparés d’une distance égale ou inférieure à 10 mètres. Avec la technologie sans fil Bluetooth, vous pouvez :  Utiliser votre iMac G5 pour communiquer avec un téléphone mobile prenant en charge la technologie Bluetooth. Votre téléphone peut servir de modem pour vous connecter à un fournisseur de services sans fil, à un débit de 56 kilobits par seconde (Kbps) suffisant pour vous connecter à Internet.  Échanger des fichiers entre ordinateurs et périphériques prenant en charge Bluetooth, même entre Mac et PC. Apple recommande l’utilisation du réseau sans fil AirPort Extreme pour le transfert de tous vos fichiers à l’exception des plus petits.  Synchroniser des données entre votre ordinateur et un assistant personnel compatible Bluetooth. À l’aide d’iSync, vous pouvez exécuter une opération HotSync sans fil ou transmettre votre carte de visite ou encore des événements de calendrier directement sur le PDA d’un collègue.  Utiliser un clavier ou une souris sans fil Bluetooth.  Imprimer vers une imprimante Bluetooth.  Utiliser un casque d’écoute Bluetooth. F3027Q45C\D.book Page 29 Thursday, April 7, 2005 3:18 PM30 Chapitre 3 Utilisation de votre ordinateur Configuration d’un périphérique Bluetooth : Avant de pouvoir utiliser votre téléphone mobile pour accéder à Internet ou échanger des informations de contact, partager des fichiers avec d’autres périphériques, ou encore utilisez un clavier ou une souris Bluetooth, vous devez configurer le périphérique pour qu’il fonctionne avec votre ordinateur. Une fois le périphérique configuré, il est “jumelé” avec votre ordinateur et apparaît dans la sous-fenêtre Périphériques des Préférences Bluetooth. Vous n’avez à jumeler l’ordinateur et le périphérique qu’une seule fois et les deux appareils restent alors jumelés jusqu’à ce que vous en décidiez autrement. Pour configurer un périphérique Bluetooth : 1 vous pouvez également choisir “Configurer l’appareil Bluetooth” dans le menu d’état Bluetooth (?) de la barre des menus. 2 Suivez les instructions affichées à l’écran pour le type de périphérique que vous souhaitez configurer. Important : si le menu d’état Bluetooth (?) ne se trouve pas dans la barre des menus, ouvrez les Préférences Système et cliquez sur Bluetooth. Cliquez sur Réglages, puis sélectionnez “Afficher l’état Bluetooth dans la barre des menus”. Pour supprimer un jumelage avec un autre périphérique : 1 Ouvrez Préférences Système, puis cliquez sur Bluetooth. 2 Cliquez sur Périphériques et choisissez le périphérique dans la liste. 3 Cliquez alors sur Supprimer le jumelage. F3027Q45C\D.book Page 30 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 31 Configuration de l’échange de fichiers Bluetooth Vous pouvez contrôler la manière dont l’ordinateur gère les fichiers échangés entre appareils Bluetooth. Vous pouvez choisir d’accepter ou de refuser les fichiers envoyés à votre ordinateur, dans quel dossier placer les fichiers reçus et acceptés, les dossiers de votre ordinateur que les autres appareils Bluetooth peuvent consulter et les applications à utiliser pour exploiter les fichiers acceptés. Pour configurer un échange de fichiers Bluetooth : 1 Ouvrez Préférences Système, puis cliquez sur Bluetooth. 2 Cliquez sur Partage. 3 Cochez la case Activé pour l’Échange de fichiers Bluetooth, puis utilisez les menus locaux pour paramétrer les réglages. Envoi d’un fichier à un appareil Bluetooth Votre ordinateur peut envoyer des fichiers vers d’autres appareils Bluetooth situés dans la zone de couverture de votre ordinateur. Si votre ordinateur n’est pas jumelé avec l’appareil, il se peut que vous deviez vous authentifier auprès de ce dernier avant de pouvoir envoyer le fichier. Si vous avez déjà jumelé l’ordinateur à l’appareil, vous ne devriez pas avoir à vous authentifier. Pour envoyer un fichier à un appareil Bluetooth : 1 Choisissez Envoyer un fichier dans le menu d’état Bluetooth de la barre des menus. 2 Sélectionnez le fichier que vous souhaitez envoyer puis cliquez sur Envoyer. 3 Choisissez un appareil dans la liste Appareil, puis cliquez sur Envoyer. Si l’appareil ne se trouve pas dans la liste, cliquez sur Rechercher. Une fois l’appareil retrouvé, vous pouvez l’ajouter à votre liste de favoris. Pour plus d’informations sur la technologie sans fil Bluetooth Pour accéder à l’aide Bluetooth, ouvrez l’applications Échange de fichiers Bluetooth (dans le dossier Utilitaires du dossier Applications) et sélectionnez Aide > Aide Bluetooth. Vous trouverez d’autres informations sur le site Web d’Apple, à l’adresse www.apple.com/fr/bluetooth. F3027Q45C\D.book Page 31 Thursday, April 7, 2005 3:18 PM32 Chapitre 3 Utilisation de votre ordinateur Ethernet (10/100/1000Base-T) Votre ordinateur est doté de la technologie de mise en réseau Ethernet 10/100/1000 mégabits par seconde (Mbps) Base-T (paire torsadée), qui permet de vous connecter à un réseau ou à un modem câble ou DSL. La connexion à un réseau vous donne accès à d’autres ordinateurs et vous permet de stocker et de récupérer des informations, d’utiliser les imprimantes d’un réseau, des modems et une messagerie électronique ou de vous connecter à Internet. Vous pouvez également partager des fichiers entre deux ordinateurs ou établir un petit réseau. Le port Ethernet de votre iMac G5 détecte automatiquement les autres périphériques Ethernet. Pour établir des connexions à d’autres périphériques Ethernet, il est inutile d’utiliser un câble croisé.  Utilisez un câble Ethernet de catégorie 3 (Cat 3) à quatre paires pour vous connecter à un réseau Ethernet 10 Base-T.  Utilisez un câble Ethernet de catégorie 5 (Cat 5) à deux paires pour vous connecter à un réseau Ethernet 10 Base-T, 100 Base-T ou 1000 Base-T. Informations supplémentaires sur l’utilisation d’Ethernet Des informations supplémentaires, expliquant notamment comment établir un réseau Ethernet et transférer des fichiers via Ethernet, sont disponibles dans l’Aide Mac (reportez-vous à la page 22). Choisissez Aide > Aide Mac, puis recherchez “Ethernet” ou “réseau”. Pour obtenir des informations sur les produits réseau que vous pouvez utiliser avec votre iMac G5, consultez le guide des produits Macintosh à l’adresse www.apple.com/fr/guide. Port Ethernet (10/100/1000Base-T) G F3027Q45C\D.book Page 32 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 33 Support audio Votre iMac G5 est doté d’un dispositif audio complet, notamment un port combinant une sortie casque/sortie audio optique permettant de brancher des écouteurs ou un équipement audio numérique, ainsi qu’un port d’entrée audio analogique. Port de sortie casque/sortie audio optique Pour écouter de la musique sans déranger les personnes autour de vous, branchez une paire d’écouteurs sur le port combiné de sortie casque/sortie audio optique (f). Vous pouvez également connecter votre iMac G5 à un récepteur AV à l’aide d’un câble audio optique doté d’une mini-prise pour établir un système de home cinéma basé sur votre iMac G5. Port de sortie casque/ sortie audio optique fdigital F3027Q45C\D.book Page 33 Thursday, April 7, 2005 3:18 PM34 Chapitre 3 Utilisation de votre ordinateur Port d’entrée audio Au dos de l’ordinateur, le port d’entrée audio analogique (,) permet de connecter un microphone externe sous tension ou d’autres équipements audio pour importer de l’audio. Pour sélectionner le périphérique audio d’entrée ou de sortie à employer, utilisez la sous-fenêtre Son des Préférences Système. Informations supplémentaires sur l’utilisation de l’audio L’Aide Mac contient des informations supplémentaires sur l’utilisation de l’audio (voir la page 22). Choisissez Aide > Aide Mac, puis recherchez “audio” ou “musique.” Pour obtenir des informations sur les produits audio et de musique que vous pouvez utiliser avec votre iMac G5, consultez le guide des produits Macintosh à l’adresse www.apple.com/fr/guide. Gestion de vidéo externe (VGA, Composite et S-Vidéo) Votre ordinateur dispose d’un port de sortie vidéo qui vous permet de le connecter à un moniteur (écran) externe ou à un projecteur VGA à l’aide de l’adaptateur VGA (disponible sur www.apple.com/francestore). Vous pouvez également afficher ou enregistrer des images en connectant un téléviseur, un projecteur vidéo ou un magnétoscope à l’aide de l’adaptateur vidéo Apple (disponible sur www.apple.com/francestore). Port d’entrée audio , F3027Q45C\D.book Page 34 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 35 Remarque : l’adaptateur vidéo d’Apple n’est pas compatible avec certains modèles antérieurs d’iMac. Lorsque votre iMac G5 est connecté à un moniteur externe ou à un téléviseur, la même image apparaît sur son écran et sur le moniteur externe (mode appelé recopie vidéo). Remarque : en raison des limitations d’affichage de la plupart des téléviseurs, la qualité des images affichées sur un téléviseur sera inférieure à celle des images affichées par l’écran intégré ou un moniteur externe. Connexion d’un écran externe ou d’un projecteur Pour connecter un écran externe ou un projecteur à votre ordinateur à l’aide d’une connexion VGA : 1 Allumez l’écran externe ou le projecteur. 2 Connectez l’adaptateur VGA Apple au port VGA du moniteur externe ou du projecteur. 3 Connectez l’adaptateur de moniteur VGA d’Apple à votre iMac G5. Votre iMac G5 détecte automatiquement l’écran externe. Important : pour être sûr que votre iMac G5 détecte automatiquement le moniteur externe ou le projecteur, veillez à d’abord brancher l’adaptateur VGA à ce moniteur externe ou projecteur. 4 Utilisez la sous-fenêtre Moniteurs des Préférences Système pour régler la résolution du moniteur externe ou du projecteur. Port de sortie vidéo £ F3027Q45C\D.book Page 35 Thursday, April 7, 2005 3:18 PM36 Chapitre 3 Utilisation de votre ordinateur Connexion d’un téléviseur, d’un magnétoscope ou de tout autre appareil vidéo Pour connecter un téléviseur, un magnétoscope ou tout autre appareil vidéo à votre iMac G5 : 1 Connectez l’extrémité munie d’une seule fiche de l’adaptateur vidéo d’Apple au port de sortie vidéo de votre iMac G5. 2 Connectez l’autre extrémité de l’adaptateur au port vidéo composite ou S-vidéo du téléviseur ou du magnétoscope. 3 Allumez l’appareil. 4 Pour régler l’apparence des images affichées à l’écran, ouvrez la sous-fenêtre Moniteurs des Préférences Système. L’image apparaît alors à la fois sur l’iMac G5 et sur le téléviseur. Informations supplémentaires sur l’utilisation d’un moniteur externe ou d’un téléviseur Vous pourrez trouver des informations supplémentaires sur la configuration et l’utilisation d’un moniteur externe dans l’Aide Mac. Choisissez Aide > Aide Mac, puis recherchez “moniteur”. Utilisation de votre lecteur optique Votre lecteur optique permet d’installer ou d’exécuter des applications à partir de CD et de DVD. Vous pouvez écouter de la musique à partir d’un CD audio et regarder des films sur DVD. Vous pouvez également graver des CD de musique lisibles sur la plupart des lecteurs de CD et enregistrer des documents et autres fichiers numériques sur des CD-R et CD-RW. Important : le lecteur optique de votre iMac G5 est compatible avec les disques circulaires standard de 12 cm. Les disques d’une autre forme ou d’un diamètre inférieur à 12 cm ne sont pas compatibles. Les disques non circulaires ou plus petits risquent de se coincer dans le lecteur. En cas de disque coincé, reportez-vous aux informations de dépannage à la page 57. Si votre iMac G5 possède un lecteur SuperDrive, vous pouvez également graver des vidéos familiales en réalisant des DVD vidéo qui pourront être lus sur la plupart des lecteurs de DVD de salon, ou bien enregistrer des documents et autres fichiers numériques sur des disques DVD-R, DVD-RW, DVD+R, DVD+RW et DVD+R Double couche (DL) vierges, en utilisant le Finder ou iDVD. Vous pouvez placer près de deux fois plus de données (8,54 Go) sur un disque DVD+R DL (double couche). F3027Q45C\D.book Page 36 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 37 Remarque : si vous possédez des logiciels anciens sur disquette, demandez à l’éditeur s’ils sont disponibles sur CD ou téléchargeables en ligne ou achetez un lecteur de disquette externe USB pour votre iMac G5 auprès d’un distributeur Apple ou sur le site Apple Store (www.apple.com/francestore). Insertion d’un CD ou DVD Pour installer ou utiliser des logiciels à partir d’un disque CD-ROM ou DVD-ROM, procédez comme suit : 1 Insérez le disque dans le lecteur optique, en plaçant l’étiquette vers vous. 2 Dès que son icône apparaît sur le bureau, le disque peut être utilisé. Remarque : certains disques DVD sont à double face. Éjection d’un disque Pour éjecter un disque, procédez comme suit :  Glissez l’icône du disque dans la Corbeille.  Maintenez enfoncée la touche d’éjection de disque (C) sur le clavier jusqu’à ce que le disque soit éjecté. Si vous ne parvenez pas à éjecter le disque, fermez toutes les applications susceptibles d’utiliser le disque et réessayez. Si cela ne donne pas de résultats, redémarrez l’ordinateur tout en maintenant le bouton de la souris enfoncé. F3027Q45C\D.book Page 37 Thursday, April 7, 2005 3:18 PM38 Chapitre 3 Utilisation de votre ordinateur Lecture de DVD Insérez le DVD que vous voulez lire. L’application Lecteur DVD s’ouvre automatiquement et lance la lecture du disque. Si vous avez connecté l’iMac G5 à un téléviseur pour regarder vos DVD sur l’écran du téléviseur, sélectionnez 720 x 480 NTSC (aux États-Unis) ou 720 x 576 PAL (en Europe et dans d’autres régions) dans la sous-fenêtre Moniteurs des Préférences Système. Il est très facile de connecter votre iMac G5 à une chaîne stéréo. Utilisez un câble audio optique muni d’un connecteur mini-prise (en vente sur www.apple.com/francestore) pour relier le port de sortie combiné casque/sortie audio optique (f) de votre iMac G5 au port d’entrée audio optique de votre récepteur stéréo. Enregistrement de disques CD-R et CD-RW Vous pouvez enregistrer des disques CD-R ou CD-RW directement à partir de votre bibliothèque iTunes. Pour enregistrer de la musique sur un CD-R ou CD-RW via iTunes : 1 Cliquez sur l’icône d’iTunes dans le Dock. 2 Sélectionnez la liste de lecture à enregistrer. 3 Insérez un disque vierge CD-R ou CD-RW. (Pour une compatibilité optimale avec les lecteurs CD, utilisez un CD-R). 4 En haut de la fenêtre iTunes, cliquez sur l’option Graver le CD. Pour enregistrer vos fichiers et dossiers sur un CD-R ou CD-RW à l’aide du Finder : 1 Insérez un disque vierge dans le lecteur optique. 2 Dans la zone de dialogue qui apparaît, attribuez un nom au disque. Une icône correspondant au CD apparaît sur le bureau. 3 Glissez des fichiers et dossiers sur l’icône du disque. 4 Choisissez Fichier > Graver le disque ou sélectionnez le disque, puis glissez-le sur l’icône “Graver le disque“ située dans le Dock. Pour plus d’informations  Pour obtenir des informations sur l’enregistrement de fichiers de musique sur un CD-R à l’aide d’iTunes, ouvrez iTunes et choisissez Aide > Aide iTunes et Music Store.  Pour obtenir des instructions sur l’utilisation de l’application Lecteur DVD, ouvrez Lecteur DVD et choisissez Aide > Aide Lecteur DVD. F3027Q45C\D.book Page 38 Thursday, April 7, 2005 3:18 PMChapitre 3 Utilisation de votre ordinateur 39 Enregistrement d’informations sur un DVD Si votre iMac G5 est équipé d’un lecteur SuperDrive, vous pouvez graver vos vidéos numériques familiales sur DVD+R DL (double couche), DVD±RW ou DVD±R. Vous pouvez également enregistrer d’autres types de données numériques (vous pouvez sauvegarder vos fichiers par exemple). Pour graver des données sur un DVD-R à l’aide du Finder : 1 Insérez un DVD+R DL (double couche), un DVD±RW ou un DVD±R vierge dans le lecteur. 2 Dans la zone de dialogue qui apparaît, attribuez un nom au disque et sélectionnez le format souhaité. Une icône représentant le DVD apparaît sur le bureau. 3 Double-cliquez sur l’icône du DVD, puis glissez-y des fichiers et des dossiers. 4 Choisissez Fichier > Graver le disque ou sélectionnez le disque, puis glissez-le sur l’icône “Graver le disque“ située dans le Dock. Vous pouvez également utiliser iDVD pour créer vos propres DVD personnalisés, les graver sur DVD vierge et les lire ensuite sur la plupart des lecteurs de DVD standard. Pour plus d’informations sur l’utilisation d’iDVD, ouvrez iDVD et choisissez Aide > Aide iDVD. Commandes du clavier Les commandes clavier vous permettent de régler rapidement le volume ou d’éjecter un CD ou un DVD. Pour augmenter le contraste de l’écran, appuyez sur la touche F15 de votre clavier. Pour diminuer le contraste, appuyez sur la touche F14. Avec Exposé, vous pouvez facilement gérer les fenêtres sur l’écran. Pour voir toutes les fenêtres ouvertes d’un seul coup d’œil, appuyez sur F9. Pour voir toutes les fenêtres ouvertes dans l’application active, appuyez sur F10. Pour masquer toutes les fenêtres ouvertes pour pouvoir visualiser le bureau, appuyez sur F11. Diminution du volume Augmentation du volume Touche de mode silencieux Touche d’éjection de disque F3027Q45C\D.book Page 39 Thursday, April 7, 2005 3:18 PM40 Chapitre 3 Utilisation de votre ordinateur Protection de votre ordinateur Insérez un câble de verrouillage (disponible sur www.apple.com/francestore) dans le logement de sécurité intégré pour attacher votre iMac G5 à un objet fixe. Des informations supplémentaires sur les fonctionnalités logicielles de sécurité de votre iMac G5, y compris les mots de passe d’utilisateurs multiples et le cryptage des fichiers, sont disponibles dans l’Aide Mac (voir la page 22). Choisissez Aide > Aide Mac, puis recherchez “sécurité” ou “utilisateurs multiples”. Logement de sécurité F3027Q45C\D.book Page 40 Thursday, April 7, 2005 3:18 PM4 41 4 Extension des capacités de votre ordinateur Ce chapitre fournit des informations et des instructions pour l’extension des capacités de votre ordinateur. Vous y trouverez des instructions sur les opérations suivantes :  “Ajout de mémoire” à la page 41.  “Remplacement de la pile de secours interne” à la page 48. Ajout de mémoire Votre iMac G5 contient au moins 512 mégaoctets (Mo) de mémoire DDR-SDRAM (Double Data Rate Synchronous Dynamic Random Access). Votre iMac G5 dispose par ailleurs de deux logements de mémoire, dont l’un est généralement libre en vue d’éventuelles extensions. Il est compatible avec les modules de mémoire répondant aux spécifications suivantes :  compatibilité PC-3200 (également appelé DDR-400) ;  DDR-SDRAM (Double Data Rate-Synchronous Dynamic Random Access Memory) ;  sans tampon et non enregistrée. La quantité maximale de mémoire pouvant être contenue par votre iMac G5 est de 2 gigaoctets (Go), via l’insertion de modules de mémoire de 1 Go dans chaque logement. Utilisez Informations Système pour déterminer la quantité de mémoire installée sur votre iMac G5. Pour accéder à Informations Système, choisissez Pomme (?) > À propos de ce Mac dans la barre des menus, puis cliquez sur Plus d’infos. Avertissement : tout dommage causé à votre matériel en tentant d’installer vous-même de la mémoire n’est pas couvert par la garantie limitée de votre ordinateur. F3027Q45C\D.book Page 41 Thursday, April 7, 2005 3:18 PM42 Chapitre 4 Extension des capacités de votre ordinateur Pour installer un module de mémoire : 1 Éteignez votre ordinateur en choisissant menu Pomme (?) > Éteindre. Débranchez tous les câbles de l’ordinateur, y compris le câble d’alimentation. 2 Placez un linge ou un chiffon propre et doux sur le bureau ou la table. Tout en tenant l’ordinateur par les côtés, posez-le lentement à plat afin de faire reposer l’écran contre la surface de la table et de tourner le dessous de l’ordinateur vers vous. 3 Soulevez le socle et utilisez un tournevis cruciforme n°1 pour desserrer les trois vis imperdables situées sur le dessous de l’ordinateur, en tournant dans le sens contraire des aiguilles d’une montre. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Socle Tournevis cruciforme Dévissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 42 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 43 4 Tout en tenant le socle métallique, faites pivoter le couvercle arrière vers le haut pour le soulever de l’ordinateur. Le couvercle arrière attaché au socle doit venir facilement. Si ce n’est pas le cas, assurez-vous que les vis sont entièrement dévissées dans le sens contraire des aiguilles d’une montre, en veillant à ne pas forcer. 5 Pour protéger l’ordinateur contre toute décharge d’électricité statique, reliez-vous à la terre en touchant la surface métallique à l’intérieur de l’ordinateur. Avertissement : déchargez-vous toujours de l’électricité statique que vous êtes susceptible d’avoir accumulé avant de toucher ou d’installer tout composant à l’intérieur de l’ordinateur. Pour éviter de générer de l’électricité statique, ne vous déplacez pas dans la pièce avant d’avoir achevé l’installation de la mémoire et d’avoir refermé l’ordinateur. F3027Q45C\D.book Page 43 Thursday, April 7, 2005 3:18 PM44 Chapitre 4 Extension des capacités de votre ordinateur 6 Insérez le module de mémoire en angle droit dans son logement et appuyez doucement dessus pour le fixer. Le module ne s’insère dans le logement que dans un seul sens. Veillez à aligner les encoches du module avec celles à l’intérieur du logement. 4 1 2 3 iMac 17 pouces iMac 20 pouces F3027Q45C\D.book Page 44 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 45 7 Tout en tenant le couvercle arrière par le socle, basculez-le légèrement afin d’aligner les languettes de son bord supérieur avec les fentes du bord supérieur de l’ordinateur. Faites pivoter le couvercle arrière vers le bas et appuyez doucement jusqu’à ce qu’il s’ajuste parfaitement sur l’ordinateur. F3027Q45C\D.book Page 45 Thursday, April 7, 2005 3:18 PM46 Chapitre 4 Extension des capacités de votre ordinateur 8 Resserrez les trois vis imperdables en les vissant dans le sens des aiguilles d’une montre. Veillez à ne pas trop les serrer pour ne pas en abîmer la tête. 9 En tenant l’ordinateur par les côtés, tournez-le doucement afin de le remettre à l’endroit. Rebranchez ensuite les câbles et le cordon d’alimentation que vous avez débranchés de l’ordinateur. 10 Allumez l’ordinateur en appuyant sur le bouton d’alimentation situé à l’arrière. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Avertissement : faire fonctionner l’ordinateur lorsqu’il est ouvert ou que certains de ses composants ont été enlevés peut s’avérer dangereux ou l’endommager. Socle Tournevis cruciforme Vissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 46 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 47 Vérification de la reconnaissance de la nouvelle mémoire par votre ordinateur Après l’installation de mémoire supplémentaire dans votre iMac G5, vérifiez que l’ordinateur reconnaît bien cette nouvelle mémoire. Procédez de la manière suivante : 1 Démarrez votre ordinateur. 2 Lorsque vous voyez apparaître le bureau Mac OS, choisissez menu Pomme (?) > À propos de ce Mac. Ce total inclut la quantité de mémoire installée d’origine plus la quantité que vous avez ajoutée. Pour une répartition plus détaillée de la quantité de mémoire installée dans votre ordinateur, ouvrez Informations Système en cliquant sur Plus d’infos. Si votre ordinateur ne reconnaît pas la mémoire ou ne démarre pas correctement, éteignez-le et vérifiez de nouveau les instructions pour vous assurer que la mémoire installée est bien compatible avec cet iMac G5 et qu’elle est correctement installée. Si les problèmes persistent, retirez la mémoire et consultez les informations d’assistance technique fournies avec la mémoire ou contactez le fournisseur de la mémoire. Mémoire totale installée dans votre iMac G5 F3027Q45C\D.book Page 47 Thursday, April 7, 2005 3:18 PM48 Chapitre 4 Extension des capacités de votre ordinateur Remplacement de la pile de secours interne La pile de secours intégrée à votre iMac G5 permet de conserver certains réglages, comme l’heure et la date, quand l’ordinateur est éteint. Si vous avez des problèmes pour démarrer votre ordinateur ou que des réglages changent au démarrage, il se peut que vous deviez changer la pile de secours interne. Remarque : si votre ordinateur est branché sur un bloc multiprise, Apple vous recommande de laisser ce bloc allumé pour préserver la longévité de votre pile. Pour remplacer une pile de secours interne dans votre iMac G5 : 1 Éteignez votre ordinateur en choisissant menu Pomme (?) > Éteindre. Débranchez tous les câbles de l’ordinateur, y compris le câble d’alimentation. 2 Placez un linge ou un chiffon propre et doux sur le bureau ou la table. Tout en tenant l’ordinateur par les côtés, posez-le lentement à plat afin de faire reposer l’écran contre la surface de la table et de tourner le dessous de l’ordinateur vers vous. 3 Soulevez le socle et utilisez un tournevis cruciforme n°1 pour desserrer les trois vis imperdables situées sur le dessous de l’ordinateur, en tournant dans le sens contraire des aiguilles d’une montre. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Socle Tournevis cruciforme Dévissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 48 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 49 4 Tout en tenant le socle métallique, faites pivoter le couvercle arrière vers le haut pour le soulever de l’ordinateur. Le couvercle arrière attaché au socle doit venir facilement. Si ce n’est pas le cas, assurez-vous que les vis sont entièrement dévissées dans le sens contraire des aiguilles d’une montre. 5 Pour protéger l’ordinateur contre toute décharge d’électricité statique, reliez-vous à la terre en touchant la surface métallique à l’intérieur de l’ordinateur. Avertissement : déchargez-vous toujours de l’électricité statique que vous êtes susceptible d’avoir accumulé avant de toucher ou d’installer tout composant à l’intérieur de l’ordinateur. Pour éviter de générer de l’électricité statique, ne vous déplacez pas dans la pièce avant d’avoir achevé l’installation et d’avoir refermé l’ordinateur. F3027Q45C\D.book Page 49 Thursday, April 7, 2005 3:18 PM50 Chapitre 4 Extension des capacités de votre ordinateur 6 Pour retirer l’ancienne pile, placez un ongle dans l’encoche, soulevez la pile et glissez-la en dehors de la languette métallique. 7 Repérez le côté positif (+) de la nouvelle pile. Glissez la pile sous la languette métallique de façon à ce qu’elle touche le côté positif. Avertissement : l’installation incorrecte de la pile peut provoquer une explosion. Assurez-vous de respecter la position des pôles. Utilisez uniquement une pile de type identique ou une pile équivalente recommandée par le fabricant de la pile d’origine. 4 1 2 3 Languette métallique Insérez la nouvelle pile Encoche Ôtez l’ancienne pile F3027Q45C\D.book Page 50 Thursday, April 7, 2005 3:18 PMChapitre 4 Extension des capacités de votre ordinateur 51 8 Tout en tenant le couvercle arrière par le socle, basculez-le légèrement afin d’aligner les languettes de son bord supérieur avec les fentes du bord supérieur de l’ordinateur. Faites pivoter le couvercle arrière vers le bas et appuyez doucement jusqu’à ce qu’il s’ajuste parfaitement sur l’ordinateur. F3027Q45C\D.book Page 51 Thursday, April 7, 2005 3:18 PM52 Chapitre 4 Extension des capacités de votre ordinateur 9 Resserrez les trois vis imperdables en les vissant dans le sens des aiguilles d’une montre. Veillez à ne pas trop les serrer pour ne pas en abîmer la tête. 10 En tenant l’ordinateur par les côtés, tournez-le doucement afin de le remettre à l’endroit. Rebranchez ensuite les câbles et le cordon d’alimentation que vous avez débranchés de l’ordinateur. 11 Allumez l’ordinateur en appuyant sur le bouton d’alimentation situé à l’arrière. Remarque : le remplacement de la pile peut provoquer le rétablissement des valeurs par défaut de certains réglages tels que la date et l’heure. Vous devrez peut-être également restaurer les réglages de modem dans les applications de communication que vous utilisez. Débarrassez-vous de l’ancienne pile selon les instructions de la section “Disposal and Recycling Information” à la page 86. · Avertissement : le capteur de lumière intégré se situe sur la gauche de la vis du milieu, comme indiqué sur l’illustration. Ne confondez pas le capteur de lumière avec une vis. L’introduction d’un tournevis ou de tout autre objet pointu dans le capteur pourrait endommager votre ordinateur. Avertissement : faire fonctionner l’ordinateur lorsqu’il est ouvert ou que certains de ses composants ont été enlevés peut s’avérer dangereux ou l’endommager. Socle Tournevis cruciforme Vissez ces 3 vis Vis Capteur de lumière intégré F3027Q45C\D.book Page 52 Thursday, April 7, 2005 3:18 PM5 53 5 Dépannage Il se peut que vous rencontriez à titre exceptionnel des problèmes en utilisant votre iMac G5. Dans ce chapitre, vous trouverez des suggestions pour résoudre ces problèmes. Ce chapitre apporte des solutions aux problèmes qui vous empêchent de travailler avec votre ordinateur, tels que le blocage du système ou de l’ordinateur. Vous trouverez d’autres informations de dépannage dans l’Aide Mac (voir la page 22) et sur le site Web Service & Support d’Apple à l’adresse www.apple.com/fr/support. Lorsque vous rencontrez un problème avec votre ordinateur, sachez qu’il existe généralement une solution simple et rapide. Dans un tel cas, essayez de noter les opérations que vous avez effectuées avant que le problème ne survienne. Ce récapitulatif permet de restreindre les causes possibles du problème et de trouver la solution. Les éléments à noter comprennent :  Les applications que vous étiez en train d’utiliser quand le problème est apparu. Les problèmes qui n’apparaissent qu’avec une application spécifique peuvent indiquer que cette application n’est pas compatible avec la version de Mac OS installée sur votre ordinateur.  Tout logiciel installé récemment. Certaines applications installent des extensions qui peuvent ne pas être compatibles avec l’environnement Classic.  Tout nouveau composant matériel connecté ou installé (mémoire supplémentaire ou périphérique, par exemple). Problèmes vous empêchant d’utiliser votre ordinateur Si l’ordinateur ne répond pas ou que le pointeur se fige  Assurez-vous tout d’abord que la souris et le clavier sont connectés. Débranchez puis rebranchez les connecteurs et vérifiez qu’ils sont correctement mis en place. Si vous avez un clavier ou une souris sans fil, vérifiez que les piles sont en état de marche. F3027Q45C\D.book Page 53 Thursday, April 7, 2005 3:18 PM54 Chapitre 5 Dépannage  Si cela ne donne pas de résultats, essayez de forcer la fermeture des applications posant problème. Maintenez les touches Option et Commande (x) enfoncées, puis appuyez sur Échap. Si une zone de dialogue apparaît, sélectionnez-y l’application et cliquez sur Forcer à quitter. Ensuite, enregistrez le travail de toute application ouverte, puis redémarrez l’ordinateur afin de vous assurer que le problème est entièrement réglé.  Si vous ne parvenez pas à forcer la fermeture de l’application, maintenez le bouton d’alimentation (®) situé à l’arrière de l’ordinateur enfoncé pour l’éteindre.  Si cela reste sans effets, débranchez le câble d’alimentation de l’ordinateur. Rebranchez-le, puis appuyez sur le bouton d’alimentation (®) de l’ordinateur pour le rallumer. Si le problème survient fréquemment lorsque vous utilisez une application particulière, consultez le fabricant de cette dernière pour vérifier si elle est compatible avec votre ordinateur. Pour l’assistance et les informations de contact relatives aux logiciels fournis avec votre ordinateur, rendez-vous sur www.apple.com/guide. Si le problème se reproduit fréquemment, réinstallez éventuellement votre logiciel système (voir “Réinstallation des logiciels fournis avec votre ordinateur” à la page 55). Si l’ordinateur se bloque lors du démarrage ou si un point d’interrogation clignote à l’écran  Patientez quelques secondes. Si l’ordinateur ne démarre pas après un certain temps, éteignez-le en maintenant le bouton d’alimentation (®) enfoncé pendant 5 secondes, jusqu’à ce qu’il s’éteigne complètement. Maintenez ensuite la touche Option enfoncée, puis appuyez de nouveau sur le bouton d’alimentation (®) pour démarrer votre ordinateur. Lorsque votre ordinateur démarre, cliquez sur l’icône du disque dur, puis sur la flèche droite.  Une fois que l’ordinateur a démarré, ouvrez Préférences Système et cliquez sur Démarrage. Sélectionnez un dossier Système Mac OS X.  Si le problème se reproduit fréquemment, réinstallez éventuellement votre logiciel système (voir “Réinstallation des logiciels fournis avec votre ordinateur” à la page 55). Si l’ordinateur ne s’allume pas ou ne démarre pas  Assurez-vous que le câble d’alimentation est connecté à l’ordinateur et branché sur une prise électrique en état de marche.  Si le problème persiste, appuyez sur le bouton d’alimentation (®) et maintenez enfoncées les touches Commande (x), Option, P et R jusqu’à entendre une seconde fois le signal de démarrage.  Si vous avez récemment ajouté de la mémoire, assurez-vous qu’elle est correctement installée et compatible avec votre ordinateur. Vérifiez si son retrait permet à l’ordinateur de démarrer (voir la page 41). F3027Q45C\D.book Page 54 Thursday, April 7, 2005 3:18 PMChapitre 5 Dépannage 55  Si cela reste sans effet, débranchez le câble d’alimentation et attendez au moins 30 secondes. Rebranchez-le, puis appuyez de nouveau sur le bouton d’alimentation (®) de l’ordinateur pour le rallumer.  Si vous ne réussissez toujours pas à démarrer, consultez les informations sur les options de services et d’assistance fournies avec votre iMac G5 pour savoir comment contacter Apple. Réinstallation des logiciels fournis avec votre ordinateur Les disques d’installation de logiciels fournis avec votre ordinateur permettent de réinstaller Mac OS X et les applications livrées avec votre ordinateur, et d’installer Mac OS 9. Important : Apple vous recommande de sauvegarder les données de votre disque dur avant de procéder à la restauration du logiciel. Apple décline toute responsabilité en cas de perte de données. Installation de Mac OS X Pour installer Mac OS X : 1 Sauvegardez vos fichiers importants si cela est possible. 2 Insérez le “Mac OS X Install Disk 1” livré avec votre ordinateur. 3 Double-cliquez sur “Install Mac OS X and Bundled Software”. 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran. Il se peut que votre ordinateur redémarre et vous demande d’insérer le prochain disque d’installation de Mac OS X. Important : nous vous conseillons de sauvegarder vos fichiers importants avant d’installer Mac OS X et les autres applications car l’option “Effacer et installer” efface votre disque de destination. Installation des applications Pour installer les applications fournies avec votre ordinateur, veuillez procéder comme suit. Mac OS X doit déjà être installé sur votre ordinateur. Pour installer Mac OS X : 1 Sauvegardez vos fichiers importants si cela est possible. 2 Insérez le “Mac OS X Install Disk 1” livré avec votre ordinateur. 3 Double-cliquez sur “Install Bundled Software Only.” 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran. F3027Q45C\D.book Page 55 Thursday, April 7, 2005 3:18 PM56 Chapitre 5 Dépannage Remarque : pour installer iCal, iChat AV, iSync, iTunes et Safari, suivez les instructions “Installation de Mac OS X” en page précédente. Installation de Mac OS 9 À la livraison de votre iMac G5, Mac OS 9 n’est pas installé. Pour utiliser les applications Mac OS 9 avec votre ordinateur, vous devez installer Mac OS X à partir du disque d’installation 2 de Mac OS X. Pour installer Mac OS 9 : 1 Sauvegardez vos fichiers importants si cela est possible. 2 Insérez le “Mac OS X Install Disk 2” livré avec votre ordinateur. 3 Double-cliquez sur “Install Mac OS 9 System Support”. 4 Suivez les instructions à l’écran. 5 Après avoir sélectionné le disque de destination pour l’installation, suivez les instructions à l’écran. Autres problèmes En cas de problème avec une application  Pour les problèmes liés aux logiciels provenant d’éditeurs tiers, contactez l’éditeur concerné. Les éditeurs de logiciels proposent souvent des mises à jour de leurs produits sur leurs sites Web. Vous pouvez utiliser la sous-fenêtre Mise à jour de logiciels des Préférences Système pour configurer votre iMac G5 afin qu’il recherche et installe automatiquement les derniers logiciels Apple. Pour plus d’informations, choisissez Aide > Aide Mac, puis recherchez “mise à jour de logiciels”. En cas de problèmes avec les communications sans fil AirPort  Vérifiez que vous avez correctement configuré le logiciel en respectant les instructions fournies avec la borne d’accès AirPort Extreme ou AirPort Express.  Vérifiez que l’ordinateur ou le réseau auquel vous souhaitez vous connecter est activé et dispose d’un point d’accès sans fil.  Assurez-vous que l’autre ordinateur ou le point d’accès au réseau se trouve dans la zone de couverture de l’antenne de votre ordinateur. Des appareils électroniques ou des structures métalliques se trouvant à proximité peuvent interférer avec les communications sans fil et réduire la portée de votre antenne. Vous pouvez éventuellement améliorer la réception en réorientant l’ordinateur.  Vérifiez la puissance du signal AirPort. L’icône d’état AirPort de la barre des menus affiche jusqu’à quatre barres.  Des problèmes de fonctionnement de réseau peuvent survenir si votre borne d’accès est fréquemment utilisée à proximité d’un four micro-ondes, d’un téléphone sans fil ou autres sources d’interférences. Pour minimiser les interférences, placez votre borne d’accès loin de ces appareils. F3027Q45C\D.book Page 56 Thursday, April 7, 2005 3:18 PMChapitre 5 Dépannage 57  Pour plus d’informations sur l’utilisation et le dépannage de AirPort, sélectionnez Aide > Aide Mac, puis choisissez Centre d’aide > Aide AirPort. En cas de problèmes avec l’éjection d’un disque  Quittez toutes les applications susceptibles de solliciter le disque et appuyez sur la touche d’éjection de disque (C) de votre clavier.  Si cela ne fonctionne pas, ouvrez une fenêtre du Finder et cliquez sur l’icône d’éjection à côté de celle de disque dans la barre latérale ou faites glisser l’icône du disque du bureau jusqu’à la Corbeille.  Si cela ne donne pas de résultats, redémarrez l’ordinateur tout en maintenant le bouton de la souris enfoncé. En cas de problèmes de connexion à Internet  Assurez-vous que votre ligne téléphonique ou que votre câble réseau est connecté et qu’il fonctionne correctement.  Si vous utilisez une connexion Internet par appel commuté, vérifiez que votre câble téléphonique est relié au port modem (représenté par le symbole W) et non au port Ethernet (symbole G).  Consultez “Connexion à Internet” à la page 67 pour en savoir plus sur la configuration de votre ordinateur en vue de la connexion à Internet. Vous y découvrirez comment localiser vos réglages Internet ainsi que les coordonnées de votre fournisseur d’accès à Internet (si vous vous êtes servi de l’Assistant réglages pour établir votre compte Internet).  Consultez “Dépannage de votre connexion” à la page 83 en cas de problème de connexion à Internet. En cas de problèmes de fonctionnement de votre ordinateur ou de Mac OS  Si les réponses à vos questions ne figurent pas dans ce manuel, recherchez des instructions et des informations de dépannage dans l’Aide Mac. Dans le Finder, choisissez Aide > Aide Mac.  Pour obtenir les dernières informations de dépannage et des mises à jour de logiciels, consultez le site Web d’assistance Apple, à l’adresse www.apple.com/fr/support. Si vos réglages de date et heure disparaissent régulièrement  La pile de secours interne de votre ordinateur a peut-être besoin d’être remplacée. Pour toute information supplémentaire, consultez la section “Remplacement de la pile de secours interne” à la page 48. F3027Q45C\D.book Page 57 Thursday, April 7, 2005 3:18 PM58 Chapitre 5 Dépannage Localisation du numéro de série de votre produit Le numéro de série de votre iMac G5 est apposé sous son socle. Vous le trouverez également dans les Informations Système. Pour y accéder, choisissez Pomme (?) > À propos de ce Mac dans la barre de menus, puis cliquez sur Plus d’infos. Cliquez sur le triangle Matériel pour afficher le numéro de série. Utilisation de Apple Hardware Test Apple Hardware Test vous aide à déterminer s’il existe un problème matériel sur votre ordinateur. Pour utiliser Apple Hardware Test : 1 Déconnectez tous les périphériques de votre ordinateur sauf le clavier et la souris. Si un câble Ethernet est connecté, déconnectez-le. 2 Insérez le “Mac OS X Install Disk 1” livré avec votre ordinateur. 3 Puis redémarrez votre ordinateur en maintenant la touche Option enfoncée lors du démarrage. 4 Cliquez sur Apple Hardware Test lorsque la liste des volumes de démarrage disponibles apparaît. 5 Cliquez sur la flèche droite. 6 Lorsque l’écran principal Apple Hardware Test apparaît (environ 45 secondes plus tard), suivez les instructions affichées à l’écran. 7 En cas de détection d’un problème, Apple Hardware Test affiche un code d’erreur. Notez le code d’erreur avant d’entreprendre les démarches d’assistance. Si Apple Hardware Test ne détecte pas de panne matérielle, il est probable que le problème soit lié aux logiciels. Pour en savoir plus sur Apple Hardware Test, consultez le fichier Ouvrez-moi d’Apple Hardware Test situé sur le “Mac OS X Install Disk 1”. F3027Q45C\D.book Page 58 Thursday, April 7, 2005 3:18 PM 59 A Annexe A Caractéristiques Vous pouvez utiliser Informations Système pour trouver des informations détaillées sur votre iMac G5, telles que la quantité de mémoire intégrée, la taille du disque dur, les périphériques connectés et le numéro de série du produit. Pour accéder aux Informations Système, choisissez Pomme (?) > À propos de ce Mac dans la barre de menus, puis cliquez sur Plus d’infos. Pour plus d’informations, vous pouvez consulter les sites Internet www.apple.com/fr/iMac et www.apple.com/fr/support. Dans la fenêtre apparaissant, cliquez sur les triangles pour afficher ou cacher le contenu des différentes catégories. F3027Q45C\D.book Page 59 Thursday, April 7, 2005 3:18 PMF3027Q45C\D.book Page 60 Thursday, April 7, 2005 3:18 PM 61 B Annexe B Consignes d’entretien, d’utilisation et de sécurité Afin d’assurer votre propre sécurité et de préserver votre matériel, veillez à observer les consignes exposées dans cette annexe pour le nettoyage et la manipulation de votre ordinateur, ainsi que l’aménagement d’un espace de travail confortable. Nettoyage de votre iMac G5 Respectez les règles suivantes lors du nettoyage de votre ordinateur et de ses accessoires : • Éteignez votre iMac G5 et débranchez tous les câbles. • Pour nettoyer le boîtier de l’ordinateur, utilisez un chiffon doux, humide et non pelucheux. Évitez les infiltrations d’humidité par quelque ouverture que ce soit. Ne vaporisez jamais de liquide directement sur l’ordinateur. • N’utilisez ni aérosols, ni dissolvant, ni abrasifs. Nettoyage de l’écran de votre iMac G5 Pour nettoyer l’écran de votre iMac G5, procédez comme suit : • Éteignez votre iMac G5 et débranchez tous les câbles. • Humidifiez, à l’eau seulement, un chiffon propre, doux et non pelucheux et essuyez l’écran. Ne vaporisez jamais de liquide directement sur l’écran. Transport de votre iMac G5 Avant de soulever ou de repositionner votre ordinateur, vous devez débrancher tous les câbles et les prises qui y sont connectés. Pour soulever ou déplacer l’ordinateur, tenez-le par les côtés. F3027Q45C\D.book Page 61 Thursday, April 7, 2005 3:18 PM62 Annexe B Consignes d’entretien, d’utilisation et de sécurité Consignes de sécurité pour la configuration et l’utilisation de votre ordinateur Pour votre propre sécurité et celle de votre matériel, respectez toujours les consignes suivantes. Débranchez le câble d’alimentation (en tirant sur la fiche plutôt que sur le câble) et le câble téléphonique si l’un des cas suivants se présente : • Vous souhaitez retirer un composant quelconque. • Le câble ou la fiche d’alimentation est usé(e) ou endommagé(e). • Vous avez renversé quelque chose dans le boîtier de l’ordinateur. • Votre ordinateur est exposé à la pluie ou à une humidité excessive. • Votre ordinateur est tombé ou son boîtier a été endommagé de quelque autre façon. • Votre ordinateur doit être inspecté ou réparé. • Vous devez nettoyer le boîtier (pour ce faire, suivez à la lettre les instructions fournies précédemment). Important : la seule manière de couper complètement l’alimentation de l’ordinateur consiste à débrancher le câble d’alimentation et le câble téléphonique. Assurez-vous qu’au moins une extrémité du câble d’alimentation se trouve à portée de main afin de pouvoir débrancher l’ordinateur si nécessaire. Observez toujours les consignes ci-dessous : • Évitez de placer votre ordinateur à proximité d’un évier, d’un lavabo, d’une baignoire, d’une douche, etc. • Protégez votre ordinateur de l’humidité et des intempéries (neige, pluie...). • Lisez soigneusement les instructions d’installation avant de brancher votre ordinateur sur une prise murale. • Gardez ces instructions dans un endroit facile d’accès pour vous et pour les utilisateurs éventuels. • Suivez toutes les instructions et mises en garde concernant votre système. Avertissement : votre cordon d’alimentation CA est livré avec une fiche de terre à trois broches (fiche équipée d’une troisième broche de mise à la terre). Cette fiche ne peut être branchée que sur une prise CA reliée à la terre. Si vous ne pouvez pas brancher la fiche parce que la prise n’est pas reliée à la terre, contactez un électricien agréé pour qu’il remplace cette dernière par une prise reliée à la terre. Ne dérogez en aucun cas à cette consigne. F3027Q45C\D.book Page 62 Thursday, April 7, 2005 3:18 PMAnnexe B Consignes d’entretien, d’utilisation et de sécurité 63 Important : le matériel électrique peut s’avérer dangereux s’il n’est pas utilisé correctement. L’utilisation de ce produit ou de tout produit similaire doit toujours être supervisée par un adulte. Ne permettez pas aux enfants de toucher les composants internes de tout appareil électrique, ni de manipuler des câbles électriques. Connecteurs et ports Ne forcez jamais un connecteur dans un port. Si vous ne parvenez pas à brancher le connecteur sur le port sans forcer, c’est qu’ils ne sont pas adaptés. Assurez-vous que le connecteur est adapté au port et que vous l’avez positionné correctement par rapport à ce dernier. Prévention des dommages auditifs Avertissement : n’introduisez jamais d’objets d’aucune sorte dans les ouvertures du boîtier. Cela peut être dangereux et provoquer un incendie ou un choc électrique. Avertissement : l’utilisation d’écouteurs ou de casques d’écoute réglés sur un niveau de volume trop élevé peut entraîner une perte durable de l’acuité auditive. Il est possible de supporter petit à petit des volumes sonores de plus en plus élevés qui peuvent sembler normaux à la longue, mais qui risquent néanmoins d’endommager votre ouïe. Réglez le volume de votre iMac G5 à un niveau normal avant que le problème ne survienne. En cas de bourdonnements dans les oreilles, baissez le volume ou cessez d’utiliser les écouteurs ou le casque d’écoute avec votre iMac G5. F3027Q45C\D.book Page 63 Thursday, April 7, 2005 3:18 PM64 Annexe B Consignes d’entretien, d’utilisation et de sécurité Ergonomie Siège Optez pour un siège de bureau réglable et offrant un dossier et une assise confortables. Réglez la hauteur du siège de sorte que vos cuisses reposent à l’horizontale et vos pieds à plat sur le sol. Le dossier du siège doit soutenir votre région lombaire, c’est-à-dire la partie inférieure de votre dos. Suivez les instructions du fabricant de sorte que le réglage du dossier soit parfaitement adapté à votre morphologie. Au besoin, relevez le siège de manière à ce que vos avant-bras et vos mains soient placés correctement par rapport au clavier. Si, dans ce cas, vos pieds ne reposent plus à plat sur le sol, utilisez un repose-pied inclinable et réglable en hauteur. Vous pouvez également abaisser le niveau du plan de travail pour éviter l’emploi d’un repose-pied. Une troisième solution consiste à utiliser un bureau dont le poste de saisie est situé plus bas que le plan de travail. Écran Placez le moniteur de manière à ce que le haut de l’écran soit légèrement en dessous du niveau de vos yeux quand vous êtes assis au clavier. Il vous appartient de juger de la meilleure distance entre vos yeux et l’écran. Elle se situe en général entre 45 et 70 cm. Orientez l’écran de manière à ce qu’il reflète le moins possible la lumière provenant de l’éclairage et des fenêtres. Souris Veillez à ce que la souris se trouve à hauteur du clavier. Ménagez un espace suffisant pour la manipuler avec aisance.. Cuisses légèrement inclinées Épaules détendues Écran positionné de façon à éviter tout reflet éblouissant Avant-bras et mains en ligne droite Avant-bras légèrement inclinés Bas du dos soutenu Pieds fixes au sol ou sur un repose-pied Haut de l'écran au niveau des yeux ou juste en dessous (Il se peut que vous deviez ajuster la hauteur de votre écran en élevant ou en rabaissant votre plan de travail.) Côté inférieur au plan de travail dégagé 45–70 cm F3027Q45C\D.book Page 64 Thursday, April 7, 2005 3:18 PMAnnexe B Consignes d’entretien, d’utilisation et de sécurité 65 Clavier Veillez à maintenir vos épaules relâchées lorsque vous utilisez le clavier. Le bras et l’avant-bras doivent former un angle droit, la main étant placée dans le prolongement du poignet. Adoptez une frappe légère avec les mains et les doigts détendus. Évitez de replier les pouces à l’intérieur des paumes. Modifiez fréquemment la position de vos mains pour éviter la fatigue. Après un effort continu et intensif, certains utilisateurs ressentent des douleurs aux mains, aux poignets ou aux bras. Si ces douleurs persistent, consultez un spécialiste. Pour plus d’informations Rendez-vous sur le site Web www.apple.com/about/ergonomics. Apple et l’environnement Apple Computer, Inc. reconnaît sa responsabilité en matière de réduction de l’impact de ses produits et de ses activités sur l’environnement. Pour plus d’informations Rendez-vous sur le site www.apple.com/environment/summary.html. F3027Q45C\D.book Page 65 Thursday, April 7, 2005 3:18 PMF3027Q45C\D.book Page 66 Thursday, April 7, 2005 3:18 PM 67 C Annexe C Connexion à Internet Votre ordinateur vous permet de naviguer sur le Web, d’échanger du courrier électronique avec vos amis et votre famille ou de dialoguer en temps réel via Internet. Suivez les instructions de ce guide détaillé pour vous connecter à Internet. Lors du premier démarrage de Mac OS X, l’Assistant réglages vous aide à saisir vos informations de configuration Internet. Si vous n’avez pas utilisé l’Assistant réglages pour configurer votre connexion à Internet, vous pouvez l’utiliser maintenant. Ouvrez Préférences Système, puis cliquez sur Réseau. Cliquez sur le bouton “Assistez-moi” pour ouvrir l’Assistant réglages de réseau. Si vous ne souhaitez pas utiliser cet Assistant, vous pouvez réaliser votre connexion manuellement à l’aide des informations données dans cette annexe. Il existe quatre types de connexion à Internet : • Connexion par ligne téléphonique : l’ordinateur est relié à une prise téléphonique murale via un câble téléphonique (pour les ordinateurs comprenant un modem). • Connexion à haut débit via un modem câble ou DSL : l’ordinateur est relié via un câble Ethernet à un modem spécial fourni par un FAI. • Connexion sans fil AirPort Extreme : l’ordinateur est connecté sans fil à Internet via une borne d’accès Airport Extreme ou AirPort Express. • Réseau local (LAN) : l’ordinateur est connecté à un réseau local via un câble Ethernet. C’est le type de connexion habituellement utilisé dans les entreprises. Avant de vous connecter à Internet : 1 Procurez-vous un compte auprès d’un FAI si vous n’en possédez pas encore. Vous pouvez consulter votre annuaire téléphonique pour trouver un fournisseur d’accès à Internet. Consultez les rubriques “accès Internet”, “services Internet” ou “en ligne”. Remarque : si vous choisissez America Online, sautez l’étape Réglages Internet de l’Assistant réglages. Vous devez utiliser le programme d’installation d’AOL. Ouvrez ce programme, puis suivez les instructions à l’écran pour configurer AOL. F3027Q45C\D.book Page 67 Thursday, April 7, 2005 3:18 PM68 Annexe C Connexion à Internet 2 Procurez-vous les informations de connexion auprès de votre FAI ou de votre administrateur réseau. Consultez la section “Fiche technique Assistant réglages” à la page 69 pour savoir quelles sont les informations dont vous avez besoin pour chaque type de connexion. Dans certains cas, si un autre ordinateur se trouvant au même emplacement est déjà connecté à Internet, vous pouvez probablement utiliser ses réglages. Pour accéder aux réglages sur un ordinateur Mac OS X : • Ouvrez la sous-fenêtre Réseau des Préférences Système. • Dans le menu local Afficher, sélectionnez votre mode de connexion. • Copiez les informations concernant votre connexion. Pour accéder aux réglages sur un ordinateur Mac OS 9 : • Ouvrez le tableau de bord TCP/IP. • Rechercher le mode de connexion dans le menu local “Connexion”. • Recherchez la configuration dans le menu local Configurer. • Notez l’adresse IP, le masque de sous-réseau et l’adresse du routeur figurant dans les champs correspondants. Pour accéder aux réglages sur un PC Windows : Les informations de connexion d’un PC Windows se trouvent à deux endroits. • Pour trouver l’adresse IP et le masque de sous-réseau, ouvrez le tableau de bord “Connexions réseau et Internet”. • Pour accéder aux informations relatives aux comptes d’utilisateurs, ouvrez le tableau de bord Comptes d’utilisateurs. Vous pouvez écrire ces informations directement sur les pages suivantes, puis les saisir dans l’Assistant réglages. 3 Si vous utilisez un modem téléphonique, branchez un câble téléphonique (inclus avec la plupart des ordinateurs Macintosh) sur le port modem de votre ordinateur et sur une prise téléphonique murale. Si vous disposez d’un modem DSL ou câble, connectez-le à votre ordinateur en suivant les instructions incluses. 4 Allumez votre ordinateur et saisissez les informations dans l’Assistant réglages pour configurer votre connexion à Internet. Remarque : si vous avez déjà démarré votre ordinateur et configuré votre connexion à Internet sans utiliser l’Assistant réglages, sélectionnez Pomme (?) > Préférences Système et cliquez sur Réseau. Puis cliquez sur “Assistez-moi”. L’Assistant réglages s’ouvre. F3027Q45C\D.book Page 68 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 69 Fiche technique Assistant réglages Vous pouvez noter sur ces pages les informations obtenues auprès de votre Fournisseur d’Accès à Internet (FAI), de votre administrateur réseau ou de votre autre ordinateur, puis les saisir dans l’Assistant réglages de réseau. Sélectionnez la méthode utilisée par votre ordinateur pour se connecter à Internet. Pour configurer une connexion par ligne commutée, entrez les informations suivantes : Pour configurer une connexion par modem câble ou DSL, ou via un réseau local : 1 Choisissez votre type de connexion. Renseignez-vous auprès de votre FAI. Modem téléphonique Modem câble Modem DSL Réseau local (Ethernet) Sans fil Nom d’utilisateur Mot de passe Numéro de téléphone FAI Préfixe pour obtenir la ligne externe Manuellement Utilisation de DHCP avec une adresse manuelle Via DHCP Via BootP PPP F3027Q45C\D.book Page 69 Thursday, April 7, 2005 3:18 PM70 Annexe C Connexion à Internet 2 Saisissez les informations fournies par votre FAI : Si vous avez sélectionné “Manuellement” ou “Utilisation de DHCP avec une adresse manuelle”*, saisissez les informations suivantes : * Si vous avez sélectionné “Utilisation de DHCP avec une adresse manuelle”, il n’est pas nécessaire de saisir un masque de réseau ou une adresse de routeur. Si vous avez sélectionné “Via DHCP”, saisissez : Remarque : le numéro de client DHCP est facultatif et il est possible qu’il ne soit pas nécessaire. Demandez conseil à votre FAI. Si vous avez sélectionné “PPP (pour les connexions PPPoE)”, saisissez : Adresse IP Masque de sous-réseau Adresse du routeur Numéro de client DHCP Fournisseur d’accès (facultatif) Nom de service PPPoE (facultatif) Nom de compte Mot de passe F3027Q45C\D.book Page 70 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 71 Les informations ci-après sont facultatives. Demandez à votre FAI s’il est nécessaire de les saisir. Configuration manuelle de votre connexion à Internet Lorsque vous avez accompli, à l’aide de l’Assistant réglages, les instructions des pages précédentes, vous avez terminé la configuration de votre connexion à Internet. Si vous ne souhaitez pas utiliser l’Assistant réglages ou si vous souhaitez simplement modifier des parties spécifiques de votre configuration Internet, suivez les instructions suivantes pour configurer manuellement votre connexion. Pour saisir vos informations manuellement, suivez les étapes correspondant à votre mode de connexion. • Modem téléphonique avec connexion PPP (Point-to-Point Protocol) (reportez-vous à la page 71) • Connexion par modem câble, ligne DSL ou réseau LAN avec les configurations suivantes : • Manuelle (reportez-vous à la page 76) • DHCP (reportez-vous à la page 77) • PPPoE (reportez-vous à la page 78) • Connexion sans fil AirPort (reportez-vous à la page 80) Connexion commutée Le modem téléphonique constitue la manière la plus courante de se connecter à Internet. Votre modem utilise une méthode appelée PPP (Point-to-Point Protocol) pour se connecter à un FAI. Assurez-vous que votre modem est branché sur une ligne téléphonique et que vous disposez des informations fournies par votre FAI (reportez-vous à la page 69). Hôtes DNS (facultatif pour DHCP & BootP) Nom de domaine (facultatif) Serveur proxy (facultatif) F3027Q45C\D.book Page 71 Thursday, April 7, 2005 3:18 PM72 Annexe C Connexion à Internet Pour configurer les préférences Réseau pour le port modem interne : 1 Choisissez Pomme (?) > Préférences Système dans la barre des menus. 2 Cliquez sur Réseau. 3 Choisissez Configuration des ports réseau dans le menu local Afficher, puis cochez la case Activé à côté de Modem interne. 4 Faites glisser Modem interne en haut de la liste Configurations de port pour en faire l’interface réseau préférée ou principale. 5 Choisissez Modem interne dans le menu local Afficher et cliquez sur PPP. F3027Q45C\D.book Page 72 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 73 6 Saisissez les informations fournies par votre FAI, puis cliquez sur Appliquer. Pour tester votre configuration Internet : 1 Ouvrez l’application Connexion à Internet (dans le dossier Applications). 2 Cliquez sur l’icône Modem interne si nécessaire. 3 Tapez le numéro de téléphone de connexion de votre FAI, votre nom de compte et votre mot de passe, si nécessaire. 4 Cliquez sur Se connecter. L’application Connexion à Internet compose le numéro de votre FAI et établit une connexion. F3027Q45C\D.book Page 73 Thursday, April 7, 2005 3:18 PM74 Annexe C Connexion à Internet Pour vous connecter automatiquement au démarrage d’une application Internet, telle qu’un navigateur Web ou une application de courrier électronique : 1 Cliquez sur Options PPP (dans la sous-fenêtre PPP des préférences Réseau). 2 Cochez la case “Se connecter automatiquement si nécessaire”. 3 Cliquez sur OK, puis sur Appliquer. F3027Q45C\D.book Page 74 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 75 Connexions à Internet par ligne DSL, modem câble ou réseau LAN Si vous vous connectez à Internet soit à l’aide d’un modem DSL ou câble, soit via un réseau LAN Ethernet, demandez à votre FAI ou à votre administrateur réseau comment vous devriez configurer votre connexion à Internet : • Manuellement : avec une configuration manuelle, votre FAI ou votre administrateur réseau vous communique une adresse IP statique et d’autres informations à saisir dans les préférences Réseau. • Utilisation du protocole DHCP (Dynamic Host Configuration Protocol) : avec une configuration DHCP, le serveur DHCP saisit automatiquement les informations à votre place. • Utilisation du protocole PPPoE (Point-to-Point Protocol over Ethernet) : si vous utilisez un modem DSL et que vous avez besoin d’un nom d’utilisateur et d’un mot de passe pour vous connecter à Internet, vous devrez éventuellement configurer votre réseau pour qu’il utilise le protocole PPPoE. Lors de la configuration de votre réseau, veillez à garder les informations fournies par votre FAI à portée de main (reportez-vous à la page 69). Pour configurer les préférences Réseau pour le port Ethernet intégré : 1 Choisissez Pomme (?) > Préférences Système dans la barre des menus. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez Configurations de ports réseau. 4 Cochez la case Activé à côté d’Ethernet intégré. F3027Q45C\D.book Page 75 Thursday, April 7, 2005 3:18 PM76 Annexe C Connexion à Internet 5 Faites glisser Ethernet intégré en haut de la liste Configurations de port pour en faire l’interface réseau préférée ou principale. Suivez ensuite les instructions de configuration manuelle de votre réseau, via DHCP ou PPPoE, selon les recommandations de votre FAI ou de votre administrateur réseau. Configuration manuelle Ayez à portée de main votre adresse IP statique, l’adresse du routeur et le masque de sous-réseau fournis par votre FAI (reportez-vous à la page 69). Pour effectuer une configuration manuelle : 1 Dans préférence Réseau, sélectionnez Ethernet intégré dans le menu local Afficher. 2 Cliquez sur TCP/IP, si nécessaire. 3 Dans le menu local Configurer IPv4, choisissez Manuellement. 4 Remplissez le reste des champs. 5 Cliquez sur Appliquer. Votre connexion est prête dès que vous avez configuré votre réseau. Ouvrez votre navigateur Web (ou une autre application TCP/IP) afin de tester votre connexion à Internet. F3027Q45C\D.book Page 76 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 77 Configuration DHCP Après avoir choisi une configuration DHCP, le serveur DHCP fournit automatiquement vos informations de réseau. Pour effectuer une configuration DHCP : 1 Dans préférence Réseau, sélectionnez Ethernet intégré dans le menu local Afficher. 2 Cliquez sur TCP/IP, si nécessaire. 3 Choisissez Via DHCP dans le menu local Configurer IPv4. 4 Cliquez sur Appliquer. Ouvrez votre navigateur Web (ou une autre application TCP/IP) afin de tester votre connexion à Internet. Remarque : sauf instructions contraires de votre FAI, ignorez les champs Client DHCP et Domaines de recherche. F3027Q45C\D.book Page 77 Thursday, April 7, 2005 3:18 PM78 Annexe C Connexion à Internet Configuration PPPoE Certains FAI recourant à la technologie DSL utilisent le protocole PPPoE (Point-to-Point Protocol over Ethernet)). Si vous utilisez un modem DSL et que vous avez besoin d’un nom d’utilisateur et d’un mot de passe pour vous connecter à Internet, contactez votre FAI pour savoir si vous devez vous connecter via PPPoE. Pour configurer une connexion PPPoE : Pour configurer votre réseau, ayez à portée de main votre nom d’utilisateur, votre mot de passe et, si cela est nécessaire, l’adresse du serveur de noms de domaine (DNS) fournis par votre FAI (reportez-vous à la page 69). 1 Dans préférence Réseau, sélectionnez Ethernet intégré dans le menu local Afficher. 2 Cliquez sur PPPoE et sélectionnez “Se connecter via PPPoE”. 3 Remplissez le reste des champs. Si vous souhaitez que tous les utilisateurs de votre ordinateur utilisent la même méthode de connexion, sélectionnez “Enregistrer le mot de passe”. F3027Q45C\D.book Page 78 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 79 Remarque : pour vous connecter automatiquement au démarrage d’une application TCP/IP, par exemple un navigateur Web ou une application de courrier électronique, cliquez sur Options PPPoE, sélectionnez “Se connecter automatiquement si nécessaire”, puis cliquez sur OK. 4 Cliquez sur TCP/IP et sélectionnez Via PPP ou Manuellement dans le menu local Configurer IPv4, selon les instructions de votre FAI. Si votre FAI vous a communiqué une adresse IP statique, choisissez Manuellement et tapez l’adresse dans le champ Adresse IP. F3027Q45C\D.book Page 79 Thursday, April 7, 2005 3:18 PM80 Annexe C Connexion à Internet 5 Saisissez les adresses des serveurs de noms de domaine (DNS) dans le champ Serveurs DNS. 6 Cliquez sur Appliquer. Votre connexion à Internet est prête dès que vous avez configuré votre réseau. Vous pouvez alors ouvrir votre navigateur Web ou une autre application TCP/IP afin de tester votre connexion. Important : si vous n’avez pas sélectionné l’option de connexion automatique, vous devez ouvrir l’application Connexion à Internet, choisir la configuration adéquate, puis cliquer sur Se connecter. Pour plus d’informations, choisissez Aide > Aide Connexion à Internet dans la barre des menus située en haut de l’écran. Connexion sans fil AirPort Si une carte AirPort Extreme est installée sur votre iMac G5, vous pouvez configurer votre réseau AirPort et votre connexion à Internet à l’aide de l’Assistant réglages AirPort qui se trouve dans le dossier Applications/Utilitaires. L’assistant vous aide à configurer votre borne d’accès AirPort et à régler votre ordinateur pour qu’il utilise AirPort. Pour en savoir plus sur votre borne d’accès AirPort, consultez le guide fourni avec le matériel. Si votre borne d’accès AirPort est déjà configurée, votre carte AirPort Extreme peut dans la plupart des cas y accéder immédiatement. F3027Q45C\D.book Page 80 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 81 Pour vérifier si vous avez accès à un réseau AirPort : m Cliquez sur l’icône d’état AirPort dans la barre des menus et choisissez un réseau AirPort dans la liste. Si aucun réseau AirPort n’y figure, vous pouvez utiliser l’Assistant réglages AirPort pour vérifier ou modifier vos réglages ou bien les changer via la sous-fenêtre “Réseau des Préférences Système”. Configuration manuelle d’une connexion AirPort Demandez les informations suivantes à votre administrateur système si vous prévoyez d’effectuer une connexion manuelle. Si vous vous connectez via DHCP, la plupart de ces informations sont automatiquement transmises à votre ordinateur via le réseau. Consultez votre administrateur de système pour obtenir les renseignements nécessaires. • Adresses des serveurs de noms de domaine (DNS), si nécessaire • Configuration d’adresse IP manuelle ou via DHCP • Adresse IP • Adresse du routeur • Masque de sous-réseau • Mot de passe, si nécessaire Assurez-vous ensuite que les options de connexion AirPort sont activées dans les préférences Réseau. Pour configurer les Préférences réseau pour une connexion AirPort : 1 Choisissez Pomme (?) > Préférences Système dans la barre des menus. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez “Configurations de ports réseau”. F3027Q45C\D.book Page 81 Thursday, April 7, 2005 3:18 PM82 Annexe C Connexion à Internet 4 Cochez la case Activé à côté d’AirPort. Suivez ensuite les instructions fournies par votre FAI ou votre administrateur réseau pour configurer votre réseau manuellement ou via DHCP. Si vous configurez vousmême votre réseau, il est peut-être plus simple d’utiliser DHCP car le serveur attribue automatiquement les adresses IP. 5 Choisissez AirPort dans le menu local Afficher. 6 Cliquez sur TCP/IP, si nécessaire. 7 Dans le menu local Configurer IPv4, choisissez Manuellement ou Via DHCP. F3027Q45C\D.book Page 82 Thursday, April 7, 2005 3:18 PMAnnexe C Connexion à Internet 83 • Si vous choisissez Manuellement, saisissez les autres informations dans les champs correspondants. • Si vous choisissez Via DHCP, il est inutile de saisir d’autres informations, sauf instructions contraires de votre administrateur de système. 8 Cliquez sur AirPort et sélectionnez les options requises pour vous connecter à un réseau AirPort Extreme après le redémarrage ou lors de la réactivation de l’ordinateur après une suspension d’activité. 9 Cliquez sur Appliquer. Une fois les réglages AirPort configurés, vous êtes prêt à vous connecter. Pour tester votre connexion AirPort : m Cliquez sur l’icône d’état AirPort dans la barre des menus et choisissez Activer AirPort. Tout réseau AirPort Extreme situé dans la zone de couverture doit apparaître dans le menu. Dépannage de votre connexion Connexion à Internet par modem câble, DSL et réseau LAN SI vous n’arrivez pas à vous connecter à Internet avec votre AirPort, votre interface Ethernet intégrée ou votre modem interne, vous pouvez recourir au Diagnostic réseau pour obtenir un état sur vos problèmes de connexion. Dans la sous-fenêtre Réseau des Préférences Système, cliquez sur Assistant, puis sur Diagnostic pour ouvrir le Diagnostic réseau puis suivez les instructions. Si Diagnostic réseau n’est pas en mesure de résoudre le problème, celui-ci se situe peut-être au niveau du fournisseur d’accès à Internet (FAI) auquel vous essayez de vous connecter, du périphérique externe utilisé pour la connexion au FAI ou du serveur auquel vous essayez d’accéder. Vous pouvez également tenter de suivre les étapes suivantes : Vérifiez les câbles et les sources d’alimentation Assurez-vous que tous les câbles du modem sont correctement branchés, y compris le câble d’alimentation du modem, le câble reliant le modem à l’ordinateur et le câble raccordant le modem à la prise murale. Vérifiez les câbles et l’alimentation des routeurs et des concentrateurs Ethernet. Allumez et éteignez le modem puis réinitialisez-le Éteignez le modem câble ou DSL, puis rallumez-le après quelques minutes. Certains FAI conseillent de débrancher le câble d’alimentation du modem. Si votre modem dispose d’un bouton de réinitialisation, vous pouvez l’actionner avant ou après avoir éteint puis rallumé le modem. F3027Q45C\D.book Page 83 Thursday, April 7, 2005 3:18 PM84 Annexe C Connexion à Internet Connexions PPPoE Si vous ne parvenez pas à vous connecter à votre fournisseur d’accès Internet via PPPoE, vérifiez d’abord les câbles et l’alimentation, éteignez et rallumez le modem, puis réinitialisez-le. Vérifiez les réglages des Préférences Système : 1 Choisissez Pomme (?) > Préférences Système. 2 Cliquez sur Réseau. 3 Dans le menu local Afficher, sélectionnez “Configurations de ports réseau”. 4 Sélectionnez Ethernet intégré, puis faites glisser cette configuration en haut de la liste des configurations de ports. 5 Dans le menu local Afficher, sélectionnez Ethernet intégré. 6 Cliquez sur PPPoE. 7 Sélectionnez “Se connecter via PPPoE”. 8 Vérifiez le champ Nom de compte pour vous assurer d’avoir tapé les informations correctes fournies par votre FAI. 9 Si vous avez choisi d’enregistrer votre mot de passe, tapez-le à nouveau afin d’être sûr qu’il est correct. 10 Cliquez sur TCP/IP. Assurez-vous d’avoir saisi dans cette sous-fenêtre les informations correctes fournies par votre FAI. 11 Cliquez sur Appliquer. Connexions au réseau Si vous disposez de plusieurs ordinateurs tentant de partager une connexion à Internet, assurez-vous que votre réseau est correctement configuré. Vous devez savoir si votre FAI fournit une seule ou plusieurs adresses IP, autrement dit, une pour chaque ordinateur. Si une seule adresse IP est utilisée, vous devez disposer d’un routeur capable de partager la connexion (on parle alors de conversion d’adresse réseau (NAT) ou de “masquage d’adresse IP”). Pour obtenir des informations sur la configuration, consultez la documentation fournie avec votre routeur ou contactez la personne qui a configuré votre réseau. La borne d’accès AirPort Extreme peut être utilisée pour que plusieurs ordinateurs partagent une adresse IP. Pour plus d’informations sur l’utilisation de la borne d’accès AirPort Extreme, consultez l’aide à l’écran ou rendez-vous sur le site Web AirPort, à l’adresse www.apple.com/fr/airport. Si ces instructions s’avèrent insuffisantes pour résoudre les problèmes rencontrés, contactez votre FAI. F3027Q45C\D.book Page 84 Thursday, April 7, 2005 3:18 PM 85 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 into 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. 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 has demonstrated EMC compliance under conditions that included the use of compliant peripheral devices and shielded cables between system components. It is important that you use compliant peripheral devices and shielded cables (including Ethernet network cables) between system components to reduce the possibility of causing interference to radios, television sets, and other electronic devices. 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. Bluetooth Information FCC Bluetooth Wireless Compliance The antenna used with this transmitter must not be colocated or operated in conjunction with any other antenna or transmitter subject to the conditions of the FCC Grant. Bluetooth Industry Canada Statement This Class B device meets all requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique de la Class B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. Bluetooth Europe–EU Declaration of Conformity This wireless device complies with the specifications EN 300 328, EN 301-489, and EN 60950 following the provisions of the R&TTE Directive. Industry Canada Statement Complies with the Canadian ICES-003 Class B specifications. Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada. VCCI Class B Statement Communauté Européenne Ce produit est conforme aux directives européennes 72/23/CEE, 89/336/CEE et 99/5/CE. F3027Q45C\D.book Page 85 Thursday, April 7, 2005 3:18 PM86 Laser Information Do not attempt to disassemble the cabinet containing the laser. The laser beam used in this product is harmful to the eyes. The use of optical instruments, such as magnifying lenses, with this product increases the potential hazard to your eyes. For your safety, have this equipment serviced only by an Apple Authorized Service Provider. Because of the optical disc drive in your computer, your computer is a Class 1 laser product. The Class 1 label, located in a user-accessible area, indicates that the drive meets minimum safety requirements. A service warning label is located in a serviceaccessible area. The labels on your product may differ slightly from the ones shown here. Exposure to Radio Frequency Energy The radiated output power of the AirPort Extreme Card in this device is far below the FCC radio frequency exposure limits for uncontrolled equipment. This device should be operated with a minimum distance of at least 20 cm between the AirPort Extreme Card antennas (see page 28) and a person's body and must not be co-located or operated with any other antenna or transmitter. Souris à diode électroluminescente (DEL) de Catégorie 1 La souris optique Apple est un produit à DEL de Catégorie 1 répondant aux normes IEC 60825-1 A1 A2. Ce produit est conforme aux exigences des directives européennes 72/23/CEE et 89/336/CEE. It also complies with the Canadian ICES-003 Class B Specification. Taiwan Statement Korea Statement Avertissement relatif aux activités à haut risque Cet ordinateur n’est pas conçu pour être utilisé dans des installations nucléaires, pour la navigation ou la communication aérienne, pour le contrôle du trafic aérien, ni dans aucune autre situation où une panne du système informatique pourrait entraîner la mort, des blessures ou de graves dommages écologiques. ENERGY STAR® Compliance As an ENERGY STAR® partner, Apple has determined that standard configurations of this product meet the ENERGY STAR guidelines for energy efficiency. The ENERGY STAR program is a partnership with office product equipment manufacturers to promote energy-efficiency. Reducing energy consumption of office products saves money and reduces pollution by eliminating wasted energy. Disposal and Recycling Information The backlight lamp in this product contains mercury. Dispose according to local, state, and federal laws. For information about Apple’s recycling program, go to www.apple.com/environment/summary.html Élimination de la pile Les piles usagées doivent être recyclées ou traitées conformément aux normes d’environnement locales. Nederlands: Gebruikte batterijen kunnen worden ingeleverd bij de chemokar of in een speciale batterijcontainer voor klein chemisch afval (kca) worden gedeponeerd. Deutschland: Das Gerät enthält Batterien. Diese gehören nicht in den Hausmüll. Sie können verbrauchte Batterien beim Handel oder bei den Kommunen unentgeltlich abgeben. Um Kurzschlüsse zu vermeiden, kleben Sie die Pole der Batterien vorsorglich mit einem Klebestreifen ab. Taiwan: Warning: Making adjustments or performing procedures other than those specified in your equipment’s manual may result in hazardous radiation exposure. Class 1 label Service warning label F3027Q45C\D.book Page 86 Thursday, April 7, 2005 3:18 PM 87 Informations relatives au téléphone et au modem Apple 56K Informez votre opérateur téléphonique Certains opérateurs téléphoniques exigent que vous informiez votre agence locale lorsque vous raccordez un modem à leur réseau. Information You Need in the United States The internal modem complies with Part 68 of the FCC rules. On the back of this equipment is a label that contains, among other information, the FCC registration number and ringer equivalence number (REN). If requested, provide this information to your telephone company.  Ringer equivalence number (REN): 0.1B The REN is useful to determine the quantity of devices you may connect to your telephone lines and still have all those devices ring when your telephone number is called. In most, but not all areas, the sum of the RENs of all devices connected to one line should not exceed five (5.0). To be certain of the number of devices you may connect to your line, as determined by the REN, you should contact your local telephone company to determine the maximum REN for your calling area.  Telephone jack type: USOC, RJ-11 An FCC-compliant telephone cord and modular plug are provided with this equipment. This equipment is designed to be connected to the telephone network or premises wiring using a compatible modular jack that complies with Part 68 rules. See the installation instructions for details. Telephone Line Problems If your telephone doesn’t work, there may be a problem with your telephone line. Disconnect the modem to see if the problem goes away. If it doesn’t, report the problem either to your local telephone company or to your company’s telecommunications people. If disconnecting the modem eliminates the problem, the modem itself may need service. See the service and support information that came with your Apple product for instructions on how to contact Apple or an Apple-authorized service provider for assistance. If you do not disconnect your modem when it is adversely affecting the telephone line, the telephone company has the right to disconnect your service temporarily until you correct the problem. The telephone company will notify you as soon as possible. Also, you will be informed of your right to file a complaint with the FCC. The telephone company may make changes in its facilities, equipment, operations, or procedures that could affect the operation of your equipment. If this happens, the telephone company will provide advance notice in order for you to make the necessary modifications to maintain uninterrupted service. The internal modem will not work with party lines, cannot be connected to a coin-operated telephone, and may not work with a private branch exchange (PBX). Telephone Consumer Protection Act The Telephone Consumer Protection Act of 1991 makes it unlawful for any person to use a computer or other electronic device to send any message via a telephone fax machine unless such message clearly contains, in a margin at the top or bottom of each transmitted page or on the first page of the transmission, the date and time it was sent and an identification of the business or other entity, or individual sending the message and the telephone number of the sending machine of such business, entity, or individual. Information You Need in Canada The Industry Canada (IC) label identifies certified equipment. This certification means that the equipment meets certain telecommunications network protective, operational, and safety requirements. The Department does not guarantee the equipment will operate to a user’s satisfaction. Before installing this equipment, make sure that you are permitted to connect to the facilities of the local telecommunications company. Be sure you use an acceptable method of connection to install the equipment. In some cases, you may extend the company’s internal wiring for single-line individual service by means of a certified telephone extension cord. Be aware, however, that compliance with these conditions may not prevent degradation of service in some situations. Repairs to certified equipment should be made by an authorized Canadian maintenance facility designated by the supplier. Any equipment malfunctions or repairs or alterations that you make to this equipment may cause the telecommunications company to request that you disconnect the equipment. F3027Q45C\D.book Page 87 Thursday, April 7, 2005 3:18 PM88 In Canada, contact Apple at: 7495 Birchmount Road, Markham, Ontario, L3R 5G2, 800-263-3394 Users should not attempt to make such connections themselves, but should contact the appropriate electric inspection authority or electrician.  Load number: 0.1 The load number (LN) assigned to each terminal device denotes the percentage of the total load to be connected to the telephone loop that is used by the device, to prevent overloading. The termination of a loop may consist of any combination of devices, subject only to the requirement that the sum of the load numbers of all devices does not exceed 100.  Telephone jack type: CA-11 Informations Destinées aux Utilisateurs Canadiens L’étiquette d’Industrie Canada identifie un matériel homologué. Cette étiquette certifie que le matériel est conforme à certaines normes de protection, d’exploitation et de sécurité des réseaux de télécommunications. Le Ministère n’assure toutefois pas que le matériel fonctionnera à la satisfaction de l’utilisateur. Avant d’installer ce matériel, l’utilisateur doit s’assurer qu’il est permis de la raccorder au réseau de l’enterprise locale de télécommunication. Le matériel doit également être installé en suivant une méthode acceptée de raccordement. Dans certains cas, le câblage appartenant à l’enterprise utilisé pour un service individuel à ligne unique peut être prolongé au moyen d’un dispositif homologué de raccordement (cordon prolongateur téléphonique). L’abonné ne doit pas oublier qu’il est possible que la conformité aux conditions énoncées ci-dessus n’empêche pas la dégradation du service dans certaines situations. De fait, les enterprises de télécommunication ne permettent pas que l’on raccorde un matériel aux prises d’abonnés, sauf dans les cas précis prévus par les terifs particuliers de ces enterprises. Les réparations de matériel homologué doivent être effectuées par un centre d’entretien canadien autorisé désigné par la fournisseur. La compagnie de télécommunications peut demander à l’utilisateur de débrancher un appareil suite à des réparations ou à des modifications effectuées par l’utilisateur ou en raison d’un mauvais fonctionnement. Veuillez contacter Apple pour des informations supplémentaires: Apple Canada, Inc. 7495 Birchmount Road Markham, Ontario Canada L3R 5G2 Service à la clientèle d’Apple Canada: 800-263-3394 L’utilisateur ne doit pas tenter de faire ces raccordements lui-même; il doit avoir recours à une service d’inspection des installations électriques ou à un électricien, selon le cas.  Numéro de charge: 0.1 L’indice de charge (IC) assigné à chaque dispositif terminal indique, pour éviter toute surcharge, le pourcentage de la charge totale qui sera raccordée à un circuit téléphonique bouclé utilisé par ce dispositif. La terminaison du circuit bouclé peut être constituée de n’importe quelle combinaison de dispositifs pourvu que la somme des indices de charge de l’ensemble des dispositifs ne dépasse pas 100.  Type de prise téléphonique: CA-11 Information You Need in the United Kingdom This terminal equipment is intended for direct connection to the analogue Public Switched Telecommunications Network and is approved for use within the United Kingdom with the following features:  Modem facility  Autocalling facility  Autoanswer facility  DTMF signaling Operation in the absence of proceed indication or upon detection of proceed indication This product is in conformity with relevant regulatory standards following the provisions of European Council Directives 73/23/EEC (Low Voltage Directive) and 89/336/EEC amended by 92/31/EEC (EMC Directive). Informationen fur Deutschland Diese Modem-Karte ist als Endeinrichtung vorgesehen und muss an ein TAE mit F-Kodierung angeschlossen werden. Diese Endeinrichtung ist in Konformität gemäss Niederspannungsrichtlinie 73 / 23 / EWG sowie EMC-Richtlinien 89 / 336 / EWG und 92 / 31 / EWG. Warning: Users should ensure for their own protection that the electrical ground connections of the power utility, telephone lines, and internal metallic water pipe system, if present, are connected together. This precaution may be particularly important in rural areas. Avertissement : Pour sa propre protection, l’utilisateur doit s’assurer que tout les fils de mise à la terre du secteur, des lignes téléphoniques et les canalisations d’eau métalliques, s’il y en a, soient raccordés ensemble. Cette précaution est particulièrement importante dans les régions rurales. F3027Q45C\D.book Page 88 Thursday, April 7, 2005 3:18 PM 89 Informations pour la France Ce matériel est conforme aux normes applicables de sécurité éléctrique d’après la directive 73 / 23 / CEE et aux normes applicables de comptabilité éléctromagnétique d’après la directive 89 / 336 / CEE, modifié par la directive 92 / 31 / CEE. Information You Need in Australia All telecommunications devices are required to be labelled as complying to the Australian telecommunications standards, ensuring the health and safety of the operator and the integrity of the Australian telecommunications network. To provide compliance with the Australian Communications Authority’s technical standards, please ensure that the following AT commands are maintained:  ATB0 (ITU/CCITT operation)  AT&G0 (no guard tone)  AT&P1 (33/66 pulse dial make/break ratio)  ATS0 = 0 or ATS0 = 1 (no answer or answer greater than one ring)  ATS6 = 95 (DTMF period between 70–255 ms)  ATS11 = 95 (DTMF period between 70–255 ms) For calls that are automatically generated, a total of three call attempts are allowed to a telephone number, with a minimum period between calls of 2 seconds. If the call does not connect after three attempts, 30 minutes must expire before automatic redialing may be initiated. Failure to set the modem (and any associated communications software) to the above settings may result in the modem being non-compliant with Australian telecommunications standards. Under these circumstances a user could be subject to significant penalties under the Telecommunications Act 1997. This modem must be properly secured in order for you to use it. Telecommunications network voltages exist inside the computer and the telecommunications line connection must be removed before opening the computer. Information You Need in New Zealand This modem is fully approved to operate on the New Zealand telecommunications network under Telepermit number PTC 211/04/002. All telecommunications devices are required to hold a Telepermit and be labelled accordingly with the approved Telepermit number to comply with the New Zealand telecommunications standards, ensuring the health and safety of the operator and the integrity of the New Zealand telecommunications network. To ensure compliance, all calls that are automatically generated should not make more than 10 call attempts to the same number within any 30 minute period with a minimum period between calls of 30 seconds. Failure to adhere to these standards may result in the modem being non-compliant with New Zealand Telecom standards. Under these circumstances a user could be subject to significant penalties. Important: The grant of a Telepermit for any item of terminal equipment indicates that only Telecom has accepted that the item complies with minimum conditions for connection to its network. It indicates no endorsement of the product by Telecom, nor does it provide any sort of warranty. Above all, it provides no assurance that any item will work correctly in all respects with another item of Telepermitted equipment of a different make or model, nor does it imply that any product is compatible with all of Telecom’s network services. F3027Q45C\D.book Page 89 Thursday, April 7, 2005 3:18 PMF3027Q45C\D.book Page 90 Thursday, April 7, 2005 3:18 PM Final Cut Server Manuel de l’utilisateurK Apple Inc. Copyright © 2008 Apple, Inc. Tous droits réservés. Vos droits sur ce logiciel sont régis par la licence d’utilisation qui l’accompagne. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Server peut reproduire cet exemplaire pour en apprendre le fonctionnement. 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 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. Tous les efforts nécessaires ont été mis en œuvre 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 : étant donné qu’Apple publie fréquemment des nouvelles versions et des mises à jour du logiciel système, des applications et des sites Internet, certaines images de ce manuel peuvent légèrement différer de celles qui s’affichent à l’écran. Apple Inc. 1 Infinite Loop Cupertino, CA 95014–2084 408-996-1010 www.apple.com Apple, le logo Apple, DVD Studio Pro, Final Cut, Final Cut Pro, Final Cut Studio, FireWire, iDVD, Keynote, Mac, Macintosh, Mac OS, Pages, QuickTime, Soundtrack et Xsan sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder et Leopard sont des marques d’Apple Inc. AppleCare est une marque de service d’Apple Inc. déposée aux États-Unis et dans d’autres pays. Java et toutes les marques et logos basés sur Java sont des marques ou des marques déposées de Sun Microsystems, Inc. aux États-Unis et dans d’autres pays. Les autres noms de produits et de sociétés mentionnés dans ce document sont des marques appartenant à 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. Ducati et le logo Ducati sont des marques déposées de Ducati Motor Holding SpA. Utilisées avec l’autorisation. 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.jbonjour.com Photos de production du film « Les Poupets » utilisées avec l’aimable autorisation de Jean-Paul Bonjour. « Les Poupets » © 2006 Jean-Paul Bonjour. Tous droits réservés. http://www.jbonjour.com 3 1 Table des matières Préface 7 Bienvenue dans Final Cut Server 7 À propos de Final Cut Server 9 Ressources à propos de Final Cut Server 11 Contact de l’assistance AppleCare Chapitre 1 13 À propos de Final Cut Server 14 Flux de travaux du client Final Cut Server 15 Installation du client Final Cut Server 15 Fenêtre principale de Final Cut Server 19 Affichages des sous-fenêtres Assets et Productions 21 Options de recherche et recherches enregistrées 23 Fenêtre Asset Info 24 Fenêtre Final Cut Pro Project Info 24 Fenêtre Final Cut Studio Project Info 25 Fenêtre Production Info 26 Fenêtre Annotations 27 Fenêtre Downloads & Uploads 27 Fenêtre Search All Jobs 28 Fenêtre Search Devices 29 Fenêtre Preferences 30 Utilisation des menus contextuels dans Final Cut Server 30 Utilisation des raccourcis clavier dans Final Cut Server Chapitre 2 31 Téléchargement de fichiers vers Final Cut Server 31 À propos de la création de ressources Final Cut Server 32 Types de fichiers pouvant être téléchargés vers Final Cut Server 32 À propos des métadonnées et des ensembles de métadonnées 33 Stratégies de téléchargement de fichiers de données et de projets 34 Téléchargement de fichiers de données 39 Téléchargement de projets Final Cut Pro 43 Téléchargement de projets Final Cut Studio4 Table des matières Chapitre 3 53 Organisation et recherche dans le catalogue Final Cut Server 53 Vue d’ensemble du catalogue de ressources Final Cut Server 59 Organisation des ressources à l’aide de productions 64 Utilisation de métadonnées pour organiser et rechercher des ressources 66 Recherche dans Final Cut Server 74 Affichage des résultats d’une recherche 75 Suivi de l’état d’une ressource ou d’une production à l’aide de métadonnées 77 Ajout et modification des métadonnées de ressources 78 Recherche de périphériques et de tâches Chapitre 4 83 Utilisation de Final Cut Server 84 Actions du client Final Cut Server 85 À propos de la fenêtre Asset Info 89 Affichage d’une ressource 91 Ajout de versions pour une ressource média ou de projet 94 Verrouillage et déverrouillage d’une ressource 99 Écriture d’annotations sur une ressource vidéo 103 Duplication d’une ressource 104 Utilisation de la fonction Edit-in-place 104 Monitoring des tâches 107 Définition des préférences du client Final Cut Server Chapitre 5 109 Utilisation des ressources média 109 À propos de la mise en cache 111 Extraction, modification et réintégration d’une ressource média 113 Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server 117 Exportation de ressources média Chapitre 6 119 Utilisation des projets Final Cut Pro 120 À propos des projets Final Cut Pro 121 Utilisation conjointe de Final Cut Pro et de Final Cut Server 123 Déplacement de projets Final Cut Pro entre Final Cut Server et Final Cut Pro 124 Extraction d’un projet Final Cut Pro 126 Modification d’un projet extrait dans Final Cut Pro 127 Réintégration d’un projet Final Cut Pro 129 Création de copies de travail pour les ressources de projet Final Cut Pro 130 Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server 133 Exportation d’un projet Final Cut ProTable des matières 5 Chapitre 7 135 Utilisation de projets Final Cut Studio 135 À propos de la modification de ressources de projet Final Cut Studio 136 Extraction, modification et réintégration de ressources regroupées 138 Extraction, modification et réintégration de projets Final Cut Studio et de leurs fichiers de données 143 Exportation d’une ressource de projet et de ses données Chapitre 8 147 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 147 Utilisation de métadonnées Status pour le suivi des ressources et productions 152 À propos de la fonction Review and Approve 153 Utilisation de la fonction Review and Approve Chapitre 9 159 Exportation, archivage et suppression des ressources et des projets terminés 159 Sortie d’un projet final 162 Archivage et restauration de ressources média 164 Suppression de ressources Final Cut Server Glossaire 167 Index 171 7 Préface Bienvenue dans Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de Final Cut Server (p. 7)  Ressources à propos de Final Cut Server (p. 9)  Contact de l’assistance AppleCare (p. 11) Final Cut Server est un logiciel puissant de gestion de ressources média et d’automatisation de flux de travaux. Final Cut Server peut gérer vos ressources et affiner les processus du flux de travaux de votre organisation, vous libérant ainsi des tâches répétitives de gestion de données et de projets. Il peut être personnalisé par votre administrateur Final Cut Server pour automatiser des opérations courantes. Que vous dirigiez un petit studio de production ou que vous apparteniez à un groupe de travail plus étendu, Final Cut Server peut rationaliser le flux de travaux de votre organisation. À propos de Final Cut Server Final Cut Server fonctionne de façon similaire à d’autres réseaux d’ordinateurs client-serveur. Un ordinateur client envoie une demande aux ordinateurs serveur. Sur réception de la demande, l’ordinateur serveur effectue une tâche pour traiter la demande, puis il renvoie les résultats (ou un message indiquant que la tâche est terminée) à l’ordinateur client. Les tâches possibles permettent de télécharger, copier, transcoder et cataloguer les fichiers de données, ainsi que de les suivre de différentes façons. Les données peuvent être stockées sur les disques internes et externes de l’ordinateur serveur, ainsi que sur de nombreux périphériques de réseau pris en charge. Les installations plus étendues peuvent utiliser un réseau de stockage SAN (storage area network) Apple Xsan pour le stockage de ressources et de productions. Le client Final Cut Server se trouve au centre de ce manuel de l’utilisateur. Le client Final Cut Server est un logiciel communiquant avec le serveur Final Cut Server. Le client vous permet, avec de nombreux autres utilisateurs, d’accéder aux ressources partagées réparties sur le système de votre organisation. Dans votre client Final Cut Server, vous pouvez consulter rapidement le catalogue de ressources de votre organisation et transférer des fichiers de données entre votre ordinateur local et les périphériques sur lesquels les ressources sont stockées. Vous pouvez exécuter le client Final Cut Server sous les systèmes d’exploitation Mac OS X 10.4 et Windows XP ou Windows Vista. 8 Préface Bienvenue dans Final Cut Server Le client Final Cut Server fournit de nombreuses fonctionnalités pour vous aider à gérer vos données. Ces fonctionnalités utilisent toutes des ressources Final Cut Server. Lorsque vous téléchargez un fichier de données ou de projet vers Final Cut Server, une ressource est créée pour lui. Cette ressource contient des métadonnées, le fichier d’origine (appelé fichier de représentation principale) et des copies proxy du fichier de représentation principale utilisées dans Final Cut Server. Final Cut Server peut vous aider à effectuer les opérations suivantes :  Retrouver les ressources dont vous avez besoin. Alors que le nombre de ressources augmente dans votre catalogue Final Cut Server, il devient de plus en plus important de créer et de gérer des recherches. Final Cut Server propose de multiples façons de rechercher et d’organiser des ressources dans le catalogue Final Cut Server de votre organisation.  Accéder immédiatement aux données. Final Cut Server permet un accès immédiat aux données à partir du logiciel client Final Cut Server. Vous pouvez facilement obtenir des informations et afficher une ressource média à partir du logiciel client. Si vous souhaitez modifier la ressource média, vous pouvez extraire une copie gérée par Final Cut Server vers votre ordinateur local, la modifier, puis la réintégrer dans Final Cut Server. Comme Final Cut Server gère le fichier extrait, les nouvelles modifications sont suivies par Final Cut Server.  Suivre l’état des données. Final Cut Server propose des champs de métadonnées et des recherches enregistrées pour vous aider à suivre la progression des ressources dans le flux de travaux de votre organisation. Votre administrateur Final Cut Server peut personnaliser davantage les champs de métadonnées afin d’améliorer l’efficacité du suivi des ressources pour votre organisation.  Effectuer de puissantes conversions de données. Final Cut Server utilise Compressor, une puissante application de transcodage intégrée à Final Cut Studio, pour convertir les données d’un format vidéo à un autre lors du téléchargement, de l’exportation et de la copie de fichiers de données.  Travailler en étant déconnecté du réseau Final Cut Server. Vous pouvez extraire des fichiers de projets et de données gérés par Final Cut Server, puis les modifier sans être connecté au réseau Final Cut Server. Lorsque vous vous connectez ultérieurement au réseau Final Cut Server, vous pouvez réintégrer les fichiers modifiés dans Final Cut Server. Lorsque vous réintégrez les fichiers, les ressources qui suivent les fichiers sont mises à jour avec les nouveaux fichiers. Ce manuel de l’utilisateur décrit ce que le client Final Cut Server apporte à ses utilisateurs. Pour en savoir plus sur l’administration et la personnalisation de Final Cut Server, lisez le Guide de configuration et d’administration de Final Cut Server, un document écrit pour les administrateurs système de Final Cut Server.Préface Bienvenue dans Final Cut Server 9 Ressources à propos de Final Cut Server Vous pouvez consulter diverses ressources pour en savoir plus sur le système Final Cut Server. Documentation imprimée Final Cut Server Ce guide fait partie de deux documents imprimés inclus avec Final Cut Server.  Manuel de l’utilisateur de Final Cut Server : ce manuel de l’utilisateur décrit comment employer le client Final Cut Server pour l’utilisation quotidienne du système, comme le parcours de ressources, la gestion des tâches et la gestion des productions.  Guide de configuration et d’administration de Final Cut Server : ce guide décrit comment installer, configurer et administrer la plupart des composants du système Final Cut Server. Il ne décrit pas l’utilisation quotidienne du système, comme le parcours de ressources et la gestion des tâches, des productions et des ordres qui est présentée dans le Manuel de l’utilisateur de Final Cut Server. Manuel à l’écran Final Cut Server Une version à l’écran du Manuel de l’utilisateur de Final Cut Server est mise à disposition de tous les utilisateurs à partir du menu Aide du client. Le contenu des versions à l’écran de cette documentation est identique à celui de la version imprimée. Toutefois, la version à l’écran est améliorée par des liens hypertexte complets et par de nombreuses fonctionnalités qui facilitent et accélèrent la recherche d’informations :  La page d’accès fournit un accès rapide à diverses fonctionnalités, notamment l’index et d’autres documents et sites web utiles.  Une liste de signets complète vous permet de choisir rapidement ce que vous souhaitez consulter et d’y accéder dès que vous cliquez sur le lien. Outre ces outils de navigation, le document à l’écran vous propose d’autres moyens de retrouver des informations rapidement :  Toutes les références contenues dans le texte sont reliées. Vous pouvez cliquer sur toute référence et passer directement à l’emplacement référencé. Vous pouvez ensuite utiliser le bouton Preview Back pour revenir à l’emplacement où vous vous trouviez avant de cliquer sur la référence.  La table des matières et l’index sont également reliés. Si vous cliquez sur une entrée dans l’une de ces rubriques, vous passez directement à cette rubrique dans le document.  Vous pouvez rechercher des mots ou des expressions spécifiques dans le texte.10 Préface Bienvenue dans Final Cut Server Sites web Apple Vous pouvez consulter des sites web Apple variés pour obtenir des informations supplémentaires. Site web Final Cut Server Visitez ce site pour obtenir des informations et des mises à jour générales, ainsi que les nouvelles les plus récentes sur Final Cut Server. Pour accéder au site web Final Cut Server, rendez-vous à l’adresse :  http://www.apple.com/fr/finalcutserver Le web comporte également divers forums de discussion et des ressources à but pédagogique relatifs à Final Cut Server. Site web de service et d’assistance d’Apple Rendez-vous sur ce site pour obtenir des mises à jour logicielles et des réponses aux questions les plus fréquentes pour tous les produits Apple, y compris Final Cut Server. Vous y trouverez également des spécifications de produits, de la documentation de référence et des articles techniques sur les produits Apple et de tiers. Pour accéder à la page web de service et d’assistance Apple, rendez-vous à l’adresse :  http://www.apple.com/fr/support Pour accéder à la page d’assistance Final Cut Server rendez-vous à l’adresse :  http://www.apple.com/fr/support/finalcutserver Pour accéder aux pages de discussion Apple, rendez-vous à l’adresse :  http://discussions.info.apple.comPréface Bienvenue dans Final Cut Server 11 Contact de l’assistance AppleCare Des informations sur les options d’assistance proposées par Apple sont fournies avec Final Cut Server. Plusieurs niveaux d’assistance sont disponibles. Quel que soit votre problème, nous vous conseillons de conserver près de vous les informations suivantes lorsque vous contactez Apple pour de l’assistance. Plus vous disposez d’informations à fournir aux agents d’assistance Apple, plus le problème sera résolu rapidement.  Numéro d’identifiant d’assistance Final Cut Server présent au recto de la feuille du numéro de série fournie avec Final Cut Server. Remarque : le numéro d’identifiant d’assistance à 11 chiffres est différent du numéro de série du produit utilisé pour installer Final Cut Server.  Version de Leopard ou de Leopard Server que vous avez installée. Pour obtenir cette version, choisissez le menu Pomme > À propos de ce Mac.  Version de Final Cut Server que vous avez installée et au sujet de laquelle vous souhaitez poser une question. Pour obtenir la version de Final Cut Server sur votre ordinateur, choisissez Final Cut Server > À propos de Final Cut Server.  Modèle d’ordinateur utilisé.  Quantité de RAM installée sur votre ordinateur. Pour déterminer cette quantité, choisissez le menu Pomme > À propos de ce Mac.  Autres matériels tiers installés sur votre ordinateur ou reliés à celui-ci et nom de leur fabricant. N’oubliez pas les disques durs, les cartes graphiques, etc. Pour accéder à la page d’assistance de Final Cut Server, rendez-vous à l’adresse :  http://www.apple.com/fr/support/finalcutserver Un élément est également présent dans le menu Aide de chaque client Final Cut Server vous permettant d’accéder directement au site web d’AppleCare. Pour accéder au site web d’AppleCare depuis un client Final Cut Server : m Choisissez Aide > Assistance Final Cut Server.1 13 1 À propos de Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  Flux de travaux du client Final Cut Server (p. 14)  Installation du client Final Cut Server (p. 15)  Fenêtre principale de Final Cut Server (p. 15)  Affichages des sous-fenêtres Assets et Productions (p. 19)  Options de recherche et recherches enregistrées (p. 21)  Fenêtre Asset Info (p. 23)  Fenêtre Final Cut Pro Project Info (p. 24)  Fenêtre Final Cut Studio Project Info (p. 24)  Fenêtre Production Info (p. 25)  Fenêtre Annotations (p. 26)  Fenêtre Downloads & Uploads (p. 27)  Fenêtre Search All Jobs (p. 27)  Fenêtre Search Devices (p. 28)  Fenêtre Preferences (p. 29)  Utilisation des menus contextuels dans Final Cut Server (p. 30)  Utilisation des raccourcis clavier dans Final Cut Server (p. 30) Ce chapitre propose une présentation générale du client Final Cut Server, en fournissant notamment des informations sur le flux de travaux Final Cut Server, la procédure d’installation du client Final Cut Server et une description de l’interface utilisateur Final Cut Server. Ce chapitre vous servira de guide lors de votre apprentissage du fonctionnement de Final Cut Server. Vous trouverez également dans les chapitres suivants plus d’informations sur les fonctions abordées dans le présent chapitre. 14 Chapitre 1 À propos de Final Cut Server Flux de travaux du client Final Cut Server Final Cut Server facilite, pour les utilisateurs, la recherche, l’accès et le suivi des fichiers de données et de projet, ainsi que le transcodage des données et l’extraction et la réintégration des ressources pour modification. Tandis que la plupart des organisations effectuent les tâches à leur manière, un flux de travaux Final Cut Server type se compose de quatre étapes. Étape 1 : Organisation des données existantes et téléchargement des nouvelles données Le projet sur lequel vous travaillez utilise peut-être des données déjà téléchargées dans Final Cut Server ou requiert l’utilisation de nouvelles données. Ces données peuvent être téléchargées via une analyse automatisée, mise en place par votre administrateur, ou manuellement, par n’importe quel membre de votre organisation. Étape 2 : Modification des données et du projet Cette étape de modification effectuée au sein de votre organisation peut inclure la création et la modification d’un projet Final Cut Pro, la création et la révision d’une illustration, d’incrustations graphiques ou d’effets de mouvement ou d’autres flux de travaux utilisés par votre organisation pour créer des projets de révision client. La partie finale de cette étape implique le regroupement de tous les éléments finis en une copie de révision du projet. Étape 3 : Révision et validation du projet Cette étape peut exiger que vos collègues ou clients ouvrent une session Final Cut Server et visualisent le projet ou envoient des copies du projet pour révision. Si votre administrateur Final Cut Server a configuré votre système pour qu’il envoie automatiquement des courriers électroniques de révision et de validation, cette opération a lieu lors de la présente étape. Étape 4 : Sortie et archivage des données et du projet finaux Cette étape inclut la création de copies de sauvegarde des ressources et l’archivage des ressources finales dans Final Cut Server. Final Cut Server peut être personnalisé afin de répondre aux besoins spécifiques des flux de travaux de votre organisation. Pour en savoir plus, contactez votre administrateur Final Cut Server.Chapitre 1 À propos de Final Cut Server 15 Installation du client Final Cut Server Votre administrateur Final Cut Server vous fournit une URL à partie de laquelle vous pouvez télécharger une copie du client Final Cut Server sur votre ordinateur. Votre administrateur vous fournit également un nom d’utilisateur et un mot de passe pour le client Final Cut Server. Après avoir téléchargé le client Final Cut Server, une fenêtre d’ouverture de session s’affiche. Vous pouvez alors vous connecter à Final Cut Server à l’aide du nom d’utilisateur et du mot de passe fournis par votre administrateur Final Cut Server. Pour vous déconnecter de Final Cut Server, sélectionnez Log Out dans le menu local Server ou cliquez sur le bouton Close dans la fenêtre principale de Final Cut Server. Lorsque le client Final Cut Server est installé sur votre ordinateur, vous pouvez l’ouvrir en double-cliquant sur l’icône d’application qui s’affiche à l’emplacement d’installation. Fenêtre principale de Final Cut Server Une fois la session Final Cut Server ouverte, vous voyez s’afficher la sous-fenêtre Assets de la fenêtre principale de Final Cut Server. Cette sous-fenêtre peut être vide ou contenir les données analysées par votre administrateur Final Cut Server ou téléchargées par d’autres utilisateurs Final Cut Server.16 Chapitre 1 À propos de Final Cut Server Remarque : les captures d’écran présentées dans ce manuel concernent un système Final Cut Server type, configuré avec les réglages par défaut. Il est possible que votre administrateur Final Cut Server ait configuré des trames de métadonnées et des types de données différents, et donc que votre système ne soit pas identique à celui présenté dans ces pages. Les sous-fenêtres Assets et Productions correspondent aux deux vues disponibles pour la fenêtre principale de Final Cut Server. Une ressource est un élément utilisé par Final Cut Server pour effectuer le suivi de chaque fichier téléchargé sur le serveur ou analysé. La sous-fenêtre Assets affiche toutes les ressources gérées par Final Cut Server. Les productions sont des éléments utilisés pour regrouper les ressources. La sous-fenêtre Productions affiche toutes les productions créées par vous-même ou par d’autres utilisateurs de votre système Final Cut Server. Pour basculer entre les sous-fenêtres Assets et Productions, cliquez sur Assets ou sur Productions en haut à gauche de la fenêtre principale de Final Cut Server. Menu local Help. Cliquez sur ce bouton pour afficher ou masquer la sous-fenêtre Information. Cliquez sur ce bouton pour ouvrir la fenêtre Downloads & Uploads. Menu local Server. Menu local Window. Les sous-fenêtres Assets et Productions possè- dent toutes deux une barre d’outils.Chapitre 1 À propos de Final Cut Server 17 Sous-fenêtre Assets Lorsque vous cliquez sur Assets, toutes les ressources existantes de Final Cut Server s’affichent dans le volet principal de la fenêtre. Vous pouvez parcourir les ressources en cliquant sur les commandes de page, en haut à droite de la sous-fenêtre Assets. La barre d’outils comprend les boutons Lock, Check Out et « New Production from Selection ». Ces boutons deviennent actifs lorsque vous sélectionnez une ressource. Pour en savoir plus sur les ressources média, consultez le chapitre 5, « Utilisation des ressources média », à la page 109. Pour en savoir plus sur les ressources de projet Final Cut Pro, consultez le chapitre 6, « Utilisation des projets Final Cut Pro », à la page 119. Pour en savoir plus sur les ressources de projet Final Cut Studio, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Cliquez sur Assets pour afficher la sous-fenêtre Assets. Emplacement d’affichage des ressources. Bouton Lock. La sous-fenêtre Information affiche des informations sur les tâches en cours. Bouton Check Out. Bouton New Production from Selection. Parcourez les différentes pages de ressources à l’aide de ces commandes.18 Chapitre 1 À propos de Final Cut Server Sous-fenêtre Productions Le contenu de la sous-fenêtre Productions varie en fonction de la sous-fenêtre Assets. Sa barre d’outils contient un bouton New Production. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. Cliquez sur Productions pour afficher la sousfenêtre Productions. Emplacement d’affichage des productions. La barre d’outils Production contient un bouton New Production.Chapitre 1 À propos de Final Cut Server 19 Affichages des sous-fenêtres Assets et Productions Les sous-fenêtres Assets et Productions peuvent s’afficher aussi bien sous forme de listes que de vignettes. Vous pouvez changer le mode d’affichage en cliquant sur le bouton List view ou le bouton Thumbnail View. Thumbnail View Ce mode affiche une image miniature (vignette) pour chaque ressource. Il peut s’agir d’une image provenant d’un fichier vidéo téléchargé, d’un fichier image ou graphique téléchargé ou d’une icône représentant le type de ressource ou l’application dans laquelle la ressource a été créée. La présentation par vignettes est utile lorsque vous souhaitez parcourir les ressources ou les productions dans un format compact, sans autres informations. Bouton List View. Bouton Thumbnail View. L’affichage Thumbnail View est sélectionné. Cette ressource vidéo est représentée par une vignette. Cette ressource de projet Final Cut Pro est représentée par une icône Final Cut Pro.20 Chapitre 1 À propos de Final Cut Server List View La présentation par liste affiche le titre de la ressource et les autres métadonnées sous forme de colonnes. Cet affichage est utile lorsque vous souhaitez afficher les informations relatives à la ressource ou à la production ou les trier sur la base d’un champ spécifique. Final Cut Server marque les ressources et les productions à l’aide d’icônes qui permettent de les identifier. Dans la vue des vignettes, les icônes s’affichent sur l’icône de la ressource ou de la production, juste au-dessus de l’icône ou de la vignette. Dans la présentation par liste, les icônes s’affichent à gauche de la colonne Title et dans la colonne State. Voici quelques icônes pouvant être associées aux ressources et aux productions : List View sélectionnée Icône Description Ressource de projet Final Cut Pro Ressource média (vidéo) Ressource média (graphisme ou image) Ressource média (audio) Ressource (générique) ou ressource regroupée Ressource extraite, par vousChapitre 1 À propos de Final Cut Server 21 Pour en savoir plus sur ces icônes, consultez le chapitre relatif au type de ressource ou à l’état décrit par l’icône. Options de recherche et recherches enregistrées Une zone de recherche est disponible en haut des sous-fenêtres Assets et Productions. Vous pouvez vous en servir pour rechercher une ressource/une production spécifique ou pour limiter le nombre de ressources ou de productions affichées. Ressource extraite, par un autre utilisateur Ressource verrouillée, par vous Ressource verrouillée, par un autre utilisateur Ressource archivée (jaune) ; indique que vous pouvez restaurer cette ressource à partir de son archive Ressource archivée (blanc) ; indique que vous n’êtes pas autorisé à restaurer cette ressource à partir de son archive Élément de projet Final Cut Pro non relié Représentation principale manquante, pour cette ressource, sur ce périphérique Cache Final Cut Server obsolète Icône Description Fermez le triangle d’affichage pour afficher uniquement les réglages de recherche simple.22 Chapitre 1 À propos de Final Cut Server Les options de recherche avancée s’affichent lorsque vous cliquez sur le triangle d’affichage. Les sous-fenêtres Assets et Productions disposent d’options de recherche avancée différentes. Si vous utilisez une même recherche régulièrement, vous pouvez l’enregistrer afin de ne pas avoir à la configurer à chaque fois. Final Cut Pro propose plusieurs recherches enregistrées par défaut, appelées Smart Searches, qui figurent dans la colonne à gauche de la fenêtre principale de Final Cut Server. Pour en savoir plus sur la recherche, consultez le chapitre 3, « Organisation et recherche dans le catalogue Final Cut Server », à la page 53. Ouvrez le triangle d’affichage pour afficher les réglages de recherche avancée. Les Smart Searches de production et de ressource sont enregistrées ici.Chapitre 1 À propos de Final Cut Server 23 Fenêtre Asset Info Cette fenêtre contient de nombreuses informations sur la ressource sélectionnée. Lorsque vous double-cliquez sur une ressource figurant dans la sous-fenêtre Assets ou dans une production (ou lorsque vous cliquez sur la ressource en maintenant la touche Contrôle enfoncée, puis sélectionnez Get Info dans le menu contextuel de la ressource), la fenêtre d’information de cette ressource s’affiche. Le volet gauche de la fenêtre d’information contient la vignette de la ressource et ses métadonnées générales. Le volet droit est divisé en plusieurs sections, qui contiennent chacune un type d’information spécifique. Vous pouvez afficher les informations de chaque sousfenêtre en cliquant sur le bouton correspondant.  Sous-fenêtre Metadata : cette sous-fenêtre contient les métadonnées du fichier de représentation principale (fichier initialement téléchargé dans Final Cut Server) et les métadonnées de la ressource.  Sous-fenêtre Resources : cette sous-fenêtre contient des informations sur les fichiers proxy et de représentation principale générés pour la ressource. Elle indique également où la ressource est actuellement utilisée.  Sous-fenêtre Versions : cette sous-fenêtre contient des informations sur les différentes versions, ou copies de travail, enregistrées pour une ressource.  Sous-fenêtre Locks : cette sous-fenêtre indique les verrous appliqués à la ressource.  Sous-fenêtre Review & Approve : cette sous-fenêtre indique l’état de la ressource et sert à la fonction de notification par courrier. Pour en savoir plus sur les sous-fenêtres Metadata, Resources, Versions et Locks, consultez « À propos de la fenêtre Asset Info » à la page 85. Pour en savoir plus sur la sous-fenêtre Review & Approve, consultez « À propos de la fonction Review and Approve » à la page 152. Vignette et métadonnées générales de la ressource. Cliquez sur le bouton Metadata pour afficher la sous-fenêtre Metadata. Sous-fenêtre Metadata.24 Chapitre 1 À propos de Final Cut Server Fenêtre Final Cut Pro Project Info Vous pouvez afficher la fenêtre d’information d’un projet Final Cut Pro en double-cliquant sur la ressource de projet Final Cut Pro (ou en cliquant sur la ressource tout en maintenant la touche Contrôle enfoncée, puis en sélectionnant Get Info dans le menu contextuel). Lorsque vous téléchargez un projet Final Cut Pro dans Final Cut Server, une ressource est créée pour le fichier de projet. Outre les sous-fenêtres présentes dans la fenêtre d’information d’une ressource, la fenêtre d’information d’une ressource de projet Final Cut Pro contient également la sous-fenêtre Elements. Celle-ci contient les ressources média utilisées dans le fichier de projet Final Cut Pro. Pour en savoir plus sur les ressources de projet Final Cut Pro, consultez le chapitre 6, « Utilisation des projets Final Cut Pro », à la page 119. Fenêtre Final Cut Studio Project Info Vous pouvez afficher la fenêtre d’information d’une ressource de projet Motion, Soundtrack Pro ou DVD Studio Pro en double-cliquant sur la ressource de projet Final Cut Pro (ou en cliquant sur la ressource tout en maintenant la touche Contrôle enfoncée, puis en sélectionnant Get Info dans le menu contextuel). Lorsque vous téléchargez les fichiers d’un projet Final Cut Studio dans Final Cut Server, la ressource créée pour le projet Final Cut Studio représente uniquement le fichier de projet. Contrairement aux ressources de projet Final Cut Pro, la ressource de projet Final Cut Studio ne contient pas une liste des données associées au projet. La sous-fenêtre Elements indique les données utilisées dans le cadre du projet Final Cut Pro. Cliquez sur Elements pour afficher la sous-fenêtre Elements.Chapitre 1 À propos de Final Cut Server 25 La fenêtre d’information d’une ressource de projet Final Cut Studio contient les sous-fenêtres Metadata, Resources, Versions, Locks et Review & Approve. Vous pouvez afficher les informations de chaque sous-fenêtre en cliquant sur le bouton correspondant. Pour en savoir plus sur les ressources de projet Final Cut Studio, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Fenêtre Production Info Dans Final Cut Server, vous pouvez utiliser des productions pour regrouper des ressources connexes. Si vous ouvrez la sous-fenêtre Productions en cliquant en haut à gauche de la fenêtre principale Final Cut Server, puis si vous double-cliquez sur l’une des productions (ou si vous cliquez sur la production tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Get Info dans le menu contextuel), la fenêtre d’information de cette production s’affiche. La sous-fenêtre Assets affiche toutes les ressources contenues dans la production ; la sous-fenêtre Metadata contient les métadonnées de la production. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. Vous pouvez cliquer sur l’un de ces boutons, au choix, pour afficher plus d’informations sur la production. Chacune de ces ressources fait partie de la production.26 Chapitre 1 À propos de Final Cut Server Fenêtre Annotations Vous pouvez créer des commentaires pour une ressource vidéo à l’aide de la fenêtre Annotations. Ces commentaires étant conservés avec la ressource vidéo dans Final Cut Server, les annotations sont utiles lors des révisions en interne ou des communications avec d’autres utilisateurs Final Cut Server. Pour afficher la fenêtre Annotations, ouvrez la fenêtre d’information de la ressource vidéo souhaitée, puis cliquez sur le bouton Annotations. Cliquez sur le bouton Annotations, dans la sous-fenêtre d’information d’une ressource vidéo, pour afficher la fenêtre Annotations. Vous pouvez afficher un aperçu du plan ici. Vous pouvez ajouter du texte dans le champ Annotation. Les annotations ajoutées à une ressource vidéo s’affichent ici.Chapitre 1 À propos de Final Cut Server 27 Fenêtre Downloads & Uploads Cette fenêtre vous aide à surveiller l’état des fichiers téléchargés à partir de ou vers Final Cut Server. Vous pouvez ouvrir la fenêtre Downloads & Uploads en cliquant sur le bouton Downloads and Uploads dans la fenêtre principale de Final Cut Server (ou en sélectionnant Downloads & Uploads dans le menu local Fenêtres). Pour en savoir plus sur la fenêtre Downloads & Uploads, consultez « Fenêtre Downloads & Uploads » à la page 105. Fenêtre Search All Jobs La fenêtre Search All Jobs s’ouvre à partir du menu local Server (situé en haut à gauche de la fenêtre principale de Final Cut Server). Elle contient une liste des tâches récentes lancées par tous les utilisateurs Final Cut Server. Pour en savoir plus sur la fenêtre Search All Jobs, consultez « Searching Devices » à la page 80. La fenêtre Search All Jobs contient une liste des tâches les plus récentes lancées par tous les utilisateurs Final Cut Server.28 Chapitre 1 À propos de Final Cut Server Fenêtre Search Devices La fenêtre Search Devices s’ouvre à partir du menu local Server de la fenêtre principale de Final Cut Server. Elle vous permet de rechercher directement un périphérique, d’afficher toutes les ressources (fichiers téléchargés dans Final Cut Server), ainsi que les autres fichiers, qui n’ont pas été téléchargés dans Final Cut Server et sont stockés sur le périphérique. Pour en savoir plus sur la fenêtre Search Devices, consultez « Recherche de périphériques » à la page 78. Avertissement : utilisez la fenêtre Search Devices avec précaution. Les périphériques peuvent contenir des fichiers figurant ou non dans le catalogue Final Cut Server. La manipulation de ces fichiers via la fenêtre Search Devices pourrait entraîner la duplication de ressources dans votre système serveur Final Cut Server ou la suppression de toutes les copies d’un fichier sur le périphérique. Chapitre 1 À propos de Final Cut Server 29 Fenêtre Preferences Votre administrateur Final Cut Server est chargé de la configuration de la plupart des préfé- rences d’utilisation de votre client Final Cut Server. Toutefois, il existe quelques réglages que vous pouvez définir vous-même pour votre client Final Cut Server. Ceux-ci incluent les pré- férences d’affichage des recherches, l’emplacement et la taille du cache Final Cut Server et l’emplacement d’enregistrement des copies d’alias pour les fichiers de données préparés. Vous pouvez ouvrir la fenêtre Preferences en sélectionnant Preferences dans le menu local Server. Pour en savoir plus sur les préférences de votre client Final Cut Server, consultez « Définition des préférences du client Final Cut Server » à la page 107.30 Chapitre 1 À propos de Final Cut Server Utilisation des menus contextuels dans Final Cut Server Vous pouvez effectuer de nombreuses opérations dans Final Cut Server en utilisant les éléments des menus contextuels. Pour afficher un menu contextuel, cliquez sur une ressource, un projet Final Cut Pro ou une autre section Final Cut Server, tout en maintenant la touche Contrôle enfoncée. Les utilisateurs Mac se servant d’une souris standard (plusieurs boutons) peuvent également cliquer avec le bouton droit sur l’élément pour afficher son menu contextuel. Remarque : si vous utilisez Windows, pensez que le clic droit de la souris dans un système Windows est l’équivalent du Contrôle + Clic sous Mac. Pour afficher un menu contextuel sous Windows, cliquez avec le bouton droit de la souris sur l’élément souhaité. Utilisation des raccourcis clavier dans Final Cut Server La plupart des raccourcis clavier standard Mac OS X sont disponibles dans Final Cut Server. D’autres raccourcis clavier, spécifiques à l’application, sont également disponibles dans la fenêtre Annotations de Final Cut Server. Menu contextuel d’une ressource2 31 2 Téléchargement de fichiers vers Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de la création de ressources Final Cut Server (p. 31)  Types de fichiers pouvant être téléchargés vers Final Cut Server (p. 32)  À propos des métadonnées et des ensembles de métadonnées (p. 32)  Stratégies de téléchargement de fichiers de données et de projets (p. 33)  Téléchargement de fichiers de données (p. 34)  Téléchargement de projets Final Cut Pro (p. 39)  Téléchargement de projets Final Cut Studio (p. 43) Avant de pouvoir gérer et suivre vos fichiers dans Final Cut Server, vous devez d’abord les télécharger. Ce chapitre décrit comment télécharger trois types de fichiers différents vers Final Cut Server : les fichiers de données, les fichiers de projet Final Cut Pro, ainsi que les projets Final Cut Studio et leurs fichiers de données reliées. À propos de la création de ressources Final Cut Server La première étape dans la création d’un catalogue de ressources Final Cut Server consiste à télécharger des données vers Final Cut Server. Vous pouvez télécharger manuellement des fichiers de données, des projets Final Cut Pro et d’autres fichiers de projet Final Cut Studio vers Final Cut Server. En outre, votre administrateur Final Cut Server peut configurer des processus automatisés pour permettre le téléchargement automatique des fichiers. Même si votre administrateur Final Cut Server a créé des flux de travaux de téléchargement automatisé, vous serez souvent amené à télécharger manuellement des fichiers vers Final Cut Server. Lorsqu’un fichier est téléchargé vers Final Cut Server, une ressource est créée. Celle-ci est utilisée par Final Cut Server pour suivre le fichier de données ou de projet que vous avez téléchargé. La ressource contient le fichier d’origine et les métadonnées de ce fichier. Selon le type de fichier téléchargé, la ressource peut également contenir plusieurs fichiers proxy, notamment un proxy de plan (pour les fichiers vidéo), un proxy de vignette et un proxy d’affiche (pour tous les fichiers de données). Vous trouverez plus d’informations sur les fichiers proxy plus loin dans ce chapitre.32 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Les ressources média, les ressources de projet Final Cut Pro et les ressources de projet Final Cut Studio (Motion, Soundtrack Pro et DVD Studio Pro) étant gérées différemment dans Final Cut Server, l’utilisation de chaque type de ressource est expliquée tout au long de ce manuel. Types de fichiers pouvant être téléchargés vers Final Cut Server Final Cut Server peut gérer plusieurs types de fichiers, notamment : À propos des métadonnées et des ensembles de métadonnées Les métadonnées constituent une partie importante des ressources et productions incluses dans le catalogue Final Cut Server. Étant donné que vous recherchez des métadonnées de ressources et de productions, il est important d’ajouter autant de métadonnées que possible lorsque vous téléchargez le fichier d’origine. Lorsque vous téléchargez un fichier de données ou de projet, toutes les métadonnées prises en charge contenues dans le fichier sont téléchargées avec celui-ci et appliquées comme métadonnées du fichier dans Final Cut Server. La fenêtre Upload vous invite également à fournir un ensemble de métadonnées. Un ensemble de métadonnées est une collection de groupes et de champs de métadonnées. L’ensemble de métadonnées que vous choisissez pour la ressource détermine les métadonnées pouvant être ajoutées à la ressource. Remarque : les métadonnées courantes, notamment XMP et QuickTime, sont prises en charge par Final Cut Server. Si vous avez des questions spécifiques aux métadonnées prises en charge par Final Cut Server, contactez votre administrateur Final Cut Server. Catégorie de données Types de fichiers pris en charge Vidéo Projets Final Cut Pro (.fcp) et autres formats de fichiers vidéo disponibles pour la sortie à partir de Final Cut Pro et de Compressor, notamment .mov et .mpeg Vous pouvez également télécharger les séquences de référence QuickTime. Audio Fichiers Soundtrack Pro (.stap et.stmp) et autres fichiers audio, notamment .aif, .ac3, fichiers audio sans compression, .mp3, .mp4, .m4a et .wav Graphismes Motion Projets Motion (.motn) DVD Fichiers de projet DVD Studio Pro (.dspproj), projets iDVD (.dvdproj) Images fixes et graphismes Fichiers Photoshop (.psd) et autres fichiers graphiques et images, notamment .tif, .jpeg, .png, .bmp et .gif Fichiers texte Fichiers pages (.pages), fichiers Keynote (.key) et autres fichiers de document, notamment .doc, .txt et .pdf Chapitre 2 Téléchargement de fichiers vers Final Cut Server 33 Final Cut Server est fourni avec des ensembles de métadonnées par défaut pour décrire vos ressources. Si les ensembles de métadonnées par défaut ne répondent pas aux besoins du flux de travaux de votre organisation, votre administrateur Final Cut Server peut ajouter des champs de métadonnées à des ensembles existants ou créer des ensembles de métadonnées entièrement nouveaux. Important : si votre administrateur Final Cut Server a modifié les ensembles de métadonnées par défaut ou s’il en a créé de nouveaux, les ensembles de métadonnées listés dans votre copie de Final Cut Server n’auront pas la même apparence que la liste présentée ici. Lorsque vous utilisez Final Cut Server, vous pouvez vous servir des métadonnées contenues dans une ressource pour rechercher, trier et identifier des ressources et productions dans Final Cut Server, ainsi que pour suivre les informations au sein de votre groupe de travail. Après le téléchargement d’un fichier, vous et d’autres personnes pouvez à tout moment ajouter et modifier manuellement les métadonnées décrivant la ressource. Pour en savoir plus sur l’utilisation des métadonnées dans Final Cut Server, consultez « Utilisation de métadonnées pour organiser et rechercher des ressources » à la page 64. Stratégies de téléchargement de fichiers de données et de projets Votre administrateur Final Cut Server peut avoir configuré des analyses qui téléchargent automatiquement les fichiers vers Final Cut Server. Pour télécharger manuellement des fichiers de données et de projet, vous avez le choix entre deux méthodes :  Vous pouvez faire glisser les fichiers de votre système ou d’un périphérique connecté vers Final Cut Server. Choisissez cette méthode lorsque vous souhaitez ajouter seulement quelques données à votre catalogue de ressources.  Vous pouvez ouvrir la fenêtre Upload à partir du menu local Server dans la fenêtre principale de Final Cut Server, naviguer jusqu’à un dossier de fichiers de données, puis sélectionner les fichiers à télécharger. Choisissez cette méthode si vous téléchargez plusieurs fichiers de données. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server.34 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Dans la fenêtre Upload qui s’affiche, vous avez le choix entre plusieurs options. Vous pouvez sélectionner un ensemble de métadonnées pour la nouvelle ressource. Ajoutez également plusieurs types de métadonnées au fichier lors du téléchargement. Il est aussi possible de choisir de convertir le fichier téléchargé vers un autre codec (à l’aide des réglages de transcodage pour les fichiers vidéo et audio à partir de Compressor) pendant le téléchargement et de regrouper la ressource dans une production. Lorsque vous téléchargez un fichier, le nom du fichier est saisi, par défaut, dans le champ Title de la fenêtre Upload. Vous pouvez choisir de saisir un nouveau nom dans le champ Title. Toutefois, il est important de comprendre que le champ Title est exclusivement utilisé dans Final Cut Server. Le titre de la ressource n’apparaît pas dans les métadonnées de la ressource si vous exportez une copie de cette ressource. Important : si vous exportez des fichiers de projet ou de données volumineux, désactivez la fonction de suspension d’activité de votre ordinateur. Si l’ordinateur sur lequel le client Final Cut Server est exécuté passe en mode de suspension d’activité pendant un téléchargement, celui-ci est annulé. Téléchargement de fichiers de données Lorsque vous téléchargez un fichier de données ou de projet vers Final Cut Server, la ressource créée contient le fichier de données d’origine, que Final Cut Server appelle représentation principale. Au moment du téléchargement, Final Cut Server crée des fichiers proxy pour certains types de ressources média. Les fichiers Proxy sont des copies de la représentation principale utilisées pour certaines opérations dans Final Cut Server. À propos du téléchargement de séquences de référence QuickTime Une séquence de référence QuickTime peut contenir une liste de références à des séquences dont les débits des données sont différents, ce qui permet à une application de choisir la séquence ayant la meilleure apparence et pouvant être correctement lue lors de son téléchargement sur Internet, en fonction de la vitesse de connexion de l’utilisateur. Lorsque vous téléchargez une séquence de référence QuickTime, une zone de dialogue apparaît pour vous informer que la séquence dispose d’un ou de plusieurs fichiers d’alias externes et vous demander si vous souhaitez aplatir le fichier avant de le télécharger. L’aplatissement du fichier permet de créer un nouveau fichier contenant toutes les données qui se trouvaient précédemment dans le ou les fichiers d’alias externes. Il est recommandé de choisir d’aplatir toute séquence de référence QuickTime que vous téléchargez vers Final Cut Server.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 35 Si le fichier téléchargé est un fichier graphique ou un fichier vidéo, Final Cut Server crée deux fichiers de graphismes proxy : un fichier d’affiche et un fichier de vignette. Ces deux fichiers sont utilisés pour représenter les données de la ressource au sein de Final Cut Server. Si le fichier téléchargé est une ressource vidéo, Final Cut Server crée également un fichier proxy de plan. Le fichier proxy de plan est créé grâce au transcodage du fichier de repré- sentation principale en un codec de plus faible résolution. Le proxy de plan est utilisé pour l’affichage du fichier dans Final Cut Server. Voici un exemple. Lorsque vous téléchargez un plan vidéo HD sans compression vers Final Cut Server, une ressource Final Cut Server est créée. Cette ressource contient le fichier d’origine (la représentation principale). Le fichier d’origine est également transcodé afin de permettre la création du fichier proxy de plan. Des images JPEG sont créées pour être utilisées comme fichiers proxy de vignette et d’affiche pour la ressource. Fichier multimédia Ressource multimédia Proxy de plan Vignette Métadonnées Affiche Représentation principale Mise à jour du clip vidéo sur Final Cut Server36 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Une fois le téléchargement terminé, vous pouvez afficher une liste des fichiers proxy créés pour la ressource dans la sous-fenêtre Resources de la fenêtre d’information de la ressource. Vous pouvez télécharger un ou plusieurs fichiers de données vers Final Cut Server. Lorsque vous téléchargez plusieurs fichiers de données, n’oubliez pas que tous les réglages que vous définissez dans la fenêtre Multiple Upload, notamment les métadonnées, s’appliquent à tous les fichiers téléchargés. Par exemple, si vous spécifiez un format de transcodage, tous les fichiers téléchargés sont transcodés. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server Pour télécharger un ou plusieurs fichiers de données : 1 Effectuez l’une des opérations suivantes :  Faites glisser le ou les fichiers de données à télécharger à partir du Finder, du bureau ou d’un volume connecté vers la colonne située sur la gauche de la fenêtre principale de Final Cut Server, la sous-fenêtre Assets ou une production.  Choisissez Upload File dans le menu local Server, sélectionnez le ou les fichiers de données dans l’explorateur de fichiers qui apparaît, puis cliquez sur Télécharger. Vous pouvez voir les fichiers proxy créés pour la ressource dans la sous-fenêtre Resources de la fenê- tre d’information de la ressource. Menu local ServerChapitre 2 Téléchargement de fichiers vers Final Cut Server 37 Selon le nombre de fichiers que vous avez téléchargés, la fenêtre Upload ou la fenêtre Multiple Upload apparaît. Les fenêtres Upload et Multiple Upload sont très similaires. Dans la fenêtre Upload, vous pouvez saisir un nom de fichier pour la ressource (celui-ci est saisi automatiquement). Dans la fenêtre Multiple Upload, le champ Filename est masqué et le nom du fichier est automatiquement attribué à chaque ressource téléchargée. Remarque : une fois le téléchargement effectué, vous pouvez à tout moment modifier le titre d’une ressource dans la sous-fenêtre Metadata de la fenêtre d’information de la ressource. 2 Certaines des informations et métadonnées contenues dans la fenêtre Upload ou dans la fenêtre Upload Multiple sont automatiquement saisies. Vous pouvez modifier l’ensemble de métadonnées dans le menu local Metadata Set et ajouter des métadonnées aux nouvelles ressources. La fenêtre Upload comprend un champ Filename modifiable. Choisissez un ensemble de métadonnées diffé- rent dans le menu local. Vous pouvez saisir des métadonnées dans n’importe quel champ modifiable. Après avoir choisi un ensemble de métadonnées, divers groupes de métadonnées apparaissent.38 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Important : si vous téléchargez un fichier auquel vous avez précédemment ajouté des métadonnées à l’aide des champs d’annotation par défaut QuickTime, vous devez choisir l’ensemble de métadonnées Média pour la ressource. Ainsi, les métadonnées attribuées au fichier dans QuickTime apparaissent dans Final Cut Server, dans le groupe de métadonnées QuickTime de l’ensemble de métadonnées Média. Si vous appliquez n’importe quel autre ensemble de métadonnées à la ressource, les métadonnées QuickTime n’apparaissent pas dans la ressource Final Cut Server. N’oubliez pas que toutes les métadonnées que vous appliquez à un téléchargement multiple seront associées à chacune des ressources créées. 3 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données. 4 Si vous souhaitez regrouper la ou les ressources média dans une production, cliquez sur Choose à droite du champ Associate with Production et spécifiez une production. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. 5 Si vous souhaitez convertir le ou les fichiers de données d’origine vers un codec différent, cliquez sur le bouton Choose, puis sélectionnez un nouveau réglage de transcodage dans la fenêtre qui apparaît. 6 Cliquez sur Begin Upload pour créer des ressources à partir du ou des fichiers de données. Menu local Destination. Pour transcoder les fichiers de données, cliquez sur Choose et sélectionnez un codec. Lorsque vous êtes prêt à télécharger les fichiers, cliquez sur Begin Upload. Pour regrouper les ressources dans une production, cliquez sur Choose et sélectionnez une production.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 39 Le téléchargement commence. La progression du téléchargement s’affiche au-dessus de la sous-fenêtre Information dans le coin inférieur gauche de la fenêtre principale de Final Cut Server. 7 Pour surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads afin d’afficher la fenêtre Downloads & Uploads. 8 Une fois le fichier téléchargé, cliquez sur la Smart Search « Assets created by me » pour afficher la ou les nouvelles ressources que vous venez de télécharger. Téléchargement de projets Final Cut Pro Les ressources de projet Final Cut Pro ont une structure différente de celle des ressources média. Lorsque vous téléchargez un projet Final Cut Pro vers Final Cut Server, le fichier de projet Final Cut Pro est la représentation principale de la ressource. Final Cut Server détecte les fichiers vidéo et d’autres fichiers de données reliées au projet Final Cut Pro et il télécharge chacun des fichiers de données en tant que ressource média unique. Final Cut Server liste ensuite chacun des fichiers de données reliées au projet en tant qu’élément de projet Final Cut Pro. Remarque : si votre administrateur Final Cut Server a activé la création d’un fichier Edit Proxy, un Edit Proxy sera également créé pour chaque fichier vidéo relié au projet Final Cut Pro. Cet Edit Proxy est utilisé pour extraire des projets Final Cut Pro afin de les modifier. Pour en savoir plus sur la fonction Edit Proxy, contactez votre administrateur Final Cut Server. L’indicateur Jobs in Progress indique le nombre de tâches en cours d’exécution. Cliquez sur ce bouton pour ouvrir la fenêtre Downloads & Uploads. Cliquez sur « Assets created by me » pour afficher la ressource créée.40 Chapitre 2 Téléchargement de fichiers vers Final Cut Server L’illustration ci-dessous montre un projet Final Cut Pro au moment du téléchargement. Vous remarquerez que la liste des éléments se trouve à l’intérieur de la ressource mais que les ressources média référencées par la liste des éléments sont indépendantes. Vous pouvez voir chacune des ressources média en double-cliquant sur l’élément dans la sous-fenêtre Elements. La fenêtre d’information de la ressource média s’ouvre alors. Après le téléchargement d’un projet Final Cut Pro, vous pouvez obtenir des informations sur les fichiers de données reliées au projet dans la sous-fenêtre Elements de la fenêtre d’information de la ressource du projet Final Cut Pro. Projet Final Cut Pro Ressource du projet Mise à jour du projet Final Cut Pro sur Final Cut Server Liste d’éléments multimédia liés .mov .jpeg .aif .mov .jpeg .aif Clip Proxy Les données reliées apparaissent dans la sous-fenêtre Elements de la fenêtre d’information de la ressource.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 41 Vous pouvez également regarder dans la sous-fenêtre Resources de la fenêtre d’information d’une ressource média pour voir si elle est reliée à un projet Final Cut Pro. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server Pour télécharger un fichier de projet Final Cut Pro : 1 Effectuez l’une des opérations ci-dessous :  Faites glisser le fichier de projet Final Cut Pro vers la colonne située sur la gauche de la fenêtre principale de Final Cut Server, vers la sous-fenêtre Assets ou vers une production dans la sous-fenêtre Productions.  Choisissez Upload File dans le menu local Server (le menu local dans la fenêtre principale de Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server), sélectionnez le fichier de projet Final Cut Pro dans l’explorateur de fichiers qui s’affiche, puis cliquez sur Télécharger. Un exemple de cette ressource média est utilisé dans le projet Final Cut Pro intitulé « 3133_Motorbikes ». La production « Motorbikes1 » inclut ce fichier de données.42 Chapitre 2 Téléchargement de fichiers vers Final Cut Server La fenêtre « Upload Final Cut Pro Project » apparaît. 2 Certaines des informations contenues dans la fenêtre « Link Final Cut Pro Upload » sont saisies automatiquement. Vous pouvez modifier l’ensemble de métadonnées et ajouter n’importe quelle métadonnée pour le nouveau projet Final Cut Pro et les données reliées. Important : toutes les métadonnées que vous saisissez pour la ressource de projet seront appliquées à la ressource du nouveau projet et à chaque ressource créée pour les fichiers de données reliées. 3 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 43 4 Si vous souhaitez regrouper la ressource de projet Final Cut Pro dans une production, cliquez sur Choose à droite du champ Associate with Production et spécifiez une production. Pour en savoir plus sur les productions, notamment sur la création d’une nouvelle production, consultez « Organisation des ressources à l’aide de productions » à la page 59. 5 Cliquez sur Upload. Le téléchargement commence. La progression du téléchargement s’affiche au-dessus de la sous-fenêtre Information dans le coin inférieur gauche de la fenêtre principale de Final Cut Server. 6 Pour surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads afin d’afficher la fenêtre Downloads & Uploads. 7 Une fois le fichier téléchargé, cliquez sur la Smart Search « Assets created by me » pour afficher la ou les nouvelles ressources que vous venez de télécharger. Téléchargement de projets Final Cut Studio Les ressources de projet Final Cut Pro sont uniques dans le sens où la relation entre un projet Final Cut Pro et ses fichiers de données reliées est gérée par Final Cut Server. Les fichiers de projet Final Cut Studio peuvent également être téléchargés en tant que ressources et suivis par Final Cut Server, mais les références entre le fichier de projet et les fichiers de données ne sont pas automatiquement gérées par Final Cut Server. Il est recommandé de télécharger un dossier contenant le fichier de projet Final Cut Studio et tous les fichiers de données reliées au projet vers Final Cut Server. Important : iI est possible de télécharger uniquement un fichier de projet Motion, Soundtrack Pro ou DVD Studio Pro vers Final Cut Server. Lorsque vous téléchargez uniquement le fichier de projet, une ressource est créée pour le fichier de projet seulement. Contrairement à un fichier de projet Final Cut Pro, le fichier de projet Final Cut Studio n’inclut pas de liste d’éléments. Plutôt que de télécharger un fichier de projet unique, il est recommandé de télécharger un dossier contenant le fichier de projet Motion, Soundtrack Pro ou DVD Studio Pro et tous les fichiers de données reliées au fichier de projet vers Final Cut Server. Lorsque vous téléchargez un dossier contenant le fichier de projet Motion, Soundtrack Pro ou DVD Studio Pro et tous les fichiers de données reliées au fichier de projet, une zone de dialogue apparaît pour vous demander si vous souhaitez télécharger le dossier et les fichiers qu’il contient en tant que ressource regroupée ou en tant que ressources individuelles. 44 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Si vous sélectionnez Create Bundle Asset, le fichier de projet et chacun des fichiers de données sont téléchargés en tant que ressource regroupée. Le téléchargement du dossier en tant que ressource regroupée garantit que lorsque vous extrayez ou exportez la ressource regroupée, tous les fichiers de données intégrés au projet sont toujours là. La ressource regroupée peut être extraite, modifiée et réintégrée. Elle peut également être exportée. Toutefois, lorsque vous téléchargez un dossier de fichiers en tant que ressource regroupée, les fichiers qu’elle contient ne sont pas disponibles en tant que ressources séparées dans Final Cut Server. Si vous sélectionnez Create Individual Assets, le fichier de projet et chacun de ses fichiers de données reliées sont téléchargés vers Final Cut Server en tant que ressources uniques. Final Cut Server ne gérant pas les références entre le projet et les fichiers de données, il est conseillé de regrouper la ressource de projet et les ressources média dans leur propre production et d’ajouter des métadonnées uniques à la ressource de projet et aux ressources média. Vous pouvez effectuer ces deux opérations dans la fenêtre Upload qui s’affiche après avoir sélectionné Create Individual Assets. Même si le téléchargement d’un dossier de fichiers en tant que ressources individuelles nécessite une certaine planification, cette opération est utile. En effet, chacun des fichiers du dossier est téléchargé en tant que ressource individuelle et vous pouvez y accéder à partir de Final Cut Server. Important : il est recommandé d’inclure les extensions de fichiers sur tous les fichiers téléchargés vers Final Cut Server Téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressource regroupée Le téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressource regroupée entraîne la création d’une ressource unique dans Final Cut Server. Cette ressource regroupée est simple d’utilisation : une fois la ressource regroupée extraite ou exportée, le dossier devient visible et vous pouvez ouvrir le fichier de projet qu’il contient dans l’application Final Cut Studio appropriée. Si les données étaient reliées au fichier de projet lorsque le dossier a été téléchargé vers Final Cut Server, toutes les données du fichier sont connectées et il est prêt à être utilisé lorsqu’il s’ouvre.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 45 L’illustration ci-dessous montre un projet Final Cut Studio téléchargé en tant que ressource regroupée. Celle-ci apparaît dans Final Cut Studio en tant que ressource générique unique, sans indication sur son fichier de projet ou ses fichiers de données reliées. Si vous téléchargez un projet Final Cut Studio et ses fichiers de données en tant que ressource regroupée, les données et fichiers de projet ne peuvent pas être affichés à partir de Final Cut Server. Pour accéder aux ressources média, vous devez extraire la ressource regroupée et accéder aux fichiers de données à partir du dossier. Important : si un projet Final Cut Studio et ses fichiers de données sont téléchargés en tant que ressource regroupée vers un périphérique que votre administrateur Final Cut Server a automatisé pour rechercher de nouvelles ressources, les fichiers de la ressource regroupée sont analysés et de nouvelles ressources sont créées pour chaque fichier de la ressource regroupée. Si vous téléchargez un projet Final Cut Studio et ses fichiers de ressources en tant que ressource regroupée et remarquez ensuite que de nouvelles ressources ont été créées pour les fichiers de la ressource, contactez votre administrateur Final Cut Server. Lot de ressources Dossier Projet Motofloue.motn Route_3232.mov Musique_3225.aif Motard_322.jpg Arbre_5344.jpg Motos.aif Mise à jour du dossier sur Final Cut Server46 Chapitre 2 Téléchargement de fichiers vers Final Cut Server Pour télécharger un fichier de projet Final Cut Studio et ses fichiers de données en tant que ressource regroupée : 1 Dans l’application Final Cut Studio, enregistrez le projet et choisissez de rassembler les données. Dans Motion et Soundtrack Pro, vous pouvez, pour ce faire, sélectionner File > Save sous et choisir de rassembler les données dans la fenêtre Save as. Dans DVD Studio Pro, vous devez placer manuellement le projet et les fichiers de données dans un dossier. Remarque : pour obtenir des informations spécifiques sur l’utilisation de ces applications, consultez le manuel de l’utilisateur de l’application. Important : lorsque vous téléchargez un fichier de projet DVD Studio Pro et ses fichiers de données reliées, il est inutile de télécharger les fichiers .par. Lorsque vous extrayez et ouvrez le projet dans DVD Studio Pro, les fichiers .par sont automatiquement recréés. Le fichier de projet et ses fichiers de données sont enregistrés dans un dossier à l’emplacement que vous avez indiqué. 2 Dans Final Cut Server, créez une nouvelle production pour le projet et ses ressources en procédant comme suit : a Ouvrez la sous-fenêtre Productions en cliquant sur Productions dans la colonne située sur la gauche de la fenêtre principale de Final Cut Server. b Cliquez sur le bouton New Production dans la barre d’outils. c Choisissez un ensemble de métadonnées pour la nouvelle production dans le menu local Metadata Set. d Selon le type de production que vous choisissez, un certain nombre de champs de métadonnées de production apparaissent. Saisissez dans ces champs un titre et d’autres métadonnées uniques pour le projet. Les champs portant un astérisque (*) sont obligatoires. e Cliquez sur Save changes pour enregistrer la nouvelle production. 3 Faites glisser le dossier contenant le fichier de projet et ses données reliées du Finder vers la nouvelle production, dans la sous-fenêtre Productions de Final Cut Server. Projet Motion Fichiers de données d’un projet MotionChapitre 2 Téléchargement de fichiers vers Final Cut Server 47 4 Une zone de dialogue apparaît, vous demandant si vous souhaitez télécharger le dossier en tant que ressource regroupée ou en tant que ressource individuelle. Cliquez sur Create Bundle Asset. La fenêtre Link Upload apparaît. Notez que le champ Associate with Production affiche la production dans laquelle vous avez fait glisser le dossier. 5 Choisissez un ensemble de métadonnées pour la ressource dans le menu local Metadata Set et ajoutez des métadonnées à un ou plusieurs champs, en les définissant comme ressource regroupée. 6 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données. 7 Cliquez sur le bouton Upload pour créer la ressource. Le fichier est téléchargé et la ressource regroupée créée. Ajoutez des métadonnées pour définir le type de projet téléchargé. Le nom de la production dans laquelle vous avez fait glisser le dossier apparaît ici.48 Chapitre 2 Téléchargement de fichiers vers Final Cut Server 8 Une fois la ressource regroupée créée, sélectionnez la sous-fenêtre Productions, puis la production que vous avez créée et cliquez sur le bouton Search pour afficher la nouvelle ressource dans Final Cut Server. Si vous avez besoin d’identifier la ressource regroupée ultérieurement, vous pouvez ouvrir la fenêtre d’information de la ressource et afficher les métadonnées que vous avez ajoutées lors du téléchargement. Téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressources individuelles Le téléchargement d’un projet Motion, Soundtrack Pro ou DVD Studio Pro et de ses fichiers de données en tant que ressources individuelles entraîne la création d’une ressource pour chaque fichier du dossier. Si le téléchargement du fichier de projet est similaire à celui du fichier de projet Final Cut Pro, une différence significative existe toutefois : contrairement à une ressource de projet Final Cut Pro, les fichiers de données du projet ne sont pas réfé- rencés vers le fichier de projet. Pour que le projet et ses données restent ensemble, vous pouvez ajouter aux ressources des métadonnées uniques, par exemple le nom du projet ou d’autres étiquettes utiles. Pour stocker ensemble et de manière pratique votre projet et les ressources média, vous pouvez télécharger les fichiers vers une nouvelle production ou vers une production existante. La ressource regroupée dispose d’une icône de document générique. Utilisez les métadonnées que vous avez ajoutées lors du téléchargement pour identifier la ressource regroupée.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 49 L’illustration ci-dessous montre un projet Final Cut Studio et ses données téléchargées en tant que ressources individuelles dans une production Final Cut Server. Important : il est recommandé de télécharger un fichier de projet Final Cut Studio et ses fichiers de données dans une production commune. Il est également recommandé d’ajouter des métadonnées uniques à la ressource de projet et à chacune de ses ressources média. Ces métadonnées doivent être utilisées uniquement sur la ressource de projet, les ressources média et la production. L’ajout de métadonnées uniques et la création d’une production vous offrent deux méthodes de connexion de la ressource de projet et de ses ressources média. Pour télécharger un fichier de projet Final Cut Studio ou autre et ses fichiers de données en tant que ressources individuelles : 1 Dans l’application Final Cut Studio, enregistrez le projet et choisissez de rassembler les données. Dans Motion et Soundtrack Pro, vous pouvez, pour ce faire, sélectionner Fichier > Enregistrer sous et choisir de rassembler les données dans la fenêtre Enregistrer sous. Dans DVD Studio Pro, vous devez placer manuellement le projet et les fichiers de données dans un dossier. Remarque : pour obtenir des informations spécifiques sur l’utilisation de ces applications, consultez le manuel de l’utilisateur de l’application. Important : lorsque vous téléchargez un fichier de projet DVD Studio Pro et ses fichiers de données reliées, il est inutile de télécharger les fichiers .par. Lorsque vous extrayez et ouvrez le projet dans DVD Studio Pro, les fichiers .par sont automatiquement recréés. Le fichier de projet et ses données sont enregistrés dans un dossier à l’emplacement que vous avez indiqué. Mise à jour du projet Final Cut Studio sur Final Cut Server Remarque : chacun des éléments de la production est une ressource. Production Final Cut Server Folder Project .mov .jpeg .aif Proxy de plan Motofloue.motn Route_3232.mov Musique_3225.aif Motard_322.jpg Arbre_5344.jpg Motos.aif50 Chapitre 2 Téléchargement de fichiers vers Final Cut Server 2 Dans Final Cut Server, créez une nouvelle production pour le projet et ses ressources en procédant comme suit : a Ouvrez la sous-fenêtre Productions en cliquant sur Productions dans la colonne située sur la gauche de la fenêtre principale de Final Cut Server. b Cliquez sur le bouton New Production dans la barre d’outils. c Choisissez un ensemble de métadonnées pour la nouvelle production dans le menu local Metadata Set. d Selon le type de production que vous choisissez, un certain nombre de champs de métadonnées de production apparaissent. Saisissez dans ces champs un titre et d’autres métadonnées uniques pour le projet. Les champs portant un astérisque (*) sont obligatoires. e Cliquez sur Save Changes pour enregistrer la nouvelle production. 3 Faites glisser le dossier contenant le fichier de projet et ses données reliées du Finder vers la nouvelle production, dans la sous-fenêtre Productions de Final Cut Server. 4 Une zone de dialogue apparaît, vous demandant si vous souhaitez télécharger le dossier en tant que ressource regroupée ou en tant que ressource individuelle. Cliquez sur Create Individual Assets. 5 Une zone de dialogue apparaît pour vous informer que Final Cut Server ne peut pas gérer les références pouvant exister dans le fichier de projet que vous téléchargez. Cliquez sur Continue. La fenêtre Multiple Link Upload apparaît. Notez que le champ Associate with Production affiche la production dans laquelle vous avez fait glisser le dossier. 6 Choisissez un ensemble de métadonnées pour les ressources dans le menu local Metadata Set. Ajoutez aux fichiers téléchargés des métadonnées uniques. L’ajout de métadonnées reliées au projet vous aide à suivre les ressources reliées à la ressource de projet. Ajoutez des métadonnées pour différencier les fichiers téléchargés. Le nom de la production dans laquelle vous avez fait glisser le dossier apparaît ici.Chapitre 2 Téléchargement de fichiers vers Final Cut Server 51 7 Si nécessaire, choisissez un nouveau périphérique de destination dans le menu local Destination. Vous spécifiez ainsi le périphérique sur lequel le fichier sera stocké. Si vous avez des questions sur le périphérique à utiliser, contactez votre administrateur Final Cut Server. Remarque : Media et Library sont les principaux périphériques de Final Cut Server. Demandez à votre administrateur Final Cut Server quels autres périphériques configurés sont adaptés au stockage de fichiers de données. 8 Cliquez sur le bouton Begin Upload afin de créer des ressources pour le fichier de projet et ses fichiers de données reliées. Les fichiers sont téléchargés. La progression du téléchargement s’affiche au-dessus de la sous-fenêtre Information dans le coin inférieur gauche de la fenêtre principale de Final Cut Server. Pour surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads pour afficher la fenêtre Downloads & Uploads. 9 Une fois les fichiers téléchargés, sélectionnez la sous-fenêtre Productions, cliquez sur le bouton Search, puis double-cliquez sur la production afin d’afficher les nouvelles ressources. Le fichier de projet Final Cut Studio et chacun de ses fichiers de données ont été téléchargés comme des ressources. Les ressources apparaissent également dans la sous-fenêtre Assets de la fenêtre principale de Final Cut Server. Chacune des ressources individuelles apparaît dans la production.3 53 3 Organisation et recherche dans le catalogue Final Cut Server Ce chapitre couvre les éléments suivants :  Vue d’ensemble du catalogue de ressources Final Cut Server (p. 53)  Organisation des ressources à l’aide de productions (p. 59)  Utilisation de métadonnées pour organiser et rechercher des ressources (p. 64)  Recherche dans Final Cut Server (p. 66)  Affichage des résultats d’une recherche (p. 74)  Suivi de l’état d’une ressource ou d’une production à l’aide de métadonnées (p. 75)  Ajout et modification des métadonnées de ressources (p. 77)  Recherche de périphériques et de tâches (p. 78) Lorsque vous téléchargez des ressources, elles sont ajoutées à votre catalogue Final Cut Server, qui consiste en une collection de ressources téléchargées par vous et par d’autres utilisateurs de Final Cut Server. Alors que le nombre de ressources augmente dans votre catalogue, il devient de plus en plus important de créer et de gérer les recherches. Ce chapitre présente différentes utilisations de Final Cut Server pour organiser vos ressources et les rechercher. Vue d’ensemble du catalogue de ressources Final Cut Server Avant de pouvoir organiser ou rechercher des ressources dans le catalogue Final Cut Server, vous devez comprendre comment afficher les sous-fenêtres Assets et Productions. La sous-fenêtre Assets affiche toutes les ressources téléchargées vers Final Cut Server. Vous pouvez afficher toutes les ressources de votre système Final Cut Server en cliquant sur Search dans la fenêtre principale de Final Cut Server.54 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server De même, la sous-fenêtre Productions affiche toutes les productions créées dans votre système Final Cut Server. Les productions sont utilisées pour organiser les ressources ; par exemple, si vous téléchargez un fichier de projet Soundtrack Pro et tous les fichiers audio utilisés dans ce projet, vous pouvez créer une production pour conserver cette ressource de projet et ses ressources média. Les productions sont également utilisées pour grouper des projets associés, comme les projets en cours d’un client particulier. Vous pouvez afficher toutes les productions présentes dans votre catalogue Final Cut Server en cliquant sur Productions dans la colonne située à gauche de la fenêtre principale de Final Cut Server. Vous pouvez réduire le nombre de ressources ou de productions qui apparaissent pour chaque recherche. La recherche la plus simple que vous pouvez effectuer consiste à saisir un terme à rechercher dans le champ de recherche, puis à cliquer sur le bouton Search. Vous pouvez également effectuer une recherche avancée, qui vous permet de rechercher un terme dans un champ de métadonnées particulier. Pour en savoir plus sur la recherche, consultez « Recherche dans Final Cut Server » à la page 66. Si vous souhaitez conserver une recherche, vous pouvez l’enregistrer. Les recherches enregistrées sont appelées des Smart Searches. Elles sont stockées dans la colonne située à gauche de la fenêtre principale de Final Cut Server. Pour en savoir plus sur les Smart Searches, consultez « Création d’une Smart Search » à la page 72. Votre administrateur Final Cut Server peut personnaliser les champs de métadonnées de recherche avancée dans votre système Final Cut Server. Pour en savoir plus, contactez votre administrateur Final Cut Server. Cliquez sur Assets ou sur Productions pour choisir le type d’éléments à afficher. Le fait de cliquer sur une Smart Search choisit également le type d’éléments à afficher.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 55 Icônes de ressources Les ressources peuvent être marquées par des icônes qui les identifient. Ces icônes peuvent indiquer qu’une ressource est extraite, verrouillée et archivée ; elles identifient également le type de la ressource (par exemple fichier audio et fichier vidéo) et si les données d’une ressource de projet sont non reliées. Ces icônes sont utiles pour en savoir plus sur la ressource sans avoir à ouvrir sa fenêtre d’information. Pour obtenir la liste complète des icônes qui peuvent marquer une ressource, consultez le tableau des icônes de ressources dans « Affichages des sous-fenêtres Assets et Productions » à la page 19. Types de ressources Les ressources peuvent être réparties parmi trois catégories principales : les ressources média, les ressources de projet Final Cut Pro et les ressources de projet Final Cut Studio ou d’autres projets. Les ressources média sont créées lorsque des fichiers audio, vidéo, graphiques ou d’autres données sont téléchargés vers Final Cut Server. Les ressources de projet Final Cut Pro sont créées lorsque des projets Final Cut Pro sont téléchargés vers Final Cut Server. La fenêtre d’information des ressources de projet Final Cut Pro contient une sous-fenêtre Elements qui répertorie les ressources média utilisées par le fichier de projets Final Cut Pro. Les ressources de projet Final Cut Studio sont créées lorsque les fichiers de projet Motion, Soundtrack Pro et DVD Studio Pro sont téléchargés vers Final Cut Server. Contrairement aux ressources de projet Final Cut Pro, ces fichiers de projet exigent que vous organisiez manuellement les ressources média reliées du projet. (Notez qu’un projet Final Cut Studio et ses données peuvent être téléchargés sous forme de ressource regroupée ou de ressources individuelles.) Pour en savoir plus sur les ressources que vous pouvez télécharger vers Final Cut Server, consultez le chapitre 2, « Téléchargement de fichiers vers Final Cut Server », à la page 31.56 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server De nombreuses ressources affichent sur leur vignette une icône (vidéo, audio ou graphique, par exemple) ou un symbole d’application (fichiers de projet Final Cut Studio, par exemple). Ressource de projet Motion Ressource image Ressource vidéo Ressource audio Ressource Final Cut ProChapitre 3 Organisation et recherche dans le catalogue Final Cut Server 57 Vous pouvez également obtenir des informations sur une ressource au moyen de son type mime. Le type mime décrit le type d’informations contenues dans le fichier de représentation principale ou l’application dans laquelle le fichier de représentation principale a été créé. Vous pouvez rechercher un type mime donné ; si vous utilisez souvent cette recherche, vous pouvez l’enregistrer sous forme de Smart Search. Pour en savoir plus, consultez « Recherche dans Final Cut Server » à la page 66. Le type mime de cette ressource image est affiché ici. Le type mime de cette ressource de projet Final Cut Pro est affiché ici.58 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server À propos de la fenêtre Asset Info Chaque ressource du catalogue Final Cut Server comporte une fenêtre fournissant des informations détaillées sur la ressource. Les informations affichées dans une fenêtre d’information de ressource sont déterminées par le type de la ressource. Chaque fenêtre d’information de ressource contient des sousfenêtres d’information sur la ressource. Vous pouvez également effectuer de nombreuses commandes à partir du menu local Action de la fenêtre d’information de ressource. Pour ouvrir la fenêtre d’information d’une ressource, procédez de l’une des manières suivantes : m Double-cliquez sur la ressource dans la sous-fenêtre Assets ou dans une production. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Get Info dans le menu contextuel. Menu local Action Cliquez sur ces boutons pour afficher plus d’informations sur la ressource. Fenêtre d’information de ressource vidéoChapitre 3 Organisation et recherche dans le catalogue Final Cut Server 59 Outre les informations affichées dans les fenêtres d’information des autres ressources, une fenêtre d’information de ressource de projet Final Cut Pro affiche tous les éléments utilisés dans le projet Final Cut Pro. Organisation des ressources à l’aide de productions Les productions sont utilisées pour grouper des ressources et des projets Final Cut Pro associés. Vous pouvez créer des productions pour conserver toute combinaison de ressources et de projets ayant une signification dans votre flux de travaux. Remarque : une ressource peut être associée à une ou plusieurs productions. Fenêtre d’information de ressource de projet Final Cut Pro La sous-fenêtre Elements affiche toutes les données reliées du projet. Cliquez sur un bouton pour afficher plus d’informations sur la production. Chacune de ces ressources est contenue dans la production.60 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Pour créer une production : 1 Effectuez l’une des opérations suivantes :  Dans la sous-fenêtre Productions, cliquez sur le bouton New Production dans la barre d’outils. Une nouvelle production, vide, est créée.  Dans la sous-fenêtre Assets, sélectionnez une ou plusieurs ressources, puis cliquez sur le bouton « New Production from Selection » dans la barre d’outils. Une nouvelle production est créée, contenant les ressources sélectionnées. La fenêtre Production apparaît. 2 Dans le menu local Metadata Set, choisissez un ensemble de métadonnées pour la production. Cliquez sur le bouton New Production pour créer une nouvelle production. Le bouton New Production from Selection est disponible une fois que vous avez sélectionné une ou plusieurs ressources. Choisissez un ensemble de métadonnées.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 61 3 Selon les métadonnées choisies, plusieurs champs de métadonnées apparaissent. Saisissez dans ces champs des informations sur la production, notamment un titre et un état de priorité. Remarque : les champs marqués d’un astérisque (*) doivent être remplis. 4 Cliquez sur Save Changes. La fenêtre Production se ferme. Une fois que vous avez créé une production, celle-ci apparaît dans la sous-fenêtre Productions. Pour afficher la production que vous venez de créer : 1 Cliquez sur la Smart Search « Productions created by me » pour afficher la production que vous venez de créer. Un ensemble de métadonnées peut contenir plusieurs groupes de métadonnées. Nouvelle production Cliquez sur la Smart Search « Productions created by me » pour afficher la nouvelle production.62 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 2 Double-cliquez sur la production pour en afficher les détails. Vous pouvez ajouter une ressource à la production, depuis Final Cut Server ou lorsque vous téléchargez de nouveaux fichiers vers Final Cut Server. Pour ajouter une ressource à une fenêtre de production existante : m Faites glisser la ressource depuis la sous-fenêtre Assets vers la fenêtre de production ouverte. Pour ajouter une ressource média ou de projet à une production existante lors du téléchargement, procédez de l’une des manières suivantes : m Faites glisser la ressource média ou de projet directement du Finder vers une production. m Choisissez Upload File dans le menu local Server (le menu local dans la fenêtre principale de Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server), puis spécifiez une production à associer aux ressources dans la fenêtre Upload ou Multiple Upload. Lorsque le téléchargement est terminé, les ressources apparaissent dans la production que vous avez spécifiée. Veillez à cliquer sur le bouton Search, après avoir ajouté la ressource à la production, afin de réactualiser la sous-fenêtre Productions. Vous pouvez y faire glisser des ressources pour les ajouter à la nouvelle production. Cliquez sur Metadata pour afficher les métadonnées de la production.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 63 Une fois que vous avez ajouté une ressource à une production, Final Cut Server effectue le suivi de la ressource en tant que ressource reliée. Vous pouvez afficher les productions auxquelles une ressource est reliée en ouvrant la fenêtre d’information de la ressource et en cliquant sur Resources. La liste de productions auxquelles la ressource est reliée s’affiche en bas à droite de la fenêtre d’information de la ressource. Pour retirer une ressource d’une production : 1 Ouvrez la fenêtre d’information sur la production. 2 Sélectionnez la ressource que vous souhaitez retirer de la production. 3 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Remove from Production dans le menu contextuel. La ressource est retirée de la production. Cette ressource est reliée à deux productions. Cliquez sur Resources dans la fenê- tre d’information de la ressource. Choisissez Remove from Production dans le menu contextuel.64 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Pour supprimer une production : m Dans la sous-fenêtre Productions, cliquez, tout en maintenant la touche Contrôle enfoncée, sur la production que vous souhaitez supprimer, puis choisissez Delete dans le menu contextuel. La production est supprimée. Remarque : seule la production est supprimée. Si la production contenait des ressources, aucune ressource n’est supprimée dans la sous-fenêtre Assets. Veillez à cliquer sur le bouton Search après avoir supprimé la production afin de réactualiser la sous-fenêtre Productions. Utilisation de métadonnées pour organiser et rechercher des ressources Vous pouvez utiliser toutes les métadonnées de fichier reconnues par Final Cut Server pour organiser et rechercher des ressources. Vous pouvez également ajouter des métadonnées à propos de la ressource dans l’ensemble de métadonnées de cette dernière. Par exemple, vous pouvez créer un mot-clé, puis créer une recherche enregistrée dans Final Cut Server pour les ressources qui contiennent ce mot-clé. À propos des métadonnées de fichiers et de ressources Lorsque vous importez une ressource, elle comporte diverses métadonnées. Les métadonnées spécifiques apportées par un fichier dans Final Cut Server dépendent du type du fichier où se trouve la ressource et de l’application ou des applications avec lesquelles la ressource a été créée et modifiée. Certains types de ressources comportent des métadonnées standard, comme les métadonnées XMP ou EXIF. Après le téléchargement, les métadonnées peuvent être ajoutées à une ressource existante. Par exemple, des mots-clés peuvent être ajoutés pour identifier le projet ou la production dont la ressource fait partie. Toutes les métadonnées d’une ressource, pour le fichier et pour la ressource, sont affichées dans une fenêtre d’information de ressource. Cela comprend les métadonnées importées avec le fichier lors du téléchargement et les métadonnées ajoutées dans Final Cut Server. Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 65 Pour afficher les métadonnées d’une ressource : 1 Effectuez l’une des opérations suivantes :  Double-cliquez sur la ressource.  Cliquez sur la ressource, tout en maintenant la touche Contrôle enfoncée, puis choisissez Get Info dans le menu contextuel. 2 Cliquez sur le bouton Metadata. À propos des ensembles de métadonnées Final Cut Server comporte plusieurs ensembles de métadonnées. Les ensembles de métadonnées trient les nombreux champs de métadonnées contenus dans une ressource, y compris les métadonnées de projet et d’état de la ressource. Vous pouvez utiliser les diverses métadonnées d’un ensemble de métadonnées pour rechercher des ressources dans Final Cut Server, les trier et les identifier. Chaque ensemble de métadonnées dans Final Cut Server contient des champs de métadonnées spécifiques. Lors du téléchargement, les métadonnées de fichiers lisibles par Final Cut Server sont copiées et entrées dans tout champ de métadonnées correspondant dans l’ensemble de métadonnées que vous avez choisi pour la ressource. Il est important de comprendre que les ensembles de métadonnées ne contiennent pas toutes les métadonnées qu’un fichier de données peut comporter. Les métadonnées affichées dans la ressource sont influencées par deux facteurs : l’ensemble de métadonnées choisi pour la ressource, lors du téléchargement, et la méthode utilisée pour ajouter les métadonnées au fichier. Une ressource peut donc contenir des métadonnées qui ne sont pas affichées dans l’ensemble de métadonnées ou dans Final Cut Server. Si vous avez besoin d’ajouter à Final Cut Server des métadonnées qui ne sont pas actuellement importées par le téléchargement d’un fichier, contactez votre administrateur Final Cut Server. Une combinaison de métadonnées de fichiers et de ressources est affichée ici. Métadonnées de fichiers (utilisez la barre de défilement pour en voir davantage). Métadonnées de ressources. Dans la fenêtre d’information de la ressource, cliquez sur Metadata. Cette ressource comporte trois groupes de métadonnées.66 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Remarque : si vous avez ajouté des métadonnées à un fichier QuickTime au moyen des zones d’annotation QuickTime par défaut, ces métadonnées apparaissent dans le groupe de métadonnées QuickTime de l’ensemble de métadonnées Média. Vous devez attribuer l’ensemble de métadonnées de la ressource à Media pour afficher les informations d’annotation QuickTime ; si vous appliquez tout autre ensemble de métadonnées, les métadonnées QuickTime ne sont pas visibles dans la ressource Final Cut Server. Recherche dans Final Cut Server Vous pouvez effectuer des recherches dans les sous-fenêtres Assets et Productions de Final Cut Server. Vous pouvez également rechercher les périphériques disponibles et les tâches effectuées par Final Cut Server. Après avoir configuré une recherche, vous pouvez l’enregistrer et y accéder en un clic de souris. Remarque : une fois que vous avez saisi un terme de recherche, le champ de recherche conserve le dernier terme saisi. Il vous est donc facile de répéter la recherche que vous venez de saisir. Recherche simple Pour effectuer une recherche simple dans les sous-fenêtres Assets ou Productions de Final Cut Server, choisissez un type de recherche et saisissez un terme. Final Cut Server recherche ce terme dans chaque champ de métadonnées de chaque ressource ou production. La recherche n’est pas sensible au caractère. Dans le champ Simple Search, vous pouvez choisir deux types de recherche simple :  Choisissez Contains pour rechercher le terme que vous avez saisi dans un seul champ de métadonnée. Par exemple, si vous entrez le terme se, Final Cut Server recherche tous les termes comportant les caractères se, comme serein, dispose et dense, dans un seul champ de métadonnées.  Choisissez Matches Word pour rechercher un mot particulier dans chaque champ de métadonnées disponible. Les recherches Matches Word sont basées sur la recherche de radical, une procédure qui identifie la racine du mot, modifiée par les exigences grammaticales de l’anglais. Par exemple, la racine de work, works, worked, et working est work. Si vous saisissez le terme de recherche working, Final Cut Server tronque le terme à work, puis renvoie toutes les ressources contenant un terme de racine work dans les champs de métadonnées de la ressource. Remarque : lors d’une recherche de radical, les mots courants comme the, a, and et but sont ignorés. Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 67 Vous pouvez rendre des recherches simples plus précises à l’aide d’un délimiteur de recherche. Pour effectuer une recherche simple : 1 Dans la sous-fenêtre Assets ou Production, choisissez un type de recherche (Contains ou Matches Word) dans le menu local Search. 2 Saisissez un ou plusieurs termes dans le champ de recherche. Par exemple, si vous souhaitez rechercher un type mime donné, saisissez le type mime complet dans le champ de recherche. 3 Cliquez sur le bouton Search. Délimiteur de recherche Exemple Renvoie Termes de recherche multiples ouragan vent eau Ressources comportant les termes ouragan, vent et eau Termes de recherche entre guillemets « Ouragan Alma » Ressources contenant l’expression de recherche complète Ouragan Alma Terme de recherche négatif (-) « Ouragan -Alma » Ressources contenant le terme Ouragan (et sans le terme Alma) Cliquez ensuite sur Search. Choisissez un type de recherche dans le menu local. Saisissez un terme de recherche.68 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Chaque ressource contenant dans ses métadonnées le terme que vous avez saisi est renvoyée. Les résultats de la recherche sont affichés ici. Utilisez les boutons View, les menus locaux Sort et les boutons de navigation de page pour mieux trier les résultats de la recherche.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 69 Recherche avancée Lorsque vous cliquez pour ouvrir le triangle d’affichage de la recherche, les champs de recherche avancée s’affichent. Ces champs vous permettent de rechercher dans des champs de métadonnées spécifiques le ou les termes que vous saisissez. Les sous-fenêtres Assets et Productions comportent des champs de recherche avancée différents. Le menu local situé en regard de chaque champ de métadonnées fournit un filtre de recherche approprié. Un filtre de recherche trie les résultats de la recherche selon le critère du filtre. Champs de recherche avancée de la sous-fenêtre Assets. Champs de recherche avancée de la sous-fenêtre Productions.70 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Pour effectuer une recherche avancée : 1 Dans la sous-fenêtre Assets ou Productions, cliquez sur le triangle d’affichage pour afficher les termes de recherche avancée. 2 Saisissez un ou plusieurs termes ou valeurs de recherche dans le ou les champs de métadonnées dans lesquels vous souhaitez rechercher. 3 Cliquez sur le bouton Search. Les résultats de votre recherche sont affichés dans la partie principale de la fenêtre. Ouvrez le triangle d’affichage pour afficher les réglages de recherche avancée.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 71 Critères de filtre de texte Les critères de filtre de texte sont utilisés pour rechercher dans les champs de métadonnées Title, Filename, Location, Stored On, etc. Vous pouvez utiliser les filtres suivants pour rechercher dans ces champs de métadonnées : Critère de filtre de date Les critères de filtre de date sont utilisés pour rechercher dans les champs de métadonnées Creation Date, File Creation Date, Deadline et d’autres champs de métadonnées relatifs aux dates. Notez que le filtrage de date est relatif à l’heure à laquelle vous l’avez utilisé ; si vous créez une Smart Search en utilisant un filtre de date, la date de création de la Smart Search est retenue. Vous pouvez utiliser les filtres suivants pour rechercher dans ces champs de métadonnées : Filtre Définition All Renvoie tous les termes. Equals Renvoie uniquement le texte saisi. Not Equals Renvoie les ressources qui ne contiennent pas le texte saisi. Contains Renvoie toutes les ressources qui contiennent le texte saisi. Begins with Renvoie les ressources qui commencent par le texte saisi. Ends with Renvoie les ressources qui se terminent par le texte saisi. Matches Word Renvoie le mot entier. Any Of Renvoie au moins l’un des mots saisis dans le champ. Filtre Définition All Renvoie tous les nombres. Last 2 hours Renvoie toutes les ressources téléchargées ou modifiées dans les deux heures suivant la dernière recherche. Last 24 hours Renvoie toutes les ressources téléchargées ou modifiées dans les 24 heures suivant la dernière recherche. Last 7 days Renvoie toutes les ressources téléchargées ou modifiées dans les sept jours suivant la dernière recherche. Last 31 days Renvoie toutes les ressources téléchargées ou modifiées dans les 31 jours suivant la dernière recherche. Before Renvoie toutes les ressources modifiées avant la date saisie. After Renvoie toutes les ressources modifiées après la date saisie.72 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Création d’une Smart Search Si vous souhaitez enregistrer une recherche simple ou avancée que vous avez configurée, vous pouvez créer une Smart Search. Les Smart Searches sont utiles car vous pouvez les réutiliser. Remarque : une Smart Search est enregistrée uniquement pour l’utilisateur qui l’a créée. Elle n’est pas enregistrée pour les clients d’autres utilisateurs ou de l’administrateur Final Cut Server. Pour créer une Smart Search : 1 Après avoir configuré une recherche, cliquez sur le bouton « Save as Smart Search » dans l’angle inférieur droit de la fenêtre principale de Final Cut Server. La Smart Search apparaît dans la liste des Smart Searches dans la colonne située à gauche de la fenêtre. Elle s’intitule « Untitled » et elle est sélectionnée. 2 Saisissez le nom de la Smart Search, puis appuyez sur Retour. Une fois que vous avez cliqué sur « Save as Smart Search », une nouvelle Smart Search apparaît. La nouvelle Smart Search est ajoutée à la liste des Smart Searches par ordre alphabétique.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 73 Le nom de la recherche est enregistré dans Final Cut Server. Pour rechercher dans la sous-fenêtre Assets ou Productions à l’aide d’une Smart Search : m Cliquez sur une Smart Search dans la liste de la colonne située à gauche de la fenêtre principale de Final Cut Server. Les résultats de la recherche apparaissent dans la partie principale de la fenêtre. Une fois que vous avez créé une Smart Search, vous ne pouvez plus la modifier. Vous pouvez cependant supprimer une Smart Search à tout instant. Pour supprimer une Smart Search : m Cliquez sur la Smart Search tout en maintenant la touche Contrôle enfoncée, puis choisissez Delete dans le menu contextuel. La Smart Search est supprimée. Smart Searches de ressources Smart Searches de productions74 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Affichage des résultats d’une recherche Dans les sous-fenêtres Assets et Productions, vous pouvez afficher les résultats de votre recherche sous forme de vignettes ou de listes et modifier l’ordre d’affichage des éléments au moyen des boutons et des contrôles de la barre d’outils. Pour modifier l’affichage de votre sous-fenêtre Assets ou Productions (filtré ou non) : m Cliquez sur le bouton Thumbnail View ou le bouton List View. Pour modifier l’ordre d’affichage des éléments dans la sous-fenêtre Assets ou Productions : m Choisissez une option de tri dans le menu local Sort selon. Pour parcourir les pages des résultats de la recherche : m Utilisez les boutons de navigation de page pour passer à la page précédente ou suivante ou pour choisir d’afficher une autre page. Remarque : par défaut, 25 éléments sont affichés par page. Vous pouvez modifier ce nombre dans la fenêtre Preferences. Choisissez l’affichage Thumbnail View ou List View. Choisissez une option de tri dans ce menu local. Choisissez un ordre de tri (ascendant ou descendant). Parcourez les pages des résultats de la recherche. Choisissez une page spécifique de résultats de recherche.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 75 Suivi de l’état d’une ressource ou d’une production à l’aide de métadonnées Final Cut Server comporte plusieurs Smart Searches et ensembles de métadonnées par défaut, que vous pouvez utiliser pour déterminer l’état d’une ressource. L’ensemble de métadonnées Status, par exemple, a été conçu pour vous aider à suivre l’état des ressources et des productions dans Final Cut Server. Les ressources et les productions disposent d’un ensemble de champs de métadonnées Status légèrement différent. Pour en savoir plus sur le suivi de l’état des ressources et des productions, consultez « Utilisation de métadonnées Status pour le suivi des ressources et productions » à la page 147. Important : votre administrateur Final Cut Server peut avoir modifié les métadonnées Status ou d’autres métadonnées disponibles pour les ressources ou les productions, afin de répondre aux besoins du flux de travaux de votre organisation. Si vous avez des questions sur les métadonnées disponibles pour une ressource, contactez votre administrateur Final Cut Server. À mesure de la progression de votre travail, vous pouvez rechercher des ressources se trouvant dans une phase particulière de votre flux de travaux, en recherchant leurs métadonnées d’état ou d’autres métadonnées. Final Cut Server comporte plusieurs Smart Searches préconfigurées qui vous permettent de rechercher facilement les ressources modifiées récemment ou celles marquées Ready for Review dans le champ de métadonnées Status. Cliquez sur cette Smart Search pour afficher toutes les ressources dont l’état est défini sur Ready for Review.76 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Vous pouvez configurer votre propre recherche au moyen des options de recherche avancées. Par exemple, vous pouvez rechercher toutes les ressources dont le champ de métadonnées Status est défini sur In progress. Après avoir défini une recherche, vous pouvez l’enregistrer sous forme de Smart Search. La zone des ressources est mise en surbrillance pour indiquer que la configuration de recherche ne correspond pas à une Smart Search. Définissez le champ Status sur In progress pour rechercher ces ressources. Cliquez sur ce bouton pour enregistrer le réglage actuel de la recherche sous forme de Smart Search.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 77 Ajout et modification des métadonnées de ressources À mesure de la progression d’une ressource dans le flux de travaux de votre organisation, vous souhaitez peut-être ajouter ou modifier les métadonnées associées à cette ressource. Par exemple, lorsqu’une ressource a été modifiée et qu’elle est prête à être révisée par un client, vous pouvez définir son champ de métadonnées Status sur Ready for Review. Pour ajouter des métadonnées associées à une ressource ou pour les modifier : 1 Double-cliquez sur la ressource dans la sous-fenêtre Assets ou dans une production. 2 Dans la fenêtre d’information de la ressource, cliquez sur Metadata. 3 Choisissez un groupe de métadonnées à afficher. 4 Saisissez de nouveaux détails dans l’un des champs de métadonnées ou faites vos choix dans le menu local. 5 Lorsque vous avez terminé de modifier les métadonnées, cliquez sur Save Changes. Les modifications que vous avez apportées sont enregistrées. Veillez à cliquer sur le bouton Search après avoir mis à jour les métadonnées de ressources afin de réactualiser la sous-fenêtre Assets. Cliquez sur Metadata pour afficher les métadonnées de la ressource ou de la production. Cliquez sur un groupe de métadonnées à afficher. Lorsque vous avez apporté les modifications nécessaires, cliquez sur Enregistrer les modifications.78 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Recherche de périphériques et de tâches Deux fonctions de recherche avancée, Search Devices et Search All Jobs, sont disponibles dans le client Final Cut Server. Selon vos autorisations, ces recherches peuvent être disponibles ou non pour vous. Si vous avez des questions sur l’opportunité d’utiliser ces recherches, contactez votre administrateur Final Cut Server. Recherche de périphériques Si votre administrateur Final Cut Server vous y a autorisé, vous pouvez rechercher un fichier sur tout périphérique connecté à Final Cut Server. Cela vous permet d’examiner le contenu d’un périphérique, y compris les éléments qui n’ont pas été ajoutés au catalogue Final Cut Server. Les périphériques auxquels vous avez accès, en tant qu’utilisateur client, sont déterminés par votre administrateur Final Cut Server. Envisagez de consulter votre administrateur Final Cut Server avant de rechercher ou d’utiliser un fichier présent sur un périphérique. Pour rechercher dans un périphérique : 1 Choisissez Search Devices dans le menu local Server. Avertissement : utilisez la fenêtre Search Devices avec précaution. Lorsque vous recherchez dans un périphérique, vous recherchez des fichiers et non des ressources Final Cut Server. Les périphériques peuvent contenir des fichiers ajoutés ou non au catalogue Final Cut Server. À partir de la fenêtre Search Devices, vous pouvez ajouter un fichier de données à votre catalogue Final Cut Server et copier, supprimer et télécharger le fichier vers votre système local ; ces actions peuvent produire de multiples copies d’une ressource dans votre système serveur Final Cut Server ou supprimer toutes les copies d’un fichier sur un périphérique. Cliquez sur le bouton Server. Choisissez Search Devices dans le menu local.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 79 2 Dans la fenêtre Search Devices qui s’affiche, choisissez le périphérique où effectuer la recherche dans le menu local Device. 3 Cliquez sur le bouton Search pour rechercher à partir de la racine du périphérique. Vous pouvez également cliquer sur le bouton Choose pour ouvrir une zone de dialogue vous permettant de préciser un dossier dans lequel effectuer la recherche. 4 Si vous souhaitez restreindre la recherche, saisissez un terme dans le champ de recherche ou cliquez sur le triangle d’affichage de la recherche pour afficher des options de recherche avancée. Important : veillez à entrer des mots entiers dans le champ de recherche. Contrairement au champ de recherche de la fenêtre principale de Final Cut Server, le champ de recherche de Search Devices ne renvoie pas de mots entiers si vous recherchez une partie de mot. Par exemple si vous souhaitez rechercher toutes les ressources contenant le mot image, vous devez rechercher le mot entier. Si vous recherchez uniquement ima, seules les ressources comportant les caractères ima sont trouvées et le mot image n’est pas trouvé. 5 Cliquez sur le bouton Search. Une fois que vous avez sélectionné un ou plusieurs éléments, vous pouvez choisir d’effectuer les actions suivantes en cliquant, tout en maintenant la touche Contrôle enfoncée, sur le nom du fichier dans la liste des résultats de la recherche, puis en choisissant l’une de ces options dans le menu contextuel :  Catalog asset : ajoute le fichier au catalogue Final Cut Server.  Get Info : affiche une fenêtre d’information qui résume les informations et les métadonnées du fichier.  View : affiche le fichier dans l’application appropriée (souvent l’emplacement où le fichier a été créé).  Export : exporte le fichier.  Duplicate : duplique le fichier.  Delete : supprime le fichier du périphérique.80 Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server Searching Devices Final Cut Server utilise des tâches pour effectuer des actions telles que le téléchargement et le transcodage de fichiers. À l’aide de la fenêtre Search All Jobs, vous pouvez rechercher une tâche donnée s’exécutant ou ayant été exécutée sous Final Cut Server. À propos des tâches Final Cut Server utilise des tâches pour certaines opérations. Le nombre de tâches qui s’exécutent dépend du type d’action effectué. Voici quelques exemples de tâches :  La copie d’un fichier d’un emplacement à un autre exécute une tâche.  La création d’une nouvelle ressource exécute des tâches pour effectuer la copie initiale, puis pour créer la ressource.  L’analyse d’une ressource utilise plusieurs tâches pour créer les fichiers de proxy de la ressource. Chaque tâche crée plusieurs entrées d’historique pour chaque étape de l’opération. Si vous souhaitez contrôler les tâches Final Cut Server en cours d’exécution, vous pouvez ouvrir la fenêtre Jobs. Vous pouvez y rechercher une tâche spécifique, puis afficher ses détails. Pour rechercher une ou plusieurs tâches spécifiques : 1 Choisissez Search All Jobs dans le menu local Server (le menu local de la fenêtre principale de Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server). Choisissez Search All Jobs dans le menu local. Cliquez sur le bouton Server.Chapitre 3 Organisation et recherche dans le catalogue Final Cut Server 81 La fenêtre Search All Jobs apparaît. 2 Saisissez vos critères de recherche de l’une des manières suivantes :  Saisissez un mot ou une valeur dans le champ de recherche.  Cliquez sur le triangle d’affichage de la recherche pour afficher les options de recherche avancée. Choisissez un délimiteur dans le menu local, puis saisissez une valeur dans un ou plusieurs champs de recherche. 3 Lorsque vous avez saisi vos critères de recherche de tâches, cliquez sur le bouton Search. Les tâches qui correspondent à vos critères de recherche apparaissent dans la partie principale de la fenêtre. N’oubliez pas que les résultats de vos recherches peuvent couvrir plusieurs pages ; vous pouvez naviguer dans les résultats au moyen des commandes de page situés à droite de la fenêtre. 4 83 4 Utilisation de Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  Actions du client Final Cut Server (p. 84)  À propos de la fenêtre Asset Info (p. 85)  Affichage d’une ressource (p. 89)  Ajout de versions pour une ressource média ou de projet (p. 91)  Verrouillage et déverrouillage d’une ressource (p. 94)  Écriture d’annotations sur une ressource vidéo (p. 99)  Duplication d’une ressource (p. 103)  Utilisation de la fonction Edit-in-place (p. 104)  Monitoring des tâches (p. 104)  Définition des préférences du client Final Cut Server (p. 107) Ce chapitre explique comment utiliser tous les types de ressources dans le client Final Cut Server. Il explique comment interpréter les informations contenues dans la fenêtre d’information d’une ressource média ou d’un projet. Il inclut également des descriptions de toutes les actions disponibles dans Final Cut Server.84 Chapitre 4 Utilisation de Final Cut Server Actions du client Final Cut Server Cette rubrique offre une vue d’ensemble des actions que vous pouvez effectuer à partir de la barre d’outils, des menus contextuels et d’autres emplacements dans le client Final Cut Server. Ce tableau décrit les différentes actions que vous pouvez effectuer dans Final Cut Server : Action Description Get Info Fournit des informations et des métadonnées pour la ressource sélectionnée. Pour en savoir plus, consultez « À propos de la fenêtre Asset Info » à la page 85. View Affiche la ressource dans un visualiseur multimédia approprié ; l’application d’affichage pourrait être QuickTime Player, Preview ou une autre application média. Pour en savoir plus sur l’affichage d’une ressource, consultez « Affichage d’une ressource » à la page 89. Add to Cache Ajoute une copie de la ressource sur le cache de l’ordinateur local. C’est la première étape de plusieurs opérations dans Final Cut Server. Pour en savoir plus, consultez « À propos de la mise en cache » à la page 109. Check In/Check Out/Cancel Check Out Extraire la ressource vous permet de modifier la représentation principale suivie par la ressource et empêche cette dernière d’être modifiée par tous les autres utilisateurs. Pour en savoir plus sur l’extraction d’une ressource média, consultez « Extraction, modification et réintégration d’une ressource média » à la page 111. Pour en savoir plus sur l’extraction d’un projet Final Cut Pro, consultez « Extraction d’un projet Final Cut Pro » à la page 124. Pour en savoir plus sur l’extraction d’une ressource de projet Final Cut Studio ou sur l’extraction d’une ressource regroupée, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Prepare for Disconnected Use Crée des copies d’alias des ressources média. Vous pouvez utiliser cette action pour créer des copies de ressources vidéo, puis utiliser ces ressources pour créer un nouveau projet Final Cut Pro tandis que vous êtes déconnecté du réseau Final Cut Server. Pour toute information complémentaire sur l’utilisation d’un projet Final Cut Pro existant lorsque vous n’êtes pas connecté au réseau Final Cut Server, consultez « Utilisation de projets Final Cut Pro endehors du réseau Final Cut Server » à la page 130. Chapitre 4 Utilisation de Final Cut Server 85 À propos de la fenêtre Asset Info Lorsque vous double-cliquez sur une ressource dans la sous-fenêtre Assets ou depuis le contenu une production, la fenêtre d’information de la ressource apparaît. Final Cut Server utilise les informations contenues dans la fenêtre d’information pour suivre et gérer la ressource. Lock/Unlock Empêche les autres utilisateurs de modifier le fichier contenu dans la ressource. Pour en savoir plus sur le verrouillage, consultez « Verrouillage et déverrouillage d’une ressource » à la page 94. Archive to/Restore L’archivage d’une ressource crée une copie de la ressource pouvant être restaurée. Pour en savoir plus sur l’archivage, consultez « Archivage et restauration de ressources média » à la page 162. New Production from Selection Crée une nouvelle production pour la ou les ressources sélectionnées. Pour en savoir plus, consultez « Organisation des ressources à l’aide de productions » à la page 59. Duplicate Crée une copie d’une ressource. Pour en savoir plus, consultez « Duplication d’une ressource » à la page 103. Export Crée une copie de la ressource sur le système de fichiers local ou sur un volume externe. Pour en savoir plus, consultez « Sortie d’un projet final » à la page 159. Delete Supprime la ressource, son fichier de représentation principale et tous ses fichiers proxy du catalogue Final Cut Server. Pour en savoir plus, consultez « Suppression de ressources Final Cut Server » à la page 164. Action Description Les icônes affichées dans la sous-fenêtre Assets apparaissent également dans la fenêtre d’information de la ressource individuelle. Cliquer sur n’importe lequel de ces boutons affiche des informations spé- cifiques sur la ressource.86 Chapitre 4 Utilisation de Final Cut Server À propos des fenêtres Media Asset Les fenêtres d’information de la ressource média contiennent des sous-fenêtres destinées aux informations relatives aux métadonnées, aux ressources, aux versions, aux verrous, ainsi qu’à la fonction Review and Approve.  Sous-fenêtre Metadata : cette sous-fenêtre affiche les métadonnées pour la ressource et son fichier de représentation principale. Vous pouvez mettre à jour n’importe quel champ de cette sous-fenêtre en saisissant du texte ou une valeur, puis en cliquant sur le bouton Save Changes.  Sous-fenêtre Resources : cette sous-fenêtre affiche les informations sur les fichiers de représentation principale et les fichiers proxy créés pour la ressource. Elle affiche également d’autres emplacements où la ressource est utilisée et d’autres ressources auxquelles celle-ci est reliée. Chapitre 4 Utilisation de Final Cut Server 87  Sous-fenêtre Versions : cette sous-fenêtre affiche différentes versions créées pour la ressource. Pour en savoir plus sur la création de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91.  Sous-fenêtre Locks : cette sous-fenêtre affiche les informations sur tout verrou sur la ressource. Pour en savoir plus sur les verrous, consultez « Verrouillage et déverrouillage d’une ressource » à la page 94.88 Chapitre 4 Utilisation de Final Cut Server  Sous-fenêtre Review and Approve : si votre administrateur Final Cut Server a configuré la fonction Review and Approve, la sous-fenêtre Review & Approve est utilisée pour l’envoi de courriers de notification de révision. Votre administrateur Final Cut Server doit configurer cette fonction pour qu’elle fonctionne correctement. Pour en savoir plus sur la fonction Review and Approve, consultez « À propos de la fonction Review and Approve » à la page 152. La fenêtre d’information d’une ressource média contient également un bouton Refresh, que vous pouvez utiliser pour mettre à jour la fenêtre d’information de la ressource, ainsi qu’un menu local Action, qui contient les actions les plus courantes. La fenêtre d’information d’une ressource vidéo contient également un bouton Annotations, qui ouvre la fenê- tre Annotations. Les ressources vidéo disposent d’un bouton Annotations. Menu local Action Bouton RefreshChapitre 4 Utilisation de Final Cut Server 89 À propos des fenêtres d’information du projet Final Cut Pro Une fenêtre d’information pour les projets Final Cut Pro diffère légèrement des fenêtres pour les autres types de ressources. Son menu local Action ne dispose pas de tous les éléments du menu local Action pour les autres types de ressources car certaines actions ne peuvent pas être effectuées sur une ressource Final Cut Pro. Elle contient également une sous-fenêtre supplémentaire, la sous-fenêtre Elements. Les éléments du projet Final Cut Pro sont des représentations des plans utilisés dans le projet Final Cut Pro. Final Cut Server crée les éléments à partir des ressources média créées lorsque le projet Final Cut Pro est téléchargé du Final Cut Server. Pour en savoir plus sur les éléments, consultez « Téléchargement de projets Final Cut Pro » à la page 39. Affichage d’une ressource Vous pouvez afficher plusieurs ressources vidéo, audio et image. Pour les ressources vidéo et image, vous pouvez choisir d’afficher les données d’origine du fichier ou l’un des nombreux fichiers proxy. Une fois que vous avez choisi un type de fichiers à afficher, il s’ouvre dans QuickTime Player ou dans une autre application appropriée (il peut s’agir de l’application dans laquelle le fichier a été créé). Remarque : n’oubliez pas que Final Cut Server ne peut pas prévisualiser les ressources regroupées, Final Cut Pro ou d’autres fichiers du projet. La sous-fenêtre Elements affiche les éléments qui font partie du projet Final Cut Pro. Fenêtre d’information de la ressource du projet Final Cut Pro.90 Chapitre 4 Utilisation de Final Cut Server Pour afficher une ressource, procédez de l’une des manières suivantes : m Cliquez sur l’icône média dans la vignette de la ressource. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez View et un format d’affichage dans le menu contextuel. La ressource sélectionnée apparaît dans une application d’affichage appropriée. Le plan vidéo illustré dans cet exemple apparaît dans QuickTime Player. Lorsque vous affichez une image, l’image en taille réelle apparaît. Toutes les informations et les métadonnées d’un fichier de données et de sa ressource sont affichées dans la fenêtre d’information de la ressource. Cliquez sur l’icône d’une ressource pour l’afficher.Chapitre 4 Utilisation de Final Cut Server 91 Ajout de versions pour une ressource média ou de projet Final Cut Server peut suivre une ressource lorsque vous la modifiez, fournissant une version pour chaque modification apportée à la représentation principale de chaque fichier. Si votre administrateur Final Cut Server a activé le contrôle de versions de ressource au cours du processus d’installation, il est possible que votre système soit déjà en train de créer des versions pour les ressources à mesure que vous les extrayez, puis les réintégrez. Vous pouvez voir si le contrôle de versions est activé pour une ressource en affichant la sous-fenêtre Versions dans la fenêtre d’information de la ressource. Lorsque la fonction de contrôle de versions est activée, vous pouvez afficher les versions d’une ressource dans la fenêtre d’information d’une ressource. Lorsque vous réintégrez une version mise à jour de la ressource, la version précédente apparaît dans la liste des versions. Final Cut Server numérote les versions dans leur ordre de création ; par conséquent, la version présentant le numéro le plus élevé est la version la plus récente de la ressource. Remarque : la version actuelle de la ressource n’apparaît pas dans la liste. Seule la version antérieure apparaît. Important : lorsque la fonction de contrôle de versions est activée pour une ressource, Final Cut Server crée une copie de chaque version qui est réintégrée. Avant d’activer Final Cut Server pour le suivi des versions d’une ressource, vérifiez que vous disposez de l’espace disque suffisant. Si vous avez des questions sur l’activation de la fonction de contrôle de versions pour une ressource particulière, contactez votre administrateur Final Cut Server. La case de la version est cochée, ce qui indique que le contrôle de versions est activé pour cette ressource. Trois versions existent pour cette ressource.92 Chapitre 4 Utilisation de Final Cut Server Pour vérifier que le contrôle de versions est activé pour une ressource : 1 Double-cliquez sur la ressource. 2 Cliquez sur le bouton Versions. 3 Si la case « Store and track versions of this asset » n’est pas cochée, faites-le. Pour extraire et modifier la ressource : 1 Sélectionnez la ressource, puis procédez de l’une des manières suivantes :  Cliquez sur le bouton Check Out de la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 2 Dans la fenêtre Check Out qui apparaît, saisissez un emplacement d’extraction, puis cliquez sur Check Out. 3 Modifiez la ressource. 4 Une fois la modification terminée, enregistrez la ressource. Pour réintégrer la ressource modifiée en tant que nouvelle version : 1 Sélectionnez la ressource, puis procédez de l’une des manières suivantes :  Cliquez sur le bouton Check In de la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. 2 Si vous le souhaitez, vous pouvez ajouter un commentaire dans le champ Version Comment de la fenêtre Check In qui apparaît. Cochez la case Versions pour pouvoir créer des versions pour cette ressource. Cliquez sur Versions pour activer les versions pour cette ressource. Chapitre 4 Utilisation de Final Cut Server 93 3 Cliquez sur le bouton Check In. Lorsque vous réintégrez une version mise à jour de la ressource, la version précédente apparaît dans la liste des versions. Important : vous ne verrez pas le commentaire que vous venez d’ajouter à la version réintégrée étant donné qu’il s’agit de la version actuelle et que la sous-fenêtre Versions affiche uniquement les versions antérieures. Lorsque vous cliquez sur une version tout en maintenant la touche Contrôle enfoncée dans la sous-fenêtre Versions, le menu contextuel qui apparaît inclut :  Get Info : sélectionnez cette option pour afficher les informations relatives à la version.  View : sélectionnez cette option pour afficher la version dans un visualiseur approprié.  New Asset from Version : cliquez sur cette option pour créer une nouvelle ressource à partir de la version ou pour copier la version sélectionnée d’une ressource sur un autre périphérique.  Revert to this Version : cliquez sur cette option pour supprimer les ressources créées après la version sélectionnée. Lorsque vous revenez à une version précédente, la version actuelle est remplacée par la version sélectionnée. Votre administrateur Final Cut Server a configuré la fonction de contrôle de versions pour répondre aux besoins de votre organisation. Pour obtenir plus d’informations sur d’autres manières de configurer le contrôle de versions, contactez votre administrateur Final Cut Server. Cliquez sur une version tout en maintenant la touche Contrôle enfoncée pour ouvrir un menu contextuel.94 Chapitre 4 Utilisation de Final Cut Server Verrouillage et déverrouillage d’une ressource Dans Final Cut Server, les verrous servent à protéger le fichier de représentation principale, les fichiers proxy et les métadonnées dans la ressource. Il existe plusieurs types de verrous. Le verrou User est le plus évident car c’est le seul verrou que vous appliquez manuellement. Le verrou User est appliqué à une ressource depuis la barre d’outils ou depuis le menu contextuel de la ressource. Vous pouvez savoir qu’une ressource est verrouillée lorsque vous voyez l’icône locked by me ou locked by other sur la vignette d’une ressource. Les verrous d’extraction et de référence ne sont pas appliqués manuellement. Ils sont appliqués lorsque vous extrayez une ressource du projet Final Cut Pro. Les rubriques suivantes décrivent les types de verrous que vous rencontrez dans Final Cut Server. L’icône de verrou jaune indique que vous avez verrouillé la ressource. Sélectionnez une ressource, puis cliquez sur le bouton Lock pour verrouiller ou déverrouiller une ressource. Une icône de verrou blanc indique qu’une autre personne a verrouillé une ressource.Chapitre 4 Utilisation de Final Cut Server 95 Verrou User Vous-même ou un autre utilisateur pouvez mettre un verrou User sur une ressource en cliquant sur le bouton Lock de la barre d’outils ou en choisissant Lock dans le menu contextuel de la ressource. Lorsqu’un verrou User est appliqué à une ressource, une icône de verrou (« locked by me » ou « locked by other ») apparaît sur la vignette de la ressource. En outre, le verrou qui était appliqué est noté en tant que verrou User dans la sous-fenêtre Locks de la fenêtre d’information de la ressource. Lorsque vous verrouillez la ressource, la représentation principale du fichier ne peut pas être modifiée, extraite, supprimée ou archivée par un autre utilisateur. Important : un verrou User ne vous empêche pas, vous ou un autre utilisateur, de modifier les métadonnées et les fichiers proxy de la ressource. Remarque : lorsque vous verrouillez une ressource, vous êtes la seule personne à pouvoir l’extraire correctement. Si une ressource est à la fois verrouillée manuellement et extraite, elle est verrouillée avec un verrou d’extraction et un verrou User. Si une autre personne que celle qui a verrouillé la ressource tente de l’extraire, l’extraction échoue. Verrou Checkout Un verrou d’extraction est appliqué lorsqu’une ressource est extraite par vous ou par un autre utilisateur. Lorsqu’une ressource est extraite, aucune partie de la ressource, notamment la représentation principale du fichier, les fichiers proxy ou les métadonnées, ne peut être modifiée ; de plus, la ressource ne peut pas être modifiée, extraite, supprimée ou archivée. La sous-fenêtre Locks affiche les détails du verrou. Le type de verrou montre qu’il s’agit d’un verrou d’extraction.96 Chapitre 4 Utilisation de Final Cut Server Pour en savoir plus sur l’extraction d’une ressource média, consultez « Extraction, modification et réintégration d’une ressource média » à la page 111. Pour en savoir plus sur l’extraction d’un projet Final Cut Pro, consultez « Extraction d’un projet Final Cut Pro » à la page 124. Consultez également Verrou de référence, ci-après. Pour en savoir plus sur l’extraction d’une ressource du projet Final Cut Studio, consultez le chapitre 7, « Utilisation de projets Final Cut Studio », à la page 135. Verrou de référence Lorsqu’une ressource du projet Final Cut Pro est extraite, la ressource du projet est verrouillée à l’aide d’un verrou Checkout. Outre le verrou Checkout, chacune des ressources média reliées au projet est verrouillée à l’aide d’un verrou de référence. Les verrous de réfé- rence ne sont pas indiqués sur la vignette de la ressource média ; vous pouvez uniquement trouver une preuve de verrou de référence dans la sous-fenêtre Locks de la fenêtre d’information de la ressource. Important : un verrou de référence n’empêche pas la modification des métadonnées du projet Final Cut Pro ou d’une ressource média par vous-même ou par un autre utilisateur ; il n’empêche pas non plus l’utilisation d’une ressource média dans un autre projet Final Cut Pro. Verrouillage et déverrouillage de ressources à l’aide d’un verrou User Cette rubrique explique comment verrouiller et déverrouiller une ressource à l’aide du verrou User. Seule la personne qui a verrouillé la ressource et votre administrateur Final Cut Server peuvent déverrouiller une ressource verrouillée. Si vous devez accéder à une ressource verrouillée, parlez-en à la personne qui l’a verrouillée ou à votre administrateur Final Cut Server. Le type de verrou montre qu’il s’agit d’un verrou de référence. Notez que rien n’indique que cette ressource est verrouillée.Chapitre 4 Utilisation de Final Cut Server 97 Pour appliquer un verrou User à une ressource, procédez de l’une des manières suivantes : m Sélectionnez la ressource dans la sous-fenêtre Assets, puis cliquez sur le bouton Lock de la barre d’outils. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Lock dans le menu contextuel. Une fois la ressource verrouillée, une icône de verrou apparaît sur la ressource, indiquant qu’elle est verrouillée. Dans d’autres clients Final Cut Server, l’icône de verrou est différente, indiquant qu’un autre utilisateur a verrouillé la ressource. Si vous préférez, vous pouvez cliquer sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisir Lock dans le menu contextuel. Sélectionnez la ressource, puis cliquez sur le bouton Lock. Le verrou jaune indique que vous avez verrouillé la ressource. Le verrou blanc indique qu’un autre utilisateur a verrouillé la ressource.98 Chapitre 4 Utilisation de Final Cut Server Pour déverrouiller une ressource que vous avez verrouillée, procédez de l’une des manières suivantes : m Sélectionnez la ressource dans la sous-fenêtre Assets, puis cliquez sur le bouton Unlock de la barre d’outils. m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Unlock dans le menu contextuel. L’icône disparaît et la ressource est déverrouillée. Si une ressource est verrouillée par un autre utilisateur, vous pouvez ouvrir la fenêtre d’information de cette ressource et afficher la sous-fenêtre Locks pour savoir quel utilisateur l’a verrouillée. Sélectionnez la ressource, puis cliquez sur le bouton Unlock. Si vous préférez, vous pouvez cliquer sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisir Unlock dans le menu contextuel. Le champ Locked By affiche qui a verrouillé la ressource. Cette icône indique que cette ressource est verrouillée par une autre personne.Chapitre 4 Utilisation de Final Cut Server 99 Écriture d’annotations sur une ressource vidéo Vous pouvez ajouter des annotations à une ressource vidéo. Dans la fenêtre Annotations, vous pouvez afficher un plan vidéo, puis ajouter du texte à différents endroits du plan vidéo. Les annotations restant avec la ressource du plan dans Final Cut Server, elles sont utiles pour prendre des notes pour vous-même ou pour d’autres personnes de votre groupe de travail. Vous pouvez facilement afficher ces annotations dans Final Cut Server. Elles restent avec la ressource jusqu’à ce que vous les effaciez manuellement. Pour annoter une ressource vidéo : 1 Localisez la ressource vidéo que vous souhaitez annoter dans la sous-fenêtre Assets, dans une production ou dans la sous-fenêtre Elements de la ressource du projet Final Cut Pro. 2 Double-cliquez sur la ressource du plan pour afficher la fenêtre d’information de la ressource. 3 Cliquez sur le bouton Annotate dans la fenêtre d’information de la ressource. Fenêtre du visualiseur. Ajoutez des annotations ici. Annotations saisies. Cliquez sur le bouton Annotate de la fenêtre d’information d’une ressource vidéo.100 Chapitre 4 Utilisation de Final Cut Server La fenêtre Annotations apparaît. Vous devez marquer un point d’entrée ou un point de sortie pour chaque annotation. 4 Positionnez la tête de lecture au niveau du point d’entrée, en la faisant glisser ou en utilisant les commandes de navigation. Cliquez ensuite sur le bouton Mark In ou appuyez sur I sur votre clavier. Vous pouvez définir un point de sortie en suivant la même procédure. Important : les commandes du clavier ne sont pas disponibles lorsque le champ Annotation est actif. Cela vous permet de saisir des annotations dans le champ. Cliquez sur ce bouton pour ouvrir la fenêtre d’information de la ressource. Faites glisser ce curseur pour localiser des images de vidéos. Cliquez sur les boutons Mark In et Mark Out (ou appuyez sur la touche I ou O de votre clavier) pour marquer des points d’entrée et de sortie. Utilisez ces commandes pour lire et parcourir la vidéo.Chapitre 4 Utilisation de Final Cut Server 101 5 Saisissez un commentaire dans le champ Annotation, sous la fenêtre du visualiseur. 6 Pour ajouter l’annotation à la liste des annotations à droite, cliquez sur le bouton Add Annotation. L’annotation est ajoutée à la liste. Pour remplacer le texte d’une annotation existante : 1 Cliquez sur le bouton In Point ou le bouton Out Point dans la liste des annotations. 2 Dans le champ de texte Annotation, saisissez le nouveau texte pour l’annotation. 3 Cliquez sur Add Annotation. 4 Une zone de dialogue apparaît, vous demandant si vous souhaitez remplacer l’annotation. Cliquez sur Yes. L’annotation est remplacée. Cliquez sur le bouton Add Annotation pour enregistrer l’annotation. Annotation. Points d’entrée et de sortie associés à l’annotation. L’annotation que vous venez d’ajouter apparaît dans cette liste. Bouton In Point. Bouton Out Point.102 Chapitre 4 Utilisation de Final Cut Server Pour supprimer une ou plusieurs annotations sélectionnées de la liste des annotations : 1 Sélectionnez une ou plusieurs annotations que vous souhaitez supprimer. 2 Cliquez sur l’annotation tout en maintenant la touche Contrôle enfoncée, puis choisissez Delete Selected dans le menu contextuel. La ou les annotations sélectionnées sont supprimées. Pour supprimer toutes les annotations sur une ressource : 1 Sélectionnez toute annotation que vous souhaitez supprimer. 2 Cliquez sur l’annotation tout en maintenant la touche Contrôle enfoncée, puis choisissez Delete All dans le menu contextuel. 3 Une zone de dialogue apparaît, vous demandant de confirmer que vous souhaitez supprimer les annotations. Cliquez sur Yes. Toutes les annotations sont supprimées. Vous pouvez également cliquer sur le bouton Delete pour supprimer une seule annotation. Cliquez sur une annotation tout en maintenant la touche Contrôle enfoncée pour ouvrir ce menu contextuel.Chapitre 4 Utilisation de Final Cut Server 103 Duplication d’une ressource Choisir de dupliquer une ressource crée une copie de la ressource dans Final Cut Server. Si vous souhaitez créer deux itérations distinctes d’une ressource média ou de projet, vous pouvez facilement le faire en dupliquant la ressource. Pour dupliquer une ressource : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis choisissez Duplicate dans le menu contextuel. La fenêtre Duplicate apparaît. 2 Sélectionnez un périphérique de destination dans le menu local Destination. Si vous souhaitez placer le fichier dupliqué au sein de la structure de fichiers du périphérique, cliquez sur le bouton Choose et naviguez jusqu’à l’emplacement approprié de l’explorateur de fichiers. Le chemin d’accès au fichier de destination apparaît dans le champ Destination. 3 Si vous souhaitez associer la nouvelle ressource à une production, cliquez sur le bouton Choose à la droite de Production, sélectionnez une production, puis cliquez sur Open. La production sélectionnée apparaît dans le champ Associate with Production. 4 Si vous souhaitez transcoder la ressource, modifier l’ensemble de métadonnées ou ajouter des métadonnées à la ressource, cliquez sur le triangle d’affichage Advanced Options et procédez aux modifications nécessaires. 5 Cliquez sur le bouton Duplicate pour dupliquer le fichier et créer une nouvelle ressource.104 Chapitre 4 Utilisation de Final Cut Server Utilisation de la fonction Edit-in-place Votre administrateur Final Cut Server peut configurer la fonction Edit-in-place et créer des copies des ressources pour la modification directe sur un serveur Xsan ou sur d’autres emplacements de stockage partagés. Lorsque la fonction Edit-in-place est configurée, vous n’avez plus besoin de télécharger, de mettre en cache ou d’extraire la ressource ; à la place, vous pouvez faire glisser votre ressource directement depuis le catalogue de ressources vers une application pour la modification. Important : la fonction Edit-in-place doit être configurée par votre administrateur Final Cut Server. Contactez votre administrateur pour savoir si la fonction Edit-in-place est configurée avant d’essayer de l’utiliser. Monitoring des tâches Les fichiers sont constamment en cours de téléchargement par Final Cut Server. L’indicateur de progression des tâches, la fenêtre Downloads & Uploads et la fenêtre Search All Jobs affichent des informations sur la progression des fichiers en cours de téléchargement à partir de ou vers Final Cut Server. Indicateur Jobs in Progress L’indicateur Jobs in Progress apparaît dans le coin inférieur gauche de la fenêtre principale Final Cut Server lorsque les fichiers sont téléchargés. Il ressemble à un engrenage en rotation et indique qu’un certain nombre de tâches sont en cours. Indicateur Jobs in Progress. Cliquez sur ce bouton pour afficher la fenêtre Downloads & Uploads.Chapitre 4 Utilisation de Final Cut Server 105 Fenêtre Downloads & Uploads Pour en savoir plus sur les fichiers en cours de téléchargement, vous pouvez ouvrir la fenê- tre Downloads & Uploads, qui affiche les fichiers spécifiques en cours de téléchargement, ainsi que les informations relatives à leur état propre. Remarque : la fenêtre Downloads & Uploads n’affiche pas de détails sur les fichiers qui sont transcodés pour la création de fichiers proxy. Vous pouvez voir les détails relatifs au transcodage de ces fichiers dans la fenêtre Search All Jobs. Pour ouvrir la fenêtre Downloads & Uploads : m Cliquez sur le bouton Downloads et Uploads dans le coin inférieur gauche de la fenêtre principale Final Cut Server. Remarque : en cas d’échec d’un téléchargement, une icône d’erreur apparaît dans la fenêtre Downloads & Uploads. Vous devez effacer les tâches répertoriées dans cette fenêtre pour faire disparaître cette icône. Pour effacer les tâches répertoriées dans la fenêtre Downloads & Uploads : m Cliquez dans le coin inférieur gauche de la fenêtre Downloads & Uploads. Fenêtre Search All Jobs Vous pouvez obtenir des informations détaillées sur chacun des fichiers en cours de téléchargement dans la fenêtre Search All Jobs. À la différence de la fenêtre Downloads & Uploads, la fenêtre Search All Jobs contient un historique détaillé des tâches exécutées par Final Cut Server. Les tâches sont affichées pour la copie d’un fichier d’un emplacement vers un autre, le téléchargement de fichiers, la création de fichiers proxy de la nouvelle ressource, etc. Chaque tâche crée également plusieurs entrées d’historique pour chaque étape de l’opération. Pour limiter les tâches affichées dans la fenêtre Jobs, vous pouvez effectuer une recherche dans la fenêtre Jobs. Ouvrez le triangle d’affichage pour afficher les fichiers faisant partie d’une tâche.106 Chapitre 4 Utilisation de Final Cut Server Pour rechercher une ou plusieurs tâches spécifiques : 1 Choisissez Search All Jobs dans le menu local Server. La fenêtre Search All Jobs apparaît. 2 Saisissez vos critères de recherche en procédant de l’une des manières suivantes :  Saisissez un mot ou une valeur dans le champ de recherche et limitez la recherche aux fichiers contenant le terme de recherche dans leur titre à l’aide de l’option Contains (more results) ou aux fichiers correspondant exactement au terme de recherche à l’aide de l’option Matches Word (faster).  Cliquez sur le triangle d’affichage de recherche pour afficher les options de recherche avancée. Choisissez un limiteur dans le menu local et saisissez une valeur dans un ou plusieurs champs de recherche. 3 Lorsque vous avez saisi les critères de recherche des tâches, cliquez sur le bouton Search. Les tâches correspondant à vos critères de recherche sont répertoriées dans la fenêtre Search All Jobs. N’oubliez pas que vos résultats de recherche peuvent s’étendre sur plusieurs pages ; vous pouvez parcourir les résultats de recherche à l’aide des commandes de page, tout à droite. Choisissez Search All Jobs dans le menu local. Cliquez sur le bouton Server. Cliquez sur ce bouton pour voir les options de recherche avancée. Saisissez un terme de recherche.Chapitre 4 Utilisation de Final Cut Server 107 Définition des préférences du client Final Cut Server Votre administrateur Final Cut Server est responsable de la configuration de la plupart des préférences qui vous affectent lors de l’utilisation de votre client Final Cut Server. Toutefois, vous avez la possibilité de modifier quelques réglages dans votre copie de client uniquement. Pour configurer les réglages des préférences utilisateur, procédez de l’une des manières suivantes : m Choisissez Final Cut Server > Preferences. m Choisissez Preferences dans le menu local Server (le menu local de la fenêtre principale Final Cut Server qui apparaît lorsque vous cliquez sur le bouton Server). Pour apporter des modifications dans la fenêtre Preferences : m Saisissez un nombre ou un chemin d’accès au fichier (en cliquant sur le bouton Choose, puis en spécifiant un chemin d’accès au fichier) dans le champ que vous souhaitez modifier, puis cliquez sur le bouton Apply Changes. À propos des préférences de recherche Les préférences de recherche contrôlent le nombre de résultats trouvés par Final Cut Server et le nombre d’éléments affichés par page. Cela peut être utile si vous avez un écran large ou petit. Les préférences de recherche incluent :  Maximum # of Search Results : saisissez une valeur représentant le nombre maximal d’éléments qui apparaissent après une recherche.  Items Per Page : les résultats de recherche sont divisés en pages pour que l’affichage soit plus efficace. Vous pouvez entrer une valeur qui définit le nombre d’éléments apparaissant sur chaque page.  Remember the last search : cochez cette case pour que Final Cut Server mémorise et exécute, lors de la prochaine connexion, la dernière recherche que vous avez effectuée. Vous pouvez modifier l’affichage des résultats de recherche dans votre client. Vous pouvez définir l’emplacement et la taille de votre mémoire cache. 108 Chapitre 4 Utilisation de Final Cut Server À propos des préférences du cache Le cache est l’emplacement où sont téléchargées vos copies locales des fichiers de données. Il n’est pas recommandé que les utilisateurs affichent ou déplacent des fichiers qui se trouvent dans le cache. Exportez plutôt des copies de fichiers que vous souhaitez utiliser vers votre bureau ou vers un autre emplacement pratique. Toutefois, vous pouvez décider de l’emplacement de votre cache. Dans la fenêtre Preferences, vous pouvez modifier l’emplacement et la taille du cache. Vous pouvez également l’effacer rapidement dans la fenêtre Preferences. Les préférences de cache incluent :  Emplacement du cache : cliquez sur le bouton Choose pour choisir un emplacement à utiliser pour le stockage de vos caches. Les emplacements par défaut sont /utilisateur/ Bibliothèque/Caches/ lorsque vous exécutez le client sur un ordinateur Macintosh et le répertoire /username/AppData/ sur un ordinateur Windows. Important : la modification de l’emplacement du cache se traduit par le fait que tous les caches actuels deviennent indisponibles. Si vous modifiez l’emplacement du cache, vous devez ajouter manuellement les ressources dont vous avez besoin sur le nouvel emplacement du cache.  Maximum Cache Size : saisissez une valeur pour définir une taille de cache maximale.  Clear Cache : cliquez sur le bouton Clear Cache pour supprimer les fichiers dans l’emplacement du cache.  Saved aliases for prepared media files : cliquez sur le bouton Choose pour choisir un emplacement à utiliser pour le stockage des alias sur les fichiers cache. Cet emplacement est utilisé lorsque vous choisissez l’option Prepare for Disconnected Use pour les ressources. Remarque : si votre cache local dépasse la limite définie dans la fenêtre Preferences, un message d’erreur apparaît, vous conseillant de supprimer le cache, d’annuler l’action ou de la poursuivre. Il est recommandé de choisir de supprimer votre cache. À propos du champ Saved Aliases for Prepared Media Files Préparer des ressources média pour une utilisation déconnectée vous permet de créer des copies d’alias d’un fichier de données qui est stocké dans votre cache Final Cut Server sur un ordinateur portable. Vous pouvez utiliser les fichiers d’alias pour créer un nouveau projet Final Cut Pro lorsque vous êtes déconnecté du réseau Final Cut Server. Vous pouvez définir l’emplacement où Final Cut Server enregistre les copies d’alias des fichiers de données préparés dans la fenêtre Preferences. Pour en savoir plus sur la préparation de ressources média pour une utilisation déconnectée, consultez « Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server » à la page 113.5 109 5 Utilisation des ressources média Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de la mise en cache (p. 109)  Extraction, modification et réintégration d’une ressource média (p. 111)  Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server (p. 113)  Exportation de ressources média (p. 117) Ce chapitre explique comment modifier les ressources média, notamment les plans vidéo et les graphismes, dans des applications autres que Final Cut Server. Vous pouvez modifier la copie gérée d’une ressource média en extrayant cette ressource, puis en modifiant le fichier extrait et en le réintégrant lorsque vous avez terminé les modifications. Un flux de travaux séparé est fourni pour préparer les fichiers de données qui seront utilisés dans le nouveau projet Final Cut Pro que vous créez lorsque vous n’êtes pas connecté au réseau Final Cut Server. Vous pouvez également copier ou exporter la copie non gérée d’une ressource média à partir de Final Cut Server. À propos de la mise en cache Mettre en cache une ressource signifie la télécharger dans le cache Final Cut Server de votre ordinateur local. Lorsque vous avez mis en cache une ressource média, vous pouvez l’extraire et travailler sur cette copie gérée dans une autre application, en faire glisser une copie à partir de Final Cut Server ou en exporter une copie et créer une copie non gérée. Vous pouvez déterminer qu’une ressource est en cache par la couleur de sa vignette, qui devient gris clair. Remarque : si votre système Final Cut Server est connecté à un périphérique de réseau de stockage (SAN) Xsan Apple et que la fonction edit-in-place est activée, vos ressources sont toujours mises en cache et prêtes à être utilisées. Pour en savoir plus, contactez votre administrateur Final Cut Server.110 Chapitre 5 Utilisation des ressources média Final Cut Server affiche une invite lorsque vous devez mettre en cache une ressource ; pour effectuer cette opération, il vous suffit donc souvent de cliquer sur le bouton Add to Cache qui s’affiche dans la zone de dialogue d’invite. Cependant, vous pouvez également ajouter manuellement une ressource à votre cache Final Cut Server. Pour ajouter une ressource à votre cache : m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Add to Cache dans le menu contextuel. Lorsqu’une ressource est mise en cache, son arrière-plan change de couleur et devient gris clair. Dans certaines situations, un fichier stocké dans votre cache Final Cut Server peut arriver à expiration. Dans un tel cas, une icône apparaît sur la ressource, indiquant que le fichier mis en cache pour cette ressource a expiré. 4_2, dont l’arrière plan est d’un gris plus clair, est mise en cache. Cette icône indique que le fichier mis en cache pour cette ressource a expiré.Chapitre 5 Utilisation des ressources média 111 Pour corriger un fichier expiré : m Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Remove from Cache dans le menu contextuel. Cette icône disparaît, indiquant que le fichier expiré a été retiré de votre cache Final Cut Server. Vous pouvez modifier plusieurs réglages pour votre cache Final Cut Server dans les préfé- rences Final Cut Server. Pour en savoir plus, consultez « À propos des préférences du cache » à la page 108. Important : Final Cut Server gère les fichiers situés dans le cache de votre ordinateur local. Dans la plupart des cas, vous n’avez pas besoin de travailler manuellement dans le cache de votre ordinateur. Si vous souhaitez modifier votre cache, contactez votre administrateur Final Cut Server. Extraction, modification et réintégration d’une ressource média Une ressource média est très simple à utiliser, car elle ne représente qu’un simple fichier de données. Pour modifier une ressource média, vous pouvez l’extraire, la modifier, puis la réintégrer dans Final Cut Server. Une ressource média peut également être exportée, modifiée, puis téléchargée dans Final Cut Server en tant que nouvelle ressource ; cependant, lorsque vous exportez une ressource média, celle-ci n’est plus gérée par Final Cut Server. Si vous appliquez des modifications au fichier de données et souhaitez que Final Cut Server en assure de nouveau la gestion, vous devez créer une nouvelle ressource pour le fichier, en le réinté- grant dans Final Cut Server. Bien qu’une ressource média représente un simple fichier de données, elle est rarement utilisée seule. Les ressources média peuvent être référencées en tant qu’éléments d’une ressource de projet Final Cut Pro ou référencées dans d’autres ressources de projet Final Cut Studio. Lorsque vous modifiez une ressource, il peut vous arriver de modifier par inadvertance la manière dont la ressource apparaît dans différentes ressources de projet. Il est donc préférable de toujours consulter la sous-fenêtre Resources d’une ressource média, afin de vérifier les projets auxquels cette ressource est associée. Si vous savez que vos modifications affecteront tous les projets auxquels la ressource est associée, appliquez ces modifications sans vous poser de questions. Si vous ne reconnaissez pas les ressources associées indiquées dans la sous-fenêtre Resources, envisagez plutôt d’exporter la ressource, puis de la télécharger en tant que nouvelle ressource média et de remplacer manuellement cette ressource dans les projets concernés. Cette opération est peut être un peu plus longue, mais elle vous évitera, à vous et à vos collègues, des heures de travail par la suite pour réparer les dégâts causés. N’oubliez pas que, lorsqu’une ressource média est extraite, cette ressource ne peut pas être modifiée, extraite, supprimée ou archivée par un autre utilisateur. 112 Chapitre 5 Utilisation des ressources média Pour extraire une ressource média, la modifier et réintégrer le fichier de données dans Final Cut Server : 1 Recherchez la ressource média que vous souhaitez extraire. 2 Procédez de l’une des manières suivantes :  Sélectionnez la ressource, puis cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur la ressource média tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 3 Dans la fenêtre Check Out qui s’affiche, sélectionnez l’emplacement d’enregistrement du fichier de données extrait. 4 Cliquez sur le bouton Check Out. 5 Pour ouvrir le fichier dans son application d’origine, procédez de l’une des manières suivantes :  Faites glisser le fichier de Final Cut Server vers l’icône de l’application, sur votre Dock.  Faites glisser le fichier de son emplacement d’extraction jusqu’à l’icône de l’application d’origine, sur votre Dock.  Ouvrez le fichier dans son application d’origine, en sélectionnant File > Open. 6 Modifiez le fichier. 7 Enregistrez le nouveau fichier à l’emplacement d’extraction. Important : si vous enregistrez le fichier ailleurs qu’à son emplacement d’extraction initial, Final Cut Server ne pourra pas en assurer la gestion. Cliquez sur le bouton Check Out.Chapitre 5 Utilisation des ressources média 113 8 Dans Final Cut Server, réintégrez le fichier en procédant de l’une des manières suivantes :  Sélectionnez la ressource extraite, puis cliquez sur le bouton Check In dans la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. Si la fonction de contrôle de version est désactivée, la ressource est réintégrée. 9 Si cette fonction est activée, une fenêtre Check In s’affiche. Le cas échéant, saisissez un commentaire pour la version et cliquez sur Check In. Pour en savoir plus sur le contrôle de version, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. La ressource média mise à jour est réintégrée dans Final Cut Server et l’icône d’extraction disparaît de la vignette de la ressource. Préparation de ressources média en vue d’une utilisation sur un ordinateur non connecté au réseau Final Cut Server Vous aurez parfois besoin de sélectionner des ressources média pouvant être utilisées dans un nouveau projet Final Cut Pro créé alors que vous n’êtes pas connecté au réseau Final Cut Server. Préparer des ressources média pour une utilisation hors connexion vous permet de créer des copies d’alias d’un fichier de données stocké dans le cache Final Cut Server de votre ordinateur local. Ensuite, lorsque vous n’êtes plus connecté au réseau Final Cut Server, vous pouvez ajouter ces fichiers de données à un nouveau projet Final Cut Pro. Lorsque vous vous reconnectez au réseau Final Cut Server, il vous suffit de télécharger le nouveau projet Final Cut Pro dans Final Cut Server. Ceci crée une nouvelle ressource pour le projet Final Cut Pro, mais, comme les ressources média existent déjà dans Final Cut Server, les données ne sont pas téléchargées. Important : vous pouvez préparer les fichiers pour une utilisation hors connexion uniquement si votre ordinateur portable dispose d’un cache Final Cut Server local. Vous ne pouvez pas préparer les fichiers pour une utilisation hors connexion et les placer sur un disque externe.114 Chapitre 5 Utilisation des ressources média Pour préparer des ressources média à une utilisation hors connexion : 1 Sélectionnez Preferences dans le menu local Server (menu local de la fenêtre principale de Final Cut Server, qui apparaît lorsque vous cliquez sur le bouton Server). 2 Dans la fenêtre Preferences de Final Cut Server, vérifiez l’emplacement prévu pour les fichiers d’alias. Si vous souhaitez changer d’emplacement, cliquez sur Choose et saisissez le nouvel emplacement sur votre ordinateur local ; terminez en cliquant sur Apply Changes pour enregistrer le nouvel emplacement. 3 Dans la sous-fenêtre Assets, sélectionnez les ressources média que vous souhaitez préparer pour une utilisation hors connexion.  Pour sélectionner une série d’éléments, cliquez sur un élément, maintenez la touche Maj enfoncée, puis cliquez sur le dernier élément de la série.  Pour sélectionner plusieurs éléments individuels, maintenez la touche Commande enfoncée et cliquez sur les éléments souhaités, même s’ils ne sont pas l’un à côté de l’autre. 4 Cliquez sur l’une des ressources sélectionnées tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Prepare for Disconnected Use dans le menu contextuel. Cliquez sur le bouton Choose. Les copies d’alias des fichiers de données sont placées à l’endroit spécifié dans ce champ. Sélectionnez « Prepare for Disconnected Use ».Chapitre 5 Utilisation des ressources média 115 Les fichiers sont copiés dans le cache Final Cut Server et les copies d’alias des fichiers sont placées à l’endroit spécifié dans le champ « Saved aliases for prepared media files » de la fenêtre Preferences. Pour créer un projet Final Cut Pro à l’aide des fichiers préparés pour une utilisation hors connexion : 1 Créez un nouveau projet dans Final Cut Pro. 2 Faites glisser les fichiers d’alias vers le nouveau projet. Important : vérifiez le chemin d’accès aux fichiers de données pour l’emplacement « Prepared for Disconnected Use ». Ne déplacez pas les alias et ne changez pas le nom des fichiers. Vous pouvez également ajouter des fichiers de données non gérés par Final Cut Server au nouveau projet Final Cut Pro. Lorsque vous téléchargez le nouveau projet Final Cut Pro dans Final Cut Server, ces nouveaux fichiers sont téléchargés en tant que nouvelles ressources média. 3 Modifiez le projet. 4 Lorsque vous avez terminé, enregistrez le projet. La dernière étape de cette procédure consiste à télécharger le nouveau projet Final Cut Pro dans Final Cut Server. Lorsque vous téléchargez le projet, les ressources média que vous avez préparées pour une utilisation hors connexion sont mises à jour, si nécessaire, dans Final Cut Server ; le nouveau projet Final Cut Pro est téléchargé en tant que nouvelle ressource et les éventuels nouveaux fichiers de données sont téléchargés dans Final Cut Server en tant que nouvelles ressources média.116 Chapitre 5 Utilisation des ressources média Pour télécharger le nouveau projet Final Cut Pro dans Final Cut Server : 1 Procédez de l’une des manières suivantes :  Faites glisser le fichier de projet Final Cut Pro depuis Finder jusqu’à la colonne de gauche de la fenêtre principale de Final Cut Server, la sous-fenêtre Assets ou une production.  Sélectionnez Upload File dans le menu local Server (menu local de la fenêtre principale de Final Cut Server, qui s’affiche lorsque vous cliquez sur le bouton Server), sélectionnez le fichier de projet Final Cut Pro dans l’explorateur de fichiers, puis cliquez sur Upload. La fenêtre Upload de Final Cut Pro s’affiche. 2 Certaines informations contenues dans la fenêtre Upload de Final Cut Pro sont saisies automatiquement. Si nécessaire, vous pouvez modifier l’ensemble de métadonnées ou ajouter des métadonnées pour le nouveau projet Final Cut Pro et les données associées. Cliquez ici pour parcourir les catégories de métadonnées situées à gauche et afficher toutes les trames de métadonnées disponibles. 3 Si vous souhaitez intégrer la ressource de projet Final Cut Pro à une production, cliquez sur Choose, à droite du champ Associate with Production, et spécifiez la production souhaitée. Pour en savoir plus sur les productions, consultez « Organisation des ressources à l’aide de productions » à la page 59. 4 Cliquez sur Upload. Le fichier est téléchargé et une nouvelle ressource est créée. La progression du télé- chargement s’affiche au-dessus de la sous-fenêtre Information, en bas à gauche de la fenêtre principale de Final Cut Server. 5 Si vous souhaitez surveiller la progression du téléchargement des fichiers, cliquez sur le bouton Downloads and Uploads pour afficher la fenêtre Downloads & Uploads. Lorsque le fichier est téléchargé, sélectionnez la sous-fenêtre Assets et cliquez sur le bouton Search pour afficher la nouvelle ressource ou les ressources créées à partir du fichier de projet Final Cut Pro, ainsi que tous les nouveaux fichiers de données.Chapitre 5 Utilisation des ressources média 117 Exportation de ressources média La fonction d’exportation est utile lorsque vous souhaitez créer une copie des fichiers de données, à des fins de modification, ou créer une copie de sauvegarde. Vous pouvez exporter une copie de ressources média, même si la ressource a été verrouillée ou extraite par un autre utilisateur. Important : lorsque vous avez exporté une ressource média, le fichier exporté n’est plus géré par Final Cut Server. Si vous souhaitez créer une copie gérée de la ressource, pouvant être réintégrée et suivie par Final Cut Server, vous devez extraire la ressource. Pour exporter une ou plusieurs ressources média : 1 Sélectionnez une ou plusieurs ressources, cliquez sur une ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export ou Multiple Export s’affiche. 2 Dans cette fenêtre, choisissez l’emplacement d’enregistrement des fichiers de données, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans l’explorateur de fichiers. 3 Si vous le souhaitez, sélectionnez un réglage de transcodage. 4 Si vous exportez un fichier unique, vous pouvez également en changer le nom. 5 Cliquez sur le bouton Start. Le fichier de données est exporté à l’emplacement que vous avez spécifié dans la fenêtre Export. 6 119 6 Utilisation des projets Final Cut Pro Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos des projets Final Cut Pro (p. 120)  Utilisation conjointe de Final Cut Pro et de Final Cut Server (p. 121)  Déplacement de projets Final Cut Pro entre Final Cut Server et Final Cut Pro (p. 123)  Extraction d’un projet Final Cut Pro (p. 124)  Modification d’un projet extrait dans Final Cut Pro (p. 126)  Réintégration d’un projet Final Cut Pro (p. 127)  Création de copies de travail pour les ressources de projet Final Cut Pro (p. 129)  Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server (p. 130)  Exportation d’un projet Final Cut Pro (p. 133) Ce chapitre explique comment utiliser des projets Final Cut Pro. Vous pouvez notamment modifier des projets Final Cut Pro en extrayant la ressource du projet, en modifiant le fichier extrait dans Final Cut Pro et en réintégrant le fichier modifié dans Final Cut Server. Un flux de travaux distinct est fourni pour la modification d’une copie de projet Final Cut Pro gérée par Final Cut Server, lorsque vous n’êtes pas connecté au réseau Final Cut Server. Vous pouvez également exporter une copie de projet Final Cut Pro à partir de Final Cut Server.120 Chapitre 6 Utilisation des projets Final Cut Pro À propos des projets Final Cut Pro Lorsque vous téléchargez un projet Final Cut Pro dans Final Cut Server, le projet Final Cut Pro est téléchargé sous forme de ressource et chaque fichier de données relié à la ressource de projet Final Cut Pro est également téléchargé sous forme de ressource média indépendante, appelée élément de ce projet. Final Cut Server utilise les éléments pour assurer le suivi des ressources média reliées. Les éléments sont répertoriés dans la sous-fenêtre Elements de la ressource de projet. Une ressource de projet Final Cut Pro est toujours reliée à une ou plusieurs séquences Final Cut Pro, ainsi qu’aux données utilisées dans le cadre du projet. La relation d’élé- ment permet à plusieurs ressources de projet Final Cut Pro de référencer les mêmes ressources média. Pour afficher la ressource d’un élément : m Cliquez sur l’élément tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Show Master Asset dans le menu contextuel. La ressource référencée par l’élément s’ouvre. Afficher la ressource d’un élément peut être utile pour assurer le suivi des ressources source de cet élément. Chaque élément réfé- rence une ressource individuelle. Cliquez sur un élément en maintenant la touche Contrôle enfoncée pour ouvrir la fenêtre d’information de la ressource média. Cliquez sur Elements dans la fenêtre d’information d’une ressource de projet Final Cut Pro.Chapitre 6 Utilisation des projets Final Cut Pro 121 Utilisation conjointe de Final Cut Pro et de Final Cut Server Il existe plusieurs manières de travailler sur un projet Final Cut Pro :  Vous pouvez extraire le projet Final Cut Pro. L’extraction d’un projet Final Cut Pro est la méthode la plus efficace, car les projets et ressources média extraits sont gérés par Final Cut Server. Une fois que vous avez modifié le projet, vous pouvez le réinté- grer, mettant ainsi le projet à jour dans Final Cut Server. Vous avez également la possibilité d’activer la fonction de contrôle de versions, qui enregistre automatiquement les versions réintégrées du projet.  Vous pouvez exporter le projet Final Cut Pro. Cette opération est intéressante si vous avez besoin d’utiliser ou de partager une copie non gérée de votre projet Final Cut Pro. Cependant, il est important de noter que les projets Final Cut Pro exportés ne sont pas gérés par Final Cut Server. Si vous choisissez de mettre à jour un projet Final Cut Pro préalablement exporté à partir de Final Cut Server, vous devrez télécharger la version mise à jour en tant que nouvelle ressource Final Cut Server finale. Que vous téléchargiez un nouveau projet Final Cut Pro dans Final Cut Server ou que vous réintégriez une ressource de projet Final Cut Pro existante dans Final Cut Server, il est important de bien comprendre ce qui suit :  Final Cut Server ne prend pas en charge les hiérarchies de dossier dans le chutier Final Cut Pro. Les éléments que vous avez organisés dans le chutier Final Cut Pro apparaîtront donc sous une structure linéaire dans Final Cut Server.  Final Cut Server ne reconnaît pas les marqueurs définis dans Final Cut Pro. Les marqueurs et les commentaires de marqueur créés dans Final Cut Pro ne peuvent pas être affichés dans Final Cut Server. Cependant, lorsque vous extrayez ou exportez un projet Final Cut Pro à partir de Final Cut Server, les marqueurs et leur texte apparaissent de nouveau dans Final Cut Pro.  N’oubliez pas d’enregistrer les fichiers du projet extrait. Enregistrez les fichiers régulièrement et uniquement à l’emplacement d’extraction Final Cut Server. Ne déplacez pas ces fichiers de leur emplacement d’extraction.  N’oubliez pas que les projets exportés à partir de Final Cut Server ne sont plus gérés par Final Cut Server. Vous ne pouvez donc pas mettre à jour une ressource de projet Final Cut Pro existante dans Final Cut Server, à moins que vous ayez extrait, modifié et réintégré cette ressource. Si vous avez modifié un projet Final Cut Pro exporté ou dupliqué, celui-ci n’est plus géré par Final Cut Server. 122 Chapitre 6 Utilisation des projets Final Cut Pro Résolution de problèmes de données offline Après avoir téléchargé ou réintégré un projet Final Cut Pro, vous vous apercevrez peut-être qu’un ou plusieurs fichiers de données du projet ne sont plus en ligne. Vous le saurez car une icône Offline apparaît sur la ressource. Final Cut Server ne peut pas modifier les liens de données d’un projet Final Cut Pro. Lorsque Final Cut Server gère un projet Final Cut Pro, les données peuvent passer offline car la ressource du projet a été mal téléchargée ou parce que les fichiers de données sont passés offline lors de la modification du projet dans Final Cut Pro et que le téléchargement s’est fait avec les données offline. Si les données du projet ont fait l’objet d’un lien incorrect lors du téléchargement ou de la réintégration et si elles sont passées offline lors du téléchargement dans Final Cut Server, vous devez extraire le projet, recréer le lien pour les données, puis réintégrer le projet dans Final Cut Server. Si les données du projet ne sont pas reliées dans Final Cut Pro, tentez de créer un nouveau lien dans Final Cut Pro. Cette icône indique qu’un ou plusieurs fichiers de données du projet sont offline.Chapitre 6 Utilisation des projets Final Cut Pro 123 Déplacement de projets Final Cut Pro entre Final Cut Server et Final Cut Pro Après avoir téléchargé un projet Final Cut Pro, il est facile de réviser et de mettre à jour le projet original. Il vous suffit pour cela d’extraire le projet, de le modifier dans Final Cut Pro, de l’enregistrer, puis de le réintégrer. Lors de la réintégration, la ressource de projet Final Cut Server est mise à jour dans Final Cut Server. Important : votre administrateur Final Cut Server peut créer une copie de la ressource afin de la modifier directement sur un serveur Xsan ; ceci évite les opérations de télé- chargement, de cache et d’extraction de la ressource. En effet vous pouvez, à la place, faire glisser votre ressource directement de la sous-fenêtre Assets vers une application, pour modification. Pour ce faire, votre administrateur Final Cut Server doit configurer la fonction edit-in-place Demandez à votre administrateur Final Cut Server si cette fonction a été configurée pour votre système Final Cut Server. Vous pouvez enregistrer une version des ressources de projet précédentes en activant la fonction de contrôle de versions. Lorsque cette fonction est activée, vous pouvez enregistrer une copie chaque fois qu’une nouvelle version de la ressource est réintégrée. Pour en savoir plus sur le contrôle de versions, consultez la rubrique « Ajout de versions pour une ressource média ou de projet » à la page 91. N’oubliez pas que l’extraction du projet Final Cut Pro est la seule méthode existante pour assurer la maintenance de la ressource de projet. Si vous exportez une copie de la ressource Final Cut Pro ou si vous faites simplement glisser la ressource jusqu’à votre bureau, vous ne faites que créer une copie non gérée du projet Final Cut Pro, dont Final Cut Server n’assurera pas le suivi. Si vous apportez des modifications à un projet Final Cut Pro non géré, vous devrez le télécharger dans Final Cut Server en tant que nouvelle ressource.124 Chapitre 6 Utilisation des projets Final Cut Pro Extraction d’un projet Final Cut Pro L’opération d’extraction d’un projet Final Cut Pro crée une copie non gérée du projet, à l’emplacement que vous avez spécifié. Lorsque vous extrayez un projet Final Cut Pro, la représentation principale de la ressource de projet est verrouillée et ne peut pas être modifiée par d’autres utilisateurs. En outre, chaque ressource média utilisée dans le projet est également verrouillée pour référence et ne peut pas être modifiée par un autre utilisateur. Si la fonction Edit Proxy a été activée par votre administrateur Final Cut Server, vous avez la possibilité d’extraire les données d’origine ou le proxy de modification qui a été créé. L’utilisation des données d’origine permet d’obtenir la représentation principale de la ressource vidéo ; l’utilisation d’un proxy de modification permet d’obtenir le fichier de proxy de la ressource vidéo. Important : la fonction Edit Proxy peut être activée par votre administrateur Final Cut Server. Si cette fonction est désactivée, vous ne pourrez qu’extraire les données d’origine. Vous avez également la possibilité de créer une copie des données reliées d’un projet au moment de l’extraction. Toutes les données reliées étant copiées dans le cache de Final Cut Server, sur l’ordinateur, au moment de l’extraction, le seul moment où il est nécessaire d’inclure les données reliées est lors de l’extraction d’un projet sur un disque externe. Pour en savoir plus, consultez « Utilisation de projets Final Cut Pro endehors du réseau Final Cut Server » à la page 130.Chapitre 6 Utilisation des projets Final Cut Pro 125 Pour extraire un projet Final Cut Pro : 1 Dans la sous-fenêtre Assets ou dans une production, procédez de l’une des manières suivantes :  Sélectionnez le projet Final Cut Pro que vous souhaitez extraire, puis cliquez sur le bouton Check Out de la barre d’outils.  Tout en maintenant la touche Contrôle enfoncée, cliquez sur le projet Final Cut Pro que vous souhaitez extraire, puis sélectionnez Check Out dans le menu contextuel. La fenêtre Check Out Final Cut Pro s’affiche. 2 Dans la fenêtre Check Out du projet Final Cut Pro, sélectionnez un emplacement d’enregistrement pour le projet Final Cut Pro extrait, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets extraits, vous pouvez créer un dossier « Projets Final Cut Server extraits », ou un dossier similaire, sur le bureau ou à l’emplacement de votre choix. Sélectionnez la ressource Final Cut Pro et cliquez sur le bouton Check Out. Vous pouvez également sélectionner la ressource, puis choisir Check Out dans le menu contextuel. p Cliquez sur Choose pour spécifier un emplacement d’extracCliquez sur Check Out.126 Chapitre 6 Utilisation des projets Final Cut Pro 3 Si la fonction Edit Proxy n’est pas activée, les données d’origine seront utilisées par défaut. Si cette fonction est activée, sélectionnez Original Media ou Edit Proxy, dans le menu local Use. Ceci permet de définir le type de données utilisé lors de la modification de votre projet. Remarque : cochez la case Keep Media with Project uniquement si vous prévoyez de modifier le projet lorsque votre ordinateur ne sera pas connecté au réseau Final Cut Server. Pour en savoir plus, consultez « Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server » à la page 130. 4 Cliquez sur le bouton Check Out. La ressource de projet Final Cut Pro est marquée de l’icône d’extraction, dans Final Cut Server. Une copie du projet est téléchargée à l’emplacement d’extraction préalablement spécifié. Toutes les données reliées au projet extrait sont ajoutées au cache Final Cut Server. Lorsque le projet est ouvert dans Final Cut Pro, les données en cache localement sont utilisées pour effectuer une reconnexion automatique au projet extrait. Vous pouvez suivre la progression de l’opération d’extraction via l’indicateur Jobs in Progress. Pour obtenir davantage d’informations, ouvrez la fenêtre Downloads & Uploads. Modification d’un projet extrait dans Final Cut Pro Une fois que vous avez extrait un projet Final Cut Pro, vous pouvez le modifier dans Final Cut Pro. Lorsque vous ouvrez un fichier appartenant à un projet que vous venez d’extraire dans Final Cut Pro, ce fichier de projet s’ouvre normalement en présentant tous ses liens de données intacts. Pour ouvrir un projet extrait dans Final Cut Pro : m Faites glisser le projet entre son emplacement d’extraction et l’icône Final Cut Pro du Dock. Le projet s’ouvre dans Final Cut Pro. Vous pouvez à présent le modifier comme vous le souhaitez. Remarque : normalement, vous n’avez pas à relier manuellement les fichiers de données du projet. Si cette opération est nécessaire, cela signifie certainement que le projet a été téléchargé dans Final Cut Server avec des données non reliées.Chapitre 6 Utilisation des projets Final Cut Pro 127 Pour enregistrer un projet Final Cut Pro extrait : m Enregistrez le projet à l’emplacement spécifié lors de l’extraction. Important : l’enregistrement doit se faire exactement au même endroit que l’extraction. Si vous n’enregistrez pas votre projet Final Cut Pro avant de le réintégrer, toutes vos modifications seront perdues. À propos de l’utilisation du Gestionnaire de données avec un projet extrait Divers problèmes de gestion des données peuvent surgir si vous utilisez le Gestionnaire de données Final Cut Pro pour organiser un projet géré par Final Cut Server. Vous pouvez vous servir du Gestionnaire de données pour organiser les données d’un projet, mais avant de le télécharger dans Final Cut Server. Il n’est pas recommandé d’utiliser le Gestionnaire de données lorsque le projet est géré par Final Cut Server. Réintégration d’un projet Final Cut Pro Lorsque vous réintégrez un projet Final Cut Pro dans Final Cut Server, le nouveau projet remplace l’ancien projet extrait. Toutes les données reliées (y compris les données inutilisées stockées dans un chutier ou un dossier) sont mises à jour et les éventuelles nouvelles données ajoutées sont téléchargées dans Final Cut Server. Si vous utilisez la fonction de contrôle de versions avec un projet Final Cut Pro, l’ancien projet extrait est enregistré en tant que copie de travail de la ressource de projet. Si vous n’utilisez pas cette fonction, l´ancienne ressource de projet est écrasée. La réintégration d’un projet supprime à la fois le verrou d’extraction appliqué à la ressource de projet Final Cut Pro et les verrous de référence appliqués aux ressources média.128 Chapitre 6 Utilisation des projets Final Cut Pro Pour réintégrer un projet dans Final Cut Server : 1 Dans la sous-fenêtre Assets ou dans une production, procédez de l’une des manières suivantes :  Sélectionnez la ressource souhaitée, puis cliquez sur le bouton Check In dans la barre d’outils.  Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. Lorsque vous réintégrez le projet, une fenêtre Check In s’affiche. 2 Si la fonction de contrôle de versions est activée, vous pouvez saisir des commentaires dans le champ Version Comments. 3 Si vous avez ajouté de nouveaux fichiers de données au projet Final Cut Pro, vous pouvez choisir un ensemble de métadonnées pour la nouvelle ressource média et ajouter ces métadonnées à n’importe quelle trame disponible. 4 Lorsque vous êtes prêt à réintégrer le projet, cliquez sur le bouton Check In. Sélectionnez la ressource Final Cut Pro et cliquez sur le bouton Check In. Vous pouvez également sélectionner la ressource, puis choisir Check In dans le menu contextuel. Si la fonction de contrôle de versions est activée, le champ Version Comments apparaît. Saisissez les métadonnées appropriées. Cliquez sur Check In.Chapitre 6 Utilisation des projets Final Cut Pro 129 Final Cut Server télécharge le nouveau projet modifié, ainsi que toutes les nouvelles données reliées au projet. Si la fonction de contrôle de versions est activée pour la ressource de projet, l’ancien projet est enregistré en tant que copie de travail ; si la fonction n’est pas activée, l’ancien projet est écrasé. Création de copies de travail pour les ressources de projet Final Cut Pro Final Cut Server peut assurer le suivi des fichiers de projet Final Cut Pro à mesure que vous les modifiez, en créant une copie de travail pour chaque nouvelle version modifiée du projet réintégrée dans Final Cut Server. Si votre administrateur Final Cut Server a activé la fonction de contrôle de versions pour la ressource, durant l’installation, le système crée peut-être déjà de nouvelles copies de travail pour chaque ressource modifiée. Important : lorsque la fonction de contrôle de versions est activée pour une ressource, Final Cut Server crée une copie de chaque version réintégrée. Avant d’activer le suivi des versions d’une ressource dans Final Cut Server, vérifiez que la capacité de votre disque est suffisante. Si vous avez des questions sur la pertinence de l’activation de la fonction de contrôle de versions, pour une ressource spécifique, contactez votre administrateur Final Cut Server. Pour créer une version d’une ressource de projet Final Cut Pro : 1 Vérifiez que la fonction de contrôle de versions est activée pour la ressource de projet Final Cut Pro concernée, en observant la procédure suivante : a Double-cliquez sur la ressource de projet pour afficher la fenêtre d’information correspondante. b Cliquez sur le bouton Versions. c Si la case « Store and track versions of this asset » n’est pas sélectionnée, cochez-la. 2 Extrayez le projet Final Cut Pro en procédant de l’une des manières suivantes :  Cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 3 Dans la fenêtre Check Out qui s’affiche, spécifiez un emplacement d’extraction et cliquez sur Check Out.130 Chapitre 6 Utilisation des projets Final Cut Pro 4 Modifiez le projet Final Cut Pro à votre convenance. 5 Lorsque vous avez terminé, enregistrez le projet. 6 Réintégrez le projet Final Cut Pro en procédant de l’une des manières suivantes :  Cliquez sur le bouton Check In dans la barre d’outils.  Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 7 Ajoutez un commentaire dans la fenêtre qui s’affiche. 8 Cliquez sur le bouton Check In. Lorsque vous réintégrez une version de ressource modifiée, la version précédente apparaît dans la sous-fenêtre Versions de la fenêtre d’information de la ressource. Utilisation de projets Final Cut Pro en-dehors du réseau Final Cut Server Vous pouvez facilement utiliser des projets extraits lorsque votre ordinateur est déconnecté du réseau Final Cut Server. Lorsque vous extrayez un projet, vous pouvez choisir l’emplacement d’extraction pour ce projet. Vous pouvez également spécifier si vous souhaitez ou non inclure une copie des ressources média reliées, dans cet emplacement d’extraction. Saisissez ici vos commentaires sur cette version. Cochez cette case pour inclure une copie des fichiers de données reliés dans l’emplacement d’extraction.Chapitre 6 Utilisation des projets Final Cut Pro 131 La manière dont vous utilisez ces options dépend du périphérique sur lequel vous effectuez l’extraction. Vous pouvez extraire un projet sur un système connecté à Final Cut Server, par exemple un ordinateur portable, ou sur un disque externe. Si vous effectuez l’extraction sur un ordinateur connecté au réseau Final Cut Server (par exemple un ordinateur portable que vous utilisez aussi bien chez vous qu’au bureau), vous n’avez pas besoin d’inclure les données reliées lors de l’extraction. En effet, ces fichiers de données sont stockés dans le cache Final Cut Server, sur l’ordinateur. Le projet Final Cut Pro extrait fera référence aux fichiers de données stockés sur votre ordinateur local, ce même ordinateur que vous emportez à votre domicile pour effectuer des modifications. Une fois le projet extrait, vous pouvez donc emmener votre ordinateur avec vous et modifier le projet extrait alors que vous n’êtes pas connecté au réseau Final Cut Server. Lorsque vous retournez au bureau le jour suivant, il vous suffit d’ouvrir une session Final Cut Server et de réintégrer le projet modifié. Si vous extrayez le projet sur un disque externe, vous devez inclure les données reliées lors de l’extraction. Pour ce faire, cochez la case Keep Media with Project dans la fenêtre Check Out. Le cache Final Cut Server est stocké sur votre ordinateur local, donc un projet extrait sur un disque externe ne pourra pas accéder aux fichiers de données utilisés avec le projet Final Cut Pro. Pour pouvoir accéder à ces fichiers, vous devez les inclure dans l’opération d’extraction. Pour extraire un projet Final Cut Pro sur un ordinateur portable, à des fins de modification, sans être connecté au réseau Final Cut Server : 1 Ouvrez une session Final Cut Server avec l’ordinateur sur lequel vous souhaitez extraire le projet. 2 Dans Final Cut Server, recherchez la ressource de projet Final Cut Pro que vous souhaitez extraire. 3 Procédez de l’une des manières suivantes :  Sélectionnez le projet Final Cut Pro souhaité, puis cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur ce projet Final Cut Pro tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 4 Dans la fenêtre Check Out de Final Cut Pro, choisissez l’emplacement d’extraction et enregistrez le projet Final Cut Pro extrait en cliquant sur le bouton Choose, puis en recherchant l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets extraits, vous pouvez créer un dossier « Projets Final Cut Server extraits », ou un dossier similaire, sur le bureau ou à l’emplacement de votre choix. 132 Chapitre 6 Utilisation des projets Final Cut Pro 5 Cliquez sur le bouton Check Out. La ressource de projet Final Cut Pro est marquée de l’icône d’extraction, dans Final Cut Server. Le projet et ses fichiers de données sont téléchargés à l’emplacement de cache Final Cut Server et un alias de la copie mise en cache du projet Final Cut Pro est créé à l’emplacement que vous avez spécifié dans la fenêtre Check Out Final Cut Pro Project. Vous pouvez suivre la progression de l’extraction via l’indicateur Jobs in Progress. Le symbole d’engrenage en rotation indique que Final Cut Server télécharge actuellement les fichiers extraits ; le chiffre affiché indique le nombre de fichiers téléchargés. Pour en savoir plus, ouvrez la fenêtre Downloads & Uploads, qui indique précisément les fichiers téléchargés et contient des informations sur l’état de chacun d’eux. Pour extraire un projet Final Cut Pro sur un disque externe qui sera branché sur un ordinateur non connecté au réseau Final Cut Server : 1 Localisez le projet Final Cut Pro que vous souhaitez extraire. 2 Procédez de l’une des manières suivantes :  Sélectionnez le projet Final Cut Pro souhaité, puis cliquez sur le bouton Check Out dans la barre d’outils.  Cliquez sur ce projet Final Cut Pro tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 3 Dans la fenêtre Check Out de Final Cut Pro, recherchez le disque externe que vous utiliserez pour le transfert du projet Final Cut Pro en cliquant sur le bouton Choose, puis en recherchant l’emplacement correspondant dans le navigateur de fichiers. Remarque : pour effectuer un suivi plus efficace des projets extraits, vous pouvez créer un dossier « Projets Final Cut Server extraits » ou similaire. 4 Si la fonction Edit Proxy n’est pas activée, les données d’origine seront utilisées par défaut. Si cette fonction est activée, sélectionnez Original Media ou Edit Proxy, dans le menu local Use. Ceci permet de définir le type de données utilisé lors de la modification de votre projet. 5 Cochez la case Keep Media with Project. Important : si vous ne cochez pas cette case lors de l’extraction d’un projet sur un disque externe, vous ne pourrez plus accéder aux fichiers de données par la suite. Vérifiez que la case Keep Media with Project est cochée.Chapitre 6 Utilisation des projets Final Cut Pro 133 6 Cliquez sur Check Out. La ressource de projet Final Cut Pro est marquée de l’icône d’extraction, dans Final Cut Server. Le projet et ses fichiers de données sont extraits sur le disque externe, à l’emplacement que vous avez spécifié dans la fenêtre Check Out. Exportation d’un projet Final Cut Pro Vous pouvez exporter une copie de projet Final Cut Pro à des fins de modification, même si ce projet a été verrouillé ou extrait par un autre utilisateur. Lorsque vous effectuez une exportation sans transcodage, vous obtenez une simple copie du projet et de ses données, prête à être modifiée. Important : les fichiers de projet exportés ne peuvent pas être réintégrés ou référencés de quelque autre manière que ce soit dans la ressource de projet Final Cut Pro originale. Si vous souhaitez effectuer le suivi d’un projet Final Cut Pro exporté dans Final Cut Server, vous devez d’abord le télécharger en tant que nouvelle ressource. Pour exporter une copie de projet Final Cut Pro : 1 Cliquez sur la ressource de projet Final Cut Pro tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. 2 Dans la fenêtre Export de Final Cut Pro, sélectionnez l’emplacement souhaité pour l’enregistrement du fichier de projet Final Cut Pro exporté et ses données. Pour ce faire, cliquez sur le bouton Choose et recherchez l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets exportés, vous pouvez créer un dossier « Projets Final Cut Server exportés », ou similaire, sur le bureau ou à l’emplacement de votre choix. 3 Si vous souhaitez créer une copie locale des données du projet, sélectionnez Original Media ou Edit Proxy dans le menu local Use.134 Chapitre 6 Utilisation des projets Final Cut Pro 4 Cochez la case Keep Media with Project. Vous obtenez ainsi une copie locale des fichiers de données. 5 Cliquez sur le bouton Export. Une copie du fichier de projet et de ses fichiers de données est exportée à l’emplacement que vous avez spécifié dans la fenêtre Export de Final Cut Pro. Important : n’oubliez pas que vous ne pouvez pas réintégrer un fichier de projet Final Cut Pro exporté dans Final Cut Server. Si vous souhaitez effectuer le suivi de cette copie exportée dans Final Cut Server, vous devez tout d’abord télécharger le fichier de projet en tant que nouvelle ressource. Cochez la case Keep Media with Project.7 135 7 Utilisation de projets Final Cut Studio Les rubriques suivantes seront abordées au cours de ce chapitre :  À propos de la modification de ressources de projet Final Cut Studio (p. 135)  Extraction, modification et réintégration de ressources regroupées (p. 136)  Extraction, modification et réintégration de projets Final Cut Studio et de leurs fichiers de données (p. 138)  Exportation d’une ressource de projet et de ses données (p. 143) Ce chapitre est similaire au chapitre 6, « Utilisation des projets Final Cut Pro », car il explique comment exécuter les opérations présentées dans le Chapitre 6 pour les projets Motion, Soundtrack Pro et DVD Studio Pro et leurs fichiers de données reliées qui sont gérés par Final Cut Server. Toutefois, l’utilisation de ressources média et de projet Final Cut Studio nécessite des stratégies autres que l’utilisation de ressources de projet Final Cut Pro. Assurez-vous de lire les deux chapitres afin de vous familiariser avec les différentes utilisations des ressources de projet Final Cut Pro et Final Cut Studio et leurs fichiers de données reliées. À propos de la modification de ressources de projet Final Cut Studio Final Cut Server peut gérer les ressources des projets Soundtrack Pro, Motion et DVD Studio Pro et leurs fichiers de données reliées. À la différence des ressources de projet Final Cut Pro, les ressources de projet Final Cut Studio ne contiennent pas d’éléments qui représentent les fichiers de données reliées du projet. Par conséquent, les fichiers de données qui sont référencés par une ressource de projet Final Cut Studio doivent être explicitement suivis par les utilisateurs Final Cut Server. Final Cut Server offre deux méthodes de gestion des projets Final Cut Studio et de leurs fichiers de données reliées.136 Chapitre 7 Utilisation de projets Final Cut Studio Lorsque vous téléchargez un dossier contenant le fichier de projet et les fichiers de données, Final Cut Server affiche une zone de dialogue vous demandant si vous souhaitez télécharger le dossier en tant que ressource regroupée ou en tant que ressources individuelles. Ce chapitre explique comment extraire et exporter des projets Final Cut Studio qui ont été téléchargés à l’aide de l’une de ces options. La manière d’extraire un projet Final Cut Studio dépend de la manière dont vous l’avez téléchargé. Si vous avez téléchargé le projet et ses fichiers de données reliées en tant que ressource regroupée, vous pouvez extraire la ressource regroupée de la même manière que vous extrairiez une ressource média. Si vous avez téléchargé le fichier de projet et ses fichiers de données reliées en tant que ressources individuelles, vous devez extraire séparément la ressource de projet et chacune des ressources média. Extraction, modification et réintégration de ressources regroupées Lorsque vous extrayez une ressource regroupée, le fichier de projet et ses fichiers de données reliées sont tous contenus dans le dossier qui apparaît à l’emplacement d’extraction. Vous pouvez extraire la ressource regroupée vers n’importe quel emplacement et avoir accès au projet et aux fichiers de données que vous soyez connecté ou non à Final Cut Server. N’oubliez pas que lorsque vous extrayez une ressource, elle est verrouillée à l’aide d’un verrou d’extraction et que la représentation principale de la ressource ne peut pas être modifiée ; toutefois, les métadonnées de la ressource peuvent être modifiées par n’importe quel utilisateur. Pour extraire une ressource regroupée, modifiez-la et réintégrez-la : 1 Effectuez l’une des opérations ci-dessous :  Sélectionnez la ressource Final Cut Studio que vous souhaitez extraire dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check Out de la barre d’outils.  Cliquez sur la ressource média tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel.Chapitre 7 Utilisation de projets Final Cut Studio 137 2 Dans la fenêtre Check Out qui apparaît, choisissez un emplacement pour enregistrer la ressource regroupée extraite en navigant jusqu’à l’emplacement souhaité. 3 Cliquez sur le bouton Check Out. Le dossier de fichiers contenu dans la ressource regroupée apparaît dans l’emplacement spécifié. 4 Pour ouvrir le fichier de projet dans son application d’origine, procédez de l’une des manières suivantes :  Faites glisser le fichier de projet de l’emplacement d’extraction vers l’icône de l’application d’origine dans votre Dock.  Ouvrez l’application d’origine, choisissez Fichier > Ouvrir, puis naviguez jusqu’au fichier de projet. 5 Modifiez le fichier. 6 Enregistrez le nouveau fichier dans l’emplacement d’extraction. Important : l’enregistrement dans tout emplacement autre que l’emplacement d’origine empêche Final Cut Server de gérer le fichier. 7 Dans Final Cut Server, réintégrez le dossier en sélectionnant la ressource regroupée extraite dans la sous-fenêtre Assets ou dans une production et procédez de l’une des manières suivantes :  Sélectionnez la ressource regroupée extraite, puis cliquez sur le bouton Check In.  Cliquez sur la ressource regroupée extraite tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. Naviguez jusqu’à l’emplacement où vous souhaitez enregistrer la ressource regroupée extraite.138 Chapitre 7 Utilisation de projets Final Cut Studio 8 Si le contrôle de versions n’est pas activé pour la ressource regroupée, elle est réintégrée. Si le contrôle de versions est activé pour la ressource regroupée, une fenêtre Check In apparaît. Si nécessaire, saisissez un commentaire de version, puis cliquez sur Check In. Pour en savoir plus sur le contrôle de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. Le dossier mis à jour est réintégré dans Final Cut Server. Extraction, modification et réintégration de projets Final Cut Studio et de leurs fichiers de données Si vous avez téléchargé un projet et ses fichiers de données reliées en tant que ressources individuelles, vous devez extraire séparément la ressource de projet et chacune des ressources média. Si la ressource de projet Final Cut Studio et ses fichiers de données reliées ont été placés dans une production Final Cut Server et ont reçu des métadonnées uniques lors du téléchargement, la recherche et le téléchargement du projet Final Cut Studio et de ses données sont aisés. Vous pouvez ouvrir la production ou rechercher le mot-clé du projet pour trouver le projet et ses ressources média. Vous pouvez ensuite extraire le projet et chacune de ses ressources média. Si le téléchargement du projet Final Cut Server n’a pas été explicitement organisé avec une production ou un mot-clé, vous devrez peut-être le télécharger, l’ouvrir dans son application d’origine, puis rechercher manuellement les données requises pour ce projet. Vous pouvez ensuite télécharger chaque donnée et modifier le projet. Lorsque vous réintégrez le projet, vous pouvez l’organiser dans une production et appliquer un mot-clé de projet. N’oubliez pas que lorsque vous extrayez une ressource, elle est verrouillée à l’aide d’un verrou d’extraction et que la représentation principale de la ressource ne peut pas être modifiée ; toutefois, les métadonnées de la ressource peuvent être modifiées par n’importe quel utilisateur.Chapitre 7 Utilisation de projets Final Cut Studio 139 Extraction d’une ressource de projet Final Cut Studio et de ses fichiers de données reliées Avant de pouvoir ouvrir correctement un projet, vous devez extraire ou exporter des copies des ressources média du projet. L’extraction d’une ressource est le seul moyen pour créer une copie gérée de la ressource que vous pouvez réintégrer dans Final Cut Server. Extrayez la ressource de projet à l’aide des étapes ci-dessous, puis extrayez chacune des ressources média. Après avoir extrait tous les fichiers de données, vous pouvez ouvrir le fichier de projet, reconnecter les fichiers de données et commencer la modification. Pour extraire une ressource média ou une ressource de projet Final Cut Studio : 1 Effectuez l’une des opérations ci-dessous :  Sélectionnez la ressource de projet dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check Out de la barre d’outils.  Cliquez sur la ressource de projet tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check Out dans le menu contextuel. 2 Dans la fenêtre Check Out, choisissez un emplacement pour y enregistrer le projet extrait en navigant jusqu’à l’emplacement souhaité. Remarque : pour faciliter la reconnexion des données du projet, enregistrez le fichier de projet et tous ses fichiers de données reliées dans le même emplacement. Vous pouvez créer un dossier « Projets Final Cut Server extraits » ou similaire sur le bureau ou dans un autre emplacement pratique. 3 Cliquez sur le bouton Check Out. Le projet est extrait vers l’emplacement que vous avez spécifié. Après avoir extrait toutes les ressources média, vous pouvez ouvrir le fichier de projet, reconnecter les fichiers de données et commencer la modification. Si vous ne pensez pas modifier les fichiers de données, vous pouvez les exporter. Comme il est possible d’exporter plusieurs fichiers, c’est le choix le plus rapide. Pour obtenir des instructions relatives à l’exportation de fichiers de données, consultez « Exportation d’une ressource de projet et de ses données » à la page 143.140 Chapitre 7 Utilisation de projets Final Cut Studio Modification d’un fichier de projet dans son application d’origine Après l’extraction de la ressource de projet et l’extraction ou l’exportation des ressources média du projet, vous pouvez ouvrir le fichier de projet dans son application d’origine. Pour ouvrir un fichier de projet dans son application d’origine, procédez de l’une des manières suivantes : m Faites glisser le projet de l’emplacement dans lequel vous l’avez extrait vers l’icône de l’application appropriée dans votre Dock. m Ouvrez l’application d’origine, choisissez Fichier > Ouvrir, puis naviguez jusqu’au fichier de projet. Une fois le projet ouvert dans son application d’origine, vous pouvez le modifier. Assurezvous d’enregistrer régulièrement vos modifications. Il est possible que vous deviez relier votre fichier de projet à ses fichiers de données. Si vous obtenez un message de donnée offline ou à relier, vous saurez que le projet doit être relié. Pour en savoir plus sur la manière de relier des fichiers de projet, consultez la documentation fournie avec l’application. Reconnexion d’un projet Motion à ses fichiers de données Lorsque vous ouvrez un fichier de projet pour la première fois avec des données qui ne sont pas disponibles, une zone de dialogue apparaît, répertoriant tous les fichiers de données impossibles à trouver. Vous pouvez afficher une zone de dialogue pour naviguer directement jusqu’aux fichiers sans avoir à effectuer de recherche. Pour reconnecter des fichiers de données Motion : 1 Dans la zone de dialogue répertoriant tous les fichiers de données impossibles à trouver, cliquez sur Relier. 2 Dans la zone de dialogue qui apparaît, naviguez jusqu’à l’emplacement de chaque fichier, puis cliquez sur Open. La donnée est reconnectée. Pour en savoir plus sur la reconnexion de projets Motion, consultez la documentation fournie avec l’application. Reconnexion d’un projet Soundtrack Pro à ses fichiers de données Lorsque vous ouvrez un projet multipiste Soundtrack Pro, l’application vérifie si les fichiers de données utilisés par le projet se trouvent dans le même emplacement que lors de la dernière ouverture du projet. Si les fichiers de données ne se trouvent pas dans l’emplacement prévu, Soundtrack Pro affiche une zone de dialogue Can’t Find File offrant trois choix :  Tout ignorer : ouvre le projet sans reconnecter aucun fichier manquant.  Ignorer le fichier : ouvre le projet sans reconnecter le fichier manquant.  Rechercher l’emplacement : présente une zone de dialogue qui vous permet de localiser le fichier manquant et de le reconnecter au projet.Chapitre 7 Utilisation de projets Final Cut Studio 141 Pour reconnecter les fichiers de données Soundtrack Pro à l’aide de l’option Localiser : 1 Dans la zone de dialogue Can’t Find File, cliquez sur Rechercher l’emplacement. 2 La fenêtre qui apparaît affiche le nom de fichier qui doit être reconnecté en tant que titre de la fenêtre. Dans l’explorateur de fichiers qui s’affiche dans la fenêtre, naviguez jusqu’à l’emplacement du fichier. 3 Lorsque vous avez identifié l’emplacement du fichier, cliquez sur Open. Le fichier est reconnecté. Si vous choisissez d’ouvrir le projet dans Soundtrack Pro sans reconnecter ses fichiers, vous pouvez reconnecter des fichiers audio individuels à partir de l’onglet Timeline ou Chutier et reconnecter un fichier vidéo dans la piste vidéo de la Timeline. Pour reconnecter un fichier audio ou vidéo dans Soundtrack Pro : 1 Cliquez sur le plan tout en maintenant la touche Contrôle enfoncée dans la Timeline ou la piste vidéo, puis choisissez Reconnecter [nom de fichier] dans le menu contextuel. 2 Dans la zone de dialogue qui apparaît, localisez le fichier que vous souhaitez reconnecter. 3 Cliquez sur Open pour reconnecter le fichier. Pour en savoir plus sur la reconnexion de projets Soundtrack Pro, consultez le Manuel de l’utilisateur de Soundtrack Pro. Reconnexion d’un projet DVD Studio Pro à ses fichiers de données Si le fichier de projet et tous ses fichiers de données se trouvent dans le même dossier, les projets DVD Studio Pro n’ont pas besoin d’être reconnectés. Toutefois, si vous ouvrez un projet et que DVD Studio Pro ne peut pas localiser une ressource dans son emplacement d’origine, une fenêtre Fichiers manquants apparaît. Pour localiser une ressource manquante lors de l’ouverture d’un projet DVD Studio Pro : 1 Sélectionnez la ressource dans la fenêtre Fichiers manquants. 2 Effectuez l’une des opérations suivantes :  Cliquez sur Localiser et utilisez la fenêtre qui apparaît pour rechercher la ressource.  Si la ressource est un fichier QuickTime et que sa version encodée au format MPEG-2 ou AIFF est disponible, vous pouvez cliquer sur « Remplacer par le fichier encodé ». Pour en savoir plus sur la reconnexion de projets DVD Studio Pro, consultez le Manuel de l’utilisateur de DVD Studio Pro. 142 Chapitre 7 Utilisation de projets Final Cut Studio Réintégration du projet et de ses fichiers de données reliées dans Final Cut Server Une fois le fichier de projet modifié, vous devez le réintégrer, avec ses fichiers de données reliées, dans Final Cut Server. Chaque ressource doit être réintégrée séparément. Remarque : si vous avez ajouté toute nouvelle ressource à un projet, vous devez la télécharger séparément. Pour en savoir plus, consultez « Téléchargement de projets Final Cut Studio » à la page 43. Pour réintégrer une ressource de projet : 1 Dans l’application d’origine du projet, enregistrez le projet dans l’emplacement d’extraction. 2 Dans l’application Final Cut Studio, enregistrez le projet et choisissez de collecter les données. Dans Motion et Soundtrack Pro, vous pouvez le faire en choisissant Fichier > Enregistrer sous, puis en choisissant de collecter les données dans la fenêtre Enregistrer sous. Dans DVD Studio Pro, vous devez placer manuellement le projet et les fichiers de données dans un dossier. Remarque : pour obtenir des informations spécifiques concernant l’utilisation de ces applications, consultez la documentation fournie avec l’application. Important : lors du téléchargement d’un fichier de projet DVD Studio Pro et de ses fichiers de données reliées, il est inutile de télécharger les fichiers .par. Lorsque vous extrayez et que vous ouvrez le projet dans DVD Studio Pro, les fichiers .par sont automatiquement recréés. 3 Dans Final Cut Server, réintégrez le fichier de projet en procédant de l’une des manières suivantes :  Sélectionnez la ressource de projet extraite dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check In de la barre d’outils.  Cliquez sur le projet tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. 4 Si le contrôle de versions n’est pas activé pour la ressource, elle est réintégrée. Si le contrôle de versions est activé pour la ressource, une fenêtre Check In apparaît. Si nécessaire, saisissez un commentaire de version, puis cliquez sur Check In. Pour en savoir plus sur le contrôle de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. Le fichier de projet Final Cut Studio est réintégré dans Final Cut Server.Chapitre 7 Utilisation de projets Final Cut Studio 143 Pour réintégrer une ressource média : 1 Dans Final Cut Server, réintégrez le fichier en procédant de l’une des manières suivantes :  Sélectionnez la ressource média extraite dans la sous-fenêtre Assets ou dans une production, puis cliquez sur le bouton Check In de la barre d’outils.  Cliquez sur la ressource média extraite tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Check In dans le menu contextuel. 2 Si le contrôle de versions n’est pas activé pour la ressource, elle est réintégrée. Si le contrôle de versions est activé pour la ressource, une fenêtre Check In apparaît. Si nécessaire, saisissez un commentaire de version, puis cliquez sur Check In. Pour en savoir plus sur le contrôle de versions, consultez « Ajout de versions pour une ressource média ou de projet » à la page 91. La ressource média mise à jour est réintégrée dans Final Cut Server. Exportation d’une ressource de projet et de ses données Vous pouvez toujours exporter une copie d’une ressource de projet Final Cut Studio et de ses fichiers de données téléchargés en tant que ressource regroupée ou une ressource de projet et ses ressources média téléchargées en tant que ressources individuelles, même si les ressources média ou de projet sont verrouillées ou extraites par un autre utilisateur. Toutefois, il est important de noter que les fichiers de données ou de projet exportés ne peuvent pas être réintégrés ni référencés d’une manière ou d’une autre vers les ressources média ou de projet d’origine. Si vous avez téléchargé le projet d’origine et ses fichiers de données en tant que ressource regroupée, vous pouvez exporter la ressource regroupée en une étape. Si vous avez télé- chargé le projet d’origine et ses fichiers de données en tant que ressources individuelles, vous devez exporter la ressource de projet, puis exporter toutes les ressources média. L’exportation de ressources média prend moins de temps que leur extraction, car vous pouvez exporter plusieurs ressources depuis Final Cut Server.144 Chapitre 7 Utilisation de projets Final Cut Studio Pour exporter une copie d’une ressource regroupée : 1 Cliquez sur la ressource regroupée tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Save apparaît. 2 Dans la fenêtre Save, choisissez une destination pour y enregistrer la ressource regroupée exportée, en cliquant sur le bouton Choose et en identifiant un emplacement dans l’explorateur de fichiers. 3 Ne choisissez pas de réglage de transcodage pour la ressource regroupée. 4 Cliquez sur le bouton Export. Une copie du dossier contenu dans la ressource regroupée est exportée vers l’emplacement spécifié dans la fenêtre Export. Chapitre 7 Utilisation de projets Final Cut Studio 145 Pour exporter une ressource de projet Final Cut Studio et des ressources média reliées téléchargées en tant que ressources individuelles : 1 Sélectionnez la ressource de projet et les ressources média. Si les ressources média et de projet ont été créées selon la méthode recommandée, les ressources doivent être regroupées dans une production Final Cut Server et avoir des métadonnées uniques aux ressources média et de projet. Pour en savoir plus sur la méthode recommandée pour le téléchargement d’un projet Final Cut Studio et de ses fichiers de données en tant que ressources individuelles, consultez « Téléchargement de projets Final Cut Studio » à la page 43. Remarque : en activant la présentation par liste dans la sous-fenêtre Productions, vous pouvez plus facilement cliquer sur une liste de ressources en appuyant sur la touche Maj. 2 Cliquez sur l’une des ressources sélectionnées en maintenant la touche Contrôle enfoncée, puis choisissez Export dans le menu contextuel. La fenêtre Multiple Export apparaît. 3 Dans la fenêtre Multiple Export, choisissez une destination pour y enregistrer les ressources média en cliquant sur le bouton Choose et en identifiant un emplacement dans l’explorateur de fichiers. Remarque : pour éviter de perdre le suivi des projets exportés, vous pouvez créer un dossier pour le projet et ses données sur le bureau ou dans un autre emplacement pratique. 4 Ne choisissez pas de réglage de transcodage. 5 Cliquez sur le bouton Start. Chacune des ressources sélectionnées est exportée vers l’emplacement que vous avez spécifié dans la fenêtre Multiple Export. 8 147 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Les rubriques suivantes seront abordées au cours de ce chapitre :  Utilisation de métadonnées Status pour le suivi des ressources et productions (p. 147)  À propos de la fonction Review and Approve (p. 152)  Utilisation de la fonction Review and Approve (p. 153) Ce chapitre explique comment utiliser le champ de métadonnées Status pour faciliter le suivi des ressources de votre flux de travaux Final Cut Server. Si votre organisation met diligemment à jour le champ de métadonnées Status sur chacune de ses ressources et productions, vous pouvez aisément rechercher chaque ressource et production se trouvant dans les différentes étapes du flux de travaux. Ce chapitre traite également de l’utilisation de courriers électroniques pour prévenir lorsqu’un champ de métadonnées Status est défini sur Ready For Review. Utilisation de métadonnées Status pour le suivi des ressources et productions Le champ de métadonnées Status est conçu pour indiquer l’endroit où se trouve une ressource dans le flux de travaux Final Cut Server. L’état de la ressource de ce projet Final Cut Pro est défini sur In Progress.148 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Au fur et à mesure de la progression de votre travail, vous pouvez effectuer des recherches pour localiser des ressources se trouvant dans une phase donnée du flux de travaux. Final Cut Server est fourni avec plusieurs Smart Searches préconfigurées, qui vous permettent de rechercher facilement les ressources récemment modifiées ou celles dont le champ de métadonnées Status est défini sur Ready for Review. Cliquez sur cette Smart Search pour afficher toutes les ressources dont l’état est défini sur Ready for Review. Smart Search modifie le réglage Status dans la recherche avancée. Cliquez sur cette Smart Search pour afficher toutes les ressources que vous avez extraites. Smart Search modifie le réglage Checked Out By dans la recherche avancée.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 149 Vous pouvez configurer votre propre recherche à l’aide des options de recherche avancée. Par exemple, vous pouvez rechercher des ressources dont le champ de métadonnées Status est défini sur In Progress. Après avoir configuré une recherche, vous pouvez l’enregistrer en tant que Smart Search. Cela vous permet d’accéder à la recherche en cliquant simplement dessus dans la liste des Smart Searches. Cliquez sur ce bouton pour enregistrer le réglage de recherche actuel en tant que Smart Search. Pour ce faire, définissez le champ Status sur In Progress. Si vous cliquez sur le bouton Save as Smart Search, vous ajoutez une nouvelle Smart Search, à laquelle vous pouvez ensuite attribuer un nom.150 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Application de métadonnées Status à une ressource ou une production Lorsque vous téléchargez le fichier ou après la création de la ressource ou de la production, vous pouvez appliquer des métadonnées d’état ou d’autres métadonnées. Important : lorsque vous appliquez des métadonnées à une ressource ou une production, elles ne sont pas appliquées à d’autres ressources associées. Par exemple, si vous modifiez l’état d’un projet Final Cut Pro, l’état de chacune des ressources média reliées ne change pas. Pour modifier les métadonnées Status d’une ressource ou d’une production : 1 Dans la sous-fenêtre Assets ou Productions, double-cliquez sur la ressource ou la production pour afficher sa fenêtre d’information. 2 Cliquez sur Metadata pour afficher la sous-fenêtre Metadata . 3 Cliquez sur Asset pour afficher le groupe de métadonnées Asset. En fonction de l’ensemble de métadonnées qui s’applique à la ressource ou à la production, plusieurs groupes de métadonnées s’affichent. Cliquez sur Metadata pour afficher les ensembles de métadonnées de la ressource et leurs champs. Cliquez sur Asset pour afficher le groupe de métadonnées Asset.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 151 4 Choisissez le réglage Status approprié dans le menu local Status. 5 Cliquez sur le bouton Save Changes. Les métadonnées sont modifiées. Recherche de ressources ou de productions à l’aide de métadonnées Status Après avoir défini l’état d’une ressource ou d’une production, vous pouvez rechercher des métadonnées d’état pour trouver toutes les ressources ou productions contenant un réglage de métadonnées Status donné. Pour rechercher des ressources ou productions par état : 1 Dans la sous-fenêtre Assets ou Productions, cliquez sur le triangle d’affichage de recherche pour afficher les options de recherche avancée. 2 Choisissez un réglage de métadonnées Status à rechercher dans le menu local Status. 3 Cliquez sur le bouton Search. Les résultats de la recherche s’affichent dans la partie principale de la fenêtre. Choisissez un réglage d’état dans le menu local Status. Cliquez sur Save Changes. Cliquez sur le triangle d’affichage pour afficher les réglages de recherche avancée. Une fois les réglages de recherche configurés, cliquez sur le bouton Search. Choisissez un réglage Status à rechercher.152 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Utilisation de Smart Searches pour localiser des éléments Ready for Review Final Cut Server est fourni avec une Smart Search configurée pour rechercher des ressources et productions dont le champ de métadonnées Status est défini sur Ready for Review. Pour rechercher des ressources ou productions dont le champ de métadonnées Status est défini sur Ready for Review : m Cliquez sur Assets ready for review ou sur Productions ready for review dans la liste des Smart Searches. À propos de la fonction Review and Approve La fonction Review and Approve est utilisée conjointement avec le champ de métadonnées Status. Lorsqu’une ressource est prête à être révisée, vous pouvez aisément définir le champ de métadonnées Status de la ressource sur Ready for Review, ajouter des commentaires de forme et envoyer un courrier de notification aux réviseurs requis à partir du client Final Cut Server. À l’aide des informations contenues dans le courrier électronique, les réviseurs peuvent rechercher, afficher, annoter et approuver des ressources sans avoir à télécharger des fichiers volumineux. Smart Searches pour la sous-fenêtre Assets. Smart Searches pour la sous-fenêtre Productions. Choix de métadonnées Status pour une ressource.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 153 Important : votre administrateur Final Cut Server doit configurer cette fonction avant que celle-ci puisse être utilisée comme décrit dans cette rubrique. Utilisation de la fonction Review and Approve Lorsque que votre administrateur Final Cut Server a installé Final Cut Server, il a configuré la fonction Review and Approve pour répondre aux besoins de votre organisation. Les options que l’administrateur a pu configurer consistent, entre autres, à écrire le texte du courrier électronique et à faire en sorte que les commentaires de l’éditeur (saisis dans la sous-fenêtre Review & Approve) et d’autres métadonnées apparaissent dans le corps du courrier de notification. L’administrateur choisit également l’une des trois méthodes permettant de spécifier qui est défini comme réviseur requis et qui reçoit par conséquent les courriers électroniques Review and Approve. Les courriers électroniques peuvent être adressés à une liste de destinataires définie par l’administrateur, à des adresses saisies manuellement par l’utilisateur dans le champ Required reviewers ou à ces deux catégories. Remarque : ces exemples vous présentent des méthodes de saisie manuelle des adresses électroniques. Selon la façon dont votre système Final Cut Server a été configuré, votre administrateur peut créer un menu local à utiliser pour attribuer des adresses électroniques. Pour en savoir plus, contactez votre administrateur Final Cut Server. Important : il est difficile, pour un utilisateur client Final Cut Server, de déterminer si la fonction Review and Approve a été configurée et si oui, de distinguer laquelle de ces trois approches est utilisée par votre système Final Cut Server. Votre administrateur Final Cut Server doit être votre premier interlocuteur pour toute question sur l’utilisation de la fonction Review and Approve dans votre système Final Cut Server. Cliquez sur Review & Approve pour saisir des commentaires et des adresses électroniques. Selon la manière dont votre administrateur a configuré la fonction Review and Approve, vous pouvez saisir des commentaires et des adresses électroniques ici. Vous pouvez définir l’état dans la sous-fenêtre Metadata ou Review & Approve.154 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Envoi de courriers électroniques pour la révision aux réviseurs définis par l’administrateur Dans cette configuration, l’administrateur Final Cut Server saisit manuellement l’adresse électronique de chaque réviseur requis lors de la configuration. Ainsi, l’utilisateur de Final Cut Server ne voit pas la liste des réviseurs requis et ne peut pas saisir manuellement les adresses électroniques dans le champ Required reviewers de la sous-fenêtre Review & Approve. Lorsque les adresses électroniques ont été saisies manuellement par l’administrateur, les notifications par courrier sont automatiquement envoyées dès que le champ de métadonnées Status est défini sur Ready for Review (et dès que la ressource est modifiée lorsqu’elle est définie sur Ready for Review). Cette configuration est plus adaptée si vous savez que le même ensemble de réviseurs doit recevoir des notifications par courrier Review and Approve pour toutes les ressources. Par ailleurs, avec cette configuration, vous n’avez pas besoin de saisir les adresses électroniques des réviseurs requis. Si vous le faites, ces adresses sont ignorées. Pour envoyer des notifications par courrier Review and Approve à un ensemble de réviseurs définis : 1 Localisez la ressource ou le projet à envoyer à la révision dans la sous-fenêtre Assets ou Productions, puis double-cliquez sur la ressource ou le projet pour afficher sa fenêtre d’information. 2 Dans la fenêtre d’information de la ressource ou du projet, ouvrez la sous-fenêtre Review & Approve. Ouvrez la sous-fenêtre Review & Approve.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 155 3 Si vous souhaitez ajouter des notes au courrier électronique, vous pouvez les saisir dans le champ Editor’s comments. 4 Lorsque vous êtes prêt à envoyer la notification par courrier aux réviseurs requis, définissez le champ de métadonnées Status sur Ready for Review. Remarque : ce champ est disponible à la fois dans la sous-fenêtre Metadata et dans la sous-fenêtre Review & Approve. 5 Cliquez sur le bouton Save Changes en bas de la sous-fenêtre Review & Approve. Cela envoie le courrier de notification. Remarque : votre administrateur Final Cut Server contrôle qui peut recevoir des courriers électroniques au sein du système Final Cut Server. Pour ajouter des adresses électroniques à Final Cut Server, contactez votre administrateur. Saisie manuelle des adresses électroniques des réviseurs Dans cette configuration, l’utilisateur de Final Cut Server doit saisir manuellement l’adresse électronique complète de chaque réviseur requis. Une fois les adresses électroniques saisies, l’enregistrement des modifications entraîne l’envoi du courrier électronique Review & Approve. Le courrier électronique est envoyé uniquement lorsque les modifications sont enregistrées. Cette configuration permet à l’utilisateur de choisir les destinataires du courrier électronique et la fréquence d’envoi des courriers électroniques de révision. Elle est toutefois moins automatisée, ce qui accroît le travail de l’utilisateur. Saisissez des commentaires dans le champ Editor’s comments. Lorsque vous êtes prêt à envoyer la notification par courrier, cliquez sur Save Changes.156 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server Pour définir manuellement les destinataires des notifications par courrier Review and Approve : 1 Localisez la ressource ou le projet à envoyer à la révision et double-cliquez dessus pour afficher sa fenêtre d’information. 2 Dans la fenêtre d’information de la ressource ou du projet, ouvrez la sous-fenêtre Review & Approve. 3 Si vous souhaitez ajouter des notes au courrier électronique, vous pouvez les saisir dans le champ Editor’s comments. 4 Saisissez l’adresse électronique complète de chacun des réviseurs requis pour cette ressource dans le champ Required reviewers. 5 Lorsque vous êtes prêt à envoyer les notifications par courrier aux réviseurs requis, définissez l’état du champ de métadonnées sur Ready for Review. Remarque : ce champ est disponible à la fois dans la sous-fenêtre Metadata et dans la sous-fenêtre Review & Approve. 6 Cliquez sur le bouton Save Changes en bas à droite de la sous-fenêtre Review & Approve. Le courrier de notification est envoyé à chacune des adresses saisies dans le champ Required reviewers. Saisissez l’adresse électronique complète de chacun des réviseurs. Lorsque vous êtes prêt à envoyer la notification par courrier, cliquez sur Save Changes.Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 157 Utilisation de réviseurs définis par l’administrateur et de réviseurs dont l’adresse électronique est saisie manuellement Une approche hybride permet à la fois à l’administrateur Final Cut Server de saisir une liste statique de réviseurs requis et à l’utilisateur de saisir manuellement des adresses électroniques supplémentaires dans le champ Required reviewers. L’administrateur et l’utilisateur peuvent ainsi tous deux définir les destinataires des courriers de notification. Pour définir manuellement les destinataires des notifications par courrier Review and Approve : 1 Localisez la ressource ou le projet à envoyer à la révision et double-cliquez dessus pour afficher sa fenêtre d’information. 2 Dans la fenêtre d’information de la ressource ou du projet, ouvrez la sous-fenêtre Review & Approve. 3 Si vous souhaitez ajouter des notes au courrier électronique, saisissez-les dans le champ Editor’s comments. 4 Saisissez une adresse électronique complète pour chacun des réviseurs requis. Les adresses que vous saisissez sont ajoutées à la liste des réviseurs configurée par votre administrateur Final Cut Server. Important : n’oubliez pas que votre administrateur Final Cut Server a également défini une liste de réviseurs qui recevront chaque courrier électronique envoyé à partir de la sous-fenêtre Review & Approve. Veillez à ne pas envoyer de courriers électroniques en double aux réviseurs en ajoutant manuellement leur adresse dans la sous-fenêtre Review & Approve. Saisissez une adresse électronique complète pour chacun des réviseurs requis. Lorsque vous êtes prêt à envoyer la notification par courrier, cliquez sur Save Changes.158 Chapitre 8 Utilisation de métadonnées Status dans le flux de travaux Final Cut Server 5 Lorsque vous êtes prêt à envoyer les notifications par courrier aux réviseurs requis, définissez l’état du champ de métadonnées sur Ready for Review. Remarque : ce champ est disponible à la fois dans la sous-fenêtre Metadata et dans la sous-fenêtre Review & Approve. 6 Cliquez sur le bouton Save Changes en bas à droite de la sous-fenêtre Review & Approve. Le courrier de notification est envoyé à chacune des adresses saisie dans le champ Required reviewers et à chacun des réviseurs requis saisis par défaut par votre administrateur Final Cut Server.9 159 9 Exportation, archivage et suppression des ressources et des projets terminés Les rubriques suivantes seront abordées au cours de ce chapitre :  Sortie d’un projet final (p. 159)  Archivage et restauration de ressources média (p. 162)  Suppression de ressources Final Cut Server (p. 164) Ce chapitre décrit les étapes finales de l’utilisation d’une ressource : sortie d’une copie finale et création de copies de sauvegarde pour la ressource. Il explique également comment supprimer des ressources et des productions dans Final Cut Server. Sortie d’un projet final Vous pouvez utiliser la commande Export afin de créer une sortie des ressources média et de projet. Vous pouvez exporter les ressources sur un disque externe ou tout autre périphérique de sauvegarde ou les exporter sur votre système local, puis déplacer les fichiers souhaités à l’aide de Finder. Si vous exportez une ressource média, vous avez la possibilité de transcoder cette ressource durant l’exportation. Toutefois, le transcodage des ressources de projet et des ressources regroupées Final Cut Studio n’est pas recommandé. La méthode d’exportation de votre ressource média ou de projet finale dépend du type de ressource. Ce chapitre présente les étapes d’exportation d’un projet Final Cut Pro ou d’une ressource de projet Final Cut Studio ou autre, ainsi que des ressources média, d’un fichier de données et de la ressource regroupée associés. Important : lorsque vous exportez une ressource à partir de Final Cut Server, Final Cut Server n’en assure plus le suivi.160 Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés Exportation d’une ressource média L’exportation d’une ressource média individuelle est très simple. Pour exporter une ressource média individuelle : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export s’affiche. 2 Dans cette fenêtre, choisissez l’endroit où vous souhaitez enregistrer la ressource média, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers. 3 Si nécessaire, sélectionnez un réglage de transcodage. 4 Cliquez sur le bouton Export. La ressource média est exportée à l’emplacement spécifié dans la fenêtre Export. Cliquez sur Export. Cliquez sur le bouton Choose pour changer l’emplacement d’exportation. Si nécessaire, sélectionnez un réglage de transcodage.Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 161 Exportation d’un projet Final Cut Pro et des ressources média associées Vous pouvez exporter une ressource de projet Final Cut Pro et toutes ses ressources média lors d’une même opération. Pour exporter une copie d’un projet Final Cut Pro et les ressources média associées : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export s’ouvre dans Final Cut Pro. 2 Dans cette fenêtre Final Cut Pro, sélectionnez l’emplacement souhaité pour l’enregistrement du fichier de projet Final Cut Pro exporté et ses ressources média. Pour ce faire, cliquez sur le bouton Choose et recherchez l’emplacement souhaité dans le navigateur de fichiers. 3 Si la fonction Edit Proxy n’est pas activée, les données d’origine seront utilisées par défaut. Si cette fonction est activée, sélectionnez Original Media ou Edit Proxy, dans le menu local Use. Ceci permet de définir le type de données exportées. 4 Cochez la case Keep Media with Project pour inclure les fichiers de données dans l’exportation. Important : si vous ne sélectionnez pas cette option, seule la ressource de projet Final Cut Pro sera exportée. 5 Cliquez sur le bouton Export. Une copie du projet est exportée à l’emplacement que vous avez spécifié dans la fenêtre Export de Final Cut Pro. Remarque : une fois l’exportation terminée, le suivi du projet et des fichiers de données n’est plus assuré par Final Cut Server. Exportation d’une ressource regroupée Final Cut Studio Lorsque vous avez téléchargé le fichier de projet Final Cut Studio et ses fichiers de données, vous avez choisi de télécharger une ressource regroupée (fichier de projet et fichiers de données) ou le fichier de projet et chacun de ses fichiers de données sous forme de ressources indépendantes. Si vous avez téléchargé une ressource regroupée, vous pouvez à nouveau l’exporter en une seule opération très simple. Pour exporter une ressource regroupée : 1 Cliquez sur la ressource regroupée tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Export dans le menu contextuel. La fenêtre Export s’affiche. 2 Dans cette fenêtre, choisissez l’endroit où vous souhaitez enregistrer la ressource regroupée, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers.162 Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 3 Cliquez sur le bouton Export. Le dossier contenu dans la ressource regroupée est exporté à l’emplacement que vous avez spécifié dans la fenêtre Export. Exportation d’un projet Final Cut Studio et de ressources média individuelles Si vous avez téléchargé une ressource de projet Final Cut Studio et ses ressources média en tant que ressources individuelles, vous devez exporter la ressource de projet, puis toutes les ressources média séparément. Pour exporter une copie d’une ressource de projet Final Cut Studio et les ressources média associées : 1 Sélectionnez la ressource de projet Final Cut Studio et toutes les ressources média associées. Remarque : pour sélectionner plus facilement une liste de ressources média (Maj + Clic), passez en vue Liste dans la sous-fenêtre Productions. 2 Cliquez sur l’une des ressources sélectionnées en maintenant la touche Contrôle enfoncée, puis choisissez Export dans le menu contextuel. La fenêtre Multiple Export s’affiche. 3 Dans cette fenêtre, choisissez l’endroit où vous souhaitez enregistrer les fichiers de données, en cliquant sur le bouton Choose et en recherchant l’emplacement souhaité dans le navigateur de fichiers. Remarque : pour effectuer un suivi efficace des projets exportés, vous pouvez créer un dossier spécifique au projet et à ses ressources média, sur le bureau ou à l’emplacement de votre choix. 4 Ne sélectionnez aucun réglage de transcodage. 5 Cliquez sur le bouton Start. Tous les fichiers de données sélectionnés sont exportés à l’emplacement que vous avez spécifié dans la fenêtre Multiple Export. Archivage et restauration de ressources média Vous pouvez déplacer la représentation principale d’une ressource média sur le périphérique d’archivage installé par votre administrateur Final Cut Server. Étant donné que seule la représentation principale est déplacée, la ressource figure toujours dans le catalogue Final Cut Server ; vous pouvez ainsi toujours la localiser et effectuer des recherches dans ses métadonnées. Cette procédure permet de conserver en lieu sûr le fichier de la repré- sentation principale, qui ne peut alors être ni téléchargé, ni modifié.Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 163 Si vous essayez d’archiver une ressource média alors que celle-ci est en cours d’utilisation par une ressource de projet, une zone de dialogue s’affiche, vous demandant si vous souhaitez poursuivre l’opération d’archivage. Si vous choisissez de continuer, la ressource média ne sera plus disponible pour le projet. Si vous avez des questions concernant l’archivage, contactez votre administrateur Final Cut Server. Pour archiver une ressource : m Cliquez sur la ressource média tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Archive to et choisissez un périphérique d’archivage dans le menu contextuel. La ressource média est archivée et l’icône d’archive apparaît sur sa vignette.164 Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés Pour restaurer une ressource média et retirer du périphérique d’archivage la représentation principale de cette ressource : m Cliquez sur la ressource archivée tout en maintenant la touche Contrôle enfoncée, puis choisissez Restore dans le menu contextuel. L’icône d’archive disparaît, indiquant que la représentation principale de la ressource a été retirée du périphérique d’archivage. La ressource média est de nouveau disponible et peut être utilisée. Suppression de ressources Final Cut Server Lorsque vous supprimez une ressource dans Final Cut Server, vous supprimez le fichier de représentation principale de cette ressource, les fichiers proxy créés pour cette ressource et toutes les métadonnées qui lui sont associées. Une ressource peut parfois être associée à plusieurs projets ou ressources Final Cut Pro ; toute opération de suppression doit donc faire l’objet de précautions. Ne supprimez des ressources Final Cut Server que si vous êtes certain qu’elles ne servent plus à personne. Vous pouvez afficher les ressources média ou de projet auxquelles une ressource donnée est associée dans la sous-fenêtre Resources de la fenêtre d’information de cette ressource. La procédure ci-dessous indique comment supprimer une ressource média, une ressource regroupée ou une ressource de projet Final Cut Pro. Les autres ressources utilisant cette ressource sont répertoriées dans la liste Instances.Chapitre 9 Exportation, archivage et suppression des ressources et des projets terminés 165 Pour supprimer une ressource média ou regroupée du catalogue Final Cut Server : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Delete dans le menu contextuel. 2 Dans la zone de dialogue qui s’affiche, cliquez sur Delete. La ressource est supprimée du catalogue Final Cut Server. Pour supprimer une ressource de projet Final Cut Pro du catalogue Final Cut Server : 1 Cliquez sur la ressource tout en maintenant la touche Contrôle enfoncée, puis sélectionnez Delete dans le menu contextuel. Une zone de dialogue vous indiquant les ressources et les fichiers qui seront supprimés s’affiche. 2 Lisez attentivement ce message et confirmez que vous souhaitez bien supprimer tous les fichiers et ressources associés à la ressource de projet Final Cut Pro. 3 Lorsque vous êtes prêt, cliquez sur Delete. La ressource Final Cut Pro et toutes ses ressources associées sont supprimées du catalogue Final Cut Server. 167 Glossaire Glossaire affiche Une affiche est un fichier proxy JPEG généré à partir du fichier de représentation principale d’une ressource média, lors du téléchargement. Consultez proxy. archive Lorsque vous avez terminé un projet ou une production, vous pouvez utiliser la fonction d’archive pour déplacer les ressources, de leur périphérique de stockage actuel vers un périphérique d’archivage, par exemple un disque FireWire, un disque de plus grande capacité, mais plus lent, ou un autre volume où l’espace disque ne manque pas. Les ressources figureront toujours dans le catalogue Final Cut Server, dans un état inactif. Elles peuvent être restaurées à tout moment en cas de besoin. automatisation Final Cut Server prend en charge une grande variété de fonctions d’automatisation, ce qui permet de configurer Final Cut Server pour effectuer de nombreuses tâches automatiquement. cache Si vous souhaitez utiliser une ressource du catalogue Final Cut Server sur un ordinateur client, celui-ci doit disposer d’une copie locale de la ressource. Final Cut Server possède une zone de cache sur l’ordinateur client, dont il se sert pour stocker les copies locales des ressources. Vous pouvez choisir l’emplacement et la taille de ce cache dans la fenêtre Preferences du client. catalogue Le catalogue est un ensemble de ressources gérées par Final Cut Server. client L’interaction entre l’utilisateur et le catalogue Final Cut Server se fait à l’aide d’un client Final Cut Server. Les clients Final Cut Server sont des applications Java pouvant être exécutées sur les ordinateurs fonctionnant sous le système d’exploitation Mac OS X, Windows XP ou Windows Vista. données préparées Dans Final Cut Server, vous pouvez préparer des fichiers de données que vous utiliserez ultérieurement dans un nouveau projet Final Cut Pro. Lorsque vous sélectionnez un ou plusieurs fichiers de données, puis choisissez « Prepare for Disconnected Use », des copies d’alias des fichiers placés dans le cache sont créées à l’emplacement spécifié. Par la suite, lorsque votre ordinateur se retrouve déconnecté de Final Cut Server, vous pouvez utiliser les fichiers de données préparés pour créer un nouveau projet Final Cut Pro.168 Glossaire Edit Proxy Lors du téléchargement, un fichier Edit Proxy peut être créé pour les fichiers vidéo téléchargés sur Final Cut Server dans le cadre d’un projet Final Cut Pro. Les fichiers Edit Proxy sont utilisés lors de l’extraction d’un projet Final Cut Pro. Notez que les fichiers Edit Proxy ne sont pas créés automatiquement ; l’administrateur Final Cut Server doit d’abord activer la fonction Edit Proxy pour pouvoir générer ce type de fichier. Consultez proxy. edit-in-place Généralement, lorsque vous souhaitez utiliser une ressource du catalogue Final Cut Server sur un ordinateur client, celui-ci doit disposer d’une copie locale de la ressource. Il existe toutefois une exception, lorsque le périphérique qui contient la ressource est configuré comme périphérique « edit-in-place » et qu’il est monté en tant que volume sur l’ordinateur client. L’exemple le plus courant de cette situation est le système Xsan, qui prend en charge une bande passante de données suffisamment élevée pour pouvoir transférer les données vidéo en temps réel. Consultez Xsan. élément Les ressources de projet Final Cut Pro contiennent une liste de ressources média qui sont reliées, ou associées, au fichier de projet Final Cut Pro. Les éléments de projet Final Cut Pro peuvent inclure les fichiers de données et les séquences Final Cut Pro. ensemble de métadonnées Final Cut Server organise les métadonnées en ensembles. Ces ensembles contiennent des groupes de métadonnées, qui eux-mêmes contiennent des trames de métadonnées. fichier d’alias Un fichier d’alias est un petit fichier qui représente un autre fichier. Dans Final Cut Server, vous pouvez préparer des fichiers de données que vous utiliserez ultérieurement dans un nouveau projet Final Cut Pro. Lorsque vous sélectionnez un ou plusieurs fichiers de données et choisissez « Prepare for Disconnected Use », des copies d’alias des fichiers placés dans le cache sont créées à l’emplacement spécifié. fichier géré Lorsque vous extrayez une ressource, Final Cut Server crée une copie gérée du fichier. Ce fichier géré peut être modifié, puis réintégré pour mettre à jour la ressource d’origine. Consultez fichier non géré. fichier non géré Lorsque vous copiez ou exportez un fichier, Final Cut Server crée une copie non gérée de ce fichier. Ce fichier non géré peut être modifié, puis réintégré pour mettre à jour la ressource d’origine. Si vous souhaitez effectuer le suivi d’un fichier non géré dans Final Cut Server, vous devez d’abord le télécharger et créer une nouvelle ressource. Consultez fichier géré. métadonnées Les métadonnées sont des informations relatives à un fichier. Dans Final Cut Server, les métadonnées servent à décrire le fichier de représentation principale de la ressource, ainsi que la ressource elle-même. périphérique Les périphériques sont des emplacements de stockage. Il peut s’agir de dossiers sur un volume local de serveur, de volumes en réseau ou encore de dossiers de volume Xsan.Glossaire 169 production Pour faciliter l’organisation des ressources dans votre catalogue Final Cut Server, vous pouvez créer des productions. Chaque production peut contenir une ou plusieurs ressources. En outre, une ressource peut appartenir à plusieurs productions. Par exemple, vous pouvez créer une production contenant tous les fichiers d’un client et une autre contenant uniquement les fichiers de ce client utilisés dans le cadre d’un épisode ou d’une publicité spécifique. projet Dans la création d’un projet, plusieurs applications Final Cut Studio utilisent des fichiers de projet, qui eux-mêmes utilisent un ou plusieurs fichiers de données associés. Final Cut Server assure le suivi des fichiers de projet à l’aide de ressources de projet. proxy Les images et les fichiers vidéo peuvent être très volumineux, ce qui rend leur manipulation difficile. Final Cut Server crée automatiquement des fichiers proxy lors du processus d’analyse, lorsque vous ajoutez des ressources à son catalogue. Ces fichiers proxy peuvent être utilisés à la place des véritables fichiers, dans les opérations de modification et de révision. Consultez proxy de plan, Edit Proxy, affiche, vignette. Proxy de plan Lors du téléchargement, Final Cut Server crée automatiquement un fichier de proxy de plan basse résolution pour les ressources vidéo. Le proxy de plan est utilisé à la place du véritable fichier vidéo, lors de la visualisation de la ressource dans Final Cut Server. Consultez proxy. réglages de transcodage Final Cut Server utilise les réglages de transcodage pour convertir une ressource média, en passant de son codec actuel à un autre. La plupart du temps, vous utilisez les réglages de transcodage pour convertir une ressource en une autre, plus petite et plus facile à lire. Les réglages de transcodage pour les ressources vidéo et audio proviennent de Compressor (installé sur le serveur). Les réglages de transcodage pour les images sont internes à Final Cut Server. représentation principale Fichier de données original téléchargé dans Final Cut Server. ressource Final Cut Server crée une ressource pour chaque fichier de données ou de projet téléchargé. Une ressource contient le fichier de représentation principale (fichier téléchargé) et, parfois, un ou plusieurs fichiers de proxy. ressource regroupée Dans Final Cut Server, vous pouvez télécharger un dossier de fichiers sous forme de ressource regroupée. Cette ressource regroupée contient tous les fichiers du dossier, ainsi que les fichiers auxquels il est impossible d’accéder depuis Final Cut Server. Les ressources regroupées servent au suivi des ressources de projet Soundtrack Pro, Motion et DVD Studio Pro, ainsi que des fichiers de données associés. tâches Terme désignant toute action exécutée par Final Cut Server sur une ressource. Ces actions incluent le téléchargement, la copie et le transcodage d’une ressource.170 Glossaire transcodage L’opération de transcodage permet de convertir une ressource média en passant d’un codec à un autre. Final Cut Server utilise les codecs vidéo et audio fournis par Compressor. Consultez réglages de transcodage. version Final Cut Server peut être configuré de manière à conserver les versions précédentes d’une sélection de ressources, ce qui rend possible la restauration d’une version anté- rieure, si nécessaire. Si vous extrayez une ressource à partir du catalogue Final Cut Server, puis la modifiez et la réintégrez, Final Cut Server copie tout d’abord la version actuelle sur le périphérique où elle se situe, puis copie la nouvelle version à l’endroit où la version actuelle se trouvait. vignette Dans la fenêtre principale de Final Cut Server, vous pouvez afficher les ressources ou les productions dans une vue Liste ou Vignette. Dans la vue Vignette, chaque ressource est représentée par une image miniature. Cette image provient du fichier proxy de vignette de la ressource (fichier proxy JPEG généré à partir du fichier de représentation principale de la ressource média, lors du téléchargement). Consultez proxy. Xsan Un réseau de stockage (SAN) Xsan Apple est un périphérique qui offre un accès rapide aux fichiers de données. Les périphériques Xsan prennent en charge la fonction edit-in-place lorsque vous vous connectez via un réseau Fibre Channel. Consultez edit-in-place. 171 Index Index A affichage des ressources 89 affiche 35 aide, utilisation à l’écran 9 annotations ajout 99 à propos 99–102 fenêtre 26 remplacement du texte 101 suppression 102 archivage des ressources 162 Assets, sous-fenêtre configuration de l’affichage 19 icônes 20 introduction 17 assistance AppleCare 11 automatisations 167 C cache 108 ajout d’une ressource 110 à propos 109–111 expiré 111 client. Consultez client Final Cut Server client Final Cut Server installation 15 tableau des actions 84 clients, à propos 7 courrier électronique, Review and Approve, fonction 152–158 D déconnexion de Final Cut Server projets Final Cut Pro 130–133 ressources média 113–116 déverrouillage des ressources 94–98 dossiers téléchargement du contenu en tant que ressources 44 téléchargement en tant que ressources regroupées 44 Downloads & Uploads, fenêtre introduction 27 duplication d’une ressource 103 E edit-in-place 104, 168 mise en cache 109 projets Final Cut Pro et 123 elements sous-fenêtre Elements 40 éléments à propos 40 ensembles de métadonnées présentation 32 exportation groupe Final Cut Studio 161 projet et ressources Final Cut Pro 133, 161 projet et ressources Final Cut Studio 162 projets Final Cut Studio 143–145 ressources finales et projets 159 ressources média 117, 160 extraction et réintégration 111–113 projets Final Cut Pro 124–129 ressources 111–113 F fenêtre d’information production 25 projet Final Cut Pro 24 projet Final Cut Studio 24 ressource 23 fenêtre d’information de la ressource Action, menu local 58 détails 85–88 fenêtre d’information 88 ouverture 58 sous-fenêtre Assets 86 sous-fenêtre Locks 87 sous-fenêtre Metadata 86, 87, 88 sous-fenêtre Review & Approve 88 sous-fenêtre Versions 87 fenêtre d’information du projet Final Cut Pro à propos 89 sous-fenêtre Elements 40172 Index fenêtre Downloads & Uploads effacement 105 ouverture 105 utilisation 105 fenêtre Link Upload 47 fenêtre Multiple Link Upload 50 fenêtre Multiple Upload 37 fenêtre Preferences ouverture 107 préférences de cache 108 préférences de recherche 107 utilisation 107–108 fenêtre Search All Jobs utilisation 80–81, 105 fenêtre Search Devices à propos de son contenu 78 astuces de recherche 79 utilisation 78–79 fenêtre Upload 37 fichier géré 168 fichier non géré 168 fichier proxy de plan 35 fichiers d’alias 114, 168 fichiers de données préparés 167 fichiers du proxy de modification extraction de projets Final Cut Pro 124 fichiers Edit Proxy à propos 168 extraction d’un projet Final Cut Pro 39 fichiers proxy 34, 169 affiche 35 Edit Proxy 39 proxy de plan 35 vignette 35 Final Cut Pro Check In, fenêtre 128 Check Out, fenêtre 125 utilisation avec Final Cut Server 121–122 Final Cut Pro, projets exportation 133, 161 Final Cut Server aide 9 documentation imprimée 9 edit-in-place 104 flux de travaux 14 installation du client 15 interface utilisateur 15–30 manuels de l’utilisateur à l’écran 9 ordinateur dont l’activité est suspendue 34 préférences 107–108 présentation 7–8 sites web 10 utilisation avec Final Cut Pro 121–122 vue d’ensemble des opérations 8 vue d’ensemble du catalogue 53–59 G Gestionnaire de données 127 groupes projets Final Cut Studio, exportation 161 I interface utilisateur fenêtre Annotations, introduction 26 fenêtre Downloads & Uploads, introduction 27 fenêtre Preferences, introduction 29 fenêtre principale 15 fenêtres d’information 23–25 fenêtre Search All Jobs, introduction 27 fenêtre Search Devices, introduction 28 icônes de ressource 20 introduction 15–30 introduction aux menus contextuels 30 K Keep Media with Project, case à cocher 131 M Menu local Action 58 menus contextuels introduction 30 versions 93 métadonnées affichage 65 à propos 65 fichier et ressource 64 métadonnées d’état 75, 147–149 métadonnées d’état, application 150 modification sur des ressources 77 présentation 32 utilisation 64–66 P périphériques edit-in-place 104 Library 38 Media 38 Preferences, fenêtre emplacement du fichier d’alias, réglage 114 introduction 29 présentation par liste 20 productions affichage 61 ajout de ressources 62 ajout de ressources durant un téléchargement 62 création 60 métadonnées d’état 75 métadonnées d’état, application 150 métadonnées d’état, utilisation pour la recherche 151 organisation des ressources 59–64Index 173 retrait de ressources 63 suppression 64 téléchargement de projets Final Cut Studio vers 49 Productions, sous-fenêtre configuration de l’affichage 19 icônes 20 introduction 18 projets DVD Studio Pro à propos des fichiers .par 46 reconnexion de fichiers de données 141 téléchargement d’un dossier avec des ressources 43 projets Final Cut Pro à propos 120 conservation des données du projet 126, 131 création à partir de ressources préparées pour une utilisation hors connexion 115 edit-in-place 123 éléments 40 extraction 124–129 extraction sur un disque externe 132 extraction sur un ordinateur portable déconnecté 131 fichiers du proxy de modification 124 Gestionnaire de données, utilisation 127 intégration et extraction de Final Cut Server 123 modification d’un projet extrait 126 problèmes connus 121 réintégration 127 résolution de problèmes de données offline 122 suppression de Final Cut Server 165 téléchargement 39–43 utilisation sans connexion à Final Cut Server 130– 133 versions 123, 129 projets Final Cut Studio à propos de la modification 135 exportation 143–145 exportation des ressources 162 exportation en groupes 161 extraction avec des données reliées 139 modification dans l’application d’origine 140 réintégration des fichiers de données reliées 142 réintégration et extraction en tant que fichiers individuels 138–143 réintégration et extraction en tant que ressources regroupées 136 téléchargement 43–51 téléchargement vers des productions 49 projets Motion reconnexion de fichiers de données 140 téléchargement d’un dossier avec des ressources 43 projets Soundtrack Pro reconnexion de fichiers de données 140 téléchargement d’un dossier avec des ressources 43 Q QuickTime métadonnées 38 séquences de référence 34 R raccourcis clavier, à propos 30 recherche affichage des résultats 74 avancée 69–71 introduction 21 pages de résultats 74 préférences 107 simple 66–68 Smart Search 72–73, 152 utilisation de la fenêtre Search All Jobs 80–81 utilisation de la fenêtre Search Devices 78–79 utilisation de métadonnées d’état 151 réintégration et extraction projets Final Cut Studio en tant que fichiers individuels 138–143 ressources regroupées de projet Final Cut Studio 136 représentation principale 34 réseau de stockage (SAN) et mise en cache 109 ressources activation du contrôle de versions 92 affichage 89 ajout au cache 110 ajout à une production durant un téléchargement 62 ajout d’annotations 99 archivage 162 disque externe 113 duplication 103 exportation 117 extensions de fichiers 33 extraction 92 fichiers d’alias 114 fichiers pouvant être téléchargés 32 fichiers proxy 34 métadonnées 64 métadonnées d’état 75 métadonnées d’état, application 150 métadonnées d’état, utilisation pour la recherche 151 mise en cache 109–111 modification des métadonnées 77 organisation à l’aide de productions 59–64 préparation pour une utilisation hors connexion 113–116 présentation 31174 Index réintégration avec des commentaires de version 92 représentation principale 34 restauration 162 retrait d’une production 63 stratégies de téléchargement 33 suppression de Final Cut Server 164 téléchargement 34–39 type mime 57 types 55 verrouillage et déverrouillage 94–98 versions 91–93 vue d’ensemble du catalogue 53–59 ressources regroupées et automatisations 45 réintégration et extraction, projets Final Cut Studio 136 téléchargement d’un projet Final Cut Studio en tant que 44–48 téléchargement de projets en tant que 44 restauration des ressources 162 Review and Approve, fonction 152–158 réviseurs définis par l’administrateur 154 réviseurs définis par l’administrateur et réviseurs saisis manuellement 157 saisie manuelle des réviseurs 155 utilisation 153 S Search All Jobs, fenêtre introduction 27 Search Devices, fenêtre introduction 28 serveurs, à propos 7 Sites web 10 Sites web Apple 10 Smart Search création 72–73 et utilisateurs 72 localisation d’éléments Ready for Review 152 suppression 73 utilisation 73 T tâches à propos 80 fenêtre Search All Jobs 105 indicateur Jobs in Progress 104 monitoring 104–106 téléchargement ajout de ressources à une production 62 dossiers 43 fichiers de données 34–39 fichiers pouvant être téléchargés 32 ordinateur dont l’activité est suspendue et 34 projet Final Cut Studio en tant que ressource regroupée 44–48 projet Final Cut Studio en tant que ressources individuelles 48–51 projets Final Cut Pro 39–43 projets Final Cut Studio 43–51 séquences de référence QuickTime 34 stratégies 33 transcodage 170 travailler hors connexion avec Final Cut Server ressources média 113–116 type mime 57 U utilisation sans connexion à Final Cut Server projets Final Cut Pro 130–133 V verrouillage des ressources 94–98 verrous extraction 95 référence 96 verrouillage et déverrouillage du verrou Utilisateur 96–98 versions 91–93 activation du contrôle de versions pour une ressource 92 ajout de commentaires 92 espace disque 91 options de menu contextuel 93 projets Final Cut Pro 123, 129 rétablissement 93 sous-fenêtre Versions 91 vignettes 35 affichage 19 vue d’ensemble du catalogue 53–59 X Xsan mise en cache 109 projets Final Cut Pro 123 Time Capsule Guide de configuration3 Table des matières 5 Chapitre 1 : Premiers contacts 7 À propos de votre Time Capsule 8 À propos du logiciel AirPort 9 Ce qu’il vous faut pour commencer 11 Le voyant d’état de Time Capsule 13 Chapitre 2 : Configuration de Time Capsule 14 Utilisation de Time Capsule pour créer un réseau sans fil 17 Utilisation de l’Utilitaire AirPort 19 Création d’un nouveau réseau sans fil 20 Configuration et partage de l’accès à Internet 21 Réglage des options avancées 23 Autorisation de l’accès des clients sans fil à votre réseau sans saisie de mot de passe 24 Utilisation de Time Machine avec votre Time Capsule 27 Chapitre 3 : Astuces et dépannage 27 Si vous ne pouvez pas vous connecter à Internet 27 Si vous avez oublié le mot de passe du réseau ou celui de Time Capsule 29 Si votre Time Capsule ne répond pas 30 Si le voyant d’état de votre Time Capsule devient orange et se met à clignoter4 Table des matières 31 Si votre imprimante ne répond pas 32 Mise à jour du logiciel AirPort 33 À propos de l’emplacement de Time Capsule 34 Éléments pouvant provoquer des interférences avec AirPort 35 Chapitre 4 : En savoir plus, service après-vente et support 37 Annexe : Caractéristiques techniques et normes de sécurité de Time Capsule 41 Regulatory Compliance Information1 5 1 Premiers contacts Nous vous félicitons pour l’achat de Time Capsule. Lisez ce guide pour commencer. La nouvelle Time Capsule vous offre la simplicité d’une sauvegarde automatisée pour votre réseau Wi-Fi. Utilisée dans Mac OS X 10.5.2 Leopard ou ultérieur, l’application Time Machine facilite et automatise la réalisation de copies de sauvegarde du contenu de tous les ordinateurs du réseau sur une seule Time Capsule. Time Capsule est aussi une borne d’accès AirPort Extreme complète offrant une mise en réseau sans fil à double bande simultanée. Lorsque vous la configurez, votre Time Capsule crée deux réseaux Wi-Fi haut débit :  un réseau 2,4 gigahertz (GHz) pour les appareils 802.11b, 802.11g et 802.11n, tels que les iPhone, iPod Touch et ordinateurs plus anciens,  un réseau 5 GHz pour les appareils 802.11n et 802.11a, tels que les ordinateurs récents et Apple TV. Les périphériques sans fil se connectent au réseau qui leur fournit les meilleures performances et la meilleure compatibilité et la Time Capsule partage votre connexion Internet haut débit avec les ordinateurs et périphériques de votre réseau.6 Chapitre 1 Premiers contacts Avec votre Time Capsule, vous pouvez :  Utiliser l’application Time Machine dans Mac OS X 10.5.2 (ou ultérieur) pour effectuer une copie de sauvegarde du contenu de tous les ordinateurs de votre réseau sans fil ainsi que des ordinateurs connectés à votre Time Capsule via Ethernet. Remarque : la première copie de sauvegarde avec Time Capsule et Time Machine peut prendre une nuit, voire plus, suivant la quantité de données à sauvegarder. Pour accélérer le processus, utilisez un câble Ethernet pour brancher l’ordinateur au port de réseau local (LAN) sur votre Time Capsule. Pour en savoir plus sur l’utilisation de Time Machine, voir « Utilisation de Time Machine avec votre Time Capsule » à la page 24.  Créer un réseau domestique sans fil protégé par mot de passe, vous connecter à Internet et partager la connexion avec d’autres ordinateurs et périphériques Wi-Fi tels qu’iPhone, iPod Touch et Apple TV. Vous pouvez aussi partager des fichiers entre des ordinateurs connectés au réseau.  Créer un réseau d’invités avec ou sans protection par mot de passe pour fournir un accès aux périphériques sans fil tels que les ordinateurs, iPhone, iPod Touch et Apple TV, via Internet uniquement.  Connecter votre Time Capsule à votre réseau Ethernet. Les ordinateurs Macintosh ou Windows XP ou Windows Vista sans fil peuvent alors accéder à un réseau complet sans connexion câblée.  Connecter une imprimante USB prise en charge à votre Time Capsule. Les ordinateurs compatibles sur le réseau AirPort, qu’ils soient avec ou sans fil, peuvent alors imprimer sur cette imprimante.Chapitre 1 Premiers contacts 7  Connecter un disque dur USB supplémentaire à votre Time Capsule. Les ordinateurs compatibles sur le réseau AirPort, qu’ils soient avec ou sans fil, peuvent accéder aux informations du disque dur.  Connecter un concentrateur USB à votre Time Capsule avant de connecter plusieurs périphériques USB tels que des imprimantes ou des disques durs. Tous les ordinateurs du réseau ont accès à ces périphériques. Important : installez l’Utilitaire AirPort 5.4 à partir du CD fourni avec votre Time Capsule ou téléchargez-le à l’aide de la Mise à jour de logiciels. Les versions antérieures de l’Assistant réglages AirPort et de l’Utilitaire Admin AirPort ne sont pas compatibles avec Time Capsule. À propos de votre Time Capsule Votre Time Capsule est équipée de cinq ports à l’arrière :  Un port WAN Gigabit Ethernet 10/100/1000Base-T qui sert à brancher un modem câble ou DSL ou à se connecter à un réseau Ethernet existant.  Trois ports LAN Gigabit Ethernet 10/100/1000Base-T qui servent à brancher des périphériques Ethernet, par exemple des imprimantes ou des ordinateurs, ou à se connecter à un réseau Ethernet. 8 Chapitre 1 Premiers contacts  Un port USB qui sert à brancher une imprimante USB, un disque dur ou un concentrateur pour périphériques compatibles. Le bouton de réinitialisation situé à côté du port sert à dépanner votre Time Capsule. Le voyant d’état situé à l’avant affiche l’état actuel. À propos du logiciel AirPort Time Capsule fonctionne avec l’Utilitaire AirPort inclus sur le CD de Time Capsule. Installez l’Utilitaire AirPort et suivez les instructions des pages suivantes pour configurer votre Time Capsule et votre réseau sans fil AirPort. Voyant d’état Port WAN Internet Port d’alimentation Câble d’alimentation Bouton de réinitialisation Port USB Ports Ethernet Logement de sécurité Voyant d’activité EthernetChapitre 1 Premiers contacts 9 Remarque : vous devez utiliser l’Utilitaire AirPort 5.4 pour configurer votre Time Capsule. Cette version de Time Capsule n’est pas compatible avec les versions antérieures du logiciel AirPort. Ce qu’il vous faut pour commencer Pour utiliser votre Time Capsule, il vous faut un ordinateur sans fil conforme aux normes IEEE 802.11a, 802.11b ou 802.11g ou à une ébauche de spécification 802.11n de l’IEEE. Pour pouvoir configurer Time Capsule, votre ordinateur doit respecter la configuration requise ci-dessous. Remarque : pour pouvoir utiliser votre Time Capsule avec Time Machine sous Mac OS X Leopard, vous devez disposer de Mac OS X 10.5.2 ou ultérieur. Utilitaire AirPort Utilisez l’Utilitaire AirPort pour configurer votre Time Capsule afin de créer un réseau sans fil, de vous connecter à Internet et de partager des imprimantes ou des disques durs USB compatibles. Vous pouvez également connecter votre Time Capsule à un réseau sans fil AirPort Extreme existant. L’Utilitaire AirPort est également un outil sophistiqué permettant de configurer et de gérer Time Capsule, AirPort Extreme et les bornes d’accès AirPort Express. Utilisez-le pour définir manuellement les réglages de réseau, de routage et de sécurité, ainsi que d’autres options avancées. Z Menu d’état AirPort Le menu d’état AirPort situé dans la barre des menus vous permet de passer instantanément d’un réseau AirPort à l’autre, de contrôler la qualité du signal du réseau sélectionné, de créer un réseau « ordinateur à ordinateur » et d’activer ou de désactiver AirPort. Le menu d’état est disponible sur les ordinateurs utilisant Mac OS X. 10 Chapitre 1 Premiers contacts Pour configurer votre Time Capsule via un Mac, vous devez disposer des éléments suivants :  Un ordinateur Macintosh avec une carte AirPort ou AirPort Extreme pour le configurer sans fil ou un ordinateur Macintosh connecté à Time Capsule avec un câble Ethernet pour le configurer avec Ethernet.  Mac OS X 10.4 ou ultérieur.  Utilitaire AirPort 5.4 ou ultérieur. Pour configurer Time Capsule via un PC sous Windows, vous devez disposer des éléments suivants :  Un ordinateur Windows disposant d’une vitesse de processeur de 300 MHz ou supé- rieur ainsi que d’une carte sans fil compatible 802.11a, 802.11b ou 802.11g ou d’une carte sans fil conforme à une ébauche de spécifications 802.11n de l’IEEE.  Windows XP Edition Familiale ou Professionnel (Service Pack 2) ou Windows Vista.  Utilitaire AirPort 5.4 ou ultérieur. Branchement de votre Time Capsule Avant de brancher votre Time Capsule, connectez d’abord les câbles qui conviennent aux ports que vous souhaitez utiliser :  Connectez le câble Ethernet connecté à votre modem DSL ou câble (en cas de connexion à Internet) au port Ethernet WAN(<).  Connectez un câble USB connecté au port USB (d) de votre Time Capsule à une imprimante USB compatible (si vous imprimez sur une imprimante USB), un disque dur ou un concentrateur.Chapitre 1 Premiers contacts 11  Connectez un câble Ethernet de n’importe quel périphérique Ethernet aux ports LAN Ethernet (G). Une fois connectés les câbles des périphériques que vous souhaitez utiliser, connectez la prise de courant au port secteur et branchez Time Capsule sur une prise électrique. Il n’y a pas d’interrupteur d’alimentation. Important : utilisez uniquement la prise fournie avec votre Time Capsule. Lorsque vous branchez votre Time Capsule à une prise électrique, le voyant d’état clignote en vert pendant une seconde puis en orange lorsque votre Time Capsule démarre. Une fois votre Time Capsule démarrée, le voyant d’état clignote en orange jusqu’à ce que les réglages corrects aient été mis à jour sur votre Time Capsule. Le voyant d’état devient vert et cesse de clignoter une fois votre Time Capsule correctement configurée et connectée à Internet ou à un réseau. Lorsque des câbles Ethernet sont branchés sur les ports Ethernet, les voyants situés audessus de ces derniers sont verts et ne clignotent pas. Le voyant d’état de Time Capsule Le tableau suivant répertorie les divers comportements des voyants d’état de Time Capsule et donne leur signification. Voyant État/Description Éteint Votre Time Capsule est débranchée. Orange Votre Time Capsule n’a pas terminé sa séquence de démarrage.12 Chapitre 1 Premiers contacts Étape suivante Après avoir branché votre Time Capsule, utilisez l’Utilitaire AirPort pour la configurer afin qu’elle puisse être compatible avec votre connexion Internet, une imprimante USB, un disque dur ou un réseau existant. L’Utilitaire AirPort est situé dans le sous-dossier Utilitaires du dossier Applications sur un ordinateur exécutant Mac OS X et dans Démarrer > Tous les programmes > AirPort sur un ordinateur exécutant Windows XP ou Windows Vista. Orange clignotant Votre Time Capsule ne peut pas établir de connexion avec le réseau ou Internet ou bien il rencontre un problème. Assurezvous d’avoir installé l’Utilitaire AirPort et utilisez-le pour obtenir des informations sur le clignotement orange du voyant d’état. Reportez-vous à la rubrique « Si le voyant d’état de votre Time Capsule devient orange et se met à clignoter » à la page 30. Vert fixe Votre Time Capsule est allumée et fonctionne normalement. En sélectionnant « Clignotement en cas d’activité » dans le menu local Voyant d’état qui se trouve dans la sous-fenêtre de la borne d’accès de l’utilitaire AirPort via le menu de configuration, le voyant d’état vert clignote pour indiquer que l’activité est normale. Orange et vert clignotant Il peut y avoir un problème pour démarrer. Votre Time Capsule va redémarrer et essayer à nouveau. Bleu fixe Votre Time Capsule est prête à autoriser l’accès au réseau à un client sans fil. Voir « Autorisation de l’accès des clients sans fil à votre réseau sans saisie de mot de passe » à la page 23. Voyant État/Description2 13 2 Configuration de Time Capsule Ce chapitre fournit des informations et des instructions pour la connexion de votre Time Capsule à Internet et sa configuration à l’aide de l’Utilitaire AirPort pour créer ou se relier à un réseau sans fil. Ce chapitre décrit la procédure de connexion de votre Time Capsule à Internet, l’utilisation de l’Assistant réglages dans l’Utilitaire AirPort pour configurer votre réseau ainsi que d’autres fonctionnalités de votre Time Capsule. Pour en savoir plus sur la mise en réseau sans fil et sur les fonctionnalités avancées de l’Utilitaire AirPort, consultez le document « Création de réseaux AirPort 802.11n (Mac OS X v10.5 + Windows) » sur le CD AirPort ou à l’adresse www.apple.com/fr/support/airport. Après l’installation de l’Utilitaire AirPort depuis le CD fourni avec votre Time Capsule, vous pouvez réaliser la majeure partie de la configuration de votre réseau et de vos tâches de configuration grâce à l’Assistant réglages de l’Utilitaire AirPort. Pour régler des options avancées, choisissez Configuration manuelle dans le menu Borne d’accès de l’Utilitaire AirPort. Voir « Réglage des options avancées » à la page 21.14 Chapitre 2 Configuration de Time Capsule Utilisation de Time Capsule pour créer un réseau sans fil Lorsque vous configurez votre Time Capsule pour fournir un accès réseau et Internet, les ordinateurs et périphériques suivants peuvent accéder au réseau AirPort sans fil pour partager des fichiers, jouer à des jeux et utiliser des applications Internet telles que les navigateurs web et les applications de courrier électronique :  ordinateurs Macintosh équipés de cartes AirPort ou AirPort Extreme,  ordinateurs équipés de la technologie sans fil 802.11a, 802.11b, 802.11g et projet de spécification IEEE 802.11n,  autres périphériques Wi-Fi. Les ordinateurs connectés à Time Capsule via Ethernet peuvent également accéder au réseau pour partager des fichiers et se connecter à Internet. Si vous utilisez Mac OS X 10.5.2 ou ultérieur, vous pouvez configurer Time Machine pour sauvegarder sur Time Capsule le contenu de tous les ordinateurs se trouvant sur le réseau. Pour en savoir plus, consultez la rubrique « Utilisation de Time Machine avec votre Time Capsule » à la page 24. Lorsque vous branchez une imprimante USB compatible sur votre Time Capsule, tous les ordinateurs pris en charge sur le réseau (avec ou sans fil) peuvent l’utiliser.Chapitre 2 Configuration de Time Capsule 15 Utilisation de Time Capsule pour créer un réseau sans fil Configuration : 1 Connectez votre modem DSL ou câble à Time Capsule via le port WAN Ethernet (<). 2 Si vous envisagez de partager une imprimante USB sur le réseau, connectez-la au port USB de Time Capsule (d) ou au concentrateur USB à l’aide d’un câble USB. Vers Internet Modem DSL ou câble < Port WAN Internet Imprimante partagée Time Capsule aux ports USB 2,4 ou 5 GHz 2,4 GHz 2,4 ou 5 GHz16 Chapitre 2 Configuration de Time Capsule 3 Ouvrez l’Utilitaire AirPort (situé dans le sous-dossier Utilitaires du dossier Applications sur un ordinateur exécutant Mac OS X et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows), sélectionnez votre Time Capsule et cliquez sur Continuer. 4 Suivez les instructions à l’écran pour créer un réseau. Pour imprimer à partir d’un ordinateur exécutant Mac OS X v10.5 : 1 Sélectionnez le menu Pomme > Préférences Système et cliquez sur Imprimantes et fax. 2 Cliquez sur Ajouter (+) et sélectionnez votre imprimante dans la liste. 3 Cliquez sur le bouton Ajouter. Si votre imprimante ne figure pas dans la liste, recherchez-la à l’aide des boutons de la barre d’outils. Pour imprimer à partir d’un ordinateur exécutant Mac OS X 10.3 ou 10.4 : 1 Ouvrez la Configuration d’imprimante (située dans le sous-dossier Utilitaires du dossier Applications). 2 Sélectionnez l’imprimante dans la liste. Si l’imprimante ne figure pas sur la liste, cliquez sur Ajouter, puis choisissez Bonjour dans le menu local avant de sélectionner l’imprimante dans la liste. Pour imprimer à partir d’un ordinateur exécutant Windows XP ou Windows Vista : 1 Installez Bonjour pour Windows depuis le CD fourni avec Time Capsule. 2 Suivez les instructions à l’écran pour connecter l’ordinateur à votre imprimante. Les ordinateurs utilisant AirPort ou une carte ou un adaptateur sans fil compatible peuvent se connecter à Internet via Time Capsule. Les ordinateurs branchés sur les ports Ethernet de Time Capsule peuvent également accéder au réseau et se connecter à Internet.Chapitre 2 Configuration de Time Capsule 17 Les ordinateurs sans fil et ceux branchés sur les ports Ethernet ont aussi la possibilité de communiquer les uns avec les autres via Time Capsule. Utilisation de l’Utilitaire AirPort Pour installer et configurer votre Time Capsule, utilisez l’Assistant réglages de l’Utilitaire AirPort. L’Utilitaire AirPort est automatiquement installé sur votre ordinateur en même temps que le logiciel du CD Time Capsule. Sur un ordinateur Mac OS X 10.4 ou ultérieur : 1 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications. 2 Sélectionnez votre Time Capsule et cliquez sur Continuer. Si la Time Capsule ne figure pas dans cette liste, cliquez sur Chercher à nouveau pour rechercher les périphériques sans fil disponibles, puis sélectionnez votre Time Capsule dans la liste. 3 Suivez les instructions à l’écran pour configurer votre Time Capsule et votre réseau sans fil. Sur un ordinateur Windows XP (Service Pack 2) ou Windows Vista : 1 Ouvrez l’Utilitaire AirPort situé dans Démarrer > Tous les programmes > AirPort. 2 Sélectionnez votre Time Capsule et cliquez sur Continuer.18 Chapitre 2 Configuration de Time Capsule 3 Suivez les instructions à l’écran pour configurer votre Time Capsule et votre réseau sans fil. L’assistant de réglage de l’utilitaire AirPort vous pose une série de questions concernant le type de réseau que vous souhaitez utiliser et les services que vous souhaitez configurer . Si vous utilisez Time Capsule pour vous connecter à Internet, vous devez disposer d’un compte haut débit (modem DSL ou câble) et d’un fournisseur d’accès à Internet (FAI) ou d’une connexion utilisant un réseau Ethernet existant. Si vous avez reçu des informations particulières de votre FAI (une adresse IP statique ou l’identifiant du client DHCP), il vous faudra peut-être les saisir dans l’Utilitaire AirPort. Regroupez toutes ces informations avant de configurer votre Time Capsule et gardez-les à portée de main.Chapitre 2 Configuration de Time Capsule 19 Création d’un nouveau réseau sans fil Vous pouvez utiliser l’Assistant réglages de l’Utilitaire AirPort pour créer un réseau sans fil. L’Assistant réglages vous guide tout au long des étapes nécessaires pour nommer votre réseau, le protéger avec un mot de passe et configurer d’autres options. Si vous souhaitez partager une imprimante ou un disque dur USB sur votre réseau : 1 Reliez l’imprimante ou le disque dur au port USB de Time Capsule (d). 2 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications sur un Mac et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP. 3 Sélectionnez votre Time Capsule et cliquez sur Continuer. Si la Time Capsule ne figure pas dans cette liste, cliquez sur Chercher à nouveau pour rechercher les périphériques sans fil disponibles, puis sélectionnez votre Time Capsule dans la liste. 4 Suivez les instructions à l’écran pour créer un réseau.20 Chapitre 2 Configuration de Time Capsule Configuration et partage de l’accès à Internet Si vous prévoyez de partager votre connexion Internet avec les ordinateurs du réseau configurés pour la communication sans fil ou les ordinateurs connectés aux ports Ethernet, vous devez configurer votre Time Capsule en tant que borne d’accès AirPort. Une fois que votre Time Capsule est configurée, les ordinateurs peuvent accéder à Internet par le biais du réseau AirPort. Votre Time Capsule se connecte à Internet et transmet des informations aux ordinateurs via le réseau sans fil. Avant d’utiliser l’Utilitaire AirPort pour configurer votre Time Capsule , branchez votre modem DSL ou câble sur le port WAN Ethernet de Time Capsule (<). Si vous connectez votre Time Capsule à un réseau Ethernet ayant accès à Internet, connectez-le au réseau Ethernet. Utilisez l’Assistant réglages de l’Utilitaire AirPort pour saisir les réglages de votre FAI et configurer le mode de partage de ces réglages entre Time Capsule et d’autres ordinateurs. 1 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications sur un ordinateur exécutant Mac OS X et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP. 2 Sélectionnez votre Time Capsule et cliquez sur Continuer. Si vous apportez des modifications à une Time Capsule déjà configurée, vous pouvez être amené à vous connecter au réseau créé avant d’apporter les modifications à Time Capsule.Chapitre 2 Configuration de Time Capsule 21 Pour sélectionner le réseau sans fil que vous souhaitez modifier sur un Macintosh, utilisez le menu d’état d’AirPort dans la barre des menus. Sur un ordinateur fonctionnant sous Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que le nom de votre réseau AirPort (SSID) s’affiche. Sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Suivez les instructions à l’écran pour configurer votre Time Capsule et y partager l’accès à Internet. Utilitaire AirPort permet de configurer rapidement et facilement votre Time Capsule et le réseau. Pour configurer d’autres options pour votre réseau, notamment pour restreindre l’accès à votre réseau ou pour définir des options DHCP avancées, sélectionnez Configuration manuelle dans le menu Utilitaire AirPort. Réglage des options avancées Utilisez Utilitaire AirPort pour configurer votre Time Capsule manuellement pour définir des options avancées de Time Capsule, notamment les options de sécurité, les réseaux fermés, la durée de bail DHCP, le contrôle d’accès, les contrôles d’alimentation, les comptes utilisateur, etc. Pour régler les options avancées : 1 Ouvrez l’Utilitaire AirPort, situé dans le sous-dossier Utilitaires du dossier Applications sur un Mac et dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP.22 Chapitre 2 Configuration de Time Capsule 2 Si plusieurs périphériques sans fil figurent dans la liste, sélectionnez celui que vous souhaitez configurer. Si la Time Capsule ne figure pas dans cette liste, cliquez sur Chercher à nouveau pour rechercher les périphériques sans fil disponibles, puis sélectionnez votre Time Capsule dans la liste. Si vous apportez des modifications à une Time Capsule déjà configurée, vous pouvez être amené à vous connecter au réseau créé avant d’apporter les modifications à Time Capsule. Pour sélectionner le réseau sans fil que vous souhaitez modifier sur un Macintosh, utilisez le menu d’état d’AirPort dans la barre des menus. Sur un ordinateur fonctionnant sous Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que le nom de votre réseau AirPort (SSID) s’affiche. Sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Choisissez Configuration manuelle dans le menu Borne d’accès. Si le système vous demande un mot de passe, saisissez-le. Pour en savoir plus sur les fonctions de configuration manuelle dans l’Utilitaire AirPort, consultez la section « Création de réseaux AirPort grâce à l’Utilitaire AirPort (Mac OS X v10.5 + Windows) » à l’adresse www.apple.com/fr/support/airport.Chapitre 2 Configuration de Time Capsule 23 Autorisation de l’accès des clients sans fil à votre réseau sans saisie de mot de passe Si votre réseau est protégé par un mot de passe avec WPA Personnel ou WPA/WPA2 Personnel, vous pouvez donner accès à votre réseau à des clients sans fil sans que ceux-ci aient à saisir le mot de passe du réseau. Lorsque vous autorisez un client à accéder à votre réseau, le nom et l’adresse MAC sans fil (ou identifiant AirPort) du client sont conservés dans la liste de contrôle d’accès de l’Utilitaire AirPort jusqu’à ce que vous le retiriez de la liste. Vous pouvez également autoriser l’accès pour 24 heures, délai au bout duquel le client ne pourra plus accéder à votre réseau. Lorsque vous autorisez l’accès à votre réseau sans fil à un client, celui-ci n’a pas à saisir le mot de passe du réseau. Pour autoriser un client à accéder au réseau sans saisir le mot de passe du réseau : 1 Ouvrez l’Utilitaire AirPort, sélectionnez votre Time Capsule et choisissez Configuration manuelle dans le menu Borne d’accès. Saisissez un mot de passe si nécessaire. 2 Choisissez « Ajouter des clients sans fil » dans le menu Borne d’accès. 3 Sélectionnez le mode d’accès du client au réseau :  Sélectionnez PIN pour saisir le numéro à 8 chiffres fourni par le client demandant à accéder au réseau.  Sélectionnez « Première tentative » pour autoriser l’accès au premier client essayant d’entrer sur le réseau. Le voyant est bleu pendant que Time Capsule attend qu’un client rejoigne le réseau.24 Chapitre 2 Configuration de Time Capsule Sélectionnez « Limiter l’accès du client à 24 heures » si vous voulez seulement autoriser l’accès à votre réseau pendant une journée. Si vous ne sélectionnez pas cette option, le client aura accès à votre réseau jusqu’à ce que vous supprimiez son nom de la liste. Utilisation de Time Machine avec votre Time Capsule L’application Time Machine de Mac OS X Leopard permet de sauvegarder tout le contenu de votre ordinateur, notamment les photos, la musique, les films et les documents. Après avoir configuré Time Machine, il sauvegarde automatiquement et régulièrement le contenu de votre ordinateur. Si vous utilisez Mac OS X 10.5.2 ou ultérieur, la première fois que vous vous connectez à Time Capsule, Time Machine vous demande si vous souhaitez l’utiliser pour sauvegarder vos fichiers. Cliquez sur « Utiliser un disque de sauvegarde » et Time Machine s’occupe du reste. La sous-fenêtre Time Machine des Préférences Système sous Mac OS X Leopard permet de définir les sauvegardes automatiques, de changer de disque de sauvegarde ou d’ajuster d’autres réglages. Pour configurer Time Machine sur un ordinateur fonctionnant sous Mac OS X Leopard : 1 Sélectionnez le menu Pomme > Préférences Système et cliquez sur Time Machine. 2 Placez le curseur sur Activé. 3 Cliquez sur Changer de disque. 4 Sélectionnez votre Time Capsule et cliquez sur Sélectionner.Chapitre 2 Configuration de Time Capsule 25 La première copie de sauvegarde avec Time Capsule et Time Machine peut prendre une nuit ou plus, suivant la quantité de données à sauvegarder. Pour accélérer le processus de sauvegarde initial, connectez votre Time Capsule à votre ordinateur via Ethernet. Lors des sauvegardes suivantes, Time Machine effectue uniquement une copie de sauvegarde des fichiers qui ont été modifiés depuis la sauvegarde précédente, ce qui réduit la durée de l’opération. Time Capsule est une excellente solution de sauvegarde sans fil pour les ordinateurs portables. Sachant que la première copie de sauvegarde peut nécessiter un certain temps, branchez votre portable sur un adaptateur secteur afin de préserver la batterie et d’éviter l’interruption de la sauvegarde. De plus, afin d’optimiser les performances de connexion sans fil, placez votre ordinateur portable dans la même pièce que votre Time Capsule. Si vous éteignez votre Mac ou le mettez en veille pendant la réalisation d’une copie de sauvegarde, Time Machine arrête la sauvegarde et la reprend à partir du point où elle était parvenue une fois que le Mac redémarre. Pour en savoir plus sur Time Machine, sélectionnez Aide > Aide Mac dans le menu Finder depuis un ordinateur fonctionnant sous Mac OS X Leopard et tapez Time Machine dans le champ de recherche.3 27 3 Astuces et dépannage Vous pouvez rapidement résoudre la plupart des problèmes pouvant survenir avec Time Capsule en suivant les conseils donnés dans ce chapitre. Si vous ne pouvez pas vous connecter à Internet  Essayez de vous connecter à Internet directement à partir de votre ordinateur. Si vous ne parvenez pas à vous connecter, vérifiez que vos réglages réseaux sont corrects. S’ils semblent corrects et que le problème persiste, contactez votre fournisseur d’accès à Internet.  Veillez à vous connecter au bon réseau sans fil. Si vous avez oublié le mot de passe du réseau ou celui de Time Capsule Vous pouvez effacer le mot de passe du réseau d’AirPort ou de Time Capsule en réinitialisant Time Capsule. Pour réinitialiser le mot de passe de Time Capsule : 1 À l’aide d’un objet pointu (un stylo à bille, par exemple) maintenez le bouton de réinitialisation enfoncé pendant une seconde. 28 Chapitre 3 Astuces et dépannage Important : si vous maintenez ce bouton enfoncé pendant plus d’une seconde, il est possible que vous perdiez les réglages de votre réseau. 2 Sélectionnez votre réseau AirPort.  Sur un ordinateur Macintosh, utilisez le menu d’état d’AirPort, dans la barre des menus, pour sélectionner le réseau créé par Time Capsule (le nom du réseau reste inchangé).  Sur un ordinateur Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID). Sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Ouvrez l’Utilitaire AirPort (dans le sous-dossier Utilitaires du dossier Applications sur un Mac ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP). 4 Sélectionnez votre Time Capsule et choisissez Configuration manuelle dans le menu Borne d’accès. 5 Cliquez sur AirPort dans la barre d’outils, puis sur Borne d’accès. 6 Attribuez un nouveau mot de passe à votre Time Capsule. 7 Cliquez sur Sans fil et choisissez une méthode de cryptage dans le menu local Sécurité sans fil afin d’activer le cryptage et la protection du mot de passe pour votre réseau AirPort. Si vous activez le cryptage, tapez un nouveau mot de passe pour votre réseau AirPort. 8 Cliquez sur Mettre à jour pour redémarrer Time Capsule et charger les nouveaux réglages.Chapitre 3 Astuces et dépannage 29 Si votre Time Capsule ne répond pas Débranchez-la puis rebranchez-la à nouveau. Si votre Time Capsule ne répond plus du tout, vous devrez peut-être rétablir les réglages d’origine par défaut. Important : le fait de réinitialiser votre Time Capsule aux réglages par défaut efface tous les réglages actuels et rétablit les réglages fournis avec votre Time Capsule. Pour rétablir les réglages d’origine de Time Capsule : m Utilisez un objet pointu (un stylo à bille, par exemple) pour appuyer sur le bouton de réinitialisation jusqu’à ce que le voyant d’état clignote rapidement (pendant environ 5 secondes). Votre Time Capsule se réinitialise et utilise les réglages suivants :  Votre Time Capsule reçoit son adresse IP via DHCP.  Le nom du réseau redevient « Réseau Apple XXXXXX » (les XXXXXX représentant les six derniers chiffres de l’identifiant AirPort).  Le mot de passe Time Capsule redevient public. Si Time Capsule ne répond toujours pas, procédez ainsi : 1 Déconnectez votre Time Capsule. 2 Utilisez un objet pointu pour maintenir enfoncé le bouton de réinitialisation tout en connectant votre Time Capsule.30 Chapitre 3 Astuces et dépannage Si le voyant d’état de votre Time Capsule devient orange et se met à clignoter Il est possible que le câble Ethernet ne soit pas correctement branché, que Time Capsule se trouve hors du rayon de détection du réseau AirPort ou qu’il y ait un problème avec votre fournisseur d’accès à Internet. Si vous êtes connecté à Internet avec un modem câble ou DSL, le modem n’est peut-être plus connecté au réseau ou à Internet. Même si le modem semble fonctionner correctement, débranchez le modem, attendez quelques secondes puis rebranchez-le. Assurez-vous que Time Capsule est directement branchée sur le modem via Ethernet avant de rebrancher le modem. Pour en savoir plus sur l’origine du clignotement du voyant, ouvrez l’Utilitaire AirPort, sélectionnez votre Time Capsule et choisissez Configuration manuelle dans le menu Borne d’accès. Cliquez sur « État de la borne d’accès » pour afficher les informations concernant le clignotement du voyant. Vous pouvez également cocher la case « Contrôler les problèmes de la borne d’accès » dans les Préférences AirPort. Si la borne d’accès présente des problèmes, l’Utilitaire AirPort s’ouvre et vous aide à résoudre les problèmes.Chapitre 3 Astuces et dépannage 31 Si votre imprimante ne répond pas Si vous avez connecté une imprimante au port USB de votre Time Capsule et que les ordinateurs du réseau AirPort ne peuvent pas imprimer, procédez comme suit : 1 Assurez-vous que l’imprimante est branchée et allumée. 2 Assurez-vous que les câbles sont bien reliés à l’imprimante et au port USB de Time Capsule. 3 Assurez-vous que l’imprimante est sélectionnée dans la fenêtre Liste d’imprimantes des ordinateurs clients. Sur un ordinateur Macintosh exécutant Mac OS X 10.5 ou ultérieur :  Sélectionnez le menu Pomme > Préférences Système et cliquez sur Imprimantes et fax.  Cliquez sur Ajouter (+) et sélectionnez votre imprimante dans la liste, puis cliquez sur Ajouter (+). Sur un ordinateur Macintosh exécutant Mac OS X 10.2.7 ou ultérieur :  Ouvrez la Configuration d’imprimante, située dans le sous-dossier Utilitaires du dossier Applications.  Si l’imprimante n’est pas dans la liste, cliquez sur Ajouter.  Choisissez Bonjour dans le menu local, sélectionnez l’imprimante et cliquez sur Ajouter (+).32 Chapitre 3 Astuces et dépannage Sur un ordinateur fonctionnant sous XP :  Ouvrez le Panneau de configuration depuis le menu Démarrer, puis double-cliquez sur Imprimantes et télécopieurs.  Sélectionnez l’imprimante. Si l’imprimante ne figure pas dans la liste, cliquez sur Ajouter une imprimante puis suivez les instructions à l’écran. 4 Éteignez l’imprimante, patientez quelques secondes puis rallumez-la. Mise à jour du logiciel AirPort Apple met régulièrement à jour le logiciel AirPort. Il est recommandé de mettre à jour votre Time Capsule et d’utiliser le logiciel le plus récent. Vous pouvez cocher la case « Rechercher des mises à jour à l’ouverture d’Utilitaire AirPort » ou « Rechercher automatiquement les mises à jour » dans les Préférences AirPort. Si vous sélectionnez « Rechercher automatiquement les mises à jour », choisissez une fréquence pour la recherche des mises à jour, comme toutes les semaines par exemple, à partir du menu local.Chapitre 3 Astuces et dépannage 33 À propos de l’emplacement de Time Capsule En suivant les recommandations suivantes, vous permettrez à votre Time Capsule d’atteindre une portée sans fil maximale et une couverture réseau optimale.  Placez votre Time Capsule dans un endroit dégagé avec peu d’obstacles (meubles volumineux ou murs). Essayez de la tenir éloignée des surfaces métalliques.  Si vous placez votre Time Capsule derrière un meuble, laissez au moins trois centimè- tres entre la borne Time Capsule et le bord du meuble.  Évitez de placer votre Time Capsule dans une zone entourée de surfaces métalliques (sur trois côtés ou plus).  Si vous placez votre Time Capsule à proximité d’autres appareils électriques tels qu’une chaîne stéréo, évitez d’entourer complètement votre Time Capsule de câbles d’alimentation, audio ou vidéo. Positionnez votre Time Capsule de façon à ce que les câbles passent d’un seul côté. Laissez autant d’espace que possible entre votre Time Capsule et les câbles.  Faites en sorte d’installer votre Time Capsule à au moins 7,6 mètres d’un four à micro-ondes, d’un téléphone sans fil de 2,4 ou 5 gigahertz (GHz) ou d’autres sources d’interférence.  Ne placez pas d’autres objets (livres, papiers, animaux domestiques, etc.) sur la Time Capsule car ils risqueraient d’interférer avec son refroidissement.34 Chapitre 3 Astuces et dépannage Éléments pouvant provoquer des interférences avec AirPort Plus la source d’interférences est éloignée, plus le risque de problème est faible. Les points suivants peuvent interférer avec l’AirPort :  Les fours à micro-ondes.  Les pertes de fréquence radio DSS (Direct Satellite Service).  Le câble coaxial d’origine fourni avec certains types d’antennes paraboliques. Contactez le fabricant du produit pour obtenir des câbles plus récents.  Certains dispositifs électriques tels que les lignes électriques, les voies ferrées électrifiées et les centrales électriques.  Les téléphones sans fil qui fonctionnent sur la fréquence porteuse de 2,4 ou 5 GHz. Si vous rencontrez des problèmes avec votre téléphone ou avec la communication avec AirPort, changez le canal utilisé par votre borne d’accès ou par Time Capsule ou celui utilisé par votre téléphone.  Des bornes d’accès adjacentes qui utilisent des canaux voisins. Ainsi, si une borne d’accès A est réglée sur le canal 1, la borne d’accès B doit être réglée sur le canal 6 ou 11.4 35 4 En savoir plus, service après-vente et support Pour obtenir plus d’informations sur l’utilisation de Time Capsule, rendez-vous sur le web et utilisez l’aide à l’écran. Ressources en ligne Pour obtenir les toutes dernières informations sur Time Capsule, rendez-vous à l’adresse www.apple.com/fr/airport. Pour enregistrer votre Time Capsule (si vous ne l’avez pas déjà fait lors de l’installation du logiciel à partir du CD de Time Capsule), rendez-vous sur le site www.apple.com/fr/register. Pour en savoir plus sur l’assistance AirPort, consulter les forums contenant des informations et des commentaires spécifiques sur le produit et pour télécharger les dernières mises à jour des logiciels Apple, rendez-vous sur le site www.apple.com/fr/support/airport. Pour l’assistance en dehors des États-Unis, rendez-vous sur le site www.apple.com/fr/support et choisissez le pays concerné.36 Chapitre 4 En savoir plus, service après-vente et support Aide en ligne Pour en savoir plus sur l’utilisation de l’Utilitaire AirPort avec votre Time Capsule, ouvrez l’Utilitaire AirPort et choisissez Aide > Aide Utilitaire AirPort. Obtention d’un service de garantie Si votre Time Capsule est endommagé ou ne fonctionne pas correctement, suivez les conseils de cette brochure, de l’aide à l’écran et des ressources en ligne. Si votre Time Capsule ne fonctionne toujours pas, rendez-vous sur www.apple.com/fr/support pour réaliser une demande de réparation. Emplacement du numéro de série de votre Time Capsule Le numéro de série se trouve sous la Time Capsule.37 Annexe Caractéristiques techniques et normes de sécurité de Time Capsule Spécifications de Time Capsule  Bande de fréquence : 2,4 et 5 GHz  Alimentation de la sortie radio : Ju squ’à 23 dBm (nominal)  Normes : norme 802.11 DSSS 1 et 2 Mbps, spécifications 802.11a, 802.11b et 802.11g, et projet de spécification 802.11n Interfaces  1 port WAN Gigabit Ethernet 10/100/1000Base-T à connecteur RJ-45 (<)  3 ports LAN Gigabit Ethernet 10/100/1000Base-T à connecteur RJ-45 (G)  Bus universel en série (USB d) 2.0  AirPort Extreme sans fil 802.11 a/b/g/n Conditions ambiantes  Température de fonctionnement : de 0° à 35° C  Température de stockage : de -25° à 60° C  Humidité relative (en fonctionnement) : de 20 % à 80 %  Humidité relative (en stockage) : de 10 % à 90 % (sans condensation)38 Annexe Caractéristiques techniques et normes de sécurité de Time Capsule Taille et poids  Longueur : 197,0 mm  Largeur : 197,0 mm  Hauteur : 36,33 mm  Poids : 1,6 kg Adresses MAC (Media Access Control) matérielles Trois adresses matérielles pour Time Capsule sont imprimées sur le fond du boîtier :  L’identifiant AirPort : Les deux adresses utilisées pour identifier Time Capsule sur un réseau sans fil.  Le numéro Ethernet : il peut être nécessaire de fournir cette adresse à votre fournisseur d’accès à Internet afin de connecter votre Time Capsule à Internet. Utilisation de votre Time Capsule en toute sécurité  La seule façon d’éteindre complètement Time Capsule est de la débrancher de sa source d’alimentation.  Pour connecter ou déconnecter Time Capsule, veillez à tenir la prise par ses côtés. Éloignez vos doigts de la partie métallique de la prise.  Vous ne devez pas ouvrir votre Time Capsule sans raison, même si elle est débranchée. Si vous devez faire réparer votre Time Capsule, consultez la rubrique « En savoir plus, service après-vente et support » à la page 35.  Ne forcez jamais un connecteur dans un port. Si vous avez du mal à connecter le connecteur et le port, ceux-ci ne sont probablement pas compatibles. Assurez-vous que le connecteur est compatible avec le port et que vous avez correctement inséré le connecteur dans celui-ci.Annexe Caractéristiques techniques et normes de sécurité de Time Capsule 39 À propos des températures d’exploitation et de stockage  Pendant que vous utilisez votre Time Capsule, il est normal que le boîtier chauffe. Le boîtier de Time Capsule agit comme une surface de refroidissement qui transfère la chaleur de l’intérieur de l’unité vers l’air extérieur, plus frais. Évitez les endroits humides  Maintenez votre Time Capsule à distance de tout liquide, par exemple une boisson, un évier ou un lavabo, une baignoire, une cabine de douche, etc.  Protégez votre Time Capsule de la lumière directe du soleil ainsi que de la pluie et de l’humidité.  Prenez garde à ne pas renverser de nourriture ou de liquide sur votre Time Capsule. Si c’est le cas, débranchez-le avant de nettoyer.  N’utilisez pas votre Time Capsule à l’extérieur. Time Capsule doit être utilisée à l’intérieur. AVERTISSEMENT : pour réduire le risque d’électrocution ou de blessure, n’utilisez pas votre Time Capsule dans des emplacements mouillés ou humides ni à proximité de ceux-ci.40 Annexe Caractéristiques techniques et normes de sécurité de Time Capsule N’effectuez pas vous-même les réparations À propos de la manipulation Votre Time Capsule peut être endommagée suite à une manipulation ou à un stockage inapproprié. Veillez à ne pas faire tomber votre Time Capsule lorsque vous la transportez. AVERTISSEMENT : n’essayez pas d’ouvrir votre Time Capsule ou de la démonter. Vous risqueriez de vous électrocuter et d’annuler la garantie. Aucune pièce réparable par l’utilisateur ne se trouve à l’intérieur.41 Regulatory Compliance Information Wireless Radio Use This device is restricted to indoor use due to its operation in the 5.15 to 5.25 GHz frequency range to reduce the potential for harmful interference to cochannel Mobile Satellite systems. Cet appareil doit être utilisé à l’intérieur. Exposure to Radio Frequency Energy The radiated output power of this device is well below the FCC and EU radio frequency exposure limits. However, this device should be operated with a minimum distance of at least 20 cm between its antennas and a person’s body and the antennas used with this transmitter must not be colocated or operated in conjunction with any other antenna or transmitter subject to the conditions of the FCC Grant. FCC Declaration of Conformity 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 into 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. Important: Changes or modifications to this product not authorized by Apple Inc. could void the EMC compliance and negate your authority to operate the product.42 This product was tested for FCC 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 dealer. For non-Apple peripheral devices, contact the manufacturer or dealer for assistance. Responsible party (contact for FCC matters only) Apple Inc., Corporate Compliance, 1 Infinite Loop M/S 26-A, Cupertino, CA 95014-2084 Industry Canada Statement This Class B device meets all requirements of the Canadian interference-causing equipment regulations. Cet appareil numérique de la Class B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. VCCI Class B Statement Europe — Déclaration de conformité EU Pour obtenir plus d’informations, rendez-vous sur www.apple.com/euro/compliance. Union européenne— Information concernant l’élimination des déchets Ce symbole signifie que conformément aux lois et réglementations en vigueur, vous devez éliminer votre produit indépendamment des déchets ménagers. Une fois ce produit arrivé en fin de vie, amenez-le au point de collecte désigné par les autorités locales. Certains points de collecte sont gratuits. La collecte et le recyclage séparés de votre produit lors de l’élimination permettent de conserver les ressources naturelles et de garantir un recyclage du produit qui protège la santé de l’Homme et l’environnement. Informations relatives à l’élimination et au recyclage Ce produit est équipé d’une batterie interne. Veuillez vous en débarrasser conformément aux lois et directives environnementales locales. Pour en savoir plus sur le programme de recyclage d’Apple, rendez-vous à l’adresse www.apple.com/fr/environment. California: The coin cell battery in your product contains perchlorates. Special handling and disposal may apply. Refer to www.dtsc.ca.gov/hazardouswaste/perchlorate. 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.Taiwan: Singapore Wireless Certification Taiwan Warning Statements Korea Warning Statements © 2009 Apple Inc. Tous droits réservés. Apple, le logo Apple, AirPort, AirPort Express, AirPort Extreme, Apple TV, Bonjour, iPod, Leopard, Macintosh, Mac OS et Time Capsule sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Finder, iPhone et Time Machine sont des marques d’Apple Inc. Les autres noms de produits et de sociétés mentionnés ici peuvent être des marques de leurs détenteurs respectifs. F019-1384-A AirPort Express Guide de configuration3 Table des matières 4 Premiers contacts 9 Branchement de l’AirPort Express 12 Utilisation de la borne AirPort Express 13 Utilisation de l’AirPort Express avec votre connexion Internet à large bande 14 Utilisation de l’AirPort Express avec AirTunes pour lire des morceaux de musique d’iTunes sur votre chaîne stéréo 21 Utilisation de l’AirPort Express pour le partage d’une imprimante USB 23 Extension de la portée d’un réseau AirPort Extreme ou AirPort Express existant 26 Configuration de l’AirPort Express 32 Réglage des options avancées 33 AirPort Express en déplacement 35 Astuces et dépannage 42 En savoir plus, service après-vente et support 44 Caractéristiques de l’AirPort Express4 1 Premiers contacts Félicitations pour l’achat de votre AirPort Express. Lisez ce guide pour commencer à l’utiliser. Vous pouvez utiliser l’AirPort Express pour partager votre accès à Internet à large bande avec des ordinateurs sans fil sur votre réseau, écouter de la musique iTunes sur votre chaîne stéréo et bien plus encore. Votre AirPort Express est livrée avec AirTunes, un logiciel permettant de lire des morceaux de musique d’iTunes à travers des haut-parleurs distants. Grâce à la borne AirPort Express, vous pouvez :  Créer un réseau sans fil à votre domicile, puis vous connecter à Internet et partager la connexion avec simultanément jusqu’à 10 ordinateurs. Tous les membres d’une famille peuvent, de cette manière, se connecter en même temps à Internet.  Connecter l’AirPort Express à votre chaîne stéréo ou à vos haut-parleurs sous tension et utiliser AirTunes pour lire vos morceaux de musique d’iTunes sur votre chaîne à partir d’un ordinateur Macintosh équipé d’une carte AirPort ou AirPort Extreme, ou d’un ordinateur sans fil compatible sous Windows XP ou 2000.Premiers contacts 5  Configurer une connexion sans fil vers votre réseau Ethernet. Les ordinateurs Macintosh équipés d’une carte AirPort et AirPort Extreme ou les ordinateurs Windows XP ou 2000 ont alors accès à l’ensemble du réseau sans être reliés par un câble.  Étendre la portée de votre réseau en ajoutant l’AirPort Express à votre réseau sans fil AirPort Extreme ou AirPort Express existant (ce que l’on appelle un système de distribution sans fil, ou WDS).  Connecter une imprimante USB à votre AirPort Express. Tous les ordinateurs compatibles du réseau AirPort, qu’ils soient avec ou sans fil, peuvent imprimer sur cette imprimante.  Créer des profils personnalisés afin de pouvoir stocker les réglages de cinq emplacements différents. Emportez AirPort Express partout et connectez-vous rapidement aux réseaux large bande, comme ceux que l’on trouve parfois dans les chambres d’hôtel. 6 Premiers contacts À propos de l’AirPort Express L’AirPort Express possède trois ports, situés sur la partie inférieure :  un port Ethernet (G) pour connecter un modem DSL ou câble, ou pour se connecter à un réseau Ethernet existant ;  un mini-jack audio stéréo numérique analogique et optique (-) pour connecter l’AirPort Express à une chaîne stéréo ou à des haut-parleurs ;  un port USB (d) pour brancher une imprimante compatible à AirPort Express. À côté des ports se trouve un bouton de réinitialisation, utilisé pour le dépannage de votre AirPort Express. Sur le côté de la borne AirPort Express, le voyant d’état affiche l’état actuel. Voyant d’état Bouton de réinitialisation Port de sortie (mini-jack audio numérique optique et analogique) Port Ethernet Port USB Adaptateur pour prise CAPremiers contacts 7 À propos du logiciel AirPort L’AirPort Express utilise le logiciel AirPort livré sur le CD de l’AirPort Express. Assistant réglages AirPort L’Assistant réglages AirPort vous aide à configurer votre AirPort Express pour la connexion à Internet, la lecture de musique d’iTunes sur votre chaîne stéréo ou sur vos haut-parleurs sous tension et le partage d’une imprimante. Vous pouvez également créer une passerelle de votre AirPort Express à votre réseau sans fil AirPort Extreme ou AirPort Express existant pour étendre la portée de votre réseau grâce à WDS. Utilitaire Admin AirPort L’Utilitaire Admin AirPort est un outil sophistiqué permettant de configurer et de gérer les bornes d’accès AirPort Extreme et AirPort Express. Employez l’Utilitaire Admin AirPort pour définir les réglages de réseau, de routage et de sécurité, ainsi que d’autres options avancées. Z Menu d’état d’AirPort de la barre des menus Le menu d’état d’AirPort vous permet de passer instantanément d’un réseau AirPort à l’autre, de contrôler la qualité du signal du réseau sélectionné, de créer un réseau “ordinateur à ordinateur” et d’activer ou de désactiver AirPort. Le menu d’état est disponible sur les ordinateurs utilisant Mac OS X. 8 Premiers contacts Ce qu’il vous faut pour commencer Pour configurer l’AirPort Express à l’aide d’un Macintosh, vous devez disposer des éléments suivants :  un ordinateur Macintosh avec une carte AirPort ou AirPort Extreme installée ;  Mac OS X 10.3 ou ultérieur ;  iTunes 4.7 (inclus sur le CD d’AirPort Express) ou ultérieur. Pour configurer l’AirPort Express à l’aide d’un PC Windows, vous devez disposer des éléments suivants :  un PC Windows doté d’une vitesse de processeur de 300 MHz ou supérieure ;  Windows XP Édition Familiale ou Professionnel (Service Pack 2) ;  Windows 2000 ;  iTunes 4.7 pour Windows (inclus sur le CD de l’AirPort Express) ou ultérieur. Vous devez disposer d’iTunes 4.6 ou ultérieur pour la lecture audio depuis votre ordinateur sur une chaîne stéréo connectée à la borne AirPort Express. Pour être certain de posséder la dernière version d’iTunes, rendez-vous sur le site www.apple.com/fr/itunes. Vous pouvez utiliser la borne AirPort Express avec n’importe quel ordinateur utilisant une technologie sans fil conforme à la norme IEEE 802.11b ou 802.11g. Pour pouvoir configurer l’AirPort Express, votre ordinateur doit répondre à toutes les conditions mentionnées ci-dessus.Premiers contacts 9 Branchement de l’AirPort Express Avant de brancher votre AirPort Express, branchez tout d’abord les câbles appropriés dans les ports que vous souhaitez utiliser, notamment le câble Ethernet connecté à votre modem DSL ou câble (si vous souhaitez vous connecter à Internet), le câble audio connecté à votre chaîne stéréo (si vous souhaitez utiliser AirTunes pour écouter de la musique grâce à iTunes) et un câble USB connecté à une imprimante USB compatible (si vous souhaitez utiliser une imprimante USB). Après avoir branché les câbles de tous les périphériques que vous prévoyez d’utiliser, branchez si besoin un adaptateur pour prise CA. Branchez l’AirPort Express à une prise murale. Il n’y a pas d’interrupteur. Adaptateur pour prise CA10 Premiers contacts Lorsque vous branchez l’AirPort Express à une prise murale, le voyant d’état vert clignote et devient de couleur ambre pendant le démarrage. Une fois que le démarrage est complètement terminé, le voyant d’état reste vert mais ne clignote plus. Voyants d’état de la borne AirPort Express Le tableau ci-dessous répertorie les séquences des voyants lumineux de l’AirPort Express et explique ce qu’ils indiquent. Voyant État/Description Éteint L’AirPort Express est débranchée. Vert clignotant L’AirPort Express est en train de démarrer. Remarque : en sélectionnant Clignotement en cas d’activité dans le menu local Voyant d’état qui se trouve dans la sous-fenêtre de la borne d’accès de l’utilitaire AirPort Admin, le voyant d’état vert clignote pour indiquer que l’activité est normale. Vert fixe L’AirPort Express est allumée et fonctionne correctement. Si vous choisissez Clignotement en cas d’activité dans le menu local Voyant d’état qui se trouve dans la sous-fenêtre de la borne d’accès de l’utilitaire AirPort Admin, le voyant d’état vert clignote pour indiquer que l’activité est normale. Ambre clignotant La borne AirPort Express ne peut pas établir la connexion avec le réseau ou Internet. Reportez-vous à la section “Le voyant d’état de votre AirPort Express est de couleur ambre et il clignote” à la page 38. Ambre L’AirPort Express termine sa séquence de démarrage. Clignotement ambre et vert Il peut y avoir un problème pour démarrer. L’AirPort Express va redémarrer. Réessayez ensuite.Premiers contacts 11 Étape suivante Après avoir branché AirPort Express, vous devez utiliser l’Assistant réglages AirPort pour le configurer afin de pouvoir l’utiliser avec votre connexion à Internet, votre chaîne stéréo, une imprimante USB ou un réseau existant. L’Utilitaire Assistant réglages AirPort se trouve dans Applications/Utilitaires sur un Macintosh, et dans Démarrer > Tous les programmes > AirPort sur un ordinateur Windows XP ou Windows 2000. Reportez-vous à la section “Utilisation de la borne AirPort Express” à la page 12 pour obtenir des exemples de toutes les possibilités d’utilisation de l’AirPort Express et des informations sur la configuration. Consultez ensuite la rubrique “Configuration de l’AirPort Express” à la page 26 pour en savoir plus sur le processus de configuration.12 2 Utilisation de la borne AirPort Express Dans ce chapitre, vous trouverez des explications sur les différentes façons d’utiliser l’AirPort Express. Ce chapitre contient des exemples des réglages à effectuer en fonction de la façon dont vous souhaitez utiliser l’AirPort Express. Il vous donne également une brève explication de ce qu’il faut faire pour pouvoir utiliser rapidement votre réseau AirPort Express.Utilisation de la borne AirPort Express 13 Utilisation de l’AirPort Express avec votre connexion Internet à large bande Lorsque vous configurez l’AirPort Express pour accéder à Internet et au réseau, les ordinateurs Macintosh équipés des cartes AirPort et AirPort Extreme et les ordinateurs équipés de la technologie sans fil 802.11b et 802.11g peuvent accéder au réseau sans fil AirPort pour partager des fichiers, jouer en réseau et utiliser des applications Internet telles que des navigateurs Web et des applications de messagerie électronique. Schéma des connexions Modem DSL ou câble Port Ethernet Vers Internet G14 Utilisation de la borne AirPort Express Configuration 1 Branchez votre modem DSL ou câble à votre AirPort Express en utilisant le port Ethernet (G). 2 Utilisez l’Assistant réglages AirPort pour créer un nouveau réseau. (Reportez-vous à la section “Configuration de l’AirPort Express” à la page 26.) Les ordinateurs utilisant AirPort et ceux utilisant d’autres cartes ou adaptateurs sans fil se connectent à Internet via la borne AirPort Express. Les ordinateurs sans fil communiquent entre eux via l’AirPort Express. Utilisation de l’AirPort Express avec AirTunes pour lire des morceaux de musique d’iTunes sur votre chaîne stéréo Vous pouvez brancher votre AirPort Express à votre chaîne stéréo par un câble mini numérique à fibres optiques vers Toslink, un câble mini stéréo vers double RCA ou un câble mini stéréo vers mini stéréo (selon le type du connecteur de votre chaîne) et utiliser AirTunes pour écouter sans fil de la musique grâce à iTunes.Utilisation de la borne AirPort Express 15 Schéma des connexions Port d’entrée audio numérique optique o ou Câble numérique à fibres optiques Toslink vers mini-jack ou Câble mini-jack stéréo vers RCA Chaîne stéréo Ordinateur équipé d’iTunes Port de sortie Ports d’entrée audio gauche et droit de type RCA16 Utilisation de la borne AirPort Express Configuration 1 Branchez votre AirPort Express à vos enceintes domestiques stéréo ou à vos enceintes alimentées par amplifiés grâce à un câble numérique à fibres optiques, un câble analogique mini stéréo vers double RCA ou un câble mini stéréo vers mini stéréo (selon le type du connecteur de votre chaîne), branché sur la prise mini stéréo (-). Remarque : vous ne pouvez pas utiliser des haut-parleurs USB amplifiés avec l’AirPort Express. 2 Utilisez l’Assistant réglages AirPort pour créer un nouveau réseau (pour en savoir plus, reportez-vous à la page 26). 3 Ouvrez iTunes sur votre ordinateur et choisissez votre chaîne stéréo ou vos haut-parleurs dans le menu local des haut-parleurs situé en bas à droite de la fenêtre d’iTunes. Les ordinateurs sans fil se trouvant dans le rayon de détection de l’AirPort Express peuvent, sans fil, y diffuser de la musique à l’aide d’iTunes 4.6 ou ultérieur. Un seul ordinateur à la fois peut diffuser de la musique sur l’AirPort Express. Vous ne pouvez pas diffuser de la musique vers plus d’un AirPort Express à la fois. Remarque : ne connectez pas l’AirPort Express à la prise phono de votre stéréo. Utilisation de la borne AirPort Express 17 Utilisation de l’AirPort Express sur un réseau sans fil existant pour diffuser de la musique sur votre chaîne stéréo Vous avez également la possibilité de connecter l’AirPort Express à un réseau sans fil et d’utiliser AirTunes pour diffuser de la musique sur votre chaîne stéréo depuis iTunes. En connectant AirPort Express à votre réseau existant, vous pouvez placer AirPort Express dans une autre pièce, dans la portée de votre réseau. Schéma des connexions Modem DSL ou câble Vers Internet Chaîne stéréo Port de sortie Borne d’accès AirPort Extreme Vers port Ethernet18 Utilisation de la borne AirPort Express Pour accéder au réseau sans fil, utilisez le menu d’état d’AirPort dans la barre des menus de votre Mac. Sur un ordinateur Windows 2000 ou Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID) et sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. Il existe d’autres façons de connecter votre AirPort Express à votre chaîne stéréo. Si votre ordinateur est doté d’une carte AirPort Extreme ou d’une carte sans fil compatible pour Windows XP ou Windows 2000, vous pouvez utiliser AirTunes pour écouter de la musique issue d’iTunes sur une chaîne stéréo branchée à votre AirPort Express. Modem DSL ou câble Vers Internet Chaîne stéréo Port de sortieUtilisation de la borne AirPort Express 19 Vous pouvez également connecter votre AirPort Express à Internet et fournir ainsi un accès à Internet aux ordinateurs qui se joignent au réseau. Connectez votre AirPort Express à votre chaîne stéréo afin que les ordinateurs du réseau dotés d’une carte AirPort Extreme ou dotés de cartes 802.11g compatibles puissent utiliser iTunes pour diffuser de la musique sur la chaîne stéréo. Modem DSL ou câble Vers Internet Chaîne stéréo Port Ethernet Port de sortie20 Utilisation de la borne AirPort Express Câbles audio et câble d’alimentation facultatifs Vous pouvez vous procurer le kit de connexion stéréo facultatif de l’AirPort Express contenant des câbles Monster pour connecter votre AirPort Express à votre chaîne stéréo ou à vos haut-parleurs. Ce kit comprend des connecteurs analogiques mini-jack stéréo vers double RCA, un câble numérique à fibres optiques Toslink et un câble d’alimentation.  Connectez le câble analogique à votre chaîne stéréo si celle-ci utilise des câbles analogiques standard.  Connectez le câble numérique à fibres optiques si votre chaîne stéréo possède un port numérique Toslink.  Connectez le câble d’alimentation si vous configurez votre AirPort Express à distance d’une prise de courant. Câble mini-jack stéréo vers RCA Câble numérique à fibres optiques Toslink vers mini-jack Câble d’alimentationUtilisation de la borne AirPort Express 21 Utilisation de l’AirPort Express pour le partage d’une imprimante USB Lorsque vous branchez une imprimante USB à votre AirPort Express, tous les ordinateurs du réseau sans fil peuvent l’utiliser. Schéma des connexions Configuration 1 Reliez l’imprimante au port USB (d) de la borne AirPort Express à l’aide d’un câble USB. Port USB Imprimante partagée22 Utilisation de la borne AirPort Express 2 Utilisez l’Assistant réglages AirPort pour créer un réseau ou rejoignez un réseau sans fil existant. Pour partager l’imprimante, les ordinateurs sans fil doivent utiliser Mac OS X 10.2.7 ou ultérieur, ou bien Windows 2000 ou Windows XP (Service Pack 2). Pour utiliser l’imprimante depuis un ordinateur Mac OS X : 1 Ouvrez l’utilitaire Configuration d’imprimante (situé dans Applications/Utilitaires). 2 Sélectionnez l’imprimante dans la liste. Si l’imprimante ne figure pas sur la liste, cliquez sur Ajouter, puis choisissez Bonjour dans le menu local avant de sélectionner l’imprimante dans la liste. Pour utiliser l’imprimante depuis un ordinateur Windows : 1 Ouvrez le Panneau de configuration depuis le menu Démarrer, puis double-cliquez sur Imprimantes et télécopieurs. 2 Cliquez sur Ajouter une imprimante et suivez les instructions à l’écran. 3 Sélectionnez “Imprimante locale connectée à cet ordinateur” et désélectionnez “Détection et installation automatique de l’imprimante Plug-and-Play”. 4 Dans la fenêtre “Sélectionner un port d’imprimante”, cliquez sur “Créer un nouveau port”, puis choisissez Standard TCP/IP Port dans le menu local. 5 Cliquez sur Suivant et suivez les instructions à l’écran. 6 Dans le champ Nom d’imprimante ou adresse IP, tapez 10.0.1.1. Le nom de port généré est “IP_10.0.1.1”. Remarque : si vous avez modifié l’adresse IP de votre AirPort Express, utilisez cette nouvelle adresse au lieu de taper 10.0.1.1. Le port prendra le nom de l’adresse que vous saisissez. 7 Sélectionnez Standard dans la zone Type de périphérique, puis choisissez votre imprimante dans la liste.Utilisation de la borne AirPort Express 23 Extension de la portée d’un réseau AirPort Extreme ou AirPort Express existant Vous avez la possibilité de connecter une borne AirPort Express supplémentaire pour étendre la portée de votre réseau AirPort Extreme ou AirPort Express existant. L’ajout d’une borne d’accès ou de l’AirPort Express à un réseau existant crée un système de distribution sans fil WDS. Si le réseau AirPort est connecté à Internet, les ordinateurs peuvent alors se connecter au réseau AirPort et partager la connexion Internet. Schéma des connexions Salle de séjour Salle à manger Salon Vers Internet Borne d’accès AirPort Extreme Modem DSL ou cable24 Utilisation de la borne AirPort Express Configuration 1 Vous devez posséder un réseau AirPort créé par une borne d’accès AirPort Extreme ou un AirPort Express. Pour pouvoir partager l’accès à Internet, le réseau doit être au préalable connecté à Internet. La borne d’accès connectée est appelée borne d’accès principale et partage sa connexion à Internet avec votre AirPort Express. 2 Utilisez l’Assistant réglages AirPort pour étendre la portée de votre réseau. (Reportez-vous à la section “Configuration de l’AirPort Express” à la page 26.) Les deux bornes d’accès utilisent la technologie sans fil pour partager la connexion Internet avec les ordinateurs clients, ou la technologie Ethernet si les ordinateurs clients sont reliés par Ethernet.Utilisation de la borne AirPort Express 25 Utilisation d’AirPort Express avec votre réseau AirPort Extreme L’illustration ci-dessous montre un réseau sans fil regroupant tous les exemples précédemment cités. Configuration  Utilisez l’Assistant réglages AirPort pour créer un nouveau réseau, accéder à un réseau AirPort Extreme ou AirPort Express et profiter de toutes les fonctions de l’Airport Express. Modem DSL Vers port de sortie Vers port USB ou câble Vers Internet Vers port Ethernet Salle de séjour Salon Borne d’accès AirPort Extreme26 3 Configuration de l’AirPort Express Ce chapitre contient des informations et des instructions sur l’utilisation du logiciel de l’AirPort Express pour configurer votre AirPort Express. Utilisez les schémas du chapitre précédent pour vous aider à décider de l’endroit où vous souhaitez utiliser votre AirPort Express, et des fonctionnalités que vous souhaitez configurer sur votre réseau AirPort. Utilisez ensuite les instructions de ce chapitre pour configurer facilement l’AirPort Express et votre réseau AirPort. Le logiciel de l’AirPort Express vous permet de :  Configurer un nouveau réseau que des ordinateurs sans fil peuvent utiliser pour communiquer entre eux. Si vous configurez votre AirPort Express comme une borne d’accès et la connectez à Internet, des ordinateurs sans fil pourront également partager la connexion Internet.  Connecter votre AirPort Express à votre réseau sans fil existant (ou bien créez-en un), utiliser AirTunes pour écouter de la musique d’iTunes sur votre chaîne stéréo ou vos haut-parleurs amplifiés ainsi que partager une imprimante USB.Configuration de l’AirPort Express 27  Connecter votre AirPort Express à votre réseau AirPort Extreme ou l’AirPort Express existant et étendre la portée de ce réseau en utilisant l’AirPort Express comme un pont sans fil. Cette méthode est appelée système de distribution sans fil (WDS). Vous pouvez utiliser AirTunes pour écouter des morceaux de musique d’iTunes et partager une imprimante USB quel que soit le type de réseau que vous configurez, qu’il s’agisse d’un nouveau réseau ou d’un accès à un réseau existant. Si vous possédez plusieurs bornes AirPort Express, vous pouvez par exemple en brancher une à la chaîne stéréo de votre salon et une autre aux haut-parleurs amplifiés de votre bureau. À l’aide d’AirTunes, vous pouvez diffuser votre musique d’iTunes sur l’une ou l’autre borne AirPort Express, selon la pièce de la maison dans laquelle vous vous trouvez. Choisissez pour cela le nom de la borne AirPort Express que vous souhaitez utiliser dans le menu local des haut-parleurs d’iTunes. Ce chapitre explique comment utiliser l’Assistant réglages AirPort pour configurer votre réseau et d’autres fonctionnalités de votre AirPort Express. Pour en savoir plus sur la mise en réseau sans fil et sur les fonctionnalités avancées d’AirPort, consultez les documents “Création de réseaux AirPort” ou “Réseaux AirPort pour Windows”, situés sur le CD de l’AirPort Express et sur le site www.apple.com/fr/airportextreme. Vous pouvez effectuer la plupart des opérations d’installation et de configuration de votre réseau à l’aide de l’Assistant réglages AirPort. Pour configurer des options avancées, il vous faudra utiliser l’Utilitaire Admin AirPort. Voir “Réglage des options avancées” à la page 32.28 Configuration de l’AirPort Express Utilisation de l’Assistant réglages AirPort Pour configurer votre AirPort Express afin qu’elle utilise AirPort pour l’accès à Internet et la mise en réseau sans fil, utilisez l’Assistant réglages AirPort. L’assistant est automatiquement installé, à partir du CD AirPort Express, sur votre ordinateur en même temps que le logiciel. Sur un ordinateur Macintosh Mac OS X 10.3 ou ultérieur : m Ouvrez l’Assistant réglages AirPort, situé dans Applications/Utilitaires, et suivez les instructions à l’écran. Sur un ordinateur Windows XP (Service Pack 2) ou Windows 2000 : m Ouvrez l’Assistant réglages AirPort, situé dans Démarrer > Tous les programmes > AirPort. Vous devrez répondre à une série de questions concernant le type de réseau que vous souhaitez utiliser et les services que vous souhaitez configurer. L’Assistant réglages AirPort vous aide à saisir les réglages adaptés au réseau que vous configurez.Configuration de l’AirPort Express 29 Si vous utilisez la borne AirPort Express pour vous connecter à Internet, vous devez disposer d’un compte à large bande (modem DSL ou câble) auprès d’un fournisseur d’accès à Internet. Ce service est éventuellement payant. Si vous avez reçu des informations particulières de votre FAI (telles qu’une adresse IP statique ou l’identifiant du client DHCP), il vous faudra les saisir dans l’Assistant réglages AirPort. Regroupez toutes ces informations avant de configurer votre AirPort Express. Création d’un nouveau réseau sans fil Vous pouvez utiliser l’Assistant réglages AirPort pour créer un réseau sans fil. L’Assistant réglages AirPort vous guidera tout au long des étapes nécessaires pour nommer votre réseau, protéger votre réseau avec un mot de passe et configurer d’autres options. Si vous prévoyez d’utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur votre chaîne stéréo, connectez un câble numérique à fibres optiques Toslink ou un câble mini-jack stéréo vers double RCA au port de sortie de la borne AirPort Express (-) et à votre chaîne stéréo. Si vous prévoyez de partager une imprimante USB sur votre réseau, connectez l’imprimante au port USB (d) de la borne AirPort Express. Après avoir connecté le câble audio et le câble de l’imprimante USB : m Ouvrez l’Assistant réglages AirPort se trouvant dans Applications/Utilitaires sur Macintosh ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP ou Windows 2000. Suivez les instructions à l’écran pour créer un réseau.30 Configuration de l’AirPort Express Configuration et partage de l’accès à Internet Si vous prévoyez de partager votre connexion Internet avec les ordinateurs du réseau configurés pour la communication sans fil, vous devez configurer votre AirPort Express en tant que borne d’accès AirPort. Une fois qu’elle est configurée, les ordinateurs peuvent accéder à Internet via le réseau AirPort. La borne d’accès se connecte à Internet et transmet les informations aux ordinateurs via le réseau AirPort. Avant d’utiliser l’Assistant réglages AirPort pour configurer votre borne d’accès, branchez votre modem câble ou DSL au port Ethernet (G) d’AirPort Express. Si vous vous connectez à Internet via un réseau Ethernet existant, vous pouvez alors connecter l’AirPort Express au réseau Ethernet. Si vous prévoyez d’utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur votre chaîne stéréo, connectez un câble audio au mini-jack audio numérique optique et analogique (-) et à votre chaîne stéréo. Utilisez l’Assistant réglages AirPort pour saisir les réglages de votre FAI et configurer le mode de partage de ces réglages entre l’AirPort Express et les autres ordinateurs. m Ouvrez l’Assistant réglages AirPort se trouvant dans Applications/Utilitaires sur Macintosh ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP ou Windows 2000. Suivez les instructions à l’écran pour configurer et partager l’accès Internet sur votre AirPort Express.Configuration de l’AirPort Express 31 Connexion à un réseau sans fil existant Vous pouvez utiliser l’Assistant réglages AirPort pour accéder à un réseau sans fil existant. Lorsque vous connectez la borne AirPort Express à votre chaîne stéréo, les ordinateurs de votre réseau sans fil peuvent alors utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur la chaîne stéréo. Lorsque vous connectez une imprimante USB à votre AirPort Express, tous les ordinateurs du réseau peuvent l’utiliser. Avant d’utiliser l’Assistant réglages AirPort, vérifiez que le câble audio est bien branché à votre chaîne stéréo et que le câble USB est relié à votre imprimante. m Ouvrez l’Assistant réglages AirPort se trouvant dans Applications/Utilitaires sur Macintosh ou dans Démarrer > Tous les programmes > AirPort sur un ordinateur fonctionnant sous Windows XP ou Windows 2000. Suivez les instructions à l’écran pour configurer et connecter votre AirPort Express à votre réseau sans fil. Extension de la portée d’un réseau AirPort Extreme ou AirPort Express existant Vous pouvez étendre la portée d’un réseau sans fil AirPort Express ou AirPort Extreme en le configurant comme membre d’un WDS. Les ordinateurs sans fil pourront alors se connecter au réseau et partager la connexion Internet et des fichiers ou jouer en réseau. Si vous connectez l’AirPort Express à votre chaîne stéréo, les ordinateurs de votre réseau sans fil peuvent alors utiliser AirTunes pour écouter des morceaux de musique d’iTunes sur la chaîne stéréo. Lorsque vous connectez une imprimante USB à votre AirPort Express, tous les ordinateurs du réseau peuvent l’utiliser. m Ouvrez l’Assistant AirPort Express et suivez les instructions à l’écran pour étendre la portée de votre réseau AirPort Extreme ou AirPort Express. Remarque : l’extension de la portée d’un réseau avec WDS peut réduire les performances globales du réseau.32 Configuration de l’AirPort Express Réglage des options avancées Pour régler les options avancées, utilisez l’Utilitaire Admin AirPort. Vous pouvez utiliser l’Utilitaire Admin AirPort pour configurer les réglages avancés de la borne d’accès, tels que les options de sécurité avancées, les réseaux fermés, la durée de bail DHCP, le contrôle d’accès, la confidentialité WAN, les réglages de puissance, le changement de nom de l’imprimante USB, le mappage de port et plus encore. Pour régler les options avancées : 1 Sélectionnez le réseau sans fil que vous souhaitez modifier. Sur un Mac, utilisez le menu d’état d’AirPort dans la barre des menus. Sur un ordinateur Windows 2000 ou Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID) et sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 2 Ouvrez l’Utilitaire Admin AirPort que vous trouverez dans Applications/Utilitaires sur un Macintosh, et dans Démarrer > Programmes > AirPort sur un ordinateur Windows XP ou Windows 2000. 3 Si plusieurs bornes d’accès figurent dans la liste, sélectionnez celle que vous souhaitez configurer. Si la borne que vous souhaitez configurer ne figure pas dans cette liste, cliquez sur Rescanner pour parcourir les bornes d’accès disponibles, puis sélectionnez la borne d’accès voulue. 4 Si le système vous demande un mot de passe, saisissez-le, puis cliquez sur Configurer. Pour en savoir plus sur l’Utilitaire Admin AirPort, consultez les documents “Création de réseaux AirPort” ou “Réseaux AirPort pour Windows”, situés sur votre CD AirPort Express et sur le site www.apple.com/fr/airport.33 4 AirPort Express en déplacement AirPort Express peut stocker des réglages pour différents emplacements afin que vous puissiez facilement le déplacer d’un endroit à l’autre. L’AirPort Express peut stocker jusqu’à cinq configurations différentes, appelées profils. Un profil contient les réglages de votre AirPort Express, tels que le nom et le mot de passe du haut-parleur iTunes, ainsi que des informations sur le réseau, telles que le nom et le mot de passe réseau. Les profils sont utiles si vous déplacez votre AirPort Express d’un endroit à un autre. Par exemple, vous pouvez configurer un profil pour votre AirPort Express à votre domicile, où vous utilisez AirTunes pour diffuser de la musique sur votre chaîne stéréo à partir d’iTunes et vous connecter à Internet via le protocole PPPoe. Vous pouvez également configurer un autre profil pour utiliser AirPort Express à l’hôtel, où vous vous connectez à Internet via le protocole DHCP. Utilisez l’Utilitaire Admin AirPort dans Applications/Utilitaires sur Mac, et dans Démarrer > Programmes > AirPort sur un ordinateur Windows XP ou Windows 2000, pour créer, modifier, renommer et effacer des profils. 34 AirPort Express en déplacement Pour créer un profil : 1 Ouvrez l’Utilitaire Admin AirPort, sélectionnez votre AirPort Express dans la liste et cliquez sur Configurer. 2 Cliquez sur l’icône Profils dans la barre d’outils. 3 Cliquez sur Ajouter pour créer un nouveau profil, donnez-lui un nom, puis cliquez sur OK. 4 Définissez les options, telles que le nom du réseau, le nom du haut-parleur distant, les mots de passe et le mode de connexion à Internet. 5 Une fois le réglage des options terminé, cliquez sur Mettre à jour. Pour modifier un profil existant : 1 Ouvrez l’Utilitaire Admin AirPort, sélectionnez votre AirPort Express dans la liste et cliquez sur Configurer. 2 Cliquez sur l’icône Profils dans la barre d’outils. 3 Sélectionnez un profil dans la liste et cliquez sur OK. 4 Modifiez les options du profil. Une fois les options modifiées, cliquez sur Mettre à jour pour enregistrer le profil et le rendre actif sur votre AirPort Express.35 5 Astuces et dépannage Vous pouvez rapidement résoudre la plupart des problèmes liés à AirPort Express en suivant les conseils donnés dans ce chapitre. Le logiciel d’AirPort Express ne peut pas détecter le matériel AirPort approprié Assurez-vous que l’ordinateur que vous utilisez est équipé d’une carte AirPort ou d’une carte AirPort Extreme. Si vous avez installé la carte récemment, éteignez votre ordinateur et vérifiez que la carte est installée correctement. Vérifiez que l’antenne AirPort est connectée fermement à la carte (vous devez entendre un clic lorsque vous la connectez). Vérifiez que la carte est fermement insérée dans le connecteur du logement de la carte AirPort. Si vous utilisez un ordinateur Windows 2000 ou Windows XP, assurez-vous que l’adaptateur ou la carte sans fil est installé correctement. Reportez-vous à la documentation livrée avec votre ordinateur pour vérifier la connexion. Si vous utilisez un ordinateur fonctionnant sous Windows XP, assurez-vous que vous disposez bien du Service Pack 2.36 Astuces et dépannage Impossible de diffuser de la musique sur votre chaîne stéréo à partir d’iTunes Vérifiez qu’AirPort Express est branchée sur une prise de courant, qu’elle se trouve dans le rayon de détection de votre ordinateur et que les câbles appropriés sont bien connectés. Il vous faudra pour cela accéder au réseau AirPort Express. Veillez à sélectionner votre AirPort Express dans le menu local des haut-parleurs d’iTunes. Vérifiez que vous utilisez iTunes 4.6 ou ultérieur. Impossible d’entendre la musique Si un morceau est en cours de lecture (la barre de progression en haut de la fenêtre iTunes avance) mais que vous n’entendez rien, vérifiez les points suivants :  Si vous essayez d’écouter de la musique avec des haut-parleurs connectés à une AirPort Express et que vous avez coché la case “Désactiver le contrôle de volume pour les haut-parleurs distants” dans la sous-fenêtre Audio des Préférences iTunes, vérifiez que vos haut-parleurs distants sont sélectionnés dans le menu local en bas de la fenêtre iTunes et que le contrôle du volume des haut-parleurs distants n’est pas au minimum. Vous avez oublié votre mot de passe réseau ou AirPort Express Vous pouvez effacer le mot de passe du réseau AirPort ou d’AirPort Express en réinitialisant AirPort Express. Pour cela, procédez comme suit : 1 Utilisez l’extrémité d’un trombone déplié pour appuyer sur le bouton de réinitialisation et le maintenir enfoncé pendant une seconde. Astuces et dépannage 37 2 Sélectionnez votre réseau AirPort.  Sur un Macintosh, utilisez le menu d’état d’AirPort dans la barre des menus pour sélectionner le réseau créé par l’AirPort Express (le nom du réseau reste inchangé).  Sur un ordinateur Windows 2000 ou Windows XP, maintenez le curseur sur l’icône de la connexion sans fil jusqu’à ce que vous voyiez apparaître le nom de votre réseau AirPort (SSID) et sélectionnez-le dans la liste si plusieurs réseaux sont disponibles. 3 Ouvrez l’Utilitaire Admin AirPort (que vous trouverez dans Applications/Utilitaires sur un Macintosh, et dans Démarrer > Programmes > AirPort sur un ordinateur Windows XP ou Windows 2000). 4 Sélectionnez votre AirPort Express et cliquez sur Configurer. 5 Dans la zone de dialogue qui s’affiche, effectuez les changements suivants :  Réinitialisez le mot de passe AirPort Express.  Sélectionnez le cryptage pour activer la protection par mot passe de votre réseau AirPort. Si vous activez le cryptage, tapez un nouveau mot de passe pour votre réseau AirPort. 6 Cliquez sur OK. AirPort Express redémarre pour charger les nouveaux réglages. Votre AirPort Express ne répond pas Essayez de la débrancher puis de la rebrancher sur une prise électrique. Si votre AirPort Express ne répond plus du tout, vous devrez peut-être rétablir les réglages d’origine par défaut. Cette opération efface tous les réglages que vous avez effectués et rétablit ceux d’origine. 38 Astuces et dépannage Le voyant d’état de votre AirPort Express est de couleur ambre et il clignote Le câble Ethernet n’est peut-être pas connecté correctement ; l’AirPort Express est peut-être hors du rayon de détection du réseau AirPort, ou bien il se peut qu’il y ait un problème avec votre fournisseur d’accès Internet. Si vous êtes connecté à Internet avec un modem câble ou DSL, le modem n’est peut-être plus connecté au réseau ou à Internet. Même si le modem semble fonctionner correctement, débranchez le modem, attendez quelques secondes puis rebranchez-le. Assurez-vous que l’AirPort Express est directement connecté au modem via Ethernet avant de rebrancher le modem. Si votre AirPort Express est configuré comme membre d’un WDS, le lien WDS est peut-être interrompu. Remarque : si l’AirPort Express est configuré comme un client sans fil et que le réseau auquel il se joint est protégé par une liste de contrôle d’accès, l’AirPort Express doit faire partie de cette liste pour pouvoir se connecter au réseau. Pour revenir aux réglages d’origine de l’AirPort Express : m Utilisez le bout d’un trombone déplié pour pouvoir appuyer et maintenir enfoncé le bouton de réinitialisation jusqu’à ce que le voyant d’état clignote rapidement (pendant environ 5 secondes). AirPort Express redémarre avec les réglages suivants :  L’AirPort Express reçoit son adresse IP via DHCP.  Le nom du réseau redevient Réseau Apple XXXXXX (où X est une lettre ou un chiffre).  Le mot de passe AirPort Express redevient public. Si vous avez utilisé l’Utilitaire Admin AirPort pour créer des profils pour votre AirPort Express, ces profils sont conservés lorsque vous réinitialisez AirPort Express.Astuces et dépannage 39 Si vous souhaitez revenir aux réglages d’origine de l’AirPort Express et supprimer des profils que vous aviez configurés : 1 Débranchez l’AirPort Express. 2 Utilisez l’extrémité d’un trombone déplié pour maintenir le bouton de réinitialisation enfoncé pendant que vous branchez l’AirPort Express. Votre imprimante ne répond pas Si vous avez connecté une imprimante au port USB de l’AirPort Express et que les ordinateurs du réseau AirPort ne peuvent pas imprimer, procédez comme suit : 1 Assurez-vous que l’imprimante est branchée et allumée. 2 Assurez-vous que les câbles sont bien connectés à l’imprimante et au port USB de l’AirPort Express. 3 Assurez-vous que l’imprimante est bien sélectionnée dans la fenêtre Liste d’imprimantes des ordinateurs clients. Pour ce faire, sur un ordinateur Mac OS X 10.3 ou ultérieur :  Ouvrez l’utilitaire Réglages imprimante, dans Applications/Utilitaires.  Si l’imprimante n’est pas dans la liste, cliquez sur Ajouter.  Sélectionnez Bonjour dans le menu local.  Sélectionnez l’imprimante et cliquez sur Ajouter. Pour sélectionner votre imprimante sur un ordinateur Windows XP ou Windows 2000 :  Ouvrez le Panneau de configuration depuis le menu Démarrer, puis double-cliquez sur Imprimantes et télécopieurs.  Sélectionnez l’imprimante. Si l’imprimante ne figure pas dans la liste, cliquez sur Ajouter une imprimante puis suivez les instructions à l’écran.40 Astuces et dépannage 4 Éteignez l’imprimante, attendez quelques secondes puis rallumez-la. Pour en savoir plus sur la configuration d’une imprimante sur un ordinateur Windows, consultez “Pour utiliser l’imprimante depuis un ordinateur Windows :” à la page 22. Vous souhaitez mettre à jour votre logiciel AirPort Apple met régulièrement à jour le logiciel AirPort afin d’en améliorer les performances et d’ajouter de nouvelles fonctionnalités. Il est recommandé de mettre à jour votre AirPort Express pour utiliser le logiciel le plus récent. Pour télécharger la dernière version du logiciel AirPort Express, rendez-vous sur le site www.apple.com/fr/airport. Considérations sur le placement de l’AirPort Express Les recommandations suivantes peuvent permettre à votre AirPort Express d’atteindre une portée sans fil maximale et une couverture réseau optimale.  Placez votre AirPort Express dans un endroit dégagé avec peu d’obstacles tels que des meubles imposants ou des murs. Essayez de la tenir éloignée des surfaces métalliques.  Si vous placez votre AirPort Express derrière un meuble, laissez au moins trois centimètres entre la borne AirPort Express et le bord du meuble.  Évitez de placer votre AirPort Express dans des zones entourées de surfaces métalliques sur trois côtés ou plus.  Si vous placez votre AirPort Express à proximité d’autres appareils électriques tels que la chaîne stéréo, évitez d’entourer complètement l’AirPort Express de câbles d’alimentation, audio ou vidéo. Positionnez votre AirPort Express de façon que les câbles passent d’un seul côté. Laissez autant d’espace que possible entre l’AirPort Express et les câbles.  Si vous placez votre AirPort Express derrière votre équipement stéréo, placez-la sur le côté. Évitez de la centrer derrière la chaîne stéréo.Astuces et dépannage 41  Essayez de placer votre AirPort Express à 7,5 mètres au moins d’un four à micro-ondes, d’un téléphone sans fil de 2,4 GHz, ou d’autres sources d’interférences. Éléments pouvant provoquer des interférences avec Airport Plus la source d’interférences est éloignée, plus le risque de problème est faible. Les éléments suivants peuvent provoquer des interférences avec Airport :  Les fours à micro-ondes.  Les pertes de fréquence radio DSS (Direct Satellite Service).  Le câble coaxial d’origine fourni avec certains types d’antennes paraboliques. Contactez le fabricant du produit pour obtenir des câbles plus récents.  Certains dispositifs électriques tels que les lignes électriques, les voies ferrées électrifiées et les centrales électriques.  Les téléphones sans fil qui fonctionnent sur la fréquence porteuse de 2,4 gigahertz (GHz). Si vous rencontrez des problèmes avec votre téléphone ou avec la communication avec AirPort, changez le canal utilisé par votre borne d’accès ou par l’AirPort Express ou bien celui utilisé par votre téléphone.  Des bornes d’accès adjacentes qui utilisent des canaux voisins. Ainsi, si une borne d’accès A est réglée sur le canal 1, la borne B doit être réglée sur le canal 4 ou supérieur.42 6 En savoir plus, service aprèsvente et support Vous trouverez davantage d’informations sur l’utilisation de la borne AirPort Express sur votre disque dur, sur le Web et dans l’aide en ligne. Ressources en ligne Pour obtenir les toutes dernières informations sur la borne AirPort Express, rendez-vous sur le site www.apple.com/fr/airport. Pour enregistrer l’AirPort Express (si vous ne l’avez pas déjà fait lors de l’installation du logiciel à partir du CD de l’AirPort Express), rendez-vous sur le site www.apple.com/register. Pour plus d’informations sur le service après-vente et le support d’AirPort, des forums avec des informations et des retours sur différents produits, et les versions les plus récentes des logiciels Apple à télécharger, rendez-vous sur le site www.apple.com/fr/support/airport. Pour le support en dehors des États-Unis, rendez-vous sur le site www.apple.com/fr/support et choisissez votre pays dans le menu local.En savoir plus, service après-vente et support 43 Aide en ligne m Pour en savoir plus sur l’utilisation d’AirPort, ouvrez l’Utilitaire Admin AirPort et choisissez Aide > Aide AirPort. Obtention d’un service de garantie Si le produit est endommagé ou ne fonctionne pas correctement, suivez les conseils de cette brochure, de l’aide à l’écran et des ressources en ligne. Si l’unité ne fonctionne toujours pas, rendez-vous sur le site www.apple.com/fr/support pour obtenir des instructions sur l’obtention d’un service de garantie. Où trouver le numéro de série de votre AirPort Express Le numéro de série est imprimé à l’arrière de votre AirPort Express. 44 7 Caractéristiques de l’AirPort Express Caractéristiques de l’AirPort  Vitesse de transfert des données sans fil : jusqu’à 54 mégabits par seconde (Mbps)  Portée : jusqu’à 45 mètres en utilisation normale (selon l’environnement)  Bande de fréquence : 2,4 gigahertz (GHz)  Alimentation de la sortie radio : 15 dBm (nominale)  Normes : 802.11 DSSS 1 et 2 Mbps standard, 802.11b et caractéristique 802.11g Interfaces  Connecteur LAN Ethernet RJ-45 pour la mise en réseau 10/100Base-T intégrée (G)  Impression USB (Universal Serial Bus) (d)  Mini-jack optique analogique/numérique de 3,5 mm  AirPort Extreme Conditions ambiantes  Température de fonctionnement : de 0° à 35° C (32° à 95° F)  Température de stockage : de -25° à 60° C (-13° à 140° F)  Humidité relative (en fonctionnement) : de 20 % à 80 %  Humidité relative (en stockage) : de 10 % à 90 % (sans condensation)Caractéristiques de l’AirPort Express 45  Altitude de fonctionnement : de 0 à 3 048 m (de 0 à 10 000 pieds)  Altitude maximale de stockage : 4 572 m (15 000 pieds) Taille et poids  Hauteur : 94 mm  Largeur : 75 mm  Épaisseur : 28,5 mm  Poids : 188 grammes Adresses matérielles Deux adresses matérielles pour l’AirPort sont imprimées sur le côté du boîtier :  L’identifiant AirPort : adresse utilisée pour identifier l’AirPort Express sur un réseau sans fil.  Le numéro Ethernet : également appelé adresse MAC. Il vous faudra peut-être communiquer cette adresse à votre FAI pour connecter la borne AirPort Express à Internet. Utilisation d’AirPort Express  La seule façon d’éteindre complètement votre AirPort Express est de la débrancher de sa source d’alimentation.  Lorsque vous branchez ou débranchez votre AirPort Express, tenez-la toujours par les côtés. Éloignez vos doigts de la partie métallique de la prise.  Votre AirPort Express est un composant haute tension et ne doit en aucun cas être ouverte, même lorsqu’elle est débranchée. Si votre AirPort Express doit être réparée, consultez la rubrique “En savoir plus, service après-vente et support” à la page 42. 46 Caractéristiques de l’AirPort Express  N’insérez jamais de force un connecteur dans les ports. Si le connecteur ne s’emboîte pas facilement dans le port, c’est probablement qu’ils ne sont pas compatibles. Vérifiez que le connecteur est adapté au port et qu’il est correctement positionné par rapport à celui-ci.  Si vous utilisez le câble d’alimentation facultatif, évitez de laisser pendre la borne AirPort Express en la tenant par le câble. À propos des températures d’exploitation et de stockage  Pendant que vous utilisez votre AirPort Express, il est normal que le boîtier chauffe. Le boîtier de l’AirPort Express agit comme une surface de refroidissement qui transfère la chaleur de l’intérieur de l’unité vers l’air extérieur plus frais. Évitez les endroits humides  Tenez l’AirPort Express à l’écart des sources de liquides, telles que les boissons, les lavabos, les baignoires, les cabines de douche, etc.  Protégez la borne AirPort Express de la lumière directe du soleil ou de la pluie ou d’autre source d’humidité.  Prenez garde à ne pas renverser de nourriture ou de liquide sur votre AirPort Express. Si tel est le cas, débranchez l’AirPort Express avant de nettoyer. Si c’est un liquide qui a été renversé, il faudra peut-être envoyer l’appareil à Apple pour réparation. Reportez-vous à la section “En savoir plus, service après-vente et support” à la page 42. Avertissement : pour réduire le risque d’électrocution ou de blessure, n’utilisez pas votre AirPort Express dans des emplacements mouillés ou humides ni à proximité de ceux-ci.Caractéristiques de l’AirPort Express 47 N’effectuez pas vous-même les réparations À propos de la manipulation Votre AirPort Express peut être endommagée à la suite d’une manipulation ou d’un stockage inapproprié. Prenez garde à ne pas laisser tomber votre AirPort Express en la transportant. Avertissement : n’essayez pas d’ouvrir ou de démonter votre AirPort Express. Vous risqueriez de vous électrocuter et d’annuler la garantie. Aucune pièce réparable par l’utilisateur ne se trouve à l’intérieur.48 Communications Regulation Information FCC Declaration of Conformity 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 into 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. 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 FCC 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 dealer. 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 “Class B” respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada. VCCI Class B Statement Europe : déclaration de conformité EU Conforme aux directives européennes 72/23/EEC, 89/336/1999/5 Pour obtenir plus d’informations, rendez-vous sur www.apple.com/euro/compliance. Union Européenne : informations sur l’élimination Ce symbole signifie que vous devez vous débarasser de votre produit sans le mélanger avec les ordures ménagères, selon les normes et la législation de votre pays. Lorsque ce produit n’est plus utilisable, portez-le dans un centre de traitement des déchets agréé par les autorités locales. Certains centres acceptent les produits gratuitement. Le traitement et le recyclage séparé de votre produit lors de son élimination aideront à préserver les ressources naturelles et à protéger l’environnement et la santé des êtres humains. © 2005 Apple Computer, Inc. Tous droits réservés. Apple, le logo Apple, AirPort, iTunes, Mac, Macintosh et Mac OS sont des marques d’Apple Computer, Inc. déposées aux États-Unis et dans d’autres pays. AirPort Express, AirTunes et Bonjour sont des marques d’Apple Computer Inc. www.apple.com/fr/airport www.apple.com/fr/support/airport F019-0415 Color Manuel de l'utilisateurK Apple Inc. © 2007 Apple Computer, Inc. Tous droits réservés. Vos droits sur le logiciel sont définis par le contrat de licence l’accompagnant. Le propriétaire ou l’utilisateur autorisé d’une copie valide du logiciel Final Cut Studio a le droit de reproduire la présente publication à des fins d’apprentissage dudit logiciel. Il est interdit de reproduire ou de transmettre tout ou partie de la présente publication à des fins commerciales, par exemple pour vendre des copies de ladite publication ou fournir un service d’assistance payant. Le logo Apple est une marque d’Apple Inc. déposée aux États-Unis et dans d’autres pays. En l’absence du consentement écrit d’Apple, l’utilisation à des fins commerciales de ce logo via le clavier (Option + 1) pourra constituer un acte de contrefaçon et/ou de concurrence déloyale. Tous les efforts possibles ont été faits pour assurer l’exactitude des informations qui figurent dans ce manuel. Apple n’est pas responsable des erreurs d’écriture ou d’impression. Remarque : étant donné qu’Apple commercialise fré- quemment de nouvelles versions et mises à jour de son logiciel système, de ses applications et de ses sites Internet, les illustrations du présent ouvrage peuvent différer légèrement de ce qui s’affiche sur votre écran. Apple Inc. 1 Infinite Loop Cupertino, CA 95014-2084 408-996-1010 www.apple.com Apple, le logo Apple, DVD Studio Pro, Final Cut, Final Cut Pro, FireWire, LiveType, Mac, Macintosh, Mac OS, QuickTime et Shake sont des marques d’Apple Inc. déposées aux États-Unis et dans d’autres pays. Cinema Tools et Finder sont des marques d’Apple Inc. Les autres noms de sociétés ou de produits mentionnés ici sont des marques de leurs détenteurs respectifs. L’évocation de produits tiers est faite à titre informatif uniquement et ne constitue ni une approbation ni une recommandation. Apple décline toute responsabilité concernant les performances et l’utilisation de ces produits. 3 1 Table des matières Préface 9 Color Documentation et ressources 9 Nature de Color ? 10 Utilisation de la documentation de Color 11 Sites web Color 11 Site web de service et d’assistance Apple Chapitre 1 13 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 13 Définition de l’étalonnage 17 Quand se déroule le processus d’étalonnage ? 24 Étalonnage dans Color 26 Normes d’encodage des images 31 Concepts de base liés aux couleurs et à l’imagerie Chapitre 2 39 Flux de production de l’étalonnage 40 Aperçu du flux de production Color 42 Limitations de Color 44 Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro 53 Importation de projets à partir d’autres applications de montage vidéo 57 Utilisation de Color dans un flux de production intermédiaire numérique 66 Utilisation des listes de montage, du timecode et des numéros d’images pour la conformation des projets Chapitre 3 69 Utilisation de l’interface Color 70 Configuration d’une surface de contrôle 70 Utilisation des contrôles d’écran 75 Navigateurs et chutiers pour organiser les fichiers 82 Utilisation de Color avec un ou deux écrans Chapitre 4 83 Importation et gestion de projets et de données 84 Création et ouverture de projets 85 Enregistrement de projets et d’archives 89 Transfert de projets entre Final Cut Pro et Color 94 Reconformation de projets 95 Importation de listes de montage (EDL)4 Table des matières 97 Exportation de listes EDL 98 Rétablissement du lien avec les données QuickTime 99 Importation de données directement dans le plan de montage 99 Formats de données compatibles 104 Conversion de séquences d’images Cineon et DPX au format QuickTime 105 Importation des corrections de couleurs 106 Exportation d’images JPEG Chapitre 5 107 Setup (Configuration) 108 Le navigateur de fichiers 109 Le navigateur de plans 115 Chutier des jeux d’étalonnage 115 Onglet Project Settings 121 Onglet Messages 122 Onglet User Preferences Chapitre 6 133 Contrôle 133 Fenêtre Scopes 135 Contrôle de la sortie vidéo de diffusion 138 Utilisation des tables de conversion d’affichage 143 Contrôle du magasin d’images fixes (Still Store) Chapitre 7 145 Lecture, navigation et modification du plan de montage 146 Principaux éléments de l’interface utilisateur du plan de montage (Timeline) 148 Personnalisation de l’interface du plan de montage 149 Utilisation des pistes 151 Sélection du plan actuel 151 Lecture dans le plan de montage 154 Navigation à l’intérieur du plan de montage 156 Sélection de plans dans le plan de montage 157 Utilisation des jeux d’étalonnage dans le plan de montage 158 Onglets de réglages 160 Contrôles et procédures de montage Chapitre 8 167 Vidéoscopes 168 Quels sont les vidéoscopes disponibles ? 171 Options des vidéoscopes 173 Analyse d’images par le biais de vidéoscopes Chapitre 9 191 Primary In 192 Objectifs de l’utilisation du studio Primary In 195 Utilisation des commandes de contraste Primary 197 Réglage du contraste dans les zones d’ombres, de tons intermédiaires et de hautes lumièresTable des matières 5 209 Utilisation des commandes Color Balance 213 Description détaillée des corrections des ombres, des tons intermédiaires et des hautes lumières 220 Commandes Curves 233 Onglet Basic 237 Onglet Advanced 239 Auto Balance Chapitre 10 241 Secondaries 242 Fonctions du studio Secondaries 243 Premiers pas 244 Choix de la région à corriger à l’aide des qualificateurs HSL 252 Onglet Previews 254 Isolement d’une zone à l’aide des commandes de vignette 261 Ajustement des parties interne et externe de la sélection 263 Utilisation des courbes secondaires 268 Commandes de réinitialisation Chapitre 11 269 Color FX 270 L’interface Color FX 270 Utilisation de Color FX 272 Création et connexion de nœuds 274 Ajustement des paramètres des nœuds 276 Omission de nœuds 276 Création d’effets dans le studio Color FX 282 Utilisation de Color FX avec des plans entrelacés 283 Enregistrement des effets préférés dans le chutier Color FX 284 Guide de référence des nœuds Chapitre 12 295 Primary Out 296 Utilisation du studio Primary Out 296 Apport de corrections supplémentaires à l’aide du studio Primary In 297 Présentation du processus de traitement de l’image 298 Utilisation des commandes de plafonnement Chapitre 13 299 Gestion des corrections et des jeux d’étalonnage 300 Différence entre les corrections et les jeux d’étalonnage 300 Enregistrement et utilisation de corrections et de jeux d’étalonnage 305 Application de corrections et de jeux d’étalonnage enregistrés à des plans 306 Gestion des jeux d’étalonnage dans la Timeline 309 Utilisation des boutons « Copy to » dans les studios Primary 311 Utilisation des commandes Copy Grade et Paste Grade 312 Définition d’un jeu d’étalonnage parfait dans la Timeline 312 Désactivation de tous les jeux d’étalonnage6 Table des matières 313 Gestion des jeux d’étalonnage dans le navigateur de plans 320 Utilisation de tous les studios Primary, Secondary et Color FX pour gérer les corrections de chaque plan Chapitre 14 323 Images clés 323 Objectifs de l’animation d’un effet avec des images clés 324 Fonctionnement de l’animation avec des images clés dans les différents studios 326 Utilisation d’images clés dans la Timeline 329 Interpolation d’images clés Chapitre 15 331 Studio Geometry 332 Navigation dans l’aperçu d’image 332 Onglet Panscan 337 Onglet Shapes 345 Onglet Tracking Chapitre 16 355 Magasin d’images fixes (Still Store) 356 Enregistrement d’images dans le Still Store 357 Enregistrement des images du Still Store dans de sous-répertoires 358 Retrait d’images du Still Store 358 Rappel d’images du Still Store 359 Personnalisation de la vue du Still Store 359 Contrôles du chutier Still Store Chapitre 17 361 File d’attente de rendu 361 À propos du rendu dans Color 362 Quels effets sont rendus par Color ? 363 L’interface de la file d’attente de rendu 365 Mode de rendu des plans dans votre projet 367 Rendu de plusieurs jeux d’étalonnage pour chaque plan 368 Commande Gather Rendered Media Annexe A 371 Étalonnage de votre moniteur 371 À propos de la mire 371 Étalonnage des moniteurs avec la mire Annexe B 375 Raccourcis clavier 375 Raccourcis clavier relatifs aux projets 376 Changement de studio et de fenêtre 376 Lecture et navigation 377 Raccourcis liés aux jeux d’étalonnage 377 Raccourcis clavier relatifs à la Timeline 378 Raccourcis clavier de montage 378 Raccourcis clavier relatifs aux images clésTable des matières 7 378 Raccourcis relatifs au navigateur de plans 379 Raccourci disponible dans le studio Geometry 379 Raccourcis relatifs au magasin d’images fixes 379 Raccourcis relatifs à la file d’attente de rendu Annexe C 381 Configuration d’une surface de contrôle 382 Surfaces de contrôle JLCooper MCS-3000, MCS-Spectrum, MCS-3400 et MCS-3800 387 Surface de contrôle Tangent Devices CP100 389 Surface de contrôle Tangent Devices de la gamme CP200 394 Personnalisation de la sensibilité des surfaces de contrôle Index 395 9 Préface Documentation et ressources de Color Bienvenue dans le monde de l’étalonnage professionnel de film et de vidéo à l’aide de Color. Nature de Color ? Color a été conçu dès le départ comme un environnement d’étalonnage (ou de « correction de couleurs ») riche en fonctionnalités, à même de s’intégrer de façon idéale dans une large gamme de flux de post-production, que votre projet relève de la définition standard, de la haute définition ou de l’intermédiaire numérique 2K. Si vous avez déjà monté un programme à l’aide de Final Cut Pro, il est extrêmement simple de l’envoyer à Color pour étalonnage, puis de le renvoyer à Final Cut Pro pour la sortie finale. Mais il est également tout à fait faisable de reconformer des projets dont les sources sont des listes de points de montage (listes EDL, Editing Decision List) issues d’autres environnements de montage. Color dispose de tous les outils dont les professionnels de la couleur ont besoin, à savoir :  Étalonnage primaire par balance des couleurs et action sur le contraste au travers des ombres, des tons intermédiaires et des hautes lumières  Utilisation de courbes pour ajustement fin des canaux de luminance et de chrominance  Jusqu’à huit opérations d’étalonnage secondaire par plan, avec qualificateurs HSL, vignettes, formes utilisateur et réglage séparé des parties interne et externe de chaque cache secondaire  Effets Color FX à nœuds arborescents pour la création d’effets de couleur personnalisés  Effets de panoramique Panscan  Suivi d’animation permettant d’animer vignettes, formes utilisateur et d’autres effets  Application de contraintes légales de diffusion pour garantir le respect de la réglementation  Prise en charge de surfaces de contrôle propres à l’étalonnage  Et de nombreuses autres fonctionnalités10 Préface Documentation et ressources de Color Tous ces outils sont répartis dans huit « studios » de l’interface utilisateur de Color, qui sont présentés dans l’ordre correspondant à la façon de travailler de la plupart des coloristes. Vous pourrez utiliser Color pour étalonner, équilibrer et « habiller » d’effet stylisés chaque plan de votre programme, dans le cadre de la dernière étape de votre flux de post-production. Vous pourrez ainsi donner donnerez ainsi à vos programmes un aspect finalisé et professionnel qui n’était jusqu’ici accessible qu’au travers de maté- riels très coûteux. Utilisation de la documentation de Color La documentation fournie avec Color se compose d’un Guide de configuration imprimé et d’un manuel de l’utilisateur électronique. Guide de configuration de Color Le Guide de configuration de Color contient des extraits du manuel de l’utilisateur électronique, qui vous feront comprendre de quelle façon Color s’intègre à différents flux de post-production et qui vous aideront à configurer les paramètres de projet et les préfé- rences utilisateur de Color en fonction de vos besoins. Si vous venez d’installer Color et si vous voulez savoir comment configurer votre système pour l’utiliser de façon efficace, commencez par lire ce guide. Color Manuel de l’utilisateur à l’écran Le manuel de l’utilisateur de Color, accessible via le menu Aide, contient toutes les informations utiles sur le logiciel. Il est destiné aux utilisateurs de tous niveaux.  Les monteurs et spécialistes d’autres aspects de la post-production qui n’ont pas d’expérience du processus d’étalonnage pourront, grâce à ces informations, mettre le pied à l’étrier et consulter des explications détaillées sur le fonctionnement et la justification de toutes les commandes.  Les coloristes venant à Color en ayant déjà l’expérience d’autres environnements d’étalonnage peuvent sauter les premiers chapitres pour aller directement aux informations détaillées sur le fonctionnement de Color et sur chaque paramètre accessible dans chaque studio de l’interface utilisateur de Color. Remarque : le manuel de l’utilisateur à l’écran reprend toutes les informations fournies dans le Guide de configuration de Color, sous une forme permettant toutes les recherches et avec des illustrations en couleur. Guides d’initiation Vous disposez aussi d’une collection de guides d’initiation sur DVD-ROM qui vous permettront d’être rapidement opérationnel dans votre utilisation de Color. Ces guides d’initiation vous initient à chaque grande zone de l’interface utilisateur et constituent un bon moyen d’avoir une vue d’ensemble de toutes les fonctions avant de vous plonger dans le manuel de l’utilisateur.Préface Documentation et ressources de Color 11 Sites web Color Les sites web ci-après proposent des informations générales, des mises à jour et des informations techniques sur Color, ainsi que les nouvelles, ressources et supports de formation les plus récents. Pour en savoir plus sur Color, consultez le site suivant :  http://www.apple.com/fr/finalcutstudio/color Pour en savoir plus sur le programme Apple Pro Training, consultez le site (en anglais) :  http://www.apple.com/fr/software/pro/training Pour nous faire parvenir vos commentaires sur Color, consultez la page suivante :  http://www.apple.com/fr/feedback/color.html Site web de service et d’assistance Apple Le site web de service et d’assistance Apple propose des mises à jour de logiciels et des réponses aux questions le plus fréquemment posées sur tous les produits Apple, y compris Color. Sur ce site, vous aurez aussi accès aux caractéristiques techniques complètes des produits, aux documentations de référence et à des articles techniques sur les produits Apple :  http://www.apple.com/fr/support Pour une assistance propre à Color, consultez la page suivante :  http://www.apple.com/fr/support/color1 13 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Pour mieux vous familiariser avec le fonctionnement du logiciel Color, il est important de cerner le processus d’étalonnage (ou correction de couleurs) global et la façon dont les images sont travaillées en postproduction, dans le cours des flux de travaux appliqués aux films et vidéos SD et HD. Si vous êtes nouveau dans l’étalonnage, la première partie de ce chapitre va vous fournir des informations générales sur les flux d’étalonnage pour vous aider à mieux comprendre le mode d’exécution de Color. La deuxième partie explique les concepts clés de couleur et d’imagerie qui sont importants pour le fonctionnement de l’interface Color. Les rubriques suivantes seront abordées au cours de ce chapitre :  Définition de l’étalonnage (p. 13)  Quand se déroule le processus d’étalonnage ? (p. 17)  Étalonnage dans Color (p. 24)  Normes d’encodage des images (p. 26)  Concepts de base liés aux couleurs et à l’imagerie (p. 31) Définition de l’étalonnage Dans tout travail de postproduction, l’étalonnage constitue généralement l’une des dernières étapes de finalisation d’un programme monté. Le logiciel Color a été créé pour vous permettre de contrôler précisément l’apparence de chaque plan de votre projet. Il fournit en effet des outils flexibles et un espace de travail performant servant au réglage du contraste, de la couleur et de la géométrie de chaque plan de votre programme.14 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Objectifs de l’étalonnage Lorsque vous étalonnez un programme donné, vous êtes amené à effectuer une grande partie, voire la totalité, des tâches décrites dans cette section. Color fournit un ensemble de fonctions extrêmement complètes vous permettant d’accomplir toutes ces opérations et bien d’autres encore. Chaqun sait que la quantité de travail consacrée à une session d’étalonnage est généralement limitée par le temps et, pour vous permettre d’aller aussi loin que possible dans ce processus, l’interface d’étalonnage dédiée de Color permet un travail rapide et efficace. Concepts de base Tout contenu (ou « programme ») requiert que vous exécutiez au moins les opérations pré- sentées ci-dessous. Avec de l’entraînement, vous pourrez accomplir la plupart d’entre elles au moyen des principaux outils d’étalonnage (pour en savoir plus, consultez le chapitre 1, « Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) », à la page 13).  S’assurer que les éléments clés de votre programme ont l’apparence souhaitée : chaque scène de votre programme possède des éléments clés auxquels le spectateur prête une attention toute particulière. Dans une vidéo narrative ou documentaire, l’attention va vraisemblablement se porter sur les individus présents dans chaque plan. Dans une publicité, l’élément clé sera sans aucun doute le produit (par exemple, l’étiquette figurant sur une bouteille ou la couleur d’une voiture). Quels que soient ces éléments clés, il est très possible que vous-même ou votre public ayez certaines attentes quand à leur apparence et c’est à vous de faire en sorte que les couleurs du programme correspondent à celles du plan d’origine. Lorsque vous utilisez des plans de personnes, un des principes de base de l’étalonnage est de veiller à ce que leur teint dans le programme ait le même aspect (ou une meilleure apparence) que dans la réalité. Quel que soit l’ethnie ou le teint, les couleurs de peau des êtres humains mesurées objectivement avec un oscilloscope vectoriel sont plus ou moins comprises dans la même plage (même si la saturation et la luminosité varient). Color fournit les outils permettant d’apporter toutes les retouches nécessaires pour que les couleurs de peau des personnages de votre montage final aient l’aspect souhaité.  Corriger les erreurs de balance des couleurs et d’exposition : tout d’abord, l’exposition ou la balance des couleurs des images obtenues numériquement (qu’elles soient tournées sur une caméra vidéo analogique ou numérique, ou bien encore transfé- rées à partir d’une pellicule) n’est souvent pas optimale. Par exemple, un grand nombre de caméscopes et de caméras de cinéma numériques enregistrent délibérément les noirs ne correspondant pas tout à fait à un taux de 0 pour cent de façon à éviter d’écraser inutilement des données de façon intempestive. Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 15 En outre, des accidents peuvent se produire lors de n’importe quel tournage. Par exemple, la balance des couleurs du film utilisé par l’équipe de tournage n’était peut-être pas adaptée aux conditions de tournage ou un membre de l’équipe a peut-être oublié de régler la balance des blancs de la caméra vidéo avant de filmer un entretien dans un bureau éclairé par des lumières fluorescentes, ce qui produit des images aux teintes verdâtres. Color permet de corriger facilement ces types d’erreurs.  Harmoniser tous les plans d’une scène : la plupart des programmes montés incorporent des données provenant de sources diverses, dont le tournage a eu lieu en diffé- rents endroits et sur plusieurs jours, semaines ou mois de production. Même avec une excellente équipe de cadreurs et d’éclairagistes, il est très possible que des diffé- rences de couleurs et d’exposition se produisent, et ce parfois entre des plans d’une même scène. Une fois ces plans montés, ces changements de couleurs et d’éclairage risquent de faire ressortir certains plans par rapport aux autres, ce qui donne un aspect peu harmonieux au montage. Grâce à un étalonnage soigné, tous les plans d’une même scène peuvent être harmonisés pour sembler se dérouler au même moment et au même endroit, avec un éclairage identique. Ce processus est couramment appelé étalonnage de scène à scène.  Créer un contraste : l’étalonnage peut également servir à créer un contraste entre deux scènes pour obtenir un effet plus frappant. Imaginez l’enchaînement d’une scène tournée dans la jungle luxuriante dans les tons de vert avec une autre scène filmée dans un désert aride, riche en rouges et en jaunes. Grâce à l’étalonnage, vous pouvez accentuer ces différences de façon subtile.  Créer une ambiance : le processus d’étalonnage ne se limite pas uniquement à l’harmonisation des données vidéo de votre œuvre selon un modèle objectif d’exposition. Tout comme le son, la couleur, lorsqu’elle est maniée avec subtilité, est une propriété qui procure une intéressante marge de contrôle supplémentaire sur votre programme. Grâce à l’étalonnage, vous pouvez décider d’attribuer à votre vidéo des couleurs riches et saturées ou, à l’inverse, plus discrètes. Vos plans peuvent prendre un aspect plus chaleureux si vous poussez leurs tonalités vers les rouges ou, au contraire, plus froid si vous privilégiez les bleus. Vous pouvez extraire les détails des ombres ou les écraser de façon à augmenter le contraste de l’image et lui donner une apparence plus nette. Ces modifications subtiles influent sur la façon dont les spectateurs per- çoivent une scène et peuvent changer l’atmosphère d’un programme. Après avoir choisi l’apparence souhaitée pour votre œuvre, ou pour une scène isolée, vous pouvez recourir à l’étalonnage pour vous assurer que tous les plans des scènes appropriées sont harmonisés afin de s’enchaîner avec cohérence.16 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs)  Se conformer aux recommandations pour assurer la légalité des diffusions : si un programme est destiné à la télédiffusion, une série de recommandations de contrôle qualité vous est généralement fournie, indiquant les limites « légales » définies pour le niveau de noir minimum et le niveau de blanc maximum, ainsi que les valeurs minimales et maximales fixées pour la saturation chromatique et les images RVB composites. Il est important de se conformer à ces recommandations pour s’assurer que le programme peut être diffusé, car les valeurs « illégales » peuvent causer des problèmes lors de l’encodage du programme pour la transmission. Étant donné que les normes de contrôle qualité varient, il est essentiel de prendre connaissance au préalable des recommandations applicables. Color dispose de réglages de seuil de diffusion intégrés (parfois désignés sous le terme de légaliseur) qui empêchent automatiquement le dépassement des limites fixées pour les niveaux vidéo. Pour en savoir plus, consultez la section « Réglages de seuils de diffusion (Broadcast Safe) » à la page 119. Tâches détaillées Si vous disposez du temps nécessaire, les outils Color vous permettent de régler plus précisément l’apparence de votre programme :  Réglage séparé d’éléments spécifiques : il est parfois nécessaire de cibler de façon sélective une plage étroite de couleurs dans le but de ne corriger ou remplacer que la série correspondante de valeurs de couleur. Il peut s’agir, par exemple, de transformer une voiture rouge en voiture bleue ou de neutraliser un peu un vêtement de couleur trop vive. Ces tâches composent ce qu’on appelle étalonnage secondaire et Color met à votre disposition de nombreux outils qui vous permettent de les mener à bien. Pour en savoir plus, consultez la section chapitre 10, « Secondaries », à la page 241.  Procéder à des réglages numériques de l’éclairage : parfois, les réglages de l’éclairage qui paraissaient appropriés lors du tournage ne s’avèrent pas aussi performants lors du processus de postproduction. Les changements intervenant dans la vision du réalisateur, les modifications apportées aux tons de la scène montée ou les suggestions émises par le directeur de la photographie lors de la postproduction peuvent nécessiter l’ajustement de l’éclairage d’une scène au-delà des simples réglages du contraste global de l’image. Color fournit des options puissantes de masquage définissable par l’utilisateur qui, conjointement avec des options d’étalonnage secondaires, permettent d’isoler plusieurs régions d’une image et d’affiner l’éclairage. Ce processus est parfois appelé rectification numérique de l’éclairage. Pour en savoir plus, consultez le chapitre 10, « Secondaries », à la page 241 et la section « Onglet Shapes » à la page 337.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 17  Création d’effets spéciaux : une scène requiert parfois des effets plus extrêmes, comme la manipulation intensive des couleurs et de l’exposition pour l’obtention d’un effet de « nuit américaine », de façon à créer un état étrange pour une séquence de retour en arrière ou d’hallucination ou simplement une ambiance bizarre pour un clip vidéo. Le « studio » Color FX du logiciel Color vous offre une palette d’outils organisée de façon arborescente et extensible, qui permet de créer efficacement des images composites en profondeur, conjointement avec les autres outils principaux et secondaires à votre disposition. Pour en savoir plus, consultez la section chapitre 11, « Color FX », à la page 269. Si ces tâches semblent exiger beaucoup de travail, ce n’est pas une impression, c’est vraiment le cas. Heureusement, l’interface Color vous aide à assurer l’organisation de ces tâches. Quand se déroule le processus d’étalonnage ? La fidélité des couleurs d’un programme ne doit pas être négligée jusqu’à l’étape d’étalonnage du processus de postproduction. Dans l’idéal, chaque projet débute avec une philosophie de gestion des couleurs qui est appliquée durant le tournage, maintenue pendant les diverses phases de transfert et de montage survenant au cours de la postproduction et se termine par la phase d’étalonnage finale mise en œuvre dans Color. Cette section explique la façon dont les images de vidéo et de film sont habituellement traitées lors du processus de postproduction. Début de la gestion des couleurs lors du tournage Qu’un programme soit créé à l’aide d’images numériques de vidéo ou de film, ou bien encore de toute autre application d’imagerie numérique haute résolution, il est important de noter que le processus de détermination de l’apparence générale d’un programme commence lorsque chaque scène est éclairée et tournée lors de la production. Pour optimiser le contrôle et la flexibilité de vos plans en phase de postproduction, l’idéal serait de travailler avec des séquences tournées en fonction de l’objectif final. L’étalonnage en phase de postproduction ne peut pas remplacer un bon éclairage. Le processus d’étalonnage peut être considéré comme le prolongement et l’amélioration de la vision de départ du producteur, du réalisateur et du directeur de la photo. Souvent, le directeur de la photographie participe directement au processus d’étalonnage pour s’assurer de l’obtention du résultat recherché. Dans d’autres cas, c’est le réalisateur ou le producteur qui peut changer d’avis quant à l’apparence finale souhaitée. L’étalonnage permet alors de modifier l’apparence globale (en rendant, par exemple, plus chaleureuses des images tournées initialement pour donner un résultat froid). Bien que Color offre un niveau de contrôle exceptionnel sur vos données, il est néanmoins essentiel d’avoir comme base de travail des images correctement exposées.18 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) En outre, les choix effectués au cours de la postproduction et du tournage, et notamment le format de vidéo ou de film et les réglages de caméra utilisés, peuvent avoir une incidence considérable sur la latitude dont on dispose lors du processus d’étalonnage final. Étalonnage initial lors du transfert du film Lorsqu’un projet a été tourné sur pellicule, les négatifs de la caméra doivent d’abord être transférés vers le format de bande vidéo ou de vidéo numérique choisi avant les phases de montage et de postproduction numérique à l’aide d’un équipement de télécinéma ou de cinéma numérique. Un système de télécinéma est une machine permettant de transférer un film sur bande vidéo alors qu’un équipement de cinéma numérique est configuré pour transférer les films directement vers un format numérique, c’est-à-dire généralement vers une séquence d’images. Habituellement, le coloriste exécutant la session de transfert de film procède à un étalonnage pour s’assurer que le monteur dispose de l’image la plus appropriée pour son travail. Les objectifs de l’étalonnage à ce stade dépendent généralement de la longueur du projet et du flux de postproduction qui a été choisi.  Pour les projets courts, les publicités et toutes les vidéos de courte durée, un étalonnage détaillé peut être appliqué immédiatement. Le coloriste commencera par calibrer le propre correcteur colorimétrique du télécinéma afin d’équilibrer correctement les blancs, les noirs et les couleurs. Ensuite, en accord avec le directeur de la photographie, le réalisateur ou le producteur, il travaillera plan par plan pour déterminer l’apparence de chaque plan par rapport aux besoins du projet. Le monteur disposera ainsi d’images déjà corrigées.  Les projets, tels que les films long métrage et les programmes télévisés de longue durée, ne bénéficieront probablement pas d’emblée d’une phase d’étalonnage. Les séquences qui sont transmises via le télécinéma seront équilibrées pour obtenir une exposition et des couleurs relativement satisfaisantes, l’objectif étant uniquement de fournir une image de bonne qualité au monteur. Un étalonnage détaillé est ensuite effectué à un autre stade. Négatif de la caméra Télécinéma Bandes vidéoChapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 19  Les projets de toute longueur qui sont traités en postproduction sous forme d’intermé- diaire numérique sont transférés avec une phase d’étalonnage conçue pour conserver une quantité maximale de données d’image. Étant donné qu’un deuxième (et dernier) étalonnage numérique est prévu à la fin du processus de postproduction, il est essentiel que les données d’image soient de bonne qualité et conservent un maximum de détails des tons clairs et des tons foncés. Il faut noter que le but étant de préserver les données d’image et non pas de créer l’apparence finale du programme, l’image de qualité optimale utilisée pour l’étalonnage ne sera peut-être pas celle qui est visuellement la plus attractive. Toutefois, l’étalonnage est effectué lors du transfert initial au moyen du télécinéma ou du système de cinéma numérique. Une fois cette opération terminée, les images sont traitées par les processus habituels de postproduction, dans le cadre de la gestion éditoriale hors ligne et en ligne. Étalonnage de film et de vidéo Color a été conçu pour s’intégrer à des flux de traitement intermédiaires numériques de vidéo et de film. Étant donné que toutes les images doivent d’abord être transférées vers un format de séquence d’images ou QuickTime pour être importées dans Color, les images de vidéo et de film sont corrigées au moyen des mêmes outils et méthodes. Trois attributs principaux, qui ont tous été déterminés lorsque les images ont été initialement capturée ou transférées avant l’importation dans Color, ont une incidence sur la qualité des données utilisées dans un programme :  Le type et le niveau de compression appliqué aux données  La profondeur de bits à laquelle l’encodage est effectué  Le rapport de sous-échantillonnage chromatique utilisé Pour l’étalonnage, la compression spatiale et temporelle doit être limitée, car les artefacts de compression peuvent compromettre la qualité de vos réglages. Par ailleurs, il est généralement préférable d’utiliser des données dont la profondeur de bits est élevée (voir la section « Profondeur de bits » à la page 30). Point essentiel à noter : des rapports de sous-échantillonnage chromatique élevés, tels que 4 :4 :4 ou 4 :2 :2, sont recommandés pour optimiser la qualité et la flexibilité de vos corrections. Rien ne vous empêche de travailler avec des images sous-échantillonnées à 4 :1 :1 ou 4 :2 :0, mais vous constaterez peut-être que les réglages de contraste extrêmes et les sélections secondaires homogènes sont plus difficiles à effectuer avec des espaces colorimétriques hautement compressés. Pour en savoir plus, consultez la section « Sous-échantillonnage chromatique » à la page 27.20 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Méthodes traditionnelles d’étalonnage final Une fois le montage terminé et l’image verrouillée, l’étalonnage (appelé étalonnage colorimétrique dans le monde cinématographique) commence. Ce processus était habituellement accompli via une session de calibrage des couleurs pour un film ou d’étalonnage bande à bande pour une vidéo. Calibrage des couleurs d’un film Les programmes dont la finalisation et l’étalonnage ont été réalisés sur pellicule sont habituellement soumis à un processus de mise en conformité des négatifs avant le calibrage des couleurs. Une fois le processus éditorial terminé, le négatif original de la caméra est mis en conformité avec la copie de travail ou le passage vidéo du programme monté à l’aide d’une liste de conformation ou liste des épreuves (si le programme a été monté avec Final Cut Pro, cette liste peut être obtenu au moyen de l’application Cinema Tools). Cette liste répertorie chacun des plans utilisés dans le programme monté et montre comment ces derniers s’intègrent les uns aux autres. Ce processus est long et minutieux. Il faut savoir par ailleurs que la correction des erreurs commises pendant la coupe du négatif est très onéreuse. Une fois que le négatif de la caméra a été mis en conformité et les différents plans ont été physiquement collés les uns aux autres sur les rouleaux A et B en alternance, le calibrage de couleurs peut lui être appliqué par le biais d’une imprimante optique conçue pour ce processus. Ces machines envoient une lumière filtrée à travers les négatifs originaux de façon à exposer une copie positive intermédiaire, créant ainsi une seule bobine de film qui correspond à la copie étalonnée. Le processus permettant de contrôler chaque plan et de corriger la couleur scène par scène est réalisé à l’aide de trois commandes permettant d’ajuster séparément la proportion de lumière rouge, verte et bleue à laquelle le film est exposé, grâce à une série de filtres et d’obturateurs optiques. Chacun des cadrans rouge, vert et bleu est réglé par incréments discrets, appelés points d’impression (chaque point étant une fraction d’ouverture de diaphragme, qui correspond à l’échelle utilisée pour mesurer l’exposition d’une pellicule). En général, une plage totale de 50 points est utilisée, dans laquelle le point 25 représente l’état neutre d’origine de ce canal de couleur. Le fait d’augmenter ou de réduire la valeur des trois canaux de couleur en même temps assombrit ou éclaircit l’image, tandis que l’application de réglages disproportionnés aux trois canaux modifie la balance des couleurs de l’image en fonction des ajustements.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 21 Les réglages de la machine utilisés pour chaque plan peuvent être enregistrés (en une seule fois, au moyen de la technologie des bandes papier) et rappelés à tout moment, pour faciliter les opérations de recalibrage et de réglage ultérieures, le processus d’impression étant automatisé une fois le calibrage manuel terminé. Une fois la copie intermédiaire exposée, il est possible de la développer et de projeter les résultats finaux. Bien que ce système d’étalonnage puisse paraître peu pratique comparativement aux outils numériques actuels utilisés pour la manipulation des images, il représente un moyen d’étalonnage extrêmement efficace pour les utilisateurs qui le maîtrisent. Remarque : Color inclut des options de réglage des points d’impression destinées aux coloristes qui sont familiarisés avec cette méthode d’étalonnage. Pour en savoir plus, consultez la section « Onglet Advanced » à la page 237. Étalonnage bande à bande Pour les projets tournés sur bande vidéo (et ceux tournés sur pellicule qui n’autorisent pas une deuxième phase de télécinéma), le processus d’étalonnage s’intègre au flux de travaux en ligne/hors ligne vidéo traditionnel. Une fois le montage verrouillé, la bande maître finale est assemblée, soit par une remise en conformité sur le système initialement utilisé pour le montage hors ligne, soit par l’intégration de la liste EDL et des bandes source d’origine dans une suite en ligne compatible avec les formats des bandes source. Si l’assemblage en ligne a lieu dans une suite en ligne haut de gamme, l’étalonnage peut être effectué lors de l’assemblage de la bande maître ou après l’assemblage en soumettant la bande maître à une session d’étalonnage. Négatif de la caméra Conformation du négatif Calibrage optique des couleurs Impression du film final Bandes vidéo Télécinéma Montage off line Bande du master final Série de bandes22 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Remarque : si la bande maître finale est étalonnée, le coloriste doit effectuer avec soin un fondu et un balayage sur les opérations d’étalonnage en fonction des fondus et balayages vidéo du programme. Dans les deux cas, le signal vidéo est traité par du matériel et des logiciels d’étalonnage vidéo dédiés et le coloriste utilise le timecode principal de la bande afin de configurer et de conserver les réglages d’étalonnage pour chaque plan de chaque scène. Tandis que l’étalonnage vidéo s’appuyait au départ sur des options aussi simples que celles utilisées par les coloristes de film, l’évolution de la suite d’étalonnage en ligne a intégré de nombreux outils supplémentaires dans le processus, parmi lesquels des corrections séparées pour les zones tonales discrètes, un étalonnage secondaire de sujets spécifiques au moyen d’options d’incrustation et de réglage de formes, ainsi que bien d’autres options créatives dont les coloristes de film ne disposaient pas auparavant. Étalonnage au moyen d’une deuxième phase de télécinéma Les programmes tournés sur pellicule qui sont destinés à la masterisation vidéo (par exemple, pour une série télévisée à épisodes) peuvent être renvoyés dans la suite de télécinéma pour leur étalonnage final. Une fois le montage terminé et l’image verrouillée, une liste de conformation ou liste des épreuves (semblable à celle utilisée pour la conformité des négatifs) correspondant à la liste EDL du programme monté est créée. Grâce à la liste de conformation, le responsable de la postproduction tire uniquement le négatif effectivement utilisé pour le montage. Étant donné que cela ne représente qu’une minorité des séquences initialement tournées, le coloriste dispose maintenant de plus de temps (selon le budget alloué au projet, bien entendu) pour effectuer un étalonnage plus détaillé sur les séquences sélectionnées qui vont être assemblées pour constituer le programme vidéo final lors de cette phase de télécinéma finale. Même si ce processus semble redondant, le fait d’effectuer directement l’étalonnage à partir du négatif présente plusieurs avantages distincts. La pellicule possédant plus de nuances que la vidéo entre le noir et le blanc, un coloriste qui s’appuie sur le procédé de télécinéma dispose d’un choix plus large en termes de couleur et d’exposition que s’il travaillait uniquement à partir d’une vidéo. En outre, l’équipement d’étalonnage disponible pour le coloriste de télécinéma a évolué pour correspondre (et parfois être identique) aux outils à la disposition des coloristes de vidéo en ligne, lui permettant en outre de travailler directement sur les images non compressées qui sont fournies par le télécinéma.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 23 Une fois le second étalonnage terminé, les passages retenus sont à nouveau assemblés pour correspondre au montage d’origine et le projet est matricé sur bande. Même si vous n’avez pas l’intention d’étalonner votre programme dans la suite de télécinéma, vous pouvez envisager de retransférer des plans spécifiques pour effectuer des modifications qui sont plus faciles à exécuter ou de meilleure qualité si elles sont apportées directement à partir du négatif original de la caméra. Par exemple, après avoir identifié les plans à retransférer dans votre séquence Final Cut Pro, vous pouvez utiliser l’application Cinema Tools pour créer une liste de passages choisis (par exemple, uniquement pour les plans que vous souhaitez élargir optiquement), de façon à accélérer le processus de transfert. Négatif de la caméra Télécinéma peu coûteux à lumière unique Multimédia off line Reconformation du master final Montage off line Télécinéma à la meilleure lumière Autre avantages des transferts télécinéma Outre l’étalonnage, un coloriste travaillant avec un télécinéma dispose de plusieurs options pour les problèmes éventuels rencontrés lors du montage.  En utilisant un télécinéma pour extraire l’image du négatif, le coloriste peut repositionner l’image afin d’intégrer les parties qui se trouvent hors de la zone d’action sécurisée vidéo.  Grâce au procédé de télécinéma, l’image peut également être agrandie optiquement, éventuellement jusqu’à 50 %, sans déformation visible.  La possibilité de recadrer les plans au télécinéma permet au réalisateur ou au producteur d’apporter des modifications significatives à une scène, de transformer un plan moyen en gros plan pour conférer un effet dramatique ou de déplacer l’image entière vers le haut afin de rogner un micro ayant été malencontreusement placé dans le champ.24 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Étalonnage dans Color Vous avez découvert comment l’étalonnage est effectué dans d’autres environnements de postproduction. Cette section décrit comment Color s’intègre à un processus de postproduction standard de film ou de vidéo. Color met à votre disposition sur votre bureau un grand nombre d’outils d’étalonnage avancés qui étaient auparavant disponibles dans les suites d’étalonnage bande à bande et télécinéma haut de gamme. En outre, Color offre dans le studio Color FX des outils supplémentaires qui sont plus couramment présents dans des applications de compositing dédiées et vous permettent de contrôler encore plus en détail les images de votre programme (pour en savoir plus, consultez le chapitre 11, « Color FX », à la page 269). Le logiciel Color a été conçu comme un environnement d’étalonnage de film ou de vidéo. Indépendant de la résolution, il prend en charge aussi bien les vidéos de définition standard que les numérisations de films en 2K. Il supporte également plusieurs formats de données et est compatible avec des données d’image utilisant divers formats de séquences d’images et les codecs QuickTime. Color a aussi été conçu pour être incorporé à un flux de travaux intermédiaire numérique. Un intermédiaire numérique correspond à une version numérique haute qualité de votre programme qui peut être montée, étalonnée et manipulée numériquement d’une autre façon à l’aide de matériel informatique et de logiciels, et non pas de magnétophones ou d’imprimantes optiques. Les monteurs, les spécialistes des effets visuels et les coloristes qui procèdent à la finalisation des programmes vidéo sans utiliser de bande travaillent depuis des années avec des intermédiaires numériques, mais le terme décrit généralement le processus consistant à balayer numériquement des images de film, dans le but d’effectuer toutes les opérations liées à la mise en conformité du montage, aux effets et à l’étalonnage de façon numérique. Les données d’image numériques sont ensuite imprimées directement sur la pellicule ou compilées sous forme de fichier pour la projection numérique. La finalisation numérique des programmes de film ou de vidéo libère les coloristes des restrictions imposées par les mécanismes de transport sur pellicule ou sur bande, accé- lérant ainsi leur travail en leur permettant de naviguer dans un projet aussi rapidement que s’ils se trouvaient dans une application de montage non linéaire. En outre, le fait de travailler avec les données d’image numériques fournit une marge de sécurité en éliminant le risque de détérioration du négatif ou d’altération des bandes source.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 25 Quand se déroule le processus d’étalonnage dans Color ? L’étalonnage à l’aide de Color est généralement effectué à la fin (ou vers la fin) du montage en ligne ou de la mise en conformité du projet, souvent en même temps que le mixage audio final. Même s’il est toujours préférable d’attendre que l’image soit verrouillée, cela n’est pas essentiel car Color fournit des outils permettant de synchroniser des projets qui sont en cours de montage via des fichiers XML ou des listes EDL. Color a été conçu pour fonctionner conjointement avec des applications de montage telles que Final Cut Pro, qui prend en charge les données d’entrée, le montage et les données de sortie, tandis que Color vous permet de vous concentrer sur l’étalonnage et les effets connexes. Importation de projets et de données dans Color Pour travailler sur un programme dans Color, vous devez disposer de deux séries de fichiers :  Le fichier de projet monté (ou les fichiers, si le programme couvre plusieurs bobines) dans un format pouvant être importé dans Color. Les formats compatibles incluent les fichiers EDL et les fichiers XML Final Cut Pro de presque tout environnement de montage. Les données de séquences Final Cut Pro peuvent également être envoyées à Color directement si vous avez installé Final Cut Pro sur le même ordinateur, à l’aide de la commande « Send to Color ».  Vous devez également disposer de versions numériques haute qualité des données source originales, dans un format de séquence d’image ou compatible QuickTime. La flexibilité des formats de projets et de données signifie que Color peut être incorporé dans une grande variété de flux de postproduction. Pour obtenir une présentation de différents flux d’étalonnage disponibles avec Color, consultez le chapitre 2, « Flux de production de l’étalonnage », à la page 39. Quelles images sont utilisées par Color ? Color fonctionne avec des plans de film ou de vidéo, comme des fichiers QuickTime ou des séquences d’images, à divers taux de compression et résolutions. Cela signifie que vous avez la possibilité de travailler aussi bien sur des plans QuickTime DV-25 hautement compressés que sur des séquences d’images .tif 2K non compressées, en montage 8 ou 10 bits (linéaire ou chronologique), quelles que soient les données fournies par vos clients.26 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Exportation de projets à partir de Color Comme indiqué ci-dessus, Color ne gère pas seul la capture ou la sortie sur bande des données vidéo. Une fois que l’étalonnage de votre projet dans Color est terminé, vous devez procéder au rendu de chaque plan du projet sur disque sous la forme d’une autre série de fichiers de données étalonnés, puis renvoyer votre projet Color dans Final Cut Pro ou le transférer dans un autre équipement pour la mise sur bande ou la sortie sur film. Pour en savoir plus, consultez la section chapitre 17, « File d’attente de rendu », à la page 361. Normes d’encodage des images Cette section fournit des informations importantes sur les normes d’encodage des images prises en charge par Color. Les données d’image que vous allez étalonner sont en général encodées au format RVB ou Y´CB CR (désigné parfois par le signe plus simple de YUV). Color est extrêmement flexible et accepte les données d’image de tout type. Modèle à couleurs additives RVB Dans le modèle à couleurs additives RVB, trois canaux de couleur sont utilisés pour enregistrer les valeurs de rouge, de vert et de bleu en différentes quantités et représenter chaque couleur disponible pouvant être reproduite. Le réglage de la balance relative des valeurs dans ces canaux de couleur permet d’ajuster la couleur représentée. Lorsque les trois valeurs sont égales, vous obtenez un ton neutre, allant du noir au blanc, en passant par le gris. Plus généralement, vous noterez que ces rapports sont exprimés sous forme de pourcentages numériques dans l’oscilloscope des parades ou l’histogramme de Color. Par exemple, si les trois canaux de couleur correspondent à 0 pour cent, le pixel est noir. Ou si les trois canaux de couleur sont à 50 pour cent, le pixel est gris neutre. Si les trois canaux de couleur ont la valeur 100 pour cent (valeur maximale), le pixel est blanc. Bien que quelques codecs QuickTime de haute qualité encodent les données vidéo à l’aide du modèle RVB (Animation est l’un des plus couramment utilisés), les images encodées selon ce modèle sont généralement enregistrées sous forme de séquences d’images non compressées.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 27 Modèle de couleurs Y’CB CR Les données vidéo sont généralement enregistrées à l’aide du modèle de couleurs Y´CB CR . Le codage de couleurs Y´CB CR utilise également trois canaux ou composantes. Une image est divisée en une composante luminance (luminance d’une image dont la valeur gamma a été modifiée) et deux composantesdifférence de couleurs qui encodent la chromie (chrominance). Ces trois composantes forment l’image que vous voyez lors de la lecture de votre vidéo.  La composante Y´ représente la partie en noir et blanc de la gamme de tons d’une image. L’œil ayant une sensibilité différente aux parties rouges, vertes et bleues du spectre, la « clarté » de l’image que la composante Y´ reproduit résulte d’un rapport pondéré entre les canaux de couleur R, V et B (auxquels la correction gamma a été appliquée). Considérée de façon isolée, la composante Y’ est l’image monochrome.  Les deux composantes traitant la différence de couleurs, CB et CR , sont utilisées pour encoder les informations de couleur de façon à ce que les trois canaux de couleur des données d’image soient réduits à deux canaux. Quelques calculs mathématiques permettent de tirer parti du fait que la composante Y’ enregistre également les informations de vert de l’image. L’opération utilisée pour obtenir chaque composante de couleur est en fait CB = B’ – Y’, tandis que CR = R’ – Y’. Remarque : ce modèle a été initialement créé pour rendre les anciennes télévisions en noir et blanc compatibles avec les méthodes de transmission plus récentes des télévisions en couleurs. Sous-échantillonnage chromatique Dans une vidéo encodée au format Y´CB CR , les canaux de couleur sont généralement échantillonnés avec un rapport inférieur à celui employé pour le canal de luminance. L’œil humain étant plus sensible aux différences de luminosité que de couleur, cette caractéristique a été utilisée pour réduire les besoins en termes de taux de transfert des données vidéo (ou débit) sans perte perceptible au niveau de l’image. Le rapport d’échantillonnage entre les canaux Y´, CB et CR est représenté sous la forme d’une suite de trois valeurs. Les rapports de sous-échantillonnage chromatique courants sont les suivants :  La vidéo à sous-échantillonnage chromatique 4 :4 :4 encode la couleur sans aucune compression, avec le plus haut niveau de qualité possible, car les canaux de différence de couleurs sont échantillonnés avec le même rapport que le canal de luminance. Les données d’image sous-échantillonnées au format 4 :4 :4 sont généralement obtenues au moyen d’un équipement de télécinéma ou de cinéma numérique dans un format de masterisation vidéo ou de séquence d’images capable de les contenir. Les images encodées au format RVB sont toujours échantillonnées en 4 :4 :4.28 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Peu de formats d’acquisition vidéo permettent l’enregistrement des données vidéo au format 4 :4 :4, mais parmi ceux-ci, citons le système HDCAM SR et certaines camé- ras de cinéma numériques, telles que la caméra Viper FilmStream de Thomson et le système de caméra numérique de Genesis.  4 :2 :2 est un rapport de sous-échantillonnage chromatique couramment utilisé pour les formats vidéo de haute qualité, parmi lesquels Beta SP, Digital Betacam, Beta SX, IMX, DVCPRO 50, DVCPRO HD et HDCAM.  4 :1 :1 est habituellement employé pour les formats vidéo destinés aux consommateurs et aux professionnels, et notamment DVCPRO 25 (NTSC et PAL), DV et DVCam (NTSC).  4 :2 :0 est un autre rapport de sous-échantillonnage orienté consommateur, qui est utilisé par les formats DV et DVCAM (PAL), HDV, XDCAM HD et MPEG-2. Remarque : comme leur nom le laisse entendre, les formats Apple sans compression 8 bits 4:2:2, Apple sans compression 10 bits 4:2:2, Apple ProRes 422 (SQ) et Apple ProRes 422 (HQ) font tous appel à un sous-échantillonnage de chromie 4:2:2. Il est important de connaître les avantages des rapports de sous-échantillonnage chromatique plus élevés dans le processus d’étalonnage. Lorsque vous êtes en position de spécifier le format de transfert qui s’appliquera à un projet fini, veillez à demander le format de la plus haute qualité que puisse gérer votre système (pour en savoir plus sur les codecs de haute qualité de finalisation, consultez « Flux de production impliquant une bande » à la page 45). Comme vous pouvez l’imaginer, il vaut mieux disposer de davantage d’informations de couleur lors de l’étalonnage. Ainsi, lorsque vous apportez des corrections de contraste importantes à de la vidéo sous-échantillonnée au format 4:1:1 ou 4:2:0, le grain du film ou le bruit de la vidéo s’en trouvent multipliés. C’est notamment le cas lorsqu’on est en présence d’une séquence sous-exposée. Vous aurez l’occasion de vous rendre compte qu’en effectuant les mêmes modification sur de la vidéo sous-échantillonnée à 4:2:2, vous obtiendrez beaucoup moins de grain et de bruit. un contraste plus marqué, associé à moins de bruit, cela donne une image globale plus riche. De plus, on fait couramment appel à des opérations de sélection sur chrominance pour isoler des parties spécifiques de l’image pour correction. Pour cela, on utilisera les qualificateurs HSL du studio Secondaries. Ces opérations de sélection de régions génèrent des bords plus lisses et moins « bruyants » lorsque vous travaillez sur de la vidéo sous- échantillonnée à 4:2:2. La compression de chrominance utilisée dans les formats de sous-échantillonnage 4:1:1 et 4:2:0 entraîne un effet d’escalier lors de l’isolation de la composante chromie, ce qui affecte les caches créés à l’aide des qualificateurs HSL.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 29 Toutefois, il faut garder à l’esprit qu’il reste tout à fait possible de corriger de façon importante de la vidéo très compressée. En surveillant l’évolution du bruit de l’image lorsque vous montez le contraste d’une séquence sous-exposée, vous pouvez concentrer vos corrections sur les zones de l’image où le bruit est le moins élevé. Lorsque vous effectuez des opérations d’étalonnage secondaire ciblées sur des parties spécifiques de l’image, vous constaterez qu’il faut en général passer un peu plus de temps à effectuer des incrustations lissées. Mais avec un peu de patience et d’attention, vous pouvez tout de même obtenir de bons résultats. Film, vidéo et sous-échantillonnage chromatique En général, les images de film sont transférées avec le maximum de données d’image possible, en particulier lorsqu’elles sont transmises sous forme de séquence d’images sans aucune compression (4 :4 :4) dans le cadre d’un flux de travaux intermédiaire numérique soigneusement géré. C’est une des raisons qui expliquent la qualité supé- rieure du flux de travaux. Par ailleurs, les données vidéo standard et haute définition sont généralement enregistrées avec des rapports de sous-échantillonnage chromatique moins élevés (4 :2 :2 est couramment utilisé même avec des formats vidéo de qualité supérieure, tandis que 4 :1 :1 et 4 :2 :0 sont habituellement employés avec les formats destinés aux professionnels) et des taux de compression supérieurs, tout cela dépendant intégralement des formats d’enregistrement et de capture vidéo utilisés. Étant donné que le format vidéo sélectionné détermine la qualité de la compression lors du tournage, vous n’avez pas la possibilité de remédier à la perte des données d’image, si ce n’est de tirer parti au maximum des moyens dont vous disposez. Cela étant dit, vous pouvez avec un peu d’application étalonner presque n’importe quel format d’image vidéo compressée ou de séquence d’images avec d’excellents résultats et Color vous donne la possibilité de travailler avec de nombreux formats sources hautement compressés, parmi lesquels DV, HDV et DVCPRO HD.30 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Profondeur de bits La profondeur de bits des données source avec lesquelles vous travaillez est un autre facteur pouvant influer sur la qualité des images vidéo et de vos réglages d’image. Avec les données encodées aux formats RVB et Y´CB CR , plus la profondeur de bits est élevée, plus il y a de données d’image et plus l’image et vos corrections seront homogènes. La profondeur de bits de vos données source dépend largement de leur mode d’acquisition initial. La plupart des données que vous recevrez correspondront à l’une des profondeurs de bits suivantes, qui sont toutes prises en charge par Color :  8-bit : la plupart des formats vidéo numériques grand public et professionnels standard et haute définition capturent les données d’image sur 8 bits (y compris DV et DVCPRO-25, DVCPRO 50, HDV, DVCPRO HD, HDCAM, etc.).  10-bit : de nombreuses interfaces de capture vidéo permettent la capture sans compression de données vidéo analogiques et numériques à une résolution de 10 bits.  10 bits logarithmiques : en enregistrant les données sous forme logarithmique, plutôt que linéaire, il est possible de faire correspondre un rapport de contraste plus grand (comme celui d’un film) avec un espace de données de 10 bits. Les fichiers d’historique 10 bits sont souvent enregistrés à partir des balayages de l’équipement de cinéma numérique à l’aide des formats de séquence d’images Cineon et DPX.  16-bit : 16 bits de données linéaires sont nécessaires pour obtenir le même rapport de contraste qu’en mode 10 bits logarithmiques. Les ordinateurs traitant plus facilement les données linéaires, cela représente un autre espace de données disponible dans certains formats d’image. Des profondeurs de bits plus élevées produisent plus de données d’images en utilisant une plage de valeurs plus grande pour représenter la gamme tonale disponible. Cela est évident lorsqu’on examine les plages numériques employées par les deux profondeurs de bits les plus couramment associées à la vidéo.  Les images 8 bits utilisent une plage complète de valeurs, de 0 à 255, pour enregistrer chaque canal de couleur (la vidéo Y´CB CR emploie une plage plus étroite de 16 à 235 pour prendre en charge le super noir et le super blanc). 255, ce n’est pas un nombre de valeurs important et au final, il est possible que des effets d’escalier soit légèrement visibles dans les zones de l’image contenant des dégradés très progressifs (par exemple les cieux).  De leur côté, les images 10 bits utilisent une plage complète de 0 à 1023 pour enregistrer chaque canal de couleur (là encore, la vidéo Y´CB CR emploie une plage plus étroite de 64 à 940 pour prendre en charge le super noir et le super blanc). La plage numérique quatre fois plus large autorise des dégradés plus homogènes et élimine virtuellement les artefacts liés à la profondeur de bits.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 31 Même si vous n’êtes pas toujours en mesure de régler la profondeur de bits de vos données source, vous pouvez contrôler celle à laquelle vous travaillez dans Color indépendamment. Cela signifie que vous pouvez travailler à une profondeur de bits supérieure à celle des données source pour optimiser la qualité de vos corrections. En particulier, de nombreux effets et corrections secondaires ont une bien meilleure apparence lorsque Color est réglé pour que la fonction de rendu s’exécute à des profondeurs de bits plus élevées. Pour en savoir plus, consultez la section « Réglages relatifs à la lecture, au traitement et à la sortie » à la page 126. Concepts de base liés aux couleurs et à l’imagerie L’étalonnage implique le réglage du contraste d’une image, de même que de sa couleur (en exerçant un contrôle séparé sur la teinte et la saturation). Cette section explique ces concepts d’imagerie importants pour que vous puissiez mieux comprendre comment les outils Color vous permettent de modifier l’image. Contraste Les réglages de contraste sont les plus fondamentaux et correspondent généralement aux premiers ajustements effectués. Le contraste est une façon de décrire la tonalité d’une image. Si vous éliminez toutes les couleurs d’une image, de façon à la réduire à une série de nuances de gris, le contraste se traduit par la distribution des tons sombres, moyens et clairs dans l’image. Le contrôle du contraste implique le réglage de trois aspects de la tonalité d’une image :  Le point noir est le pixel le plus sombre de l’image.  Le point blanc est le pixel le plus clair de l’image.  Les tons intermédiaires correspondent à la distribution de toutes les valeurs tonales existant entre les points noir et blanc. Blanc Noir Gris32 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Le rapport de contraste est la différence entre les valeurs tonales les plus sombres et les plus claires de l’image. En général, il est préférable d’utiliser un rapport de contraste élevé augmentant la différence entre ces valeurs. Si vous ne recherchez pas spécifiquement à obtenir une image à faible contraste, sachez que les rapports de contraste élevés permettent généralement de produire des images plus claires et plus nettes. Les deux images ci-après, avec leurs histogrammes de distributions des ombres, des tons intermédiaires et des hautes lumières (de gauche à droite), illustrent cela. En outre, le fait de maximiser le rapport de contraste d’une image facilite les autres opé- rations d’étalonnage en distribuant de façon plus homogène la couleur de l’image dans les trois zones tonales réglées au moyen des trois options de réglage de la balance des couleurs des studios Primary In, Secondaries et Primary Out. Cela permet d’apporter plus aisément des corrections individuelles aux ombres, aux tons intermédiaires et aux hautes lumières. Pour en savoir plus sur le réglage du contraste d’une image, consultez la section « Utilisation des commandes de contraste Primary » à la page 195.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 33 Luminance La luminance (qui correspond en termes techniques au paramètre de luminance avec correction gamma) décrit l’exposition (luminosité) d’un plan vidéo, depuis le noir absolu, jusqu’au blanc le plus éclatant en passant par toute la distribution des tonalités de gris. La luminance peut être séparée de la couleur d’une image. En fait, si vous désaturez complètement une image, l’image à niveaux de gris restante est la luminance. La luminance est mesurée par Color sous la forme d’un pourcentage numérique compris entre 0 et 100, 0 correspondant au noir absolu et 100 au blanc absolu. Color prend également en charge les niveaux de super blanc (de 101 à 109 pour cent), s’ils existent dans votre plan. Bien que les niveaux de super blanc ne soient pas considérés comme adaptés à la télédiffusion, de nombreuses caméras enregistrent quand même à ces niveaux. Remarque : les niveaux de super blanc sont limités par le filtre Broadcast Safe s’il est activé avec ses réglages par défaut, de sorte que les pixels de l’image ayant une luminance supérieure à 100 pour cent seront ramenés à 100 pour cent. Qu’est-ce que le palier du noir ? Les coloristes débutants confondent parfois le niveau de noir de la vidéo numérique avec le palier du noir (Setup). Le palier du noir correspond au niveau de noir d’un signal vidéo analogique et concerne uniquement la vidéo analogique. Si vous exportez sur une bande analogique à l’aide d’une interface vidéo analogique de tierce partie, nous vous conseillons de vous reporter à la documentation fournie avec l’interface pour savoir comment configurer cette dernière pour la norme nord-américaine relative au palier du noir (7.5 IRE) ou la norme japonaise (0 IRE). La plupart des fournisseurs d’interfaces vidéo analogiques incluent un tableau de contrôle logiciel qui vous permet de sélectionner le niveau de noir à appliquer. Ils désignent cette fonction sous l’appellation « 7.5 Setup » ou « 0 Setup », ou dans certains cas, « NTSC » ou « NTSC-J ». Les données vidéo envoyées numériquement via SDI n’ont pas de palier du noir. Le niveau de noir Y´CB CR reste simplement à la valeur numérique appropriée correspondant à la profondeur de bits du signal vidéo (représentée par 0 pour cent sur un vidéoscope). Noir 0% de luminosité 100% 109% Blanc Ultra-blanc34 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Gamma Gamma fait référence à deux concepts différents. Pour un signal vidéo, le terme « gamma » désigne la représentation non linéaire de la luminance dans une image affichée sur un moniteur de diffusion ou d’ordinateur. La réponse de l’œil à la lumière n’étant pas linéaire (voir la section « Modèle de couleurs Y’CB CR » à la page 27), le fait d’appliquer un réglage gamma pendant l’enregistrement d’une image maximise les détails enregistrés perceptibles dans les signaux vidéo avec une bande passante limitée. Lors de la lecture, un téléviseur ou un moniteur applique une fonction gamma inversée pour rétablir l’état « original » de l’image. Il faut éviter d’effectuer des corrections gamma imprévues avant d’envoyer des données de Final Cut Pro à Color. il est important de garder trace des corrections gamma qui sont effectuées lors de l’exportation et de l’importation de plans dans Final Cut Pro dans le cours du processus de montage, de sorte que toutes les corrections soient consignées et évitées lors de l’aller-retour entre Final Cut Pro et Color. Pour en savoir plus sur les traitements gamma dans Final Cut Pro, consultez le Manuel de l’utilisateur de Final Cut Pro. Le terme « gamma » sert également à décrire un réglage non linéaire appliqué à la distribution des tons intermédiaires dans une image. Par exemple, un réglage gamma ne modifie pas le point noir et le point blanc d’une image, mais éclaircit ou assombrit les tons intermédiaires en fonction du type d’ajustement effectué. Pour en savoir plus sur les réglages gamma et l’ajustement des tons intermédiaires, reportez-vous au chapitre 9, « Primary In », à la page 191. Chromie (chrominance) La chromie (également appelée chrominance) décrit les canaux de couleur de vos plans, depuis l’absence de couleur jusqu’au niveau maximum de couleur pouvant être représenté. Des valeurs chromatiques spécifiques peuvent être décrites à l’aide des deux propriétés suivantes : teinte et saturation. Hue La teinte désigne la couleur elle-même, qu’il s’agisse de rouge, de vert ou de jaune. La teinte est mesurée comme un angle sur une roue de couleurs.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 35 Saturation La saturation décrit l’intensité de la couleur (par exemple, rouge clair ou rouge pâle). Une image totalement désaturée ne comporte aucune couleur et se compose de nuances de gris. La saturation se mesure également sur une roue de couleurs, selon la distance entre le centre et le bord. Vous remarquerez que la roue de couleurs est un mélange des trois couleurs primaires (rouge, vert et bleu) qui forment la vidéo. Entre ces trois couleurs viennent s’insérer les couleurs secondaires (jaune, cyan et magenta) qui sont des mélanges à proportions identiques de couleurs primaires. Relations entre les couleurs La compréhension des interactions de la roue de couleurs va vous aider à identifier comment les options de Color affectent réellement les couleurs d’une image. Couleurs primaires Dans tout modèle de couleurs additives, les couleurs primaires sont le rouge, le vert et le bleu. Il s’agit des trois couleurs les plus pures pouvant être représentées par le réglage d’un canal de couleur sur 100 pour cent et des deux autres canaux de couleur sur 0 pour cent. Couleurs secondaires L’ajout de deux des couleurs primaires produit une couleur secondaire. En d’autres termes, vous pouvez créer une couleur secondaire en réglant deux des canaux de couleur sur 100 pour cent et le troisième sur 0 pour cent.  Rouge + vert = jaune  Vert + bleu = cyan  Bleu + rouge = magenta Autre équation du modèle à couleurs additives :  Rouge + vert + bleu = blanc36 Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) Toutes ces combinaisons sont illustrées par les trois cercles colorés ci-dessous. Aux zones d’intersection de deux couleurs primaires, la couleur secondaire apparaît, et à l’intersection des trois couleurs, c’est le blanc qui apparaît. Couleurs complémentaires Deux couleurs placées à 180 degrés l’une de l’autre sur la roue sont appelées couleurs complémentaires. L’ajout de deux couleurs complémentaires de même saturation neutralise les couleurs, produisant des nuances de gris. c’est ce que l’on constate sur les deux roues de couleurs qui se chevauchent de l’illustration ci-dessous. Là où le rouge et le cyan se chevauchent, les deux couleurs sont neutralisées. Il est essentiel de comprendre la relation des couleurs avec leurs couleurs complémentaires pour savoir comment éliminer ou introduire des dominantes de couleur dans une image à l’aide des options d’étalonnage des couleurs primaires et secondaires de Color.Ainsi, pour éliminer un reflet bleuté dans les hautes lumières d’une lumière du jour non corrigée, on ajoute un peu d’orange pour neutraliser un peu toutes ces couleurs. Ces principes sont décrits de façon plus détaillées au chapitre 9, « Primary In », à la page 191.Chapitre 1 Notions élémentaires relatives à l’étalonnage (ou correction de couleurs) 37 Le modèle de couleurs HSL Le modèle de couleurs HSL est une autre méthode de représentation de la couleur, qui est généralement utilisée au niveau des options de l’interface utilisateur vous permettant de choisir ou de régler les couleurs. HSL signifie « Hue, Saturation and Lightness » (ou en français « Teinte, Saturation et Luminosité ou Luminance »). Ce modèle permet de visualiser les relations entre la luminance, la teinte et la saturation. Le modèle de « l’espace colorimétrique » HSL peut être illustré graphiquement sous la forme d’un cône à trois dimensions. La teinte est représentée par un angle à la base du cône, comme illustré ci-dessous, tandis que la saturation est représentée par la distance entre le centre et le bord du cône, le centre étant complètement désaturé et le bord étant saturé à une intensité maximale. La luminosité d’une couleur peut alors être représentée par la distance entre la base et le sommet du cône. Color offre en fait un vidéoscope à trois dimensions permettant d’afficher les couleurs d’une image dans un espace HSL extrudé, à des fins d’analyse d’image. Pour en savoir plus, consultez la section « Vidéoscope d’espace colorimétrique 3D » à la page 185.2 39 2 Flux de production de l’étalonnage Pour tirer le meilleur parti de Color, il est nécessaire de gérer soigneusement le flux de production. Ce chapitre explique brièvement comment Color s’intègre à votre flux de postproduction. Color a été conçu pour travailler de concert avec des applications de montage telles que Final Cut Pro grâce à la prise en charge des données multimédias QuickTime et XML ou avec d’autres environnements de montage grâce à la prise en charge des listes de points de montage (EDL, Edit Decision List) et des séquence d’images. Alors que d’autres dispositifs se chargent de la capture de l’entrée vidéo et film et de son montage, Color offre un environnement dédié permettant de se concentrer sur l’étalonnage (ou « correction de couleurs ») et sur les effets connexes. Ce chapitre donne un rapide aperçu de la façon dont vous pouvez guider votre projet d’un bout à l’autre d’un flux de production dans lequel Color est utilisé pour la correction des couleurs. Il fournit des informations sur les flux de production pour la vidéo professionnelle haute définition et de définition standard et sur les flux de production intermédiaires numériques au format 2K. Les rubriques suivantes seront abordées au cours de ce chapitre :  Aperçu du flux de production Color (p. 40)  Limitations de Color (p. 42)  Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro (p. 44)  Importation de projets à partir d’autres applications de montage vidéo (p. 53)  Utilisation de Color dans un flux de production intermédiaire numérique (p. 57)  Utilisation des listes de montage, du timecode et des numéros d’images pour la conformation des projets (p. 66)40 Chapitre 2 Flux de production de l’étalonnage Aperçu du flux de production Color Les contrôles Color se répartissent sur huit studios qui disposent chacun de leur propre onglet et correspondent à des étapes différentes d’un flux de production de correction de couleurs typique. Chaque studio que vous sélectionnez remappe les boutons, les cadrans et les boules de commande de votre palette de commande (si vous en avez une) de sorte qu’ils correspondent aux contrôles de ce studio. Chaque studio rassemble en un seul écran tous les contrôles relatifs à une étape particulière du processus de correction de couleurs. L’ordre dans lequel les studios sont organisés correspond à celui d’un flux de production de correction de couleurs typique. Vous pouvez ainsi utiliser successivement les contrôles des onglets Primary (primaires), Secondary (secondaires), Color FX (effets de couleur), Primary Out (primaires sur sortie) et finalement Geometry (géométrie) au cours de votre travail sur chaque plan du projet.  Setup : le studio Setup (configuration) est le point de départ de tous les projets. C’est l’endroit dans lequel vous importez et gérez les plans de votre programme et où se trouvent la zone d’étalonnage, les réglages du projet et les préférences de l’application. Dans la zone des réglages du projet qui se trouve dans le studio Setup, les coloristes vidéo trouveront les contrôles de seuils de diffusion (Broadcast Safe) leur permettant d’appliquer des restrictions de gamme de couleurs à l’ensemble du programme.  Primary In : les corrections de couleurs primaires ont eu une incidence sur l’ensemble de l’image. C’est donc dans ce studio que vous effectuez les réglages généraux de la couleur et du contraste de chaque plan. Les contrôles des courbes et de la balance de couleurs permettent d’ajuster les couleurs dans les ombres, les tons intermédiaires et les tons clairs de l’image. Les contrôles de prélèvement, de gamma et de gain permettent d’ajuster le contraste de façon précise afin de modifier la luminosité de différentes parties de l’image. Ce studio comprend aussi des contrôles pour la saturation de l’ensemble de l’image, celle des tons clairs et celle des ombres, ainsi que des contrôles pour la valeur de tirage (ou lumière de tirage) que les coloristes peuvent utiliser pour étalonner un film.  Secondaries : les corrections de couleurs secondaires sont des ajustements ciblés réalisés sur certaines parties spécifiques de l’image. Ce studio propose de nombreuses méthodes pour isoler, ou qualifier, les parties de l’image que vous souhaitez corriger. Il comprend des contrôles permettant d’isoler une partie de l’image à l’aide de masques de formes différentes. D’autres contrôles vous offrent la possibilité d’isoler certaines parties de l’image à l’aide d’un masque d’effets chromatiques permettant de spécifier la teinte, la saturation et la luminance. Il est possible de soumettre chaque plan à huit types de corrections secondaires. En outre, des courbes secondaires spécifiques permettent de régler la teinte, la saturation et la luminance à l’intérieur de segments particuliers du spectre.Chapitre 2 Flux de production de l’étalonnage 41  Color FX : le studio Color FX vous permet de créer vos propres effets personnalisés grâce à une interface arborescente à « nœuds » dont ne disposent généralement que les applications de compositing haut de gamme telles que Shake. Chacun de ces nœuds destinés aux effets peut être lié aux autres en des milliers de combinaisons pour créer rapidement de nombreux types différents d’effets de couleur. Ils est possible d’enregistrer les effets personnalisés dans la zone d’étalonnage Color FX en vue d’une utilisation ultérieure. Vous pourrez ainsi appliquer le même type d’effets de couleur à vos futurs projets.  Primary Out : le studio Primary Out est identique au studio Primary In si ce n’est que ses corrections de couleurs s’appliquent aux plans après le traitement de ces derniers par tous les autres studios d’étalonnage de couleurs. Ceci vous permet de traiter vos images a posteriori, une fois que toutes les autres corrections ont été effectuées.  Geometry : le studio Geometry permet de recadrer, faire pivoter, retourner et renverser les plans selon les besoins. Il fournit également des outils permettant de créer des masques personnalisés et d’effectuer des analyses du suivi de l’animation et de gérer ces dernières. L’utilisation du studio Geometry dépend du flux de production :  Dans le cas des projets convertis en boucle à partir de Final Cut Pro, les transformations relevant du studio Geometry ne sont pas rendues par Color lors de la sortie des données du projet étalonné. Au lieu de cela, toutes les transformations géomé- triques effectuées dans Color sont converties en réglages d’animation Final Cut Pro lorsque le projet est renvoyé à Final Cut Pro. Si vous le souhaitez, vous pourrez personnaliser davantage ces effets dans Final Cut Pro avant le rendu et la sortie.  Dans le cas des projets intermédiaires numériques au format 2K, les transformations effectuées dans le studio Geometry sont traitées par Color lors du rendu des données de sortie. Remarque : lorsque vous envoyez un projet de Final Cut Pro à Color, les effets de l’onglet Motion (animation) compatibles sont convertis en réglages de studio Geometry, ce qui vous permet d’afficher un aperçu et d’ajuster ces transformations lors de la correction des couleurs. Pour en savoir plus, consultez le chapitre 15, « Studio Geometry », à la page 331.  Still Store : ce studio permet d’enregistrer des images de n’importe quel plan figurant dans le plan de montage et de créer ainsi, à partir de votre programme, une bibliothèque d’images fixes de référence que vous pourrez ensuite consulter pour faire une comparaison avec d’autres plans sur lesquels vous essayez d’apporter le même type de corrections. Vous pouvez à tout moment charger en mémoire une image du magasin d’images fixes (Still Store), puis basculer entre celle-ci et celle sur laquelle se trouve actuellement la tête de lecture à l’aide des contrôles du menu Still Store. Le magasin d’images fixes comprend aussi des contrôles permettant de créer et de personnaliser des écrans multiples (split-screen) dont vous pouvez vous servir pour équilibrer un plan par rapport à un autre. Toutes les comparaisons Still Store sont envoyées aux sorties preview et moniteur broadcast.42 Chapitre 2 Flux de production de l’étalonnage  Render Queue : lorsque vous avez terminé d’étalonner votre programme dans Color, vous utilisez la file d’attente de rendu (Render Queue) pour gérer le rendu des plans de votre projet. Limitations de Color Color a été conçu pour fonctionner de concert avec des applications de montage telles que Final Cut Pro, qui se charge de l’entrée, du montage et de la sortie alors que Color vous permet de vous concentrer sur la correction des couleurs et sur les effets connexes. Toutefois, malgré ses nombreuses fonctionnalités, Color ne permet pas de réaliser certaines tâches particulières :  Enregistrement : Color ne permet pas de numériser ou de capturer des images vidéo ou film. Ceci signifie que vous devez importer dans Color des projets et des données créés avec une autre application.  Montage : Color n’est pas une application de montage. Les outils de montage mis à votre disposition sont principalement destinés aux coloristes qui travaillent sur des flux de production au format 2K dans lesquels le projet Color constitue la version finale qui deviendra le master numérique. Par défaut, les pistes des fichiers du projet XML importé sont verrouillées pour éviter l’introduction d’erreurs lors de montages ultérieurs une fois le projet renvoyé à Final Cut Pro. Afin de tenir compte des modifications apportées lors du montage, des outils de reconformation sont prévus pour synchroniser une liste de montage ou une séquence Final Cut Pro avec la version du projet en cours d’étalonnage dans Color. Pour en savoir plus, consultez la section « Reconformation de projets » à la page 94.  Filtres : il n’est pas possible d’obtenir un rendu ou un aperçu des filtres FXScript ou FXPlug de Final Cut Pro dans Color. Toutefois, ces filtres se trouvent toujours dans votre projet, et ils apparaîtront à nouveau une fois le projet renvoyé à Final Cut Pro. Remarque : en règle générale, il n’est pas recommandé de laisser les filtres de correction de couleurs dans votre projet Final Cut Pro lorsque vous l’envoyez à Color. Même s’ils n’ont aucune effet lorsque vous travaillez avec Color, leur réapparition soudaine lorsque le projet est renvoyé à Final Cut Pro peut donner lieu à des résultats inattendu.  Transitions : Color conserve les donnés de transition que peuvent éventuellement contenir une liste de montage ou un fichier XML importés, mais ne lit pas les transitions lors des aperçus. Leur rendu dépend de la façon dont le projet est traité :  Dans le cas des projets convertis en boucle à partir de Final Cut Pro, les transitions ne sont pas rendues dans Color lors de la sortie. Au lieu de cela, après le renvoi du projet, Final Cut Pro est chargé de rendre ces effets.  Dans le cas des intermédiaires numériques en 2K, toutes les transitions vidéo sont ignorées.  Superpositions : les plans superposés apparaissent dans le plan de montage, mais les opérations de compositing impliquant l’opacité ne sont ni affichées ni rendues.Chapitre 2 Flux de production de l’étalonnage 43  Effets de vitesse : Color ne fournit aucune interface pour l’ajout d’effets de vitesse et laisse cette tâche à l’application de montage dans laquelle le projet a été créé à l’origine. Il est possible de voir les effets de vitesse linéaire et de vitesse variable que contient déjà votre projet, tels que ceux qui ont été ajoutés dans Final Cut Pro lors de la lecture des aperçus, mais ils ne sont pas rendus dans Color lors de la sortie. On compte en effet sur Final Cut Pro pour rendre ces effets dans le cas des flux de production avec conversion en boucle.  Générateurs Final Cut Pro et plans de projets Motion ou LiveType : les générateurs Final Cut Pro, les projets Motion et les projets LiveType sont totalement ignorés par Color. La façon dont vous traitez ce type d’effets dépend également de votre flux de production :  Si vous convertissez un projet en boucle entre Final Cut Pro et Color et souhaitez étalonner ces effets dans Color, vous devriez rendre ces effets en tant que fichiers vidéo QuickTime (.mov) autonomes. Insérez ensuite ces nouveaux fichiers vidéo dans votre séquence pour remplacer les plans correspondant aux effets originaux avant d’envoyer votre projet à Color.  Si le projet est converti en boucle entre Final Cut Pro et Color et si ces effets ne nécessitent aucun étalonnage, il n’est pas nécessaire de faire quoi que ce soit. Même si ces effets ne s’affichent pas dans Color, ils conservent leur position dans le plan de montage, de sorte qu’ils réapparaîtront dans Final Cut Pro lorsque vous y renverrez le projet. Les titres sont un bon exemple d’effets qui, en général, n’ont pas besoin d’être étalonnés.  Si vous travaillez sur un projet intermédiaire numérique au format 2K, vous devrez vous servir d’une application de compositing telle que Shake ou Motion pour composer tous les effets qui utilisent les données de la séquence d’images. Important : lorsque vous envoyez des images faisant partie de vos données multimé- dias à une application de compositing, il est crucial de ne pas modifier leur numéro dans les noms de fichiers de la nouvelle séquence d’images que vous générez. Le numéro d’image de chaque fichier image permet de connaître sa position dans le plan de montage du programme. Tous les effets créés au cours d’un flux de production intermé- diaire numérique au format 2K exigent donc une gestion méticuleuse des fichiers.  Plans Freeze Frame et fichiers d’images fixes : les images fixes utilisées dans les projets Final Cut Pro, y compris les images .tiff, .jpg, ou les plans Freeze Frame d’arrêt sur image créés par Final Cut Pro, sont également ignorées par Color. Si vous souhaitez étalonner des images fixes dans Color, vous devez les rendre en tant que séquences QuickTime (fichiers .mov) autonomes, puis les réinsérer dans votre séquence Final Cut Pro pour remplacer le plan original avant d’envoyer le projet à Color.44 Chapitre 2 Flux de production de l’étalonnage  Sortie vidéo ou film : bien que Color fournisse une sortie normalisée de la lecture de votre projet à des fins de visionnage, celle-ci n’est pas destinée à être utilisée comme sortie sur bande de votre programme. Ceci signifie que lorsque vous avez terminé de corriger les couleurs de votre projet dans Color, la sortie rendue doit être envoyée à Final Cut Pro où la sortie sur bande sera créée ou à un autre environnement si une sortie sur film est requise. Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro Si un programme a été monté avec Final Cut Pro, son envoi à Color est relativement simple. Une fois le montage du programme effectué dans Final Cut Pro, si cela est nécessaire, vous devez reconformer le programme de façon à pouvoir utiliser les données source originales à leur plus haute qualité possible. Ceci fait, vous pouvez envoyer les données et les fichiers du projet à Color pour y corriger leurs couleurs. Lorsque la correction de couleurs sera terminée, vous devrez rendre le résultat puis renvoyer le projet à Final Cut Pro afin de créer la sortie finale, soit sur bande, soit sous la forme d’un fichier QuickTime. La façon exacte dont vous conformez vos données source dans Final Cut Pro dépend du type de données utilisées. Sortie du master final XML XML Nouveaux multimédia Color corrigées Multimédia online Correction de Color Rendu Effets de fin et sortie Color Final Cut Pro Multimédia source Final Cut Pro Montage Transfert vers Color Transfert vers Final Cut Pro Multimédia DonnéesChapitre 2 Flux de production de l’étalonnage 45 Flux de production impliquant une bande Dans le cas d’un flux de production off line / on line traditionnel impliquant une bande, le processus est simple. Les bandes sont capturées avec Final Cut Pro, éventuellement à une résolution off line de moindre qualité afin de faciliter le montage initial puisque, dans ce cas, les données utilisées requièrent moins d’espace disque et sont plus faciles à traiter étant donné qu’elles permettent l’utilisation d’une plus grande gamme d’ordinateurs. Une fois le montage off line terminé, les données utilisées par le programme monté doivent être recapturées à partir des bandes source à la qualité maximale. Les données on line qui en résultent seront celles qui seront utilisées pour la conversion en boucle entre Final Cut Pro et Color. La procédure ci-dessous décompose ce processus de façon plus explicite. Sortie du master final XML XML Nouveaux multimédia Color corrigées Multimédia online Correction de Color Rendu Effets de fin et sortie Color Final Cut Pro Final Cut Pro Montage offline Transfert vers Color Transfert vers Final Cut Pro Multimédia source Multimédia Données Doublons offline Reconformation online46 Chapitre 2 Flux de production de l’étalonnage Étape 1 : Capturez les données source à une résolution off line ou on line La façon dont vous abordez la capture de vos données avant le montage dépend de leur format. Les formats avec compression, tels que DV, DVCPRO-50, DVCPRO HD et HDV, peuvent être capturés à leur plus haute qualité sans besoin d’énormes ressources de stockage. Dans ce cas, le fait de capturer les données et d’effectuer leur montage en utilisant la résolution et le codec natifs permet d’éliminer l’étape ultérieure de la recapture de ces données (parfois appelée conformation) qui prend du temps. La recapture à une résolution plus basse ou à l’aide d’un codec de plus forte compression peut s’avérer intéressante pour les formats vidéo sans compression ou les projets qui comptent un très grand nombre de bobines de données source. Elle permet en effet non seulement d’économiser de l’espace disque mais aussi d’effectuer le montage sur des équipements moins coûteux. Vous devrez ultérieurement recapturer les données avant la correction des couleurs. Étape 2 : Effectuez le montage du programme dans Final Cut Pro Effectuez le montage du programme dans Final Cut Pro comme vous le feriez pour n’importe quel autre projet. Si vous comptez utiliser un grand nombre d’effets dans votre programme lors du montage, familiarisez-vous avec les thèmes couverts dans la section « Limitations de Color » à la page 42. Étape 3 : Au besoin, recapturez les données source à une résolution on line Si, à l’origine, vos données source ont été capturées à un format off line, vous devrez recapturer les données utilisées dans votre projet à la plus haute qualité disponible possible avant de les envoyer à Color.  Si vos données ont été initialement enregistrées à un format comprimé (par exemple, DV, DVCPRO-50, DVCPRO HD ou HDV), vous pouvez vous contenter de les recapturer avec la résolution et le codec source d´’origine. En effet, Color est capable de traiter les données comprimées et de convertir automatiquement les données d’image à une profondeur de bits sans compression plus élevée pour une meilleure qualité d’image lors du monitoring et du rendu.  Si vous capturez des données à un format vidéo de plus haute définition (par exemple Betacam SP, Digital Betacam, HDCAM et HDCAM SR) et si vous recherchez une qualité élevée mais devez recourir à la compression pour économiser votre espace disque et favoriser les performances, vous pouvez effectuer la nouvelle capture à l’aide du codec Apple ProRes 422 ou du codec de qualité plus élevée Apple ProRes 422 (HQ).  Si vous capturez des données à un format vidéo de haute définition et si vous voulez disposer de la plus haute qualité vidéo sans compression, sans considération pour les questions d’espace disque, effectuez la nouvelle capture de vos données au format Apple sans compression 8 bits 4:2:2 ou Apple sans compression 10 bits 4:2:2.Chapitre 2 Flux de production de l’étalonnage 47 Il se peut également qu’avant la recapture, vous souhaitiez profiter de l’occasion pour supprimer les données non utilisées à l’aide du Gestionnaire de données de Final Cut Pro afin d’économiser de l’espace disque, notamment si vous recapturez des données sans compression. Pour plus d’informations, consultez la documentation Final Cut Pro. Remarque : certains codecs, tels que HDV, peuvent solliciter le processeur plus que d’autres. Dans un tel cas, la capture ou la recompression des données à l’aide d’un codec sollicitant moins le processeur, par exemple Apple ProRes 422 ou Apple ProRes 422 (HQ), améliore les performances de l’application Color, tout en fournissant une qualité élevée et en occupant un espace de stockage mesuré. Étape 4 : Effectuez un pré-rendu de toute image fixe ou de tout effet à étalonner dans Color Color ne peut pas afficher ni traiter les images fixes, certains réglages d’animation, les filtres FXScript ou FxPlug, les générateurs Final Cut Pro (y compris les titres), les fichiers de projet Motion ou les fichiers de projet LiveType. Si vous souhaitez étalonner des plans qui contiennent certains de ces effets avec Color, vous devez les rendre en tant que séquences QuickTime (fichiers .mov) autonomes dans Final Cut Pro, puis les réinsérer dans votre séquence Final Cut Pro pour remplacer les plans originaux avant d’envoyer le projet à Color. Pour en savoir plus sur les effets et les fonctionnalités qui ne sont pas compatibles avec Color, reportez-vous à la section « Limitations de Color » à la page 42. Étape 5 : Préparez votre séquence Final Cut Pro Pour préparer votre séquence montée pour un flux de production efficace dans Color, suivez la procédure décrite dans la section « Avant d’exporter votre projet Final Cut Pro » à la page 89. Étape 6 : Envoyez la séquence à Color ou exportez un fichier XML Lorsque vous avez terminé la préparation de votre séquence montée, vous pouvez l’envoyer à Color de deux façons différentes.  Si Color est installé sur le même ordinateur que Final Cut Pro, vous pouvez vous servir de la commande « Envoyer à Color » pour envoyer l’intégralité d’une séquence montée à Color et créer ainsi automatiquement un nouveau fichier de projet.  Si vous envoyez le projet à une autre installation, il se peut que vous souhaitiez exporter la séquence montée en tant que fichier XML de sorte que le destinataire puisse l’importer dans Color. Dans ce cas, vous devriez également vous servir du Gestionnaire de données de Final Cut Pro pour copier les données du projet sur un disque dur portable de sorte que la livraison soit plus facile.48 Chapitre 2 Flux de production de l’étalonnage Étape 7 : Étalonnez votre programme avec Color Utilisez Color pour étalonner votre programme. Lorsque vous travaillez sur un projet converti en boucle à partir de Final Cut Pro, il est crucial d’éviter le déverrouillage des pistes ou un nouveau montage des plans dans le plan de montage. Ceci pourrait en effet vous empêcher de renvoyer le projet à Final Cut Pro. Si le client nécessite un nouveau montage alors que le processus d’étalonnage a déjà commencé, vous devriez effectuer ce montage dans Final Cut Pro, puis exporter une version XML de la séquence mise à jour que vous pouvez ensuite utiliser pour actualiser rapidement le projet Color en cours à l’aide de la commande Reconform. Pour en savoir plus, consultez la section « Reconformation de projets » à la page 94. Étape 8 : Rendez les nouvelles données source, puis envoyez le projet mis à jour à Final Cut Pro Une fois l’étalonnage terminé, vous utiliserez la file d’attente de rendu (Render Queue) de Color pour rendre tous les plans du projet sous la forme d’un nouvel ensemble distinct de fichiers de données étalonnées. Ceci fait, vous devrez envoyer le projet mis à jour à Final Cut Pro à l’aide de l’une des deux méthodes suivantes :  Si Color est installé sur le même ordinateur que Final Cut Pro, vous pouvez vous servir de la commande Send to Final Cut Pro.  Si vous renvoyez le projet étalonné à l’installation d’origine, vous devez exporter le projet Color sous la forme d’un fichier XML de sorte qu’il puisse ensuite être importé dans Final Cut Pro. Important : certains réglages de l’onglet Project Settings du studio Setup ont une incidence sur la façon dont les données rendues par Colorsont rendues dans Final Cut Pro. Ces réglages sont Deinterlace Renders, QuickTime Export Codec, Broadcast Safe et Handles. Assurez-vous de vérifier ces réglages et les autres avant de rendre la sortie finale. Étape 9 : Ajustez les transitions, les superpositions et les titres dans Final Cut Pro Pour produire la sortie de votre projet, vous devez réimporter les données du projet XML dans Final Cut Pro. Cette opération est automatique si vous utilisez la commande Send to Final Cut Pro. À ce stade, vous pouvez ajouter ou ajuster les autres effets que vous aviez appliqués précédemment dans Final Cut Pro avant de créer le master final du programme. Il se peut alors que vous souhaitiez tenir compte d’un certain nombre de considérations lors de la préparation du programme, notamment les suivantes :  Avez-vous d’un master « sans texte » du programme ou d’un master dans lequel les titres sont rendus en même temps que l’image ?  Y-a-t-il encore des plans correspondant à des effets qui doivent être importés et dont les couleurs doivent être corrigées dans Final Cut Pro ?Chapitre 2 Flux de production de l’étalonnage 49 Étape 10 : Enregistrez la sortie du master vidéo final sur bande ou créez le rendu du master sous la forme d’un fichier QuickTime Une fois tous les derniers ajustements effectués dans Final Cut Pro, vous pouvez créer la version finale de votre programme à l’aide des commandes Print to Video, Edit to Tape ou Export QuickTime Movie. Reconformation des données on line dans un flux de production de vidéo numérique sans bande Si un programme exploite un format vidéo sans bande, les étapes du processus sont similaires à celles décrites précédemment. Toutefois, elles peuvent concerner plusieurs jeux de fichiers QuickTime : les données originales à résolution on line, et peut-être un second jeu de fichiers de données converties à une résolution off line plus basse pour faciliter les opérations de montage. Après le montage off line, la conformation on line suppose un rétablissement du lien aux données source originales avant la conversion en boucle entre Final Cut Pro et Color. Vous trouverez ci-dessous une explication plus détaillée de la procédure de ce flux de production permettant de passer du format off line au format on line. Sortie du master final XML XML Nouveaux multimédia Color corrigées Multimédia online Correction de Color Rendu Effets de fin et sortie Color Final Cut Pro Final Cut Pro Montage offline Transfert vers Color Transfert vers Final Cut Pro Multimédia Donées Reconformation online Multimédia source Doublons offline50 Chapitre 2 Flux de production de l’étalonnage Étape 1 : Filmez et sauvegardez toutes les données source Filmez le projet en l’enregistrant au format sans bande que vous avez choisi. Lors du tournage, veillez à faire des copies de sauvegarde de toutes vos données et à les conserver au cas où un problème surviendrait avec le dispositif de stockage principal. Étape 2 : Créez des doubles à une résolution off line et archivez les données à la résolution originale Au besoin, faites une copie des données source à une résolution off line en utilisant le format le plus approprié à votre système. Ensuite, archivez les données source originales de telle sorte que rien ne puisse leur arriver. Important : lors de la création des doubles off line des données sans bande, il est crucial de dupliquer et de respecter le timecode et les noms de fichiers originaux utilisés lors de la création des fichiers source. Dans le cas contraire, vous ne serez pas en mesure de rétablir aisément le lien aux fichiers source originaux en haute résolution une fois le montage off line terminé. Étape 3 : Effectuez le montage du programme dans Final Cut Pro Effectuez le montage du programme dans Final Cut Pro comme vous le feriez pour n’importe quel autre projet. Si vous comptez utiliser un grand nombre d’effets dans votre programme lors du montage, familiarisez-vous avec les thèmes couverts dans la section « Limitations de Color » à la page 42. Étape 4 : Rétablissez le lien entre votre séquence montée et les données source originales Une fois le montage off line terminé, vous devrez rétablir les données source originales de qualité on line et rétablir le lien entre votre projet et les fichiers en haute résolution. Étape 5 : Effectuez un pré-rendu des effets, envoyez la séquence à Color et procé- dez à son étalonnage À ce stade, le flux de production est identique à celui qui est décrit dans l’étape 7 de la section « Flux de production impliquant une bande » à la page 45.Chapitre 2 Flux de production de l’étalonnage 51 Reconformation des données on line dans un flux de production de vidéo numérique avec télécinéma Si vous travaillez sur un projet tourné sur pellicule mais qui sera masterisé sur vidéo, il doit être transféré du film sur une bande à l’aide d’un télécinéma (numérisation) avant sa capture et son montage dans Final Cut Pro. Ensuite, le reste du montage off line et on line est le même que pour tout autre format reposant sur l’utilisation d’une bande. Vous trouverez ci-dessous une explication plus détaillée de la procédure de ce flux de production permettant de passer du format off line au format on line. XML Multimédia online Final Color Cut Pro Transfert vers Color Négatif de la caméra Multimédia vidéo transférés Télécinéma Montages offline et online Sortie du master final XML Nouveaux multimédia Color corrigées Effets de fin et sortie Final Cut Pro Transfert vers Final Cut Pro Correction Rendu de Color Multimédia Données52 Chapitre 2 Flux de production de l’étalonnage Étape 1 : Tournez votre film Filmez le projet tout comme vous le feriez pour n’importe quel autre projet enregistré sur pellicule. Étape 2 : Numérisez les rushes à l’aide d’un télécinéma Une fois le tournage du film terminé, développez les rushes et passez-les au télécinéma pour les numériser à un format vidéo approprié à votre flux de production.  Certains producteurs préfèrent faire des économies dès le départ en effectuant un transfert « à lumière unique » de toutes les images vers un format vidéo off line bon marché destiné au montage off line initial (un transfert à lumière unique désigne le transfert de scènes entières avec un seul réglage de correction de couleurs). Ceci peut se traduire par une réduction des coûts et un gain de temps au début, mais un deuxième télécinéma peut être requis pour retransférer uniquement les images utilisées au cours du montage à une qualité supérieure sur le plan visuel.  D’autres producteurs choisissent de transférer tous les rushes (ou tout du moins les prises de vue sélectionnées par le réalisateur) en recourant à un transfert « à la meilleure lumière » dans lequel chacun des réglages de correction de couleurs est ajusté individuellement pour chaque plan à numériser, ce qui permet d’optimiser la couleur et l’exposition au cas par cas. Les images sont transférées à un format vidéo de haute qualité capable de conserver la plus grande quantité possible de données d’images. Cette option peut s’avérer beaucoup plus chère dans un premier temps, mais elle permet de faire des économies par la suite puisqu’il n’est pas nécessaire d’effectuer un deuxième télécinéma. Étape 3 : Capturez les données source à une résolution off line ou on line La méthode utilisée pour la capture des données avant le montage dépend du flux de production. Si vous avez numérisé des données de qualité off line avec un télécinéma, vous pouvez vous contenter de les capturer à l’aide d’un codec de qualité off line. En revanche, si vous avez numérisé des données de qualité on line avec un télécinéma, vous pouvez soit suivre un flux de production impliquant une conversion « off line / on line », soit capturer les données à l’aide d’un codec on line, puis travailler sur votre programme en qualité on line jusqu’à la fin. Étape 4 : Effectuez le montage du programme dans Final Cut Pro Effectuez le montage du programme dans Final Cut Pro comme vous le feriez pour n’importe quel autre projet. Si vous comptez utiliser un grand nombre d’effets dans votre programme lors du montage, familiarisez-vous avec les thèmes couverts dans la section « Limitations de Color » à la page 42.Chapitre 2 Flux de production de l’étalonnage 53 Étape 5 : Recapturez ou retransférez les données à une résolution on line (si nécessaire) La méthode utilisée pour la conformation du projet off line en données de qualité on line dépend de la façon dont vous avez effectué le transfert initial sur vidéo.  Si à l’origine vous avez converti vos images à un format vidéo on line à l’aide d’un télé- cinéma de haute qualité, mais qu’ensuite vous avez capturé vos données source à un format off line pour le montage, vous devrez recapturer les données à partir des bandes source originales issues du télécinéma au format QuickTime sans compression de la plus haute qualité possible que votre ordinateur peut prendre en charge (par exemple, Apple ProRes 422 ou Apple sans compression), puis il vous faudra rétablir le lien entre les nouvelles données et votre projet.  Si en revanche vous avez utilisé un télécinéma peu coûteux à lumière unique pour convertir vos images à un format vidéo off line, vous devrez effectuer à nouveau une numérisation avec un autre télécinéma pour transférer uniquement les données que vous avez utilisées dans le programme à un format de haute qualité. Cinema Tools permet de générer une liste d’épreuves dont vous pouvez ensuite vous servir pour retransférer méticuleusement les images nécessaires à un format vidéo de qualité on line. Vous devrez ensuite recapturer les nouvelles données on line issues de ce transfert au format QuickTime sans compression de la plus haute qualité possible que votre ordinateur peut prendre en charge. Important : ne vous servez pas du Gestionnaire de données pour renommer ou supprimer les données non utilisées de votre projet lorsque vous travaillez sur des données off line correspondant au négatif de la caméra. En effet, vous n’auriez plus la possibilité de créer des listes d’épreuves précises dans Cinema Tools. Étape 6 : Effectuez un pré-rendu des effets, envoyez la séquence à Color et procé- dez à son étalonnage À ce stade, le flux de production est identique à celui qui est décrit dans l’étape 7 de la section « Flux de production impliquant une bande » à la page 45. Importation de projets à partir d’autres applications de montage vidéo Color peut également importer des projets d’autres environnements de montage par le biais des listes de montage (EDL, Edit Decision Lists). Une liste de montage est une liste d’événements qui répertorie toutes les coupes et les transitions dont le programme est composé. Une fois que vous avez importé votre fichier de projet dans Color et copié les données du programme sur un dispositif de stockage offrant des performances appropriées, vous pouvez lier les plans qui se trouvent dans le plan de montage de Color avec les données qui leur correspondent.54 Chapitre 2 Flux de production de l’étalonnage Importation des listes de montage dans le cas d’une conversion en boucle entre Final Cut Pro et Color Si une liste de montage correspondant au programme monté et une boîte de données source vous ont été fournies, vous pouvez importer la liste de montage dans Final Cut Pro pour capturer les données du projet et préparer ce dernier en vue de l’envoyer à Color. Outre le fait de permettre la recapture des images, Final Cut Pro est compatible avec un plus grand nombre de formats de listes de montage que Color. Par ailleurs, outre les montages vidéo, Final Cut Pro est capable de lire les montages audio et les superpositions. Remarque : Color permet d’importer directement les listes de montage mais ne peut lire que la partie vidéo des montages, dans la piste V1. Les transitions vidéo, l’audio et les surimpositions sont ignorées. Étape 1 : Importez le projet dans Final Cut Pro Importez la liste de montage du projet monté dans Final Cut Pro. Étape 2 : Capturez les données à une résolution on line Vous devez recapturer la séquence créée lors de l’importation de la liste des points de montage en recourant au format QuickTime de la plus haute qualité que puisse traiter votre ordinateur (comme Apple ProRes 422 ou Apple sans compression). Étape 3 : Effectuez un pré-rendu des effets, envoyez la séquence à Color et procé- dez à son étalonnage À ce stade, le flux de production est identique à celui qui est décrit dans l’étape 7 de la section « Flux de production impliquant une bande » à la page 45. Final Cut Pro XML Multimédia online Multimédia source et fichier EDL Color Transfert vers Color Sortie du master final XML Nouveaux multimédia Color corrigées Effets de fin et sortie Final Cut Pro Transfert vers Final Cut Pro Correction Rendu de Color Multimédia Données Importation des listes de montage pour créer un projet Nouvelle capture de multimédiaChapitre 2 Flux de production de l’étalonnage 55 Importation et marquage des masters prémontés du programme Il existe une autre façon courante d’obtenir un programme en vue de la correction de couleurs qui consiste à recevoir un master monté, soit sur bande, soit sous la forme d’une séquence QuickTime ou d’une séquence d’images, accompagné d’une liste de montage. Vous pouvez utiliser la liste de montage pour ajouter automatiquement les coupes au fichier de données du master dans Color (ce qui s’appelle « marquer » ou « encocher » les données) pour faciliter l’étalonnage individuel de chaque plan du programme. Étape 1 : Importez le projet dans Final Cut Pro Importez la liste de montage du projet monté dans Final Cut Pro. Étape 2 : Capturez le master du programme (si nécessaire) Si on vous a confié le master du programme sur bande, vous devez recapturer entièrement ledit programme en recourant au format QuickTime de la plus haute qualité que puisse traiter votre ordinateur (comme Apple ProRes 422 ou Apple sans compression). Si le master du programme vous est fourni sous la forme d’un fichier QuickTime, vous devriez également demander à la personne qui vous remet les données de vous envoyer ce fichier QuickTime à la plus haute qualité que votre ordinateur est capable de traiter. Pour que ce processus se déroule correctement, il est préférable que le timecode de la première image des données corresponde au premier timecode de la liste de montage. Étape 3 : Importez la liste de montage dans Color, puis rétablissez le lien au fichier de données du master Sélectionnez la liste de montage dans la zone de dialogue Projects qui apparaît lorsque vous ouvrez Color pour la première fois ou utilisez la commande File > Import > EDL. Lorsque la zone de dialogue EDL Import Settings apparaît, choisissez le format de la liste de montage, le projet, la liste de montage et la fréquence d’images des données source. Capture de l'intégralité du programme Final Cut Pro Multimédia online Bande Master Color Sortie du master final XML Nouveaux multimédia Color corrigées Effets de fin et sortie Final Cut Pro Transfert vers Final Cut Pro Rendu Multimédia Données Création d'un projet Color à partir d'une liste de montage (EDL) pour « encoder » le multimédia online Correction de Color56 Chapitre 2 Flux de production de l’étalonnage Pour marquer (« encocher ») correctement le fichier de données du master, vous devez vous assurer d’activer Use as Cut List, puis choisir le fichier de données du master que vous avez capturé ou que l’on vous a remis. Pour en savoir plus, consultez la section « Importation de listes de montage (EDL) » à la page 95. Étape 4 : Étalonnez votre programme avec Color Utilisez Color pour étalonner votre programme. Étape 5 : Rendez les nouvelles données source, puis envoyez le projet mis à jour à Final Cut Pro Une fois l’étalonnage terminé, vous utiliserez la file d’attente de rendu (Render Queue) de Color pour rendre tous les plans du projet sous la forme d’un nouvel ensemble distinct de fichiers de données étalonnées. Ceci fait, vous devrez envoyer le projet mis à jour à Final Cut Pro à l’aide de l’une des deux méthodes suivantes :  Si Color est installé sur le même ordinateur que Final Cut Pro, vous pouvez vous servir de la commande Send to Final Cut Pro.  Si vous renvoyez le projet étalonné à l’installation d’origine, vous devez exporter le projet Color sous la forme d’un fichier XML de sorte qu’il puisse ensuite être importé dans Final Cut Pro. Remarque : lorsque vous envoyez à Final Cut Pro un projet initialement importé dans Color, vous n’envoyez en fait que les plans qui sont disponible dans Color, qui se limitent généralement à ceux qui se trouvent sur la piste V1. En effet, Color ne prend pas en charge les pistes audio ni les effets de superposition. Étape 6 : Ajustez les transitions, les superpositions et les titres dans Final Cut Pro Pour produire la sortie de votre projet, vous devez réimporter les données du projet XML dans Final Cut Pro. Cette opération est automatique si vous utilisez la commande Send to Final Cut Pro. À ce stade, vous pouvez ajouter d’autres effets dans Final Cut Pro avant de créer le master final du programme. Étape 7 : Enregistrez la sortie du master vidéo final sur bande ou créez le rendu du master sous la forme d’un fichier QuickTime Une fois tous les derniers ajustements effectués dans Final Cut Pro, vous pouvez créer la version finale de votre programme à l’aide des commandes Print to Video, Edit to Tape ou Export QuickTime Movie.Chapitre 2 Flux de production de l’étalonnage 57 Utilisation de Color dans un flux de production intermédiaire numérique Color prend en charge l’étalonnage pour les flux de production intermédiaires numériques au format 2K. Pour parler simplement, les termes intermédiaire numérique décrivent le processus qui consiste à créer tous les effets et à corriger les couleurs sur les versions numériques en haute résolution du négatif original de la caméra. Color permet de travailler avec des séquences d’images logarithmiques 10 bits au format 2K obtenues à l’aide d’un télécinéma avec stockage sur disques durs, et ce grâce au traitement des données d’image à une qualité extrêmement haute et au rendu du résultat sous la forme d’une séquence d’images à partir de laquelle il est possible de créer une sortie sur film. Les sections ci-dessous décrivent différents flux de production au format 2K que vous pouvez suivre et vous indique comment ne pas perdre la trace de vos données d’image d’une étape à l’autre. Flux de production intermédiaire numérique sans bande impliquant des doubles numériques à une résolution on line / off line Les flux de production intermédiaires numériques les plus simples sont ceux dans lesquels vous numérisez toutes les images nécessaires pour le montage off line puis créez un double des données off line que vous utiliserez pour monter votre projet. Une fois le montage off line terminé, vous rétablissez le lien entre le programme et les images source originales au format 2K dans Color.58 Chapitre 2 Flux de production de l’étalonnage La création des données off line à partir des données numériques originales permet d’assurer la simplicité du flux de production et d’éliminer la nécessité de retransférer le film source ultérieurement. Le seul inconvénient de cette méthode est qu’elle requiert une énorme quantité d’espace de stockage, qui dépend de la longueur du projet et de son ratio de tournage. La procédure ci-dessous décompose ce processus de façon plus explicite. Color Regroupement du multimédia de rendu Conformation Correction de Color Rendu Négatif de la caméra Transferts télécinéma haute définition Séquence d'images DPX avec résolution de 2k Séquence de sortie finale Enregistreur de film Impression de film Conversion QuickTime off line Multimédia Données Final Cut Pro Montage offlineChapitre 2 Flux de production de l’étalonnage 59 Étape 1 : Tournez votre film L’idéal serait que de faire quelques essais avant la photographie principale pour voir comment le transfert du scanneur de film à Color puis à l’enregistreur de film fonctionne avec les formats de film et les pellicules que vous avez choisis. Il est toujours préférable de consulter à l’avance le laboratoire de films avec lequel vous travaillerez pour obtenir le maximum d’informations possible. Étape 2 : Numérisez l’intégralité du film pour convertir ce dernier en séquences d’images DPX de résolution 2K Selon la façon dont le tournage a été mené, vous pouvez numériser à la meilleure lumière à l’aide d’un télécinéma avec stockage sur disques durs uniquement les plans sélectionnés ou l’intégralité du négatif de la caméra, si vous pouvez vous le permettre. Les données source numériques au format 2K résultant de la numérisation devraient être enregistrées sous la forme de séquences d’images DPX ou Cineon. Pour ne pas perdre de vue la correspondance entre les images fixes originales et les fichiers QuickTime off line que vous créerez pour le montage, procédez de la façon suivante :  demandez l’enregistrement dans l’en-tête de chaque image numérisée du numéro absolu de cette image, obtenue à partir du timecode non-drop frame (qui figure dans le nom de fichier de cette image) ;  il peut aussi être utile d’organiser toutes les images numérisées dans des répertoires distincts, c’est-à-dire d’enregistrer toutes les images de chaque pellicule de négatif dans un répertoire à part (dont le nom correspondra à la pellicule en question). Étape 3 : Convertissez les séquences d’images DPX en fichiers QuickTime à une résolution off line Créez des doubles des données source à une résolution off line en utilisant le format le plus approprié à votre système de montage. Ensuite, archivez les données source originales de telle sorte que rien ne puisse leur arriver. Lorsque vous convertissez les fichiers DPX en fichiers QuickTime à une résolution off line :  le numéro de pellicule de chaque séquence d’images devrait être utilisé comme numéro de bobine pour chaque fichier .mov correspondant ;  les valeurs de timecode stockées dans l’en-tête de chaque fichier d’image devraient être utilisées comme timecode pour chaque fichier .mov correspondant. Vous pouvez vous servir de Color pour effectuer cette conversion à une plus basse résolution en créant un nouveau projet après avoir défini le type de fichier de rendu (Render File Type) à QuickTime et choisi le codec que vous souhaitez utiliser pour l’exportation dans Export Codec. Ensuite, il vous suffit de monter tous les plans que vous souhaitez convertir dans le plan de montage, de les ajouter à la file d’attente de rendu (Render Queue), puis de cliquer sur Start Render. Pour en savoir plus, consultez la section « Conversion de séquences d’images Cineon et DPX au format QuickTime » à la page 104.60 Chapitre 2 Flux de production de l’étalonnage ? Conseil : si vous pouvez convertir les données à un format comprimé haute définition, tel que Apple ProRes 422 ou Apple ProRes 422 (HQ), vous serez en mesure de monter les données off line de votre projet sur un équipement informatique peu coûteux tout en conservant la possibilité, pendant le processus de montage, de générer la sortie ou exporter le projet à une résolution suffisamment élevée permettant d’assurer la haute qualité de la projection privée du client ou de la projection publique. Étape 4 : Effectuez le montage off line dans Final Cut Pro Effectuez le montage de votre projet dans Final Cut Pro en prenant soin de ne pas modifier le timecode ou la durée des plans off line de quelque façon que ce soit. Étape 5 : Préparez votre séquence Final Cut Pro Pour préparer votre séquence montée pour un flux de production efficace dans Color, suivez la procédure décrite dans la section « Avant d’exporter votre projet Final Cut Pro » à la page 89. Étape 6 : Exportez une liste de montage Lorsque vous aurez terminé le montage, vous devez générer une liste de montage au format CMX 340, CMX 3600 ou GVG 4 Plus. Important : vous ne pouvez pas utiliser la commande Send to Color pour envoyer des projets au format 2K à Color. Étape 7 : Importez la liste de montage dans Color, puis rétablissez le lien aux données DPX originales Utilisez la commande File > Import > EDL pour importer la liste de montage. Dans la zone de dialogue Import EDL, vous spécifiez également le répertoire dans lequel se trouvent les données source originales en haute résolution de sorte que l’importation de la liste de montage et le rétablissement du lien aux données source se fassent en une seule étape. Étape 8 : Étalonnez votre programme avec Color Étalonnez votre programme avec Color comme vous le feriez pour n’importe quel autre projet. Important : lors de l’étalonnage des images d’un film numérisé, il est essentiel d’utiliser systématiquement des tables de correspondance (LUT) soigneusement profilées pour le calibrage du moniteur et d’émuler l’apparence finale qu’aura le projet une fois tiré sur film lorsque vous faites des ajustements dans Color. Pour en savoir plus, consultez la section « Utilisation des tables de conversion d’affichage » à la page 138.Chapitre 2 Flux de production de l’étalonnage 61 Étape 9 : Conformez les transitions, les effets et les titres Dans le cadre d’un flux de production 2K, vous devez aussi recourir à une application de compositing telle que Shake pour créer les transitions et les effets en couche, dont les surimpositions, les titres et les autres images composites, en utilisant les données de la séquence d’images au format 2K. Important : le numéro d’image de chaque fichier image indique la position de ce dernier dans le plan de montage du programme. C’est la raison pour laquelle il est crucial que les numéros d’images qui apparaissent dans les noms de fichiers des données nouvellement rendues soient identiques à ceux des données source originales lorsque vous envoyez des images à une application de compositing. Il est donc nécessaire de gérer les fichiers avec soin. Étape 10 : Effectuez le rendu de vos données dans une application autre que Color Une fois que vous avez terminé d’étalonner votre programme dans Color, utilisez la file d’attente de rendu (Render Queue) pour rendre les données finales. La file d’attente de rendu a été conçue pour vous permettre de rendre aisément votre projet de façon progressive. Par exemple, vous avez la possibilité de rendre tous les plans d’un programme étalonnés pendant la journée au cours de la nuit suivante de sorte que vous ne soyez pas obligé de rendre l’ensemble du projet immédiatement. Toutefois, lorsque vous travaillez sur un projet dans lequel des séquence d’images numérisées au format 2K sont utilisées, le rendu des données n’est que la première étape. La sortie rendue est enregistrée dans le répertoire de rendu spécifié de manière à faciliter la gestion et la génération d’un nouveau rendu des données pour votre projetColor, mais elle ne sera prête pour la livraison au laboratoire chargé de l’enregistrement du film qu’après la prochaine étape. Étape 11 : Utilisez la commande Gather Rendered Media pour assembler la séquence d’images finale destinée à la livraison Une fois que tous les plans de votre programme ont été rendus, vous devez utiliser la commande Gather Rendered Media command pour regrouper toutes les images qui ont été rendues, en éliminant les poignées, en copiant toutes les images utilisées par le programme dans un seul répertoire et en les renumérotant de façon à créer une séquence d’images de numérotation continue. Lorsque ceci est fait, les données rendues seront prêtes à être livrées au laboratoire chargé de l’enregistrement du film.62 Chapitre 2 Flux de production de l’étalonnage Flux de production intermédiaire numérique impliquant des données à une résolution on line / off line obtenues à l’aide d’un télécinéma Il existe une méthode plus traditionnelle pour effectuer le montage et la correction des couleurs d’un projet. Elle consiste à effectuer un montage off line avec des données obtenues après un transfert des rushes à l’aide d’un télécinéma, ce qui s’avère plus économique, puis à numériser avec un télécinéma haute définition avec stockage sur disques durs (datacine) uniquement les plans utilisés lors du montage pour créer les données on line. La procédure ci-dessous décompose ce processus de façon plus explicite. Négatif de la caméra Exportation de la liste d'épreuves Télécinéma haute définition Télécinéma Séquence d'images DPX Multimédia Ddonnées Color Regroupement du multimédia de rendu Séquence de sortie finale Enregistreur de film Impression de film Cinema Tools Création de la base de données Capture Final Cut Pro Montage offline Conformation Correction de Color RenduChapitre 2 Flux de production de l’étalonnage 63 Étape 1 : Tournez votre film L’idéal serait que de faire quelques essais avant la photographie principale pour voir comment le transfert du scanneur de film à Color puis à l’enregistreur de film fonctionne avec les formats de film et les pellicules que vous avez choisis. Il est toujours préférable de consulter à l’avance le laboratoire de films avec lequel vous travaillerez pour obtenir le maximum d’informations possible. Étape 2 : Numérisez les rushes à l’aide d’un télécinéma Une fois le tournage du film terminé, passez les rushes au télécinéma pour les numériser à un format vidéo approprié pour le montage off line. Vous déciderez si ce format vidéo destiné au montage off line doit être en haute définition ou non en fonction de la configuration du système de montage avec lequel vous travaillerez et de la quantité d’espace dont vous disposez sur le disque dur. Ce qui est plus important, c’est la fréquence d’images à laquelle vous choisissez de numériser les rushes.  Pour éliminer toute une étape de gestion de données, il est recommandé de numériser le film avec un télécinéma directement à un format vidéo dont la fréquence d’images est de 23,98 ips.  Vous pouvez aussi le numériser à un format vidéo dont la fréquence d’images est de 29,97 ips et utiliser ensuite Cinema Tools pour supprimer le 3:2 pulldown. Pour maintenir plus facilement la correspondance entre la vidéo issue du télécinéma et les images du film au format 2K qui seront numérisées ultérieurement, vous devriez spécifier que vous souhaitez ce qui suit :  le timecode enregistré sur la bande au cours de la numérisation par télécinéma à la résolution off line doit être un timecode non-drop frame ;  chaque pellicule de négatif devrait être numérisée sur une bobine différente. Ainsi, les bobines spécifiées par la liste de montage correspondront aux pellicules de négatif de la caméra à partir desquelles les plans sont numérisés.64 Chapitre 2 Flux de production de l’étalonnage Étape 3 : Utilisez Cinema Tools et Final Cut Pro pour effectuer le montage off line Comme pour tout autre montage de film, générez une Cinema Tools base de données à partir des fichiers FLEx fournis par la personne chargée du télécinéma, puis capturez les données correspondantes et montez le programme. Important : lorsque vous travaillez sur des données off line correspondant au négatif de la caméra, ne vous servez pas du Gestionnaire de données pour renommer ou supprimer les données non utilisées de votre projet. En effet, vous n’auriez plus la possibilité de créer des listes d’épreuves précises dans Cinema Tools. Étape 4 : Préparez votre séquence Final Cut Pro Pour préparer votre séquence montée pour un flux de production efficace dans Color, suivez la procédure décrite dans la section « Avant d’exporter votre projet Final Cut Pro » à la page 89. Étape 5 : Exportez une liste de montage destinée à Color et une liste d’épreuves pour le télécinéma haute définition Une fois le montage off line terminé, une liste d’épreuves est générée en vue du transfert final à une résolution 2K à l’aide d’un télécinéma haute définition, et l’intégralité du projet est exportée sous la forme d’une liste de montage destinée à être importée et conformée dans Color.  La liste d’épreuves indique les plans qui ont été utilisés dans la version finale du montage (qui est généralement formée d’une partie seulement de toutes les images initialement tournées). L’idéal serait que vous exportiez une liste d’épreuves contenant également les points d’entrée et de sortie du timecode qui correspondent à chaque plan du projet monté. De cette façon, les données du timecode peuvent être enregistrées sur chaque image numérisée lors du transfert à l’aide du télécinéma haute définition, ce qui facilite la conformation dans Color.  La liste de montage permet d’envoyer les données du montage à Color. Elle contient les données du timecode qui sont nécessaires pour conformer les images des séquences numérisées dans le bon ordre.Chapitre 2 Flux de production de l’étalonnage 65 Étape 6 : Numérisez les plans sélectionnés du négatif en séquences DPX à l’aide d’un télécinéma haute définition À l’aide de la liste d’épreuves générée par Cinema Tools, numérisez chaque plan utilisé dans le projet avec un télécinéma haute définition (datacine). Lors de ce transfert à l’aide du télécinéma haute définition, spécifiez que le timecode de chaque image du négatif doit être converti en images et utilisé pour nommer chaque fichier DPX issu de la numérisation, et qu’il doit aussi être enregistré dans l’en-tête DPX de chaque plan. Le nom des séquence d’images obtenues devrait avoir la forme suivante : bobine_numéro.0632368.dpx Chaque séquence d’images issue de la numérisation du film devrait être placée dans un répertoire de même nom que la pellicule de négatif de la caméra à partir de laquelle elle a été numérisée. Il est judicieux d’utiliser une répertoire distinct pour chaque pellicule de négatif caméra numérisée. Étape 7 : Importez la liste de montage dans Color, puis rétablissez le lien aux données DPX originales Utilisez la commande File > Import > EDL pour importer la liste de montage. Dans la zone de dialogue Import EDL, vous spécifiez également le répertoire dans lequel se trouvent les données source originales en haute résolution de sorte que l’importation de la liste de montage et le rétablissement du lien aux données source se fassent en une seule étape. Étape 8 : Étalonnez votre programme avec Color Étalonnez votre programme avec Color comme vous le feriez pour n’importe quel autre projet. Important : lors de l’étalonnage des images d’un film numérisé, il est essentiel d’utiliser systématiquement des tables de correspondance (LUT) soigneusement profilées pour le calibrage du moniteur et d’émuler l’apparence finale qu’aura le projet une fois tiré sur film lorsque vous faites des ajustements dans Color. Pour en savoir plus, consultez la section « Utilisation des tables de conversion d’affichage » à la page 138. Étape 9 : Conformez les transitions, les effets et les titres, rendez les données, puis rassemblez les données rendues À ce stade, le processus est le même que celui décrit dans la section « Flux de production intermédiaire numérique sans bande impliquant des doubles numériques à une résolution on line / off line » à la page 57.66 Chapitre 2 Flux de production de l’étalonnage Utilisation des listes de montage, du timecode et des numé- ros d’images pour la conformation des projets Si vous gérez méticuleusement vos fichiers, le timecode vous permet de ne pas perdre de vue la relation entre le négatif original de la caméra et les données numériques ou vidéo créées par transfert en vue du montage off line. Rétablissement du lien entre les images DPX/Cineon et une liste de montage dans Color Pour réussir une conformation dans Color, il est essentiel de veiller à ce que les données du timecode qui se trouvent dans la liste de montage soient mises en miroir dans les images DPX or Cineon numérisées avec lesquelles vous rétablissez le lien. Color tente de rétablir le lien aux données de la séquence d’images de plusieurs façons différentes en fonction des informations disponibles dans le fichier :  Tout d’abord, Color recherche une valeur de timecode dans l’en-tête du fichier de l’image DPX ou Cineon. Si cette valeur s’y trouve, vous pourrez utiliser la méthode la plus fiable en matière de rétablissement de lien.  Si les données d’en-tête ne contiennent aucune valeur de timecode correspondante, Color recherche alors la valeur de timecode dans le nom du fichier et essaie également de trouver le numéro de bobine correspondant dans le répertoire où se trouve ce fichier.  Si ce répertoire ne contient aucun numéro de bobine, Color tente alors de rétablir le lien de tous les plans uniquement à l’aide de leur valeur de timecode. Analyse des listes de montage pour la conformation des projets intermédiaires numériques Cette section explique comment Color établit la correspondance entre les valeurs de timecode d’une liste de montage et les numéros d’images utilisés dans l’en-tête du timecode ou dans le nom de fichier de chaque image d’une séquence. Voici un échantillon d’une ligne de liste de montage : 001 004 V C 04:34:53:04 04:35:03:04 00:59:30:00 00:59:40:00 Dans toutes les listes de montage, l’information est divisée en huit colonnes :  La première colonne correspond au numéro de la coupe. Il s’agit de la première coupe de la liste de montage, c’est pourquoi elle porte le numéro 001.  La deuxième colonne contient le numéro de bobine, à savoir 004. C’est aussi de cette façon que devrait être nommé le répertoire dans lequel se trouvent les fichiers de l’image numérisée au format 2K correspondant au plan en question.  Les deux colonnes suivantes contiennent des informations relatives au montage et aux pistes vidéo/audio. Ces informations sont utilisées par Color par ailleurs mais ne participent pas à la conformation des données.Chapitre 2 Flux de production de l’étalonnage 67 Les quatre dernières colonnes correspondent au timecode et sont formées par des paires de points d’entrée et de sortie.  La première paire de valeurs de timecode correspond aux points d’entrée et de sortie des données source originales (dans le cas d’un montage on line ordinaire, il s’agit généralement de la bande issue du télécinéma). Dans un flux de production intermé- diaire numérique, ces valeurs de timecode sont utilisées pour nommer et identifier les images numérisées résultant du télécinéma haute définition.  La deuxième paire de points d’entrée et de sortie indique la position du plan dans le programme monté. Ces valeurs de timecode sont utilisées pour insérer les données à l’endroit adéquat dans le plan de montage. Attribution de noms de fichiers aux séquences d’images pour la conformation des projets intermédiaires numériques Voici un exemple de ce que pourrait être le nom du premier fichier de séquence d’image correspondant à la coupe de la liste de montage indiquée plus haut : nom_de_fichier.0494794.dpx La première partie du nom de fichier de chaque image numérisée (c’est-à-dire les caractères correspondant aux lettres de l’alphabet) est ignorée, mais l’extension numérique qui spécifie le numéro d’image du fichier doit être égale à la conversion du timecode (non-dropframe) qui figure dans la liste de montage en numéro d’image absolu. Par exemple, une image dont le timecode non-drop NTSC est 05:51:18:28 serait munie de l’extension numérique 632368. Les extensions numériques devraient toujours être complétées de sorte qu’elles soient composées de sept chiffres ; dans l’exemple donné, un 0 serait donc ajouté au début, comme suit : nom_de_fichier.0632368.dpx Seules l’extension numérique et l’extension .dpx ou .cin sont absolument nécessaires étant donné que les caractères alphabétiques situés au début du nom du fichier sont ignorés par Color. Le nom de fichier ci-dessus pourrait, par exemple, aussi bien être le suivant : 0632368.dpx Vous pouvez aussi vous servir de la première partie du nom du fichier pour spécifier le numéro de la bobine à partir de laquelle le fichier de l’image a été créé : bobine_004.0632368.dpx3 69 3 Utilisation de l’interface Color Dans Color, vous avez le choix de travailler dans l’interface à l’écran à l’aide de votre souris ou d’utiliser une surface de contrôle dédiée plus directe, conçue pour les travaux professionnels d’étalonnage colorimétrique. Ce chapitre traite des conventions générales reprises dans l’interface Color. Il décrit l’utilisation des commandes partagées par plusieurs zones de l’interface, ainsi que les commandes spécialisées propres aux applications d’étalonnage. Les rubriques suivantes seront abordées au cours de ce chapitre :  Configuration d’une surface de contrôle (p. 70)  Utilisation des contrôles d’écran (p. 70)  Navigateurs et chutiers pour organiser les fichiers (p. 75)  Utilisation de Color avec un ou deux écrans (p. 82)70 Chapitre 3 Utilisation de l’interface Color Configuration d’une surface de contrôle Dès l’origine, Color a été développé pour prendre en charge les surfaces de contrôle tout spécialement dédiées à l’étalonnage et commercialisées par des fabricants tels que Tangent et JL Cooper Designs. En règle générale, ces surfaces de contrôle comportent trois trackballs (ou « boules de commande ») qui correspondent aux trois zones tonales en chevauchement des commandes de balance des couleurs primaires et secondaires (ombres, tons intermédiaires et hautes lumières), trois commandes rotatives (ou « roues », ou « couronnes ») pour les trois commandes de contraste (niveau de noir, gamma et point blanc), ainsi qu’un certain nombre de commandes rotatives et de boutons pour diverses fonctions complémentaires dépendant du studio que vous avez sélectionné. Vous pouvez choisir la surface de contrôle à utiliser lors du démarrage de Color ou cliquez sur « Show Control Surface Dialog » dans l’onglet User Prefs du studio Setup pour choisir à tout moment l’une des surfaces de contrôle disponibles. Pour en savoir plus sur la configuration d’une surface de contrôle, consultez l’annexe C, « Configuration d’une surface de contrôle ». Pour en savoir plus sur la configuration d’une surface de contrôle depuis Color, consultez le paragraphe « Réglages de la surface de contrôle » à la page 122. Utilisation des contrôles d’écran Même si vous ne disposez d’aucune surface de contrôle, vous pouvez utiliser toutes les fonctions de Color grâce aux contrôles d’écran. Hormis les boutons, cases à cocher et menus locaux habituels communs à la majorité des applications, Color affiche certaines commandes personnalisées décrites dans cette section. F1 F2 F3 F4 F5 F6 F7 F8 F9 MEM ALT GRACE DELETE MARK IN OUT CUE DO UNDO MORE REDO 7 4 1 00 0 2 3 - 5 6 + 8 9 PREV NEXT MODE CLEAR R3 B3 B2 R1 B1 R2 PAGE 5 PAGE 6 PAGE 8 PAGE 7 PAGE 1 PAGE 2 PAGE 4 PAGE 3 F1 M1 W1 W2 W3 W4 W5 W6 W7 JOG SHUTTLE M2 M3 1 2 3 4 5 6 7 8 BANK 1 BANK 2 HOURS MINUTES SECONDS FRAMES BANK 4 BANK 4 PAGE ASSIGN UTILITY M4 M5 TIME CODE DISPLAY F2 F3 F4 F5 F6 F7 F8Chapitre 3 Utilisation de l’interface Color 71 Utilisation de la souris Color prend en charge les souris à trois boutons qui vous permettent d’accéder rapidement aux menus contextuels et aux divers raccourcis de navigation. Color autorise également l’utilisation de la molette ou la de boule centrale de défilement des souris à trois boutons pour défiler ou comme s’il s’agissait d’un bouton. Accélération des commandes grâce à la touche Option Il est possible de multiplier par 10 la vitesse normale de nombreuses commandes en maintenant enfoncée la touche Option alors que vous faites glisser le pointeur. Onglets Les onglets servent à naviguer entre les huit différents « studios » de Color. Chacun de ces studios correspond à une partie distincte de l’interface, contenant toutes les commandes nécessaires à l’exécution d’une tâche spécifique. Si vous changez de studio, vous modifiez l’interface affichée, les raccourcis clavier disponibles et le mappage des commandes des surfaces de contrôle. Qui plus est, certains studios comportent d’autres fonctions affichées lorsque vous utilisez des ensembles d’onglets supplémentaires disponibles. Champs de texte et curseurs virtuels Dans Color, les champs modifiables peuvent contenir quatre types de données :  Timecode  Texte (noms de fichiers, chemins, etc.)  Nombres entiers (les champs affichant des nombres entiers ne prennent pas en charge les valeurs décimales ni les fractions)  Pourcentages et fractions (0,25 ou 1/873, par exemple) Vous disposez de trois méthodes pour modifier les champs de texte. Bouton de la souris Référence dans cette documentation Bouton gauche de la souris Clic Bouton central de la souris Clic avec le bouton central de la souris Bouton droit de la souris Clic avec le bouton droit de la souris (identique au clic tout en maintenant la touche Contrôle enfoncée dans le cas d’une souris à un seul bouton)72 Chapitre 3 Utilisation de l’interface Color Pour saisir du texte dans un champ à l’aide du clavier : 1 Cliquez dans le champ de texte que vous souhaitez modifier. Le texte présent dans ce champ apparaît alors en surbrillance. 2 Saisissez un nouveau texte. 3 Appuyez sur la touche retour pour confirmer votre modification. Pour modifier la valeur numérique ou le pourcentage affiché par un champ à l’aide d’un curseur virtuel : 1 Placez le pointeur sur le champ que vous souhaitez modifier. 2 Cliquez avec le bouton central de la souris, puis faites glisser le pointeur vers la gauche pour diminuer la valeur ou vers la droite pour l’augmenter. 3 Relâchez le bouton de la souris lorsque vous avez terminé votre réglage. Pour modifier la valeur numérique ou le pourcentage affiché par un champ à l’aide de la molette de défilement : 1 Placez le pointeur sur le champ que vous souhaitez modifier. 2 Sans cliquer dans le champ, faites tourner la molette ou la boule de défilement vers le haut pour augmenter la valeur ou vers le bas pour la diminuer. Pour modifier un champ à l’aide d’un menu contextuel : m Cliquez sur n’importe quel champ tout en maintenant la touche Contrôle enfoncée ou avec le bouton droit de la souris, puis choisissez l’une des options suivantes dans le menu contextuel qui apparaît :  Reset : réinitialise le champ correspondant.  Min : choisit la valeur minimale disponible pour ce champ.  Max : choisit la valeur maximale disponible pour ce champ.  Set as Default : règle ce paramètre à sa valeur par défaut. Champs de timecode Les champs de timecode affichent des informations sur la synchronisation, tels que les points d’entrée et de sortie des médias et la position de la tête de lecture. Dans Color, les valeurs temporelles peuvent prendre deux formats :  Au sein de ces champs, la plupart des valeurs temporelles sont représentées par un timecode SMPTE standard. Ce type de timecode correspond à une série de quatre paires de chiffres séparées par deux-points : hh:mm:ss:ii, où hh exprime les heures, mm les minutes, ss les seconds et ii les images.  Les valeurs temporelles présentes dans la Timeline Ruler peuvent être affichées sous forme de timecodes Non-Drop Frame, Drop Frame ou Frames. Remarque : dans un timecode Drop-Frame timecode, les secondes et les images sont séparées par un point-virgule.Chapitre 3 Utilisation de l’interface Color 73 Navigation à l’aide des timecodes Voici quelques indications pour saisir des valeurs dans les positions réservées aux heures, minutes, secondes et images des champs de timecode :  Les valeurs temporelles sont saisies de gauche à droite (comme pour programmer une durée sur un micro-ondes). Toutefois, la dernière valeur saisie est considérée comme étant le dernier chiffre de la position réservée aux images.  Appuyez sur la touche Retour afin de confirmer la valeur que vous venez de saisir pour un timecode.  Si vous entrez un nombre incomplet, la paire de chiffres la plus à droite est interprétée comme correspondant aux images. En partant de ce principe, chaque paire de chiffres la précédant (plus à gauche) sert à remplir les positions des secondes, des minutes, puis des heures. Les paires de chiffres omises sont remplacées d’office par 00. Par exemple, si vous saisissez 1419, Final Cut Pro interprète cette valeur comme 00:00:14:19.  Lorsque vous entrez un timecode dans un champ, vous n’êtes pas obligé de les séparateurs (comme les deux-points). En effet, ils sont automatiquement ajoutés entre chaque paire de chiffres.  Vous pouvez également entrer un point pour représenter deux zéros lors de la saisie de durées importantes. Par exemple, saisissez « 3. » (le chiffre 3 suivi d’un point) pour entrer le timecode 00:00:03:00. Color interprète automatiquement le point comme la valeur 00.  Pour entrer 00:03:00:00, saisissez « 3.. » (le chiffre 3 suivi de deux points). Ces points provoquent l’insertion de deux zéros dans les positions réservées aux secondes et aux images.  Saisissez « 3... » pour entrer 03:00:00:00.  Utilisez le signe plus (+) pour entrer une série de valeurs à un seul chiffre dans chaque position temporelle. Par exemple, saisissez « 1+5+8 » pour entrer le timecode 00:01:05:08.74 Chapitre 3 Utilisation de l’interface Color Commandes de couleur Les commandes de couleur sont utilisées dans plusieurs studios de Color, afin de vous permettre de sélectionner et de modifier des couleurs grâce au modèle HSL.  Si vous faites glisser le pointeur dans la roue principale des couleurs, vous réglez simultanément la teinte et la saturation de la couleur sélectionnée. La croix affichée sur la roue des couleurs indique la valeur de couleur en cours de sélection. Les autres commandes dépendent du type de commande de couleur actuellement affiché.  Faites glisser le curseur multicolore Hue vers le haut ou le bas pour ajuster la teinte.  Faites glisser le curseur unicolore Saturation vers le haut ou le bas pour respectivement augmenter ou diminuer la saturation de la teinte actuelle.  Faites glisser le curseur unicolore Brightness vers le haut ou le bas pour respectivement augmenter ou diminuer la luminosité de la couleur actuelle. Personnalisation des commandes de couleur Vous avez la possibilité de personnaliser l’angle selon lequel les couleurs apparaissent dans la roue affichée par les commandes de couleur, de telle sorte qu’il corresponde à l’interface d’autres systèmes d’étalonnage utilisés. Vous pouvez également régler la vitesse à laquelle les manettes de la surface de contrôle ajustent les commandes de couleur correspondantes dans Color. Pour en savoir plus, consultez la section « Réglages de la surface de contrôle » à la page 122.Chapitre 3 Utilisation de l’interface Color 75 Navigateurs et chutiers pour organiser les fichiers Color met à votre disposition plusieurs navigateurs et chutiers pour organiser vos plans, médias et jeux d’étalonnage partageant des commandes communes. Tous ces navigateurs et chutiers servent à gérer les fichiers sur votre disque dur, plutôt que les données stockées au sein d’un fichier de projet Color proprement dit. Par conséquent, utilisez leurs commandes pour parcourir et organiser la structure des répertoires sur votre disque dur, comme vous le feriez dans le Finder. Le navigateur de fichiers Occupant la moitié gauche du studio Setup, ce navigateur vous permet de naviguer au sein de la structure des répertoires sur les disques durs de votre ordinateur (et par extension, sur tout volume RAID, DAS et SAN actuellement monté), afin de rechercher et importer des fichiers de données QuickTime et d’image compatibles. Il est important de vous rappeler que le navigateur de fichiers n’est en aucun cas un chutier de projets. Les fichiers qu’il affiche ne sont pas associés à votre projet Color, sauf si vous les faites glisser manuellement dans la Timeline ou que vous reliez des plans d’un projet importé aux fichiers de données associés sur le disque par le biais des commandes Relink Media ou Reconnect Media. Remarque : le navigateur de fichiers affiche uniquement les répertoires et les fichiers de données compatibles avec Color. Lorsque vous sélectionnez un fichier de données dans ce navigateur, un panneau apparaît à droite pour afficher la première image de ce fichier ainsi que les informations suivantes :  Shot Name : le nom du fichier  Duration : sa durée totale  Codec : le codec utilisé pour encoder le fichier  Resolution : la taille d’image du fichier, exprimée selon sa largeur fois sa hauteur  Frame Rate : la fréquence d’images du fichier  Timecode : la valeur du timecode correspondant à la première image du fichier Situé en bas de ce panneau, un bouton Importer vous permet de modifier le plan actuellement sélectionné dans la Timeline au niveau de la position en cours de la tête de lecture. Réduction du navigateur de fichiers Si vous le souhaitez, vous pouvez réduire le navigateur de fichiers, afin que la zone des onglets située à droite occupe toute la fenêtre de Color.76 Chapitre 3 Utilisation de l’interface Color Pour masquer le navigateur de fichiers : m Placez le pointeur sur le diviseur situé à l’extrême droite du navigateur de fichiers. Une fois qu’il apparaît en surbrillance bleue, cliquez dessus une fois pour réduire le navigateur. Pour développer le navigateur de fichiers : m Placez le pointeur sur le diviseur situé à l’extrême gauche de la fenêtre du navigateur de fichiers. Une fois qu’il apparaît en surbrillance bleue, cliquez dessus une fois pour développer le navigateur. Pour en savoir plus sur le studio Setup, consultez le chapitre 5, « Setup (Configuration) », à la page 107. Le navigateur de plans Le deuxième navigateur disponible dans le studio Setup est accessible via l’onglet Shots. Ce navigateur vous affiche tous les plans utilisés dans le projet en cours sous forme de liste ou d’icônes. La présentation sous forme d’icônes vous permet de créer des groupes de plans que vous pouvez utiliser pour copier et coller des jeux d’étalonnage dans plusieurs plans à la fois. Pour en savoir plus, consultez la section « Gestion des jeux d’étalonnage dans le navigateur de plans » à la page 313.Chapitre 3 Utilisation de l’interface Color 77 Quant à la présentation sous forme de liste, elle vous permet de trier tous les plans sur la base de divers champs d’information. Pour en savoir plus sur l’utilisation du navigateur de plans, consultez « Le navigateur de plans » à la page 109. Chutier de jeux d’étalonnage Situé dans le studio Setup, le chutier de jeux d’étalonnages, vous permet d’enregistrer et d’organiser des jeux d’étalonnage regroupant des corrections primaires, secondaires et Color FX en une seule unité. Vous pouvez utiliser ce chutier pour appliquer des jeux d’étalonnage enregistrés à d’autres plans dans la Timeline. Le contenu du chutier de jeux d’étalonnages est disponible à partir de tous les projets Color ouverts alors que vous êtes connecté sous un compte utilisateur particulier. Pour en savoir plus sur l’enregistrement et l’application des jeux d’étalonnages, consultez la section « Enregistrement de jeux d’étalonnage dans le chutier des jeux » à la page 302. Chutiers de corrections Les studios Primary, Secondaries et Color FX vous permettent d’enregistrer les corrections effectuées dans leur environnement respectif sous forme de préréglages individuels que vous pouvez par la suite appliquer à des plans. Le contenu des chutiers de corrections est disponible à partir de tous les projets Color ouverts alors que vous êtes connecté sous un compte utilisateur particulier.  Primary In et Out : ces deux studios vous permettent d’enregistrer et d’organiser les corrections primaires. Elles partagent le même groupe de corrections enregistrées.  Secondaries : ce studio vous permet d’enregistrer et d’organiser les corrections secondaires  Color FX : ce studio vous permet d’enregistrer et d’organiser les corrections Color FX.78 Chapitre 3 Utilisation de l’interface Color Still Store Bien que le Still Store ne soit pas un chutier de jeux d’étalonnage ou de corrections, il est géré exactement de la même façon. Ce studio est en fait un très grand chutier conçu pour conserver les images fixes d’une multitude de plans, afin de les comparer avec d’autres plans de votre programme. Pour en savoir plus sur l’utilisation du Still Store, reportez-vous au chapitre 16, « Magasin d’images fixes (Still Store) », à la page 355. Commandes disponibles dans les navigateurs et les chutiers de jeux d’étalonnage et de corrections Tous les navigateurs et les chutiers mettent à votre disposition les commandes suivantes : Commandes d’affichage Tous les navigateurs et les chutiers disposent de commandes d’affichage qui vous permettent de choisir la présentation et l’organisation de leur contenu.  Bouton List View : affiche le contenu du répertoire en cours sous la forme d’une liste de noms de fichiers.  Bouton Icon View : affiche le contenu du répertoire en cours sous la forme d’icônes.  Curseur Icon Size : ce curseur n’apparaît que dans la présentation sous forme d’icônes. Il permet de définir la taille des icônes. Comparaison entre les jeux d’étalonnage et les corrections Il existe une distinction entre les jeux d’étalonnage et les corrections dans Color. Les corrections font référence aux modifications apportées au sein d’un seul studio. Vous avez la possibilité d’enregistrer des corrections individuelles au sein des studios Primary, Secondaries ou Color FX, puis de les appliquer séparément à des plans. Un jeu d’étalonnage peut réunir plusieurs corrections au sein de divers studios. Il s’agit de l’enregistrement groupé d’une ou plusieurs corrections primaires, secondaires et Color FX. Si vous enregistrez un groupe de corrections sous forme de jeu d’étalonnage, vous pouvez les appliquer d’un seul coup comme s’il s’agissait d’un seul préréglage.Chapitre 3 Utilisation de l’interface Color 79 Commandes de navigation au sein des répertoires Le navigateur de fichiers ainsi que les chutiers de jeux d’étalonnage et de corrections comportent également des commandes de navigation qui vous permettent d’organiser et de parcourir les jeux d’étalonnages et les corrections enregistrés sur votre disque dur.  Go Up : déplace la sélection et affiche le contenu du répertoire parent.  Go Home : accède au répertoire de départ de ce navigateur ou de ce chutier. Il ne s’agit pas de votre répertoire de départ d’utilisateur Mac OS X :  Navigateur de fichiers : le bouton Home vous permet d’accéder directement au répertoire de données actuellement sélectionné pour Color.  Primary, Secondaries, Color FX et Primary Out : le bouton Home vous permet d’accé- der directement au répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Chaque studio dispose de son propre sous-répertoire qui contient toutes les corrections enregistrées pour un usage ultérieur.  Still Store : le bouton Home vous permet d’accéder directement au répertoire StillStore dans la structure de répertoires du projet en cours. Commandes relatives aux fichiers La partie inférieure du navigateur de fichiers ainsi que des chutiers de jeux d’étalonnages et de corrections comporte des commandes de création et d’accès aux répertoires.  Champ File : affiche le chemin d’accès du répertoire actuellement affiché.  Menu local Directory : offre une méthode rapide pour naviguer vers le haut ou le bas de l’arborescence de répertoires actuellement affichée ou pour accéder directement au répertoire Color par défaut du studio concerné.  Bouton New Directory : vous permet de créer un nouveau répertoire dans le chemin actuellement indiqué. Vous pouvez créer autant de répertoires que vous le souhaitez pour organiser les jeux d’étalonnages et les corrections d’un studio.  Bouton Save : enregistre les réglages du jeu d’étalonnage ou de la correction appliqué au plan au niveau de la position actuelle de la tête de lecture dans le répertoire indiqué dans les champs de texte affichés au-dessus.  Bouton Load : applique le jeu d’étalonnage ou la correction sélectionné au plan situé au niveau de la position actuelle de la têtes de lecture (si aucun autre plan n’est sélectionné) ou à plusieurs plans (en ignorant dans ce cas le plan au niveau de la tête de lecture s’il n’est pas sélectionné). Comme dans tous les chutiers de Color, vous pouvez faire glisser les éléments affichés dans ce chutier et les déposer dans la Timeline.80 Chapitre 3 Utilisation de l’interface Color Méthode d’enregistrement des jeux d’étalonnage et des corrections Lorsque vous enregistrez des jeux d’étalonnage et des corrections via les chutiers correspondants dans Color, ils sont stockés dans le répertoire des préférences de Color, dans votre répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Les jeux d’étalonnage et corrections enregistrés dans ces chutiers sont disponibles dans tous les projets que vous ouvrez. Les corrections individuelles stockées dans les répertoires mentionnés ci-dessus sont sauvegardées sous la forme de deux fichiers : un fichier .lsi qui contient une vignette permettant d’identifier visuellement le jeu d’étalonnage et un fichier spécifique au type de correction qui définit ses réglages. Sauf modifications personnelles, ces deux fichiers portent le même nom, suivi d’un point, puis de la date (jour mois année heure.minute.secondeFuseauHoraire) et d’une extension qui permet d’identifier le type de correction qu’ils contiennent.  Nom_étalonnage.date.lsi : vignette utilisée pour symboliser cet étalonnage dans la présentation sous forme d’icônes  Nom_Jeu_étalonnage.date.pcc : fichier de correction primaire  Nom_étalonnage.date.scc : fichier de correction secondaire  Nom_Jeu_étalonnage.date.cfx : fichier de correction Color FX En réalité, un jeu d’étalonnage enregistré correspond à un groupe de fichiers qui contient tous les fichiers de correction constituant ce jeu d’étalonnage. Par exemple, un jeu d’étalonnage combinant des corrections primaires, secondaires et Color FX correspond à un répertoire portant le nom du jeu d’étalonnage, « Nom_Jeu_étalonnage.date.grd », et contenant les fichiers suivants :  Nom_Jeu_étalonnage.date.lsi  Nom_Jeu_étalonnage.date.pcc  Nom_Jeu_étalonnage.date.scc  Nom_Jeu_étalonnage.date.cfx Catégorie de corrections enregistrées Emplacement sur le disque Jeux d’étalonnages /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color/Grades/ Corrections primaires /Utilisateurs/nom d’utilisateur/Bibliotèque/Application Support/ Color/Primary/ Corrections secondaires /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color/Secondary/ Corrections Color FX /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/ Color/Effects/Chapitre 3 Utilisation de l’interface Color 81 Réorganisation des corrections et jeux d’étalonnage enregistrés dans le Finder Chaque chutier de corrections de Color est simplement le miroir du contenu du sous-répertoire correspondant, dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color. Vous pouvez passer par le Finder pour réorganiser vos corrections et jeux d’étalonnage enregistrés, en créant de nouveaux sous-répertoires et en les y plaçant. Lorsque vous déplacez un jeu d’étalonnage enregistré d’un répertoire à un autre, il est important de veiller à copier sa vignette .lsi et son fichier .pcc, .scc ou .cfx (qui contient les informations réelles de ce jeu d’étalonnage). Si vous réorganisez des jeux d’étalonnage et des corrections enregistrés dans le Finder alors que Color est ouvert, vous devez actualiser manuellement le contenu des chutiers de jeux d’étalonnage et de corrections que vous avez modifiés, afin qu’ils affichent correctement leur contenu actuel. Pour mettre à jour le contenu du chutier de corrections actuellement affiché : m Cliquez sur le bouton Home. Le contenu du chutier de corrections est mis à jour pour refléter l’état actuel du Finder. Déplacement de corrections et de jeux d’étalonnage enregistrés vers d’autres ordinateurs Si vous disposez de corrections et de jeux d’étalonnage enregistrés que vous souhaitez déplacer vers des installations de Color situées sur d’autres ordinateurs, il vous suffit de copier les dossiers décrits à la page 80 sur un support de stockage mobile, puis de copier leur contenu dans les dossiers correspondants sur les nouveaux systèmes. À la prochaine ouverture de Color, les corrections et jeux d’étalonnage enregistrés apparaissent comme à l’accoutumée.82 Chapitre 3 Utilisation de l’interface Color Utilisation de Color avec un ou deux écrans Vous avez la possibilité d’utiliser Color dans des configurations avec un seul ou deux écrans. La majorité des utilisateurs optent pour le mode double affichage de Color en recourant à deux écrans, car ce mode permet de bénéficier d’une surface utile plus importante, de prévisualisations offrant une plus grande flexibilité et des instruments vidéo affichés par la fenêtre Scopes sur le deuxième écran. Vous pouvez toutefois opter pour le mode d’affichage simple de Color et exploiter toutes les fonctionnalités Color alors que vous ne disposez pas de deuxième écran. Ce mode est recommandé uniquement dans les cas où vous disposez d’un écran Cinéma de 30 pouces. Remarque : Color exige une résolution minimale de 1 680 x 1 050 aussi bien en mode double affichage que simple. Pour passer du mode d’affichage simple au mode double affichage (et inversement), effectuez l’une des opérations suivantes : m Cliquez sur Window > Single Display Mode ou Dual Display Mode. m Appuyez simultanément sur Maj + 0 pour basculer d’un mode à l’autre. Vous devez quitter Color et le relancer pour que cette modification entre en vigueur.4 83 4 Importation et gestion de projets et de données Color vous propose des outils puissants pour la gestion des projets et des données lors de votre travail. Comme il est indiqué dans le chapitre 2, « Flux de production de l’étalonnage », à la page 39, il existe trois méthodes principales pour importer un projet et ses données. Vous pouvez soit importer (ou envoyer) les données d’un projet XML depuis Final Cut Pro, soit importer une liste de points de montage (EDL, Edit Decision List) et reconnecter ses données, soit insérer manuellement les données elles-mêmes directement dans le plan de montage chronologique (Timeline). Ce chapitre décrit les commandes et les méthodes qui permettent de créer et à d’enregistrer des projets, d’importer un projet et ses données depuis d’autres applications et de gérer un projet dans Color. Les rubriques suivantes seront abordées au cours de ce chapitre :  Création et ouverture de projets (p. 84)  Enregistrement de projets et d’archives (p. 85)  Transfert de projets entre Final Cut Pro et Color (p. 89)  Reconformation de projets (p. 94)  Importation de listes de montage (EDL) (p. 95)  Exportation de listes EDL (p. 97)  Rétablissement du lien avec les données QuickTime (p. 98)  Importation de données directement dans le plan de montage (p. 99)  Formats de données compatibles (p. 99)  Conversion de séquences d’images Cineon et DPX au format QuickTime (p. 104)  Importation des corrections de couleurs (p. 105)  Exportation d’images JPEG (p. 106)84 Chapitre 4 Importation et gestion de projets et de données Création et ouverture de projets Lorsque vous exécutez Color pour la première fois, une zone de dialogue apparaît pour vous permettre d’ouvrir un projet existant ou d’en créer un nouveau. Pour créer un nouveau projet la première fois que vous ouvrez Color : 1 Ouvrez Color. 2 Lorsque la fenêtre Projects s’ouvre, choisissez un emplacement pour le projet en question. Lorsqu’elle s’ouvre, la zone de dialogue Create Project indique par défaut le répertoire par défaut des projets (Default Project Directory) que vous avez sélectionné la première fois que vous avez exécuté Color. 3 Saisissez un nom pour le projet dans le champ File, puis cliquez sur Save. Un nouveau projet est créé dans le répertoire que vous avez choisi et il s’ouvre automatiquement. Pour créer un nouveau projet à un moment autre que lors de l’ouverture de Color : 1 Au besoin, enregistrez le projet actuel. En effet, il n’est pas possible d’avoir plusieurs projets ouverts en même temps dans Color, si bien que la création d’un nouveau projet entraînera la fermeture de celui qui est ouvert. 2 Choisissez File > New (Commande + N). 3 Dans la zone de dialogue Create Project, choisissez un nom et un emplacement pour le projet, puis cliquez sur Save. Un projet vierge prêt à l’emploi s’affiche. Pour ouvrir un projet existant, effectuez l’une des opérations suivantes : m Dans le Finder, double-cliquez sur un fichier de projet Color. m Choisissez File > Open (Commande + O), sélectionnez un projet dans la fenêtre Projects, puis cliquez sur Open. Il n’est pas possible d’avoir plusieurs projets ouverts en même temps dans Color. En conséquence, l’ouverture d’un deuxième projet entraîne la fermeture de celui qui se trouve déjà ouvert.Chapitre 4 Importation et gestion de projets et de données 85 Enregistrement de projets et d’archives Le processus fondamental d’enregistrement de fichiers a été divisé en deux tâches : enregistrement des mises à jour dans le fichier de projet même et enregistrement des archives de ce dernier. L’enregistrement d’un projet s’effectue de la même façon dans Color que dans toute autre application que vous avez pu utiliser auparavant. Et comme dans toute autre application, vous devriez enregistrer presque dès le début et fréquemment au cours de votre travail. Pour enregistrer un projet : m Choisissez File > Save (Commande + S). Remarque : chaque fois que vous enregistrez un projet manuellement, une archive est également automatiquement enregistrée avec un nom de fichier formé par l’heure et la date de sa création. Pour rétablir le projet à son dernier état enregistré : m Choisissez File > Revert (Commande + R). Enregistrement et ouverture d’archives Une archive est un double comprimé du projet qui est stocké à l’intérieur même du paquet du projet. À des fins d’efficacité, le fichier d’archives est dénué de la vignette et des fichiers image du magasin d’images fixes (Still Store) dont dispose la version complète du projet, et seuls sont enregistrés l’état du fichier de projet interne, le plan de montage (Timeline), les réglages de plans, les jeux d’étalonnage, les corrections, les images clés et les réglages du Pan and Scan, qui sont faciles à comprimer et qui n’occupent que peu d’espace. Chaque fois que vous enregistrez votre projet manuellement, une archive est automatiquement créée, à laquelle un nom composé de l’heure et de la date de l’enregistrement est attribué. Si vous souhaitez enregistrer une archive de votre projet lorsque celui-ci se trouve dans un état particulier et lui attribuer un nom qui permettra de l’identifier plus facilement, vous pouvez utiliser la commande Save Archive As.86 Chapitre 4 Importation et gestion de projets et de données Pour enregistrer une archive du projet en lui attribuant un nom particulier : 1 Effectuez l’une des opérations suivantes :  Choisissez File > Save Archive As.  Appuyez sur Commande + Option + S. 2 Saisissez un nom dans le champ Archive Name, puis cliquez sur Archive. Le nombre d’archives que vous pouvez enregistrer est illimité, de sorte que la liste d’archives peut devenir assez longue. Les archives sont comprimées à la fois à l’aide de la compression .tar et de la compression .gzip (le résultat étant une archive de distribution appelée « tarball » en anglais, littéralement « boule de goudron ») afin de n’occuper que peu d’espace. Tous les fichiers d’archives d’un projet particulier sont enregistrés dans le sous-répertoire Archives à l’intérieur du paquet de ce projet. Si, par la suite, un problème quelconque survenait en ce qui concerne les réglages de votre fichier de projet ou si vous souhaitez revenir à l’état du projet tel qu’il a été archivé à un moment antérieur, vous avez la possibilité de charger l’un des fichiers d’archives. Pour ouvrir une archive : 1 Choisissez File > Load Archive (Commande + Option + O). 2 Dans la fenêtre Load Archive, sélectionnez une archive à ouvrir, puis cliquez sur Load Archive. L’ouverture d’une archive provoque l’écrasement de l’état actuel du projet qui sera remplacé par celui de l’archive chargée. Enregistrement automatique Lorsqu’il est activé, le mécanisme d’enregistrement automatique de Color a pour effet d’enregistrer le projet actuel selon une fréquence dont l’intervalle est défini par le paramètre Auto Save Time (Minutes) dans l’onglet User Prefs du studio Setup. Lorsqu’un projet est automatiquement enregistré, aucune archive n’est créée afin d’éviter que votre liste d’archives ne comporte un nombre excessif d’entrées. Par défaut, l’enregistrement automatique est activé et l’intervalle est défini à 5 minutes. Pour en savoir plus, consultez la section « Réglages d’enregistrement automatique » à la page 131.Chapitre 4 Importation et gestion de projets et de données 87 Qu’est-ce qu’un projet Color ? Les seuls plans qui se trouvent dans votre projet sont ceux qui figurent dans le plan de montage (et qui apparaissent également dans le navigateur de plans). Les projetsColor ne contiennent qu’une seule séquence de plans. En outre, les projets Color, d’un point de vue de l’organisation, ne tiennent absolument pas compte des plans qui ne se trouvent pas dans le plan de montage. Par conséquent, ils ne contiennent pas de données non utilisées.88 Chapitre 4 Importation et gestion de projets et de données Contenu des projets Color Les projets Color sont en fait des paquets. À l’intérieur de chaque paquet de projet Color se trouve une série hiérarchique de répertoires qui contiennent chacun des composants particuliers appartenant à ce projet, à savoir des fichiers XML ou des fichiers image. Il est possible d’ouvrir un paquet Color à l’aide de la commande Show Package Contents du Finder. Cette section présente la structure de répertoire et le contenu de ces paquets dans leurs grandes lignes.  Répertoire Archives : ce répertoire contient toutes les archives enregistrées du projet concerné. Chaque archive est comprimée à la fois à l’aide de la compression .tar et de la compression .gzip (le résultat étant une archive de distribution appelée « tarball » en anglais, littéralement « boule de goudron ») et est identifiée par l’extension .tgz.  Fichier .Isi : il s’agit d’un fichier image qui contient l’image sur laquelle se trouvait la tête de lecture la dernière fois que vous avez enregistré le projet.  Fichier .pdl : il s’agit du fichier de projet XML qui contient toutes les informations organisant les plans, le contrôle du temps et les jeux d’étalonnage utilisés pour le projet concerné.  Répertoire Shots : à chaque plan qui se trouve dans le plan de montage de votre projet correspond un sous-répertoire à l’intérieur de ce répertoire. Chaque sousrépertoire contient un ou plusieurs des éléments suivants :  Sous-répertoires Grade1 (à 4) : ces répertoires contiennent tous les fichiers de corrections associés au jeu en question.  Fichier NomDuPlan.lsi : ce fichier correspond à la vignette du plan affiché dans plan de montage.  Fichier NomDuPlan.si : ce fichier contient le nom du plan, le chemin d’accès aux données et les informations relatives au contrôle du temps.  Nom_Jeu_étalonnage.date.pcc : description des corrections primaires.  Nom_étalonnage.date.scc : description des corrections secondaires.  Nom_Jeu_étalonnage.date.cfx : description des corrections relatives aux effets de couleur.  Sous-répertoire PanAndScan : ce répertoire contient un fichier .kfd dans lequel sont stockées les données des images clés et un fichier .pns dans lequel se trouvent les données relatives au Pan and Scan.  Fichier shot_notes.txt : s’il existe une note pour le plan concerné, elle est enregistrée dans ce fichier.  Répertoire StillStore : ce répertoire contient toutes les images du magasin d’images fixes (Still Store) que vous avez enregistrées à l’intérieur du projet en question en tant que références. À chaque référence correspondent deux fichiers, un fichier .lsi qui constitue la vignette de l’image et un fichier .sri qui est l’image en pleine résolution (enregistrée au format d’image DPX). Important : il n’est pas recommandé de modifier le contenu des fichiers de projet Color à moins que vous ne sachiez exactement ce que vous faites. Les modifications manuelles pourraient donner lieu à des problèmes inattendus.Chapitre 4 Importation et gestion de projets et de données 89 Transfert de projets entre Final Cut Pro et Color L’une des méthodes les plus simples pour importer un projet consiste à envoyer une séquence Final Cut Pro à Color en utilisant l’un des deux flux de production XML. Cette section explique comment préparer vos projets dans Final Cut Pro et comment les envoyer au format XML. Pour obtenir des informations plus générales sur les flux de production en boucle de Final Cut Pro à Color, reportez-vous à la section « Flux de production pour la finalisation de la vidéo à l’aide de Final Cut Pro » à la page 44. Avant d’exporter votre projet Final Cut Pro Que vous travailliez sur votre propre projet ou que vous prépariez le projet d’un client pour une séance d’étalonnage Color, vous devriez consacrer un certain temps à la pré- paration de la séquence Final Cut Pro que vous allez envoyer pour garantir des résultats optimaux et le meilleur déroulement possible du flux de production. Voici quelques étapes recommandées. Déplacez les plans en cours de compositing jusque sur la piste V1 du plan de montage (Timeline) Les monteurs utilisent souvent plusieurs pistes vidéo pour assembler des scènes et tirent donc parti des règles dont dispose Final Cut Pro concernant l’ordre des pistes pour savoir quels plans sont actuellement visibles. Il est généralement beaucoup plus rapide et plus facile de naviguer et de travailler sur un projet dont tous les plans se trouvent sur une seule piste vidéo. Il est recommandé de déplacer jusque sur la piste V1 tous les plans vidéo qui ne sont pas superposés en raison d’une opération de compositing. Divisez votre projet en bobines Les projets qui comptent un grand nombre de points de montage peuvent ralentir vos performances dans Color. L’expérience montre qu’en règle générale, les projets envoyés à Color ne devraient pas comprendre plus de 200 points de montage si l’on souhaite obtenir des performances optimales. Pour maximiser les performances lors de votre travail, vous pouvez envisager de découper vos projets longs en bobines d’environ 22 minutes avant de les envoyer à Color. Cette longueur est arbitraire, mais 22 minutes, c’est la longueur standard d’une bobine de film et elle convient bien en l’espèce, sauf si votre projet comporte de nombreuses coupes, auquel cas vous pouvez envisager de le diviser en segments plus courts (certains monteurs préfèrent travailler sur des segments de 10 minutes seulement). Chaque segment devrait commencer et se terminer par un point de coupure adéquat, tel que le point d’entrée du premier plan ou le point de sortie du dernier plan d’une scène, ou encore la fin de la dernière image d’un fondu au noir. Important : veillez à ne pas omettre accidentellement des images entre deux bobines lorsque vous créez ces dernières.90 Chapitre 4 Importation et gestion de projets et de données Exportez des fichiers QuickTime autonomes des plans avec effets que vous voulez étalonner. Color ne peut ni afficher ni traiter les types de plans mentionnés ci-après.  Générateurs  Projets Motion  projets LiveType  Images figées (créées à partir d’un plan depuis Final Cut Pro)  Fichiers d’image fixe (tels que les fichiers .tiff, .jpg, ou .bmp) Si vous souhaitez étalonner ce type de plans dans Color, vous devez tout d’abord les exporter sous la forme de fichiers QuickTime autonomes, puis les monter à nouveau dans le plan de montage de votre séquence Final Cut Pro afin de remplacer les effets originaux avant d’envoyer la séquence à Color. Si aucun étalonnage de ces effets dans Color n’est nécessaire, il vous suffit alors d’envoyer le projet avec ces plans dans leur format actuel et d’ignorer tous les vides qui apparaissent dans Color à la place de ces types de plans. Même s’ils n’apparaissent pas dans Color, ces effets sont préservés dans le code XML du projet Color et ils seront à nouveau visibles lorsque vous renverrez le projet à Final Cut Pro. ? Conseil : avant d’exporter un projet depuis Final Cut Pro, vous pouvez aussi exporter une seule séquence QuickTime autonome correspondant à l’intégralité du programme, puis la réimporter dans votre projet et la superposer à tous les autres plans de votre séquence modifiée. Ensuite, lorsque vous exportez le projet vers Color, vous pouvez activer et désactiver cette version de « référence » du programme à l’aide de la visibilité des pistes chaque fois que vous souhaitez examiner les effets off line ou les corrections de couleurs créés lors du montage off line. Gérez les données de votre projet Si vous envoyez un projet Final Cut Pro à une suite Color qui se trouve dans une autre installation, il se peut que vous souhaitiez supprimer les données non utilisées pour économiser de l’espace disque (notamment si vous comptez recapturer des données sans compression) et pour regrouper toutes les données source utilisées par votre projet dans un seul répertoire afin de faciliter leur transport et le rétablissement des liens. Il s’agit là d’une mesure utile à prendre avant de recapturer vos données. Recapturez les données off line à une qualité on line Si le montage du projet a été effectué avec une résolution off line, vous devez recapturer toutes les données source à la qualité disponible la plus haute possible. Assurez-vous de choisir un codec haute qualité, c’est-à-dire soit le codec natif avec lequel les images source ont été enregistrées, soit l’un des codecs sans compression pris en charge. Pour en savoir plus sur les codecs pris en charge par Color, reportez-vous à la section « Formats de données compatibles » à la page 99.Chapitre 4 Importation et gestion de projets et de données 91 Important : si vous recapturez des plans vidéo enregistrés à l’origine à un format Y´CB CR , assurez-vous que le codec dont vous vous servez pour la recapture et les méthodes d’exportation que vous utilisez pour l’exportation ou le regroupement de vos données ne bloquent pas les composants super-blanc et haute chrominance des données originales non étalonnées. Il est généralement préférable de corriger ce type de plans dans Color plutôt que de bloquer ces niveaux à l’avance et de risquer de perdre ainsi des données d’image importantes. Utilisation de la commande Send to Color de Final Cut Pro Si Final Cut Pro et Color sont installés sur le même ordinateur, vous pouvez vous servir de la commande Send to Color de Final Cut Pro pour transférer automatiquement votre séquence à Color. Pour envoyer une séquence de Final Cut Pro à Color : 1 Ouvrez le projet dans Final Cut Pro. 2 Sélectionnez une séquence dans le Navigateur pour l’envoyer dans son intégralité. 3 Effectuez l’une des opérations suivantes :  Choisissez Fichier > Envoyer à > Color.  Cliquez sur la sélection tout en maintenant la touche Contrôle enfoncée, puis choisissez Send To > Color dans le menu contextuel. 4 Donnez un nom au projet à créer dans Color, puis cliquez sur OK. Un nouveau projet Color est automatiquement créé dans le répertoire par défaut des projets spécifié dans User Preferences. Les plans qui apparaissent dans le plan de montage devraient correspondre à la séquence Final Cut Pro originale envoyée. Importation d’un fichier XML dans Color Si vous devez faire parvenir une séquenceFinal Cut Pro et ses données à une autre installation pour qu’elle y soit étalonnée à l’aide de Color, vous pouvez aussi vous servir de la commande Export XML de Final Cut Pro pour l’exporter. Pour en savoir plus sur l’exportation de fichiers XML depuis Final Cut Pro, reportez-vous au Manuel de l’utilisateur de Final Cut Pro. Il vous suffit ensuite d’utiliser la commande Import XML de Color pour convertir le fichier XML en un projet Color. Pour aller plus vite, vous pouvez copier le fichier XML que vous souhaitez importer dans le répertoire par défaut des projets spécifié parColor.92 Chapitre 4 Importation et gestion de projets et de données Pour importer un fichier XML dans Color : 1 Effectuez l’une des opérations suivantes :  Ouvrez Color.  Choisissez File > Import > XML. 2 Dans la fenêtre Projects, choisissez un fichier XML. 3 Cliquez sur Load. Un nouveau projet Color est automatiquement créé dans le répertoire par défaut des projets spécifié dans User Preferences. Les plans qui apparaissent dans le plan de montage devraient correspondre à la séquence Final Cut Pro originale exportée. Renvoi du projet à Final Cut Pro Si vous effectuez une conversion en boucle entre Final Cut Pro et Color, vous devrez rendre les données étalonnées dans une application autre que Color (ce sujet est traité dans le chapitre 17, « File d’attente de rendu », à la page 361), puis exporter à nouveau le projet Color vers Final Cut Pro. Important : les projets qui ont recours à des séquences d’images Cineon ou DPX ne peuvent pas être renvoyés à Final Cut Pro. Pour utiliser la commande Send to Final Cut Pro de Color : 1 Examinez le plan de montage et choisissez le jeu d’étalonnage à utiliser pour chacun des plans de votre projet. Étant donné que chaque plan de votre programme peut disposer de jusqu’à quatre versions des données rendues séparément dans le répertoire de rendu, les données rendues auxquelles est lié chaque plan du fichier de projet XML exporté sont déterminées par le jeu d’étalonnage actuellement sélectionné pour le plan en question. N’effectuez pas un nouveau montage des projets XML importés dans Color Par défaut, toutes les pistes vidéo des projets XML importés sont verrouillées. Lorsque vous étalonnez un projet, il est important d’éviter de déverrouiller ces pistes ou d’apporter des modifications aux plans dans le plan de montage de Color si vous avez l’intention de renvoyer le projet à Final Cut Pro sans problème. Si des modifications sont nécessaires, effectuez un nouveau montage de la séquence originale dans Final Cut Pro, exportez un nouveau fichier XML, puis servez-vous de la commande Reconform pour mettre à jour le plan de montage de Color de sorte qu’il tienne compte des modifications.Chapitre 4 Importation et gestion de projets et de données 93 2 Choisissez Fichier > Envoyer à > Final Cut Pro. Remarque : si vous n’avez pas rendu chaque plan dans Color à ce stade, ceci vous sera signalé. Il est judicieux de cliquer sur No pour annuler l’opération et rendre tous vos plans avant de renvoyer le projet à Final Cut Pro. Une nouvelle séquence est automatiquement créée et ajoutée au projet d’origine Final Cut Pro duquel le programme est issu. Toutefois, si le projet Final Cut Pro depuis lequel le programme a été envoyé a été renommé, ou s’il a été déplacé à un autre emplacement, alors un nouveau projet Final Cut Pro est créé pour accueillir la nouvelle séquence. Dans un cas comme dans l’autre, chaque plan de la nouvelle séquence est automatiquement lié aux données étalonnées que vous avez rendues dans une application autre que Color. Exportation de fichiers XML en vue de leur importation dans Final Cut Pro Si vous exportez un projet destiné à une personne qui se trouve dans une autre installation, vous devrez exporter une version XML de votre projet Color. Pour réexporter un fichier XML vers Final Cut Pro en vue de créer un fichier de sortie final : 1 Examinez le plan de montage et choisissez le jeu d’étalonnage à utiliser pour chacun des plans de votre projet. Étant donné que chaque plan de votre programme peut disposer de jusqu’à quatre versions des données rendues séparément dans le répertoire de rendu, les données rendues auxquelles est lié chaque plan du fichier de projet XML exporté sont déterminées par le jeu d’étalonnage actuellement sélectionné pour le plan en question. 2 Choisissez File > Export > XML. 3 Lorsque la zone de dialogue Export XML Options apparaît, cliquez sur Browse. a Dans le champ File de la zone de dialogue Export XML File, saisissez un nom pour le fichier XML que vous exportez. b Choisissez un emplacement pour le fichier, puis cliquez sur Save. 4 Cliquez sur OK. Un nouveau fichier de projet XML est créé, et les plans qu’il contient sont automatiquement liés au répertoire de données spécifié dans l’onglet des réglages du projet (Project Settings) du studio Setup. Remarque : si vous n’avez pas encore exporté les données rendues de votre projet Color, le fichier XML est lié aux données du projet original.94 Chapitre 4 Importation et gestion de projets et de données Reconformation de projets Si votre projet a été importé à partir d’un fichier XML ou EDL généré par Final Cut Pro, vous avez la possibilité de reconformer automatiquement votre projet Color de sorte qu’il tienne compte de toutes les modifications apportées à la séquence Final Cut Pro originale, ce qui annule la nécessité de nombreuses heures d’un travail fastidieux. Pour reconformer un projet Color XML : 1 Exportez un fichier XML mis à jour correspondant à la séquence Final Cut Pro remontée depuis Final Cut Pro. 2 Ouvrez le projet Color que vous devez mettre à jour, puis choisissez File > Reconform. 3 Servez-vous de la zone de dialogue Reconform XML pour sélectionner le fichier XML exporté au cours de l’étape 1, puis cliquez sur Load. Une mise à jour des plans qui se trouvent dans le plan de montage devrait se produire pour refléter l’importation des modifications. Par ailleurs, l’état de chacun des plans sur lesquels l’opération de reconformation a eu une incidence est mis à jour dans la colonne Reconform du navigateur de plans. Vous pouvez aussi reconformer des projets qui ont été importés à l’origine à l’aide de listes de montage (EDL). Pour reconformer un projet Color à base de listes de points de montage : 1 Exportez un fichier EDL mis à jour correspondant à la séquence remontée depuis l’application d’origine. 2 Ouvrez le projet Color que vous devez mettre à jour, puis choisissez File > Reconform. 3 Servez-vous de la zone de dialogue Reconform pour sélectionner le fichier EDL exporté au cours de l’étape 1, puis cliquez sur Load. Tout comme dans le cas de la reconformation d’un projet XML, l’état de chacun des plans modifiés par l’opération de reconformation est mis à jour dans la colonne Reconform du navigateur de plans du studio Setup. Ceci vous permet d’identifier les plans qui peuvent nécessiter un réajustement à cause de ces modifications. Vous pouvez les trier par type afin de naviguer rapidement. Pour en savoir plus, consultez la section « En-têtes de colonnes » à la page 111.Chapitre 4 Importation et gestion de projets et de données 95 Importation de listes de montage (EDL) Vous pouvez importer une liste de montage directement dans Color. Il existe deux bonnes raisons de se servir des listes de montage plutôt que des fichiers XML :  Pour corriger les couleurs d’un fichier vidéo original : vous pouvez effectuer une correction des couleurs s’approchant d’un flux d’étalonnage de bande à bande en important un liste de montage et en vous servant de l’option Use As Cut List pour établir un lien entre celle-ci et le fichier de données original qui lui correspond (c’est-à-dire un fichier .mov QuickTime ou une séquence d’images DPX). Remarque : si vous allez procéder de la sorte, il est préférable de travailler avec des données sans compression et d’utiliser des bobines de 20 200 minutes ou moins pour éviter les éventuels goulots d’étranglement et baisses de performances résultant de la présence de plus de 200 points de montage dans le plan de montage.  Pour importer un projet numérique intermédiaire au format 2K : les listes de montage sont aussi le seul moyen d’importer un projet dans un flux de production numérique intermédiaire au format 2K lorsque vous liez le projet en question à des séquences d’images DPX résultant de la numérisation de films. Pour en savoir plus, consultez la section « Utilisation de Color dans un flux de production intermédiaire numérique » à la page 57. Color peut importer les formats de liste de montage (EDL) suivants :  Générique  CMX 340  CMX 3600  GVG 4 Plus Pour importer plus rapidement une liste de montage, vous pouvez copier tous les fichiers EDL et les coller dans le répertoire par défaut des projets spécifié par Color. Pour importer une liste de montage : 1 Effectuez l’une des opérations suivantes :  Ouvrez Color.  Choisissez Importer dans le menu Fichier, puis choisissez EDL. 2 Dans la fenêtre Projects, choisissez un fichier EDL.96 Chapitre 4 Importation et gestion de projets et de données La zone de dialogue EDL Import Settings s’ouvre avec comme destination par défaut le répertoire par défaut des projets spécifié dans l’onglet User Prefs du studio Setup. 3 Dans les listes et les menus locaux disponibles, choisissez les propriétés du projet suivantes :  EDL Format : format du fichier EDL que vous importez.  Project Frame Rate : fréquence d’images du projet Color que vous êtes sur le point de créer. Dans la plupart des cas, cette fréquence doit être la même que celle de la liste de montage que vous importez.  EDL Frame Rate : choisissez la fréquence d’images de la liste de montage que vous importez. Si la fréquence d’images de la liste de montage est de 29,97 ips mais que vous avez défini la fréquence d’images du projet (Project Frame Rate) à 24 ips, Color effectue automatiquement les conversions nécessaires pour supprimer le pulldown 3:2 des plans du projet. Remarque : ceci a l’avantage de permettre le traitement des flux de production dont la liste de montage importée a été générée grâce au montage off line d’un projet créé à partir d’une vidéo à 29,97 ips obtenue par télécinéma, mais dans lequel les séquences d’images numérisées au format 2K résultantes ont été réimportées à la fréquence d’images native du film, c’est-à-dire 24 ips.  Source Frame Rate : fréquence d’images des données source qui se trouvent sur le disque et avec lesquelles vous établissez le lien.  Use As Cut List : cette case permet de spécifier que la liste de montage devrait être utilisée comme liste de conformation pour « marquer » un fichier vidéo original auquel elle correspond.Chapitre 4 Importation et gestion de projets et de données 97  Project Resolution : résolution du projet Color que vous créez. En général, cette résolution doit être la même que celle des données source avec lesquelles vous établissez le lien.  Width : largeur de la taille d’image sélectionnée.  Height : hauteur de la taille d’image sélectionnée.  Source Directory : le répertoire spécifié ici définit le parseur de la liste de montage au chemin exact qui permet d’accéder à l’emplacement dans lequel se trouvent les fichiers numérisés DPX ou les fichiers QuickTime associés au projet. 4 Vous devez spécifier l’emplacement des données source auxquelles le projet doit être lié en procédant de l’une des manières suivantes :  Dans le champ Source Directory, saisissez le chemin d’accès au répertoire.  Cliquez sur Browse, sélectionnez un répertoire à l’aide de la zone de dialogue Source Directory, puis cliquez sur Choose. Remarque : le répertoire source que vous choisissez peut être un volume local, un réseau de stockage SAN ou un réseau local (LAN) dont les performances sont suffisantes pour satisfaire le débit des données du projet. 5 Lorsque vous avez terminé de sélectionner tous les réglages nécessaires, cliquez sur Import. Un nouveau projet est créé, et la liste de montage est convertie en une séquence de plans qui apparaissent dans le plan de montage. Ces plans devraient correspondre aux plans de montage du projet original. Exportation de listes EDL Vous pouvez exporter les listes de montage vers des applications autres que Color, ce qui peut constituer une bonne méthode pour renvoyer des projets vers d’autres applications de montage. Si vous exportez une liste de montage, ce sera l’application dans laquelle la liste de montage sera importée qui devra se charger de rétablir correctement le lien aux données rendues hors de Color. Remarque : pour faciliter le rétablissement du lien aux données, le chemin d’accès à ces dernières est écrit dans la colonne de commentaires de la liste de montage exportée. Toutefois, toutes les applications de montage ne prennent pas en charge cette convention. Pour exporter une liste de montage : 1 Choisissez File > Export > EDL. 2 Lorsque la zone de dialogue Export EDL apparaît, cliquez sur Browse. 3 Dans le champ File de la zone de dialogue Export EDL File, saisissez un nom pour la liste de montage que vous exportez, puis choisissez un emplacement pour le fichier et cliquez sur Save.98 Chapitre 4 Importation et gestion de projets et de données 4 Si vous n’avez modifié aucun des noms des plans lorsque vous avez exporté les données rendues finales pour ce projet, activez « Use Original Media Name ». 5 Cliquez sur OK. Un nouveau fichier EDL est créé et les plans qu’il contient sont liés au répertoire de données que vous avez spécifié. Rétablissement du lien avec les données QuickTime Au besoin, vous pouvez rétablir manuellement le lien des données à un projet Color. Lorsque vous utilisez la commande de rétablissement de lien (Relink), Color relie chaque plan qui se trouve dans le plan de montage au fichier de données qui lui correspond en fonction des critères suivants :  timecode initial  nom de fichier Si aucun de ces critères ne correspond, vous recevez l’avertissement suivant : Si vous cliquez sur Yes et établissez le lien avec un autre fichier, les valeurs originales de la source à l’intérieur (Source In) et de la source à l’extérieur (Source Out) de ce plan seront écrasées par celles du nouveau plan. Pour rétablir le lien de chaque plan figurant dans le plan de montage : 1 Choisissez Relier les données dans le menu Fichier. 2 Dans la zone de dialogue Choose Media Path, sélectionnez le répertoire dans lequel les données du projet sont enregistrées, puis cliquez sur Choose. Si ce répertoire contient toutes les données utilisées par le projet, le lien de chaque plan figurant dans le plan de montage est automatiquement rétabli. S’il manque toujours des fichiers de données, vous recevrez un avertissement et ces plans resteront déconnectés. Vous devrez à nouveau utiliser la commande Reconnect Media pour rétablir leurs liens. Pour rétablir le lien d’un seul plan : 1 Cliquez sur un plan se trouvant dans le plan de montage tout en maintenant la touche Contrôle enfoncée ou cliquez sur ce plan avec le bouton droit de la souris, puis, dans le menu contextuel, choisissez Relink Media. 2 Dans la zone de dialogue Select Media To Relink, choisissez un plan dont le lien doit être rétabli, puis cliquez sur Load.Chapitre 4 Importation et gestion de projets et de données 99 Si le nom et le timecode de début du fichier de données correspondent à ceux du plan qui se trouve dans le plan de montage, le lien aux données est rétabli. Importation de données directement dans le plan de montage Vous avez également la possibilité d’importer les fichiers de données directement dans le plan de montage, bien que ceci ne soit généralement utile que lors des cours de formation ou pour visionner les rushes numériques. Pour importer un plan dans le plan de montage : 1 Cliquez sur l’onglet Setup ou choisissez File > Import > Clip qui a pour effet d’ouvrir l’onglet Setup. 2 Servez vous des contrôles de navigation dans la partie supérieure gauche du Navigateur pour rechercher le répertoire contenant les données que vous souhaitez importer. 3 Cliquez sur le fichier de données que vous souhaitez importer dans le plan de montage pour le sélectionner. 4 Effectuez l’une des opérations suivantes :  Dans le Navigateur, double-cliquez sur le plan pour l’insérer dans le plan de montage à l’endroit où se trouve la tête de lecture.  Faites glisser le plan directement dans le plan de montage.  Cliquez sur le bouton Import qui se trouve en dessous de l’aperçu du plan pour insé- rer ce dernier dans le plan de montage à l’endroit où se trouve la tête de lecture. Une fois les plans placés dans le plan de montage, enregistrez votre projet. Formats de données compatibles Color est compatible avec une grande variété de fichiers QuickTime et de séquences d’images.100 Chapitre 4 Importation et gestion de projets et de données Codecs QuickTime compatibles pour l’importation La liste des codecs pris en charge par Color se limite aux codecs de qualité élevée adaptés à l’échange et au mastering de données. Ces codecs se répartissent en trois catégories :  Les codecs QuickTime qui sont pris en charge par Color lors de l’importation de projets et de données.  Un sous-ensemble des codecs qui peuvent être utilisés pour rendre votre copie finale, si vous avez sélectionné l’option Original Format dans le menu contextuel Export Codec de l’onglet Prjct Settings tab du studio Setup. L’option Original Format n’est disponible que si vous avez utilisé la commande « Send to Color » dans Final Cut Pro, ou si vous avez importé un fichier Final Cut Proqui a été exporté sous forme de fichier XML.  Par défaut, seuls quatre codecs sont disponibles dans le menu contextuel Export Codec pour convertir vos données sources à un format de qualité supérieure. Il s’agit des codecs Apple ProRes 422 et Apple ProRes 422 (HQ), et des codecs Apple sans compression 8 bits 4:2:2 et Apple sans compression 10 bits 4:2:2. Remarque : si vous avez installé une interface vidéo provenant d’AJA, vous devez voir une option supplémentaire, AJA Kona 10-bit RGB. Pris en charge à l’importation Pris en charge comme format original Pris en charge comme codec d’exportation Animation Non Non Codec intermédiaire Apple Oui Non Pixlet d’Apple Oui Non Apple ProRes 422 (HQ) Oui Oui Apple ProRes 422 (SQ) Oui Oui DVCPRO 50 - NTSC Oui Non DVCPRO 50 - PAL Oui Non DV - PAL Oui Non DV/DVCPRO - NTSC Oui Non DVCPRO - PAL Oui Non DVCPRO HD 1080i50 Oui Non DVCPRO HD 1080i60 Oui Non DVCPRO HD 1080p25 Oui Non DVCPRO HD 1080p30 Oui Non DVCPRO HD 720p50 Oui Non DVCPRO HD 720p60 Oui Non DVCPRO HD 720p Oui Non H.264 Non Non HDV 720p24 Non Non HDV 720p25 Non NonChapitre 4 Importation et gestion de projets et de données 101 Codecs QuickTime tiers compatibles pour l’importation Color prend également en charge les codecs de tiers suivants pour l’importation :  AJA Kona 10 bits Logarithmique RVB  AJA Kona 10 bits RVB Remarque : les codecs AJA Kona ne sont pas installés par QuickTime par défaut. Ils ne peuvent être obtenus qu’auprès d’AJA. HDV 720p30 Non Non HDV 1080p24 Non Non HDV 1080p25 Non Non HDV 1080p30 Non Non HDV 1080i60 Non Non HDV 1080i50 Non Non Photo - JPEG Oui Non MPEG IMX 525/60 (30 Mo/s) Non Non MPEG IMX 525/60 (40 Mo/s) Non Non MPEG IMX 525/60 (50 Mo/s) Non Non MPEG IMX 625/50 (30 Mo/s) Non Non MPEG IMX 625/50 (40 Mo/s) Non Non MPEG IMX 625/50 (50 Mo/s) Non Non Sans compression 8 bits 4:2:2 Oui Oui Sans compression 10 bits 4:2:2 Oui Oui XDCAM HD 1080i50 (35 Mbit/s VBR) Non Non XDCAM HD 1080i60 (35 Mbit/s VBR) Non Non XDCAM HD 1080p24 (35 Mbit/s VBR) Non Non XDCAM HD 1080p25 (35 Mbit/s VBR) Non Non XDCAM HD 1080p30 (35 Mbit/s VBR) Non Non Pris en charge à l’importation Pris en charge comme format original Pris en charge comme codec d’exportation102 Chapitre 4 Importation et gestion de projets et de données Codecs QuickTime compatibles pour la sortie Color sert à créer des images étalonnées de haute qualité qu’il est possible de réimporter dans Final Cut Pro pour générer une sortie sur bande, les convertir au format QuickTime ou les comprimer afin de pouvoir les utiliser dans DVD Studio Pro. C’est la raison pour laquelle la liste des codecs pris en charge pour le rendu dans des applications autres que Color est limitée aux codec haute qualité conçus pour la masterisation et l’échange des données.  Apple ProRes 422 : Codec bas débit avec compression de qualité élevée, pour la capture et la sortie. Il encode la vidéo sur 10 bits par canal avec un sous-échantillonnage de la couleur de 4:2:2. Il fonctionne à un débit binaire variable (VBR) de 35 à 50 Mbit/s, ce qui convient au mastering vidéo en définition standard. Il prend en charge n’importe quelle dimension d’image.  Apple ProRes 422 (HQ) : Version à plus haut débit du codec Apple ProRes 422. Il fonctionne à un débit binaire variable de 145 à 220 Mbit/s, ce qui convient au mastering vidéo en haute définition. Il prend en charge n’importe quelle dimension d’image.  Sans compression 8 bits 4:2:2 : Codec sans aucune compression, avec encodage sur 8 bits par canal et sous-échantillonnage de la chromie à 4:2:2. Il prend en charge n’importe quelle dimension d’image. Il convient au mastering vidéo de n’importe quel format.  Sans compression 10 bits 4:2:2 : Codec sans aucune compression, avec encodage sur 10 bits par canal et sous-échantillonnage de la chromie à 4:2:2. Il prend en charge n’importe quelle dimension d’image. Il convient au mastering vidéo de n’importe quel format. Color prend également en charge le codec de tierce partie suivant pour le rendu :  AJA Kona 10 bits RVB Remarque : les codecs AJA Kona ne sont pas installés par QuickTime par défaut. Ils ne peuvent être obtenus qu’auprès d’AJA. Vous pouvez effectuer le rendu de votre projet dans Color à l’aide d’un de ces codecs de mastering de qualité supérieure, quel que soit le codec ou le niveau de compression utilisé par les données sources. Cela vous permet de mettre en œuvre un flux de production dans le cadre duquel vous importez des données compressées dans Color, puis exportez la sortie étalonnée sous forme de données non compressées avant de renvoyer votre projet à Final Cut Pro. Vous pouvez ainsi économiser de l’espace disque et éviter la multiplication des opérations de rendu. Vous préservez, par ailleurs, la qualité des corrections effectuées à une profondeur de bits élevée lorsque vous effectuez le rendu de vos données de sortie avant de renvoyer votre projet à Final Cut Pro.Chapitre 4 Importation et gestion de projets et de données 103 Formats d’image compatibles Les formats d’image à encodage RVB suivants sont compatibles avec Color pour l’importation des séquences d’images : seuls les formats Cineon et DPX sont pris en charge pour le rendu des séquences d’images.  Cineon (importation et exportation) : format d’image de haute qualité mis au point par Kodak utilisé pour la numérisation, la manipulation et l’impression numériques des images enregistrées initialement sur film. Développé sous la forme d’un format logarithmique 10 bits pour mieux reproduire la plus grande amplitude d’exposition de la pellicule.  DPX (importation et exportation) : le format DXP (Digital Picture eXchange, Échange d’images numériques) est un dérivé du format Cineon. Il est également utilisé pour les flux de production numériques intermédiaires de haute qualité sans compression. Color prend en charge les fichiers image DPX et Cineon logarithmiques 8 bits et 10 bits.  TIFF (importation uniquement) : le format TIFF (Tagged Image File, Fichier image balisé) est un format d’image couramment utilisé sur diverses plates-formes pour les graphismes RVB. Color est compatible avec les séquences TIFF 16 bits. Choix du codec QuickTime à utiliser pour l’exportation Lorsque vous choisissez le codec à utiliser pour effectuer le rendu de la sortie finale, trois points doivent être pris en considération :  Si vous comptez générer la sortie à un format vidéo à haut débit (tel que Betacam SP, Digital Betacam, HDCAM ou HDCAM SR) et si vous recherchez la plus haute qualité vidéo possible, sans considération pour l’espace disque ou la puissance de l’ordinateur, exportez vos données à l’aide du codec Apple sans compression 10 bits 4:2:2.  Si vous comptez générer votre sortie dans un des formats vidéo mentionnés ci-dessus, mais si vous devez recourir à un format compressé pour économiser l’espace disque et favoriser les performances de votre ordinateur, vous pouvez exporter à l’aide des codecs Apple ProRes 422 (définition standard) ou Apple ProRes 422 (HQ) codec (haute définition), qui sont tous deux des codecs 10 bits et 4:2:2.  Si votre système n’est pas configuré pour générer en sortie de la vidéo à un débit aussi élevé, et si votre programme est à un format original compatible avec l’option Original Format du menu contextuel QuickTime Export Codecs de l’onglet Prjct Settings tab du studio Setup, vous pourrez effectuer le rendu avec le codec correspondant au format original de la séquence Final Cut Pro. Si le codec en question n’est pas pris en charge, le menu contextuel QuickTime Export Codecs pré- sente par défaut le codec Apple ProRes 422.104 Chapitre 4 Importation et gestion de projets et de données  JPEG (importation uniquement) : format d’image à haute compression créé par le Joint Photographic Experts Group (Groupe mixte d’experts photographiques). L’ampleur de la compression applicable peut varier. Toutefois, les rapports de compression plus élevés produisent des défauts visuels qui se manifestent sous la forme de blocs de même couleur. On se sert généralement du format JPEG pour les versions off line des séquences d’images, mais dans certains cas (lorsque la compression est minimale), il peut être utilisé dans un flux de production on line. Le format JPEG se limite à l’encodage 8 bits.  JPEG 2000 (importation uniquement) : mis au point en tant que format comprimé de haute qualité à des fins de production et d’archivage, le format JPEG 2000 recourt à la compression par ondelettes qui permet de réduire la taille de l’image tout en évitant les défauts visibles. Parmi ses avantages, on peut citer une plus haute qualité sur le plan visuel malgré des rapports de compression plus élevés, la possibilité de choisir entre des méthodes de compression avec ou sans perte de données, la prise en charge de l’encodage couleur linéaire 8 bits et 16 bits, le contrôle des erreurs et la normalisation des en-têtes de métadonnées pour les espaces colorimétriques et d’autres données. Conversion de séquences d’images Cineon et DPX au format QuickTime Vous pouvez vous servir de Color pour convertir des séquences d’images Cineon et DPX en fichiers QuickTime pour rendre plus faciles divers flux de production.  Si le point de départ de votre projet est constitué par des films numérisés en haute résolution au format 2K à l’aide d’un télécinéma avec stockage sur disques durs, vous pouvez convertir les fichiers ainsi obtenus en fichiers de données QuickTime équivalents de plus faible résolution que vous utiliserez pour le montage off line.  Si les données de votre projet sont déjà au format QuickTime mais que vous souhaitez obtenir une série de séquences d’images Cineon ou DPX, vous pouvez également effectuer cette conversion à une plus faible résolution. Lors de la conversion de séquences d’images Cineon et DPX en vidéo QuickTime haute définition ou définition standard (et vice versa), Color effectue automatiquement tous les conversions nécessaires d’espaces colorimétriques. Les données logarithmiques seront converties en données linéaires et il sera tenu compte des espaces colorimétriques Rec. 701 et 601.Chapitre 4 Importation et gestion de projets et de données 105 Pour convertir des séquences d’images Cineon ou DPX au format QuickTime : 1 Créez un projet vierge. 2 Ouvrez l’onglet Prjct Settings du studio Setup et suivez la procédure ci-dessous : a Cliquez sur Project Render Directory, choisissez un répertoire de rendu pour les données converties, puis cliquez sur Choose. b Dans le menu local Render File Type, choisissez QuickTime. c Dans le menu local Resolution Presets, choisissez une résolution. d Dans le menu local Export Codec, choisissez le codec auquel vous souhaitez convertir les séquences d’images. 3 À l’aide du Navigateur, insérez tous les plans que vous souhaitez convertir dans le plan de montage. 4 Au besoin, étalonnez les plans pour apporter toutes les corrections souhaitées aux données off line que vous générerez. Les données source issues de caméras ou de processus de transfert particuliers disposent parfois d’un ajustement spécifique de la correction des couleurs ou du contraste qui doit absolument leur être appliqué pour que leur affichage soit acceptable lors du montage. Si c’est le cas, vous pouvez vous servir d’une seule correction pour ajuster tous les plans à convertir (ce qui équivaut à un transfert avec une seule lumière). Dans d’autres cas, il sera préférable de corriger chaque plan de manière individuelle avant la conversion afin de disposer de données de la plus haute qualité possible sur le plan visuel pour le processus de montage (ce qui équivaut à un transfert avec la meilleure lumière). ? Conseil : pour appliquer rapidement une seule correction à chacun des plans qui se trouvent dans le plan de montage, étalonnez un plan représentatif dans le studio Primary In, puis cliquez sur Copy to All. 5 Ouvrez la file d’attente de rendu (Render Queue), puis cliquez sur Add All. 6 Cliquez sur Start Render. Tous les plans sont convertis et la sortie rendue est enregistrée dans le répertoire de rendu actuellement spécifié.106 Chapitre 4 Importation et gestion de projets et de données Importation des corrections de couleurs La commande Import > Color Corrections permet d’appliquer les jeux d’étalonnage et les corrections de couleurs utilisées pour les plans d’un fichier de projet à ceux d’un autre projet. Cette commande est destinée à être utilisée sur les projets Color qui reposent sur la même source. Ainsi, si vous importez une nouvelle version d’un projet sur lequel vous avez déjà travaillé, vous pouvez la mettre à jour avec tous les jeux d’étalonnage appliqués au projet précédent. Pour importer les corrections de couleurs d’un projet dans un autre : 1 Ouvrez le projet Color dans lequel vous voulez importer les corrections. 2 Choisissez File > Import > Color Corrections. 3 Dans la zone de dialogue Projects, sélectionnez le projet Color contenant les corrections que vous voulez importer, puis cliquez sur Load. Les plans du projet qui se trouve ouvert sont mis à jour avec les corrections de couleurs de l’autre fichier de projet. Exportation d’images JPEG Color offre également la possibilité d’exporter un fichier JPEG correspondant à l’image sur laquelle se trouve la tête de lecture. Pour exporter un fichier JPEG correspondant à l’image sur laquelle se trouve actuellement la tête de lecture : 1 Placez la tête de lecture sur l’image à exporter. 2 Choisissez Export > JPEG Still. 3 Saisissez un nom dans le champ File, puis sélectionnez un répertoire à l’aide de la zone de dialogue Save Still As. Remarque : cette zone de dialogue indique par défaut le sous-répertoire Still Store à l’intérieur du paquet du projet. 4 Cliquez sur Save. L’image est enregistrée au format JPEG à l’emplacement que vous avez sélectionné.5 107 5 Setup (Configuration) Avant de commencer à travailler sur votre projet, prenez quelques instants pour configurer votre environnement de travail et vos réglages de projet Color dans le studio Setup. Le studio Setup remplit de nombreuses fonctions. Il permet d’importer des fichiers de données, de trier et de gérer les jeux d’étalonnage enregistrés, d’organiser les plans utilisés dans votre programme et d’effectuer des recherches parmi ceux-ci, de choisir le rendu et les réglages de seuils de diffusion de votre projet, ou bien encore d’ajuster les préférences d’utilisateur. Les rubriques suivantes seront abordées au cours de ce chapitre :  Le navigateur de fichiers (p. 108)  Le navigateur de plans (p. 109)  Chutier des jeux d’étalonnage (p. 115)  Onglet Project Settings (p. 115)  Onglet Messages (p. 121)  Onglet User Preferences (p. 122)108 Chapitre 5 Setup (Configuration) Le navigateur de fichiers Le navigateur de fichiers (File Browser), qui occupe la moitié gauche du studio Setup, vous permet de naviguer directement dans la structure de répertoires de votre disque dur. C’est comme si vous disposiez d’un Finder miniature ici même dans le studio Setup. Il est important de ne pas oublier que le navigateur de fichiers n’est pas un chutier. Les fichiers qu’il affiche ne sont pas associés à votre projet Color aussi longtemps que vous ne les faites pas glisser manuellement dans la timeline ou que vous ne rétablissez pas le lien entre les plans d’un projet importé et les fichiers de données associés figurant sur disque au moyen des commandes Relink Media ou Reconnect Media. Par défaut, il affiche le contenu du répertoire de données par défaut au démarrage de Color.  Bouton Up Directory : permet de passer dans le répertoire parent du chemin d’accès en cours.  Bouton Home Directory : permet de passer dans le répertoire de données par défaut actuellement défini. Pour en savoir plus sur l’utilisation du navigateur de fichiers, consultez la section « Importation de données directement dans le plan de montage » à la page 99. Pour plus d’informations sur l’importation des données de projet à partir d’autres applications, consultez le chapitre 4, « Importation et gestion de projets et de données », à la page 83.Chapitre 5 Setup (Configuration) 109 Le navigateur de plans Le navigateur de plans (Shots browser) affiche chaque plan utilisé par le programme en cours qui apparaît dans la timeline. Vous pouvez employer ce chutier pour trier les plans de votre programme au moyen de différents critères, sélectionner un groupe de plans auxquels une opération doit être appliquée ou choisir un plan quel que soit l’endroit où il apparaît dans la timeline.  Bouton Icon View : cliquez sur ce bouton pour afficher sous forme d’icône la zone de plan.  Bouton List View : cliquez sur ce bouton pour afficher sous forme de liste la zone de plan.  Shots Browser : chaque plan de votre projet s’affiche dans ce navigateur, sous la forme d’une vignette ou d’une entrée (dans la vue sous forme de liste). Plan en cours et plans sélectionnés Les icônes ou les entrées du navigateur de plans ont une certaine couleur selon l’état qui leur a été affecté.  Gris foncé : le plan n’est actuellement ni affiché, ni sélectionné.  Gris clair : le plan se trouvant actuellement au niveau de la tête de lecture est considéré comme le plan en cours. Il est mis en évidence en gris dans la timeline globale et celle du navigateur de plans. Le plan en cours est celui qui est affiché et corrigé lorsque les commandes d’un studio sont réglées.  Cyan : vous pouvez sélectionner des plans autres que celui en cours. Les plans sélectionnés sont mis en évidence en cyan dans la timeline et le navigateur de plans. Pour gagner du temps, vous pouvez appliquer en même temps des jeux d’étalonnage et des corrections à plusieurs plans sélectionnés.110 Chapitre 5 Setup (Configuration) Champs Goto et Find Les champs Goto Shot et Find vous permettent d’atteindre et de rechercher des plans spécifiques de votre projet. Ces champs s’affichent dans le navigateur de plans en mode Icône ou Liste. Pour atteindre un plan spécifique : m Saisissez une valeur dans le champ Goto Shot, puis appuyez sur Entrée. La liste défile vers le bas pour afficher le plan correspondant à cette valeur et ce dernier est automatiquement sélectionné. La tête de lecture se place sur la première image du plan dans la timeline. Pour rechercher un plan spécifique : 1 Cliquez sur l’en-tête de la colonne de données dans laquelle vous souhaitez effectuer la recherche. 2 Saisissez un nom dans le champ Search. Dès que vous commencez à taper, le contenu du navigateur de plans est supprimé, à l’exception des éléments correspondant aux critères de recherche. À mesure que vous continuez la saisie, le navigateur de plans est mis à jour de façon dynamique pour afficher la liste actualisée des éléments correspondants. Remarque : toutes les recherches sont effectuées à partir du premier caractère de données de la colonne sélectionnée, de la gauche vers la droite. La fonction de recherche ne distingue pas les majuscules des minuscules. Pour afficher tous les plans après une opération de recherche : m Sélectionnez l’intégralité du texte dans la zone Find, puis appuyez sur Suppr. Tous les plans doivent réapparaître dans le navigateur de plans.Chapitre 5 Setup (Configuration) 111 En-têtes de colonnes Lorsque le navigateur de plans est en mode d’affichage Liste, jusqu’à neuf colonnes d’information sont visibles.  Number : affiche la position d’un plan dans le montage. 1 correspond au premier plan, 2 au deuxième, etc.  Shot Name : nom du plan, basé sur le nom de fichier correspondant.  Colorist : affiche le nom présent dans le champ Colorist des réglages du projet lorsque le plan a été corrigé pour la dernière fois. Cette colonne permet de garder la trace des personnes ayant travaillé sur tel ou tel plan lorsque plusieurs coloristes sont affectés à un projet.  Status : affiche l’état du rendu du plan. Vous pouvez cliquer avec le bouton droit de la souris sur cette colonne pour tout plan sélectionné et choisir un nouvel état dans le menu contextuel. Les cinq états possibles d’un plan sont les suivants :  Queued : le plan a été ajouté à la file d’attente de rendu.  Rendering : un rendu est actuellement appliqué au plan.  Rendered : le rendu a été correctement appliqué au plan.  To Do : le plan n’a pour l’instant été corrigé dans aucun studio.  Aborted : le rendu de ce plan a été arrêté.  Reconform : indique si le plan a été concerné par une opération de reconformation (remise en conformité). Vous pouvez par exemple effectuer un tri en fonction de cette colonne pour identifier et atteindre rapidement les nouveaux plans qui, ayant été ajoutés à la timeline à la suite d’une opération de reconformation, n’ont pas encore été étalonnés. Pour en savoir plus sur la reconformation d’un projet, consultez la section « Reconformation de projets » à la page 94. Les messages de reconformation possibles sont les suivants :  Shorten : le plan a été raccourci.  Content Shift : la durée et la position du plan dans la timeline sont identiques, mais son contenu a été décalé.  Moved : le plan a été déplacé dans la timeline.  Added : le plan a été ajouté au projet.  Time Spent : cette colonne apparaît uniquement lorsque le bouton Show Time figurant sous le navigateur de plans est activé. Elle indique le temps consacré à l’étalonnage de ce plan particulier. Color enregistre le temps que vous avez passé sur chacun des plans de chaque programme de façon à vous permettre de contrôler l’efficacité de votre travail.  Notes : la colonne Notes fournit une interface permettant d’enregistrer et de rappeler les notes textuelles relatives à des plans spécifiques. Les plans associés à des notes s’affichent avec une coche dans cette colonne.112 Chapitre 5 Setup (Configuration) Personnalisation du navigateur de plans Les procédures ci-dessous montrent comment vous pouvez trier et modifier le contenu du navigateur de plans. Pour trier le contenu du navigateur de plan en fonction d’une de ses colonnes : m Cliquez sur l’en-tête d’une colonne pour trier les données en fonction de cette dernière. Les plans sont triés dans l’ordre décroissant uniquement. Les nombres ont la priorité sur les lettres, tout comme les majuscules sur les minuscules. Pour redimensionner une colonne dans le navigateur de plans : m Faites glisser la bordure droite de la colonne à redimensionner. Pour afficher ou masquer la colonne Time Spent : m Cliquez sur le bouton Show Time figurant sous le navigateur de plans.Chapitre 5 Setup (Configuration) 113 Ajout de notes aux plans Color offre une interface permettant de conserver les notes des clients ou des responsables techniques concernant des plans spécifiques à mesure que vous travaillez sur un projet. Pour ajouter une note à un plan ou bien encore pour lire ou modifier une note existante : 1 Ouvrez le navigateur de plans dans le studio Setup. 2 Cliquez tout en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur la colonne Notes du navigateur de plans, puis choisissez Edit File dans le menu contextuel. Une fenêtre d’édition de texte normal s’affiche. 3 Entrez le texte de votre choix. 4 Pour enregistrer et fermer la note, effectuez une des opérations suivantes :  Appuyez sur la touche S tout en maintenant la touche Commande enfoncée et fermez la fenêtre.  Fermez la fenêtre et cliquez sur Save à partir de la feuille de dépôt. Lorsqu’une note a été ajoutée à un plan, une coche apparaît dans la colonne Notes. Pour supprimer une note d’un plan : m Cliquez tout en maintenant la touche Contrôle enfoncée (ou cliquez avec le bouton droit de la souris) sur la colonne Notes du navigateur de plans, puis choisissez Delete File dans le menu contextuel. Remarque : les notes sont enregistrées dans le sous-répertoire de ce plan particulier (dans le sous-répertoire /shots/ de cet ensemble de projets). Lors de la suppression d’une note, le fichier associé est également supprimé. Sélection de plans et navigation dans la timeline à l’aide du navigateur de plans Vous pouvez utiliser le navigateur de plans pour rechercher et sélectionner efficacement des plans spécifiques (par exemple, pour appliquer simultanément un même jeu d’étalonnage à un groupe de plans). Il vous permet également d’atteindre rapidement un plan particulier dans la timeline. Ces procédures fonctionnent que le navigateur de plans soit en mode d’affichage Icône ou Liste.114 Chapitre 5 Setup (Configuration) Pour sélectionner un ou plusieurs plans, effectuez une des opérations suivantes : m Cliquez sur un plan du navigateur de plans pour le sélectionner. m Cliquez sur un groupe de plans tout en appuyant sur la touche Commande pour sélectionner un groupe de plans non contigu. m Cliquez sur un plan, puis cliquez sur un second tout en appuyant sur la touche Maj pour sélectionner un ensemble contigu de plans depuis la première sélection jusqu’à la seconde. Les plans sélectionnés s’affichent avec une incrustation de couleur cyan. Pour atteindre un plan spécifique de la timeline à l’aide du navigateur de plans : m Double-cliquez sur un plan. m Saisissez une valeur dans la zone Goto Shot. Le nouveau plan en cours s’affiche en gris dans le navigateur de plans et la tête de lecture se positionne sur la première image de ce plan dans la timeline. Ce plan peut maintenant être corrigé à l’aide de l’un des studios de Color.Chapitre 5 Setup (Configuration) 115 Chutier des jeux d’étalonnage Le chutier des jeux d’étalonnage (Grades) vous permet d’enregistrer et de gérer les jeux d’étalonnage utilisables dans vos programmes. Comme indiqué au chapitre 3, un jeu d’étalonnage peut contenir une ou plusieurs des corrections individuelles suivantes :  Primary  Secondary  Color FX  Primary Out L’application d’un jeu d’étalonnages à un ou plusieurs plans permet d’apporter simultanément de nombreuses corrections. Les jeux d’étalonnage enregistrés dans le chutier sont disponibles pour tous les projets Color ouverts alors que la connexion à ce compte d’utilisateur était établie. Ce chutier permet d’afficher les jeux d’étalonnage sous forme d’icône ou de liste. Comme les autres chutiers de Color, il offre des commandes qui permettent son organisation à l’aide de sous-répertoires et grâce auxquelles vous pouvez naviguer dans le structure de fichiers ainsi obtenue. Pour en savoir plus sur l’utilisation des commandes du chutier des jeux d’étalonnage, consultez la section « Navigateurs et chutiers pour organiser les fichiers » à la page 75. Pour en savoir plus sur l’enregistrement et l’application des jeux d’étalonnages, consultez la section « Enregistrement de jeux d’étalonnage dans le chutier des jeux » à la page 302. Onglet Project Settings Les options de l’onglet Project Settings sont enregistrées individuellement pour chaque projet. Elles vous permettent de consigner des informations supplémentaires sur le projet, ainsi que de régler son affichage et le mode de rendu de ses plans.116 Chapitre 5 Setup (Configuration) Réglages relatifs aux informations sur le projet et au répertoire de rendu Ces réglages fournissent des informations sur Color et sur votre projet. Ils vous permettent en outre de définir le répertoire dans lequel les données générées par le projet sont enregistrées.  Project Name : nom du projet. Par défaut, ce nom correspond à celui du fichier de projet figurant sur le disque, mais vous pouvez le remplacer par le nom de votre choix. Le changement du nom du projet n’affecte pas le nom du fichier de projet.  Render Directory : le répertoire de rendu est le répertoire par défaut où sont stockés les fichiers de données du projet auxquels le rendu a été appliqué. Pour en savoir plus sur le rendu des projets Color, consultez le chapitre 17, « File d’attente de rendu », à la page 361.  Bouton Project Render Directory : ce bouton vous permet de sélectionner un nouveau répertoire de rendu pour le projet au moyen de la zone de dialogue Choose Project Render Directory.  Colorist : ce champ vous permet d’enregistrer le nom du coloriste travaillant actuellement sur le projet. Cette information est utile pour savoir qui travaille sur tel ou tel projet dans des installations de postproduction à plusieurs suites ou pour déterminer quand un fichier de projet est transféré d’une installation vers une autre.  Client : ce champ vous permet d’enregistrer le nom du client auquel le projet appartient. Réglages de la résolution et du codec Ces réglages vous permettent de configurer les propriétés d’affichage et de rendu de votre projet. Ils modifient la façon dont le rendu du projet est effectué à des fins d’affichage et le moment où le rendu est appliqué à la sortie finale.  Display LUT : une table de correspondance d’affichage est un fichier contenant des informations de réglage de la couleur qui est généralement utilisé pour modifier l’image contrôlée s’affichant sur les écrans d’aperçu et de diffusion. Les tables de correspondance peuvent être générées pour calibrer votre affichage à l’aide de sondes matérielles et permettent également de le mettre en correspondance avec d’autres supports d’imagerie caractérisés, parmi lesquels les systèmes de projection numériques et les flux d’impression de film. Si vous avez chargé une table de correspondance d’affichage dans le cadre d’un flux de gestion des couleurs, ce champ vous indique le fichier de table de correspondance utilisé. Pour en savoir plus sur la gestion des tables de correspondance, consultez le chapitre 6, « Contrôle », à la page 133.  Frame Rate : ce champ affiche la fréquence d’images définie pour le projet. La fréquence d’images de votre projet est définie lors de la création de ce dernier et peut être modifiée par le biais d’un menu local à condition qu’aucun plan n’apparaisse dans la timeline. Après l’ajout d’un ou de plusieurs plans dans la timeline, la fréquence d’images du projet ne peut pas être modifiée.Chapitre 5 Setup (Configuration) 117  Menu local Resolution Presets : ce menu affiche toutes les résolutions de projet prises en charge par Color, parmi lesquelles les tailles d’image 2K, haute définition et de définition standard PAL et NTSC. Les options disponibles dans ce menu sont parfois limitées par le codec d’exportation QuickTime sélectionné. Si le codec d’exportation QuickTime sélectionné autorise les tailles d’image personnalisées, les champs de largeur et de hauteur présentés ci-dessous peuvent être modifiés. Si tel n’est pas le cas, ces champs ne sont pas modifiables. Si ces champs sont réglés sur une taille d’image définie par l’utilisateur, le menu local Resolution Presets affiche la mention « custom » (personnalisé).  Width : largeur actuellement sélectionnée pour la dimension de l’image.  Height : hauteur actuellement sélectionnée pour la dimension de l’image.  Printing Density : ce menu local apparaît uniquement lorsque le projet en cours est réglé pour utiliser les séquences d’images Cineon ou DPX. Il vous permet de choisir explicitement la plage numérique des valeurs qui sont utilisées pour traiter la couleur de façon à assurer la compatibilité avec votre flux de données (« pipeline ») de postproduction. Ces options déterminent le réglage des points noir et blanc dans les données dont le rendu est effectué par Color. Trois options sont disponibles :  Film (95 Black – 685 White : Logarithmic)  Video (65 Black – 940 White : Linear)  Linear (0 Black – 1023 White)  Render File Type : ce paramètre est automatiquement réglé en fonction du type de donnée utilisé par votre projet. Si vous envoyez un projet à partir de Final Cut Pro, il est défini sur QuickTime et ne peut pas être modifié. Si vous créez un projet Color à partir de zéro, ce menu local vous permet de choisir le format de rendu des données finales. Si vous travaillez sur des projets de film 2K utilisant des séquences d’images, vous choisirez probablement Cineon ou DPX, tandis que vous effectuerez très vraisemblablement le rendu des projets vidéo sous la forme de fichiers QuickTime.  Deinterlace Renders : lorsque cette option est activée, tous les plans affichés sur les écrans d’aperçu et de diffusion sont désentrelacés, de même que les données dont le rendu est effectué par Color.118 Chapitre 5 Setup (Configuration)  Deinterlace Previews : lorsque cette option est activée, tous les plans affichés sur les écrans d’aperçu et de diffusion sont désentrelacés, mais les données dont le rendu est effectué à partir de Color restent entrelacées.  Menu local QuickTime Export Codecs : si QuickTime est sélectionné dans le menu local Render File Type, ce menu vous permet de choisir le codec que vous allez utiliser pour effectuer le rendu des données à partir de votre projet. Si on sélectionne Original Format, le codec d’exportation est automatiquement le codec spécifié dans les réglages de la séquence Final Cut Pro d’origine (cette option n’est disponible que lorsqu’on utilise la commande « Send to Color », ou lorsqu’on importe un fichier XML exporté depuis Final Cut Pro). Le codec d’exportation QuickTime ne doit pas nécessairement correspondre au codec employé par les données source. Vous pouvez vous en servir pour convertir données à un format très peu compressé ou non compressé. Ce menu local affiche une liste limitée aux codecs QuickTime actuellement pris en charge pour le rendu des données à partir de Color. À propos du désentrelaçage Le désentrelaçage dans Color s’effectue très simplement, en faisant la moyenne des deux champs de façon à créer une image unique. L’image qui en résulte peut sembler estompée. Remarque : un paramètre de désentrelaçage est également disponible pour chaque plan de l’onglet Shot Settings en regard de la Timeline. Il vous permet de désentrelacer de façon sélective des plans individuels sans appliquer cette opération à tout le programme. Pour en savoir plus, consultez la section « Onglet Settings 2 » à la page 159. Choix du codec QuickTime à utiliser pour l’exportation Vous pouvez effectuer le rendu de votre projet dans Color à l’aide d’un de ces codecs de mastering de qualité supérieure, quel que soit le codec ou le niveau de compression utilisé par les données sources. Vous pouvez faire appel au menu local QuickTime Export Codecs pour simplifier un flux de production dans lequel vous importez des données compressées dans Color, puis exportez la sortie corrigée sous forme de données non compressées pour le renvoi du projet à Final Cut Pro. Vous pouvez ainsi économiser de l’espace disque et éviter la multiplication des opérations de rendu. Vous préservez, par ailleurs, la qualité des corrections effectuées à une profondeur de bits élevée lorsque vous effectuez le rendu de vos données de sortie avant de renvoyer votre projet à Final Cut Pro. Les codecs les plus indiqués pour le mastering sont les codecs Apple sans compression 8 bits 4:2:2, Apple sans compression 10 bits 4:2:2, Apple ProRes 422 et Apple ProRes 422 (HQ).Pour en savoir plus, consultez la section « Codecs QuickTime compatibles pour la sortie » à la page 102.Chapitre 5 Setup (Configuration) 119 Réglages de seuils de diffusion (Broadcast Safe) Ces réglages de seuils de diffusion vous permettent de configurer Color de façon à limiter les valeurs minimale et maximale de la luminance, de la chrominance et des signaux composites des plans de votre programme. Ils sont tous intégralement personnalisables en fonction de toute norme de contrôle qualité et empêchent la violation de ce type de norme.  Bouton Broadcast Safe : l’activation des réglages Broadcast Safe permet la légalisation des diffusions pour l’ensemble du projet, modifiant à la fois la façon dont le projet s’affiche sur votre écran secondaire et votre écran de diffusion et la façon dont son rendu est effectué pour la sortie finale. Ce bouton permet d’activer et de désactiver les réglages suivants :  Ceiling IRE : indique le niveau de luminance maximum autorisé, en unités IRE analogiques. Les signaux dont la luminance est supérieure à cette limite seront réglés en fonction de cette valeur maximale.  Floor IRE : indique le niveau de luminance minimum autorisé, en unités IRE analogiques. Les signaux dont la luminance est inférieure à cette limite seront réglés en fonction de cette valeur minimale.  Amplitude : cette fonction n’est pas restrictive. Elle permet au contraire d’appliquer un réglage à l’amplitude de la chrominance. La valeur par défaut 0 n’entraîne aucune modification.  Phase : vous permet d’ajuster la phase de chrominance. Si l’amplitude est réglée sur 0, aucune modification n’est effectuée.  Offset : permet d’ajuster le décalage d’un réglage de la chrominance. Si l’amplitude est réglée sur 0, aucune modification n’est effectuée.  Chroma Limit : définit la saturation maximale autorisée. La chrominance des signaux dont la saturation est supérieure à cette limite sera réglée en fonction de cette valeur maximale.  Composite Limit : définit la combinaison maximale autorisée pour la luminance et la chrominance. Les signaux dépassant cette limite seront réglés en fonction de cette valeur maximale. Les réglages de seuils de diffusion limitent la plage de données source non corrigées de votre projet et vous empêchent par ailleurs d’introduire par inadvertance des valeurs non autorisées lorsque vous effectuez des corrections. Vous pouvez limiter les niveaux de diffusion de trois façons différentes dans votre programme.120 Chapitre 5 Setup (Configuration) Activer les réglages Broadcast Safe et les maintenir activés pendant toute la durée de votre travail La façon la plus sûre de travailler (et le comportement par défaut des nouveaux projets) consiste simplement à activer les réglages Broadcast Safe lorsque vous commencez à travailler et à les maintenir activés pendant toute la phase d’étalonnage. Avec un peu de pratique, vous pourrez déterminer si un ton clair ou une ombre est trop écrasé en visualisant l’image sur le moniteur et en vérifiant si des valeurs ne sont pas accumulées en haut et en bas des graphiques affichés sur l’oscilloscope Waveform. Si l’image est coupée de façon excessive, vous pouvez effectuer une correction pour ajuster le signal. Désactiver les réglages Broadcast Safe pendant la correction, puis les activer de nouveau pour la sortie Si vous activez tout de suite les réglages Broadcast Safe, les parties non autorisées du signal sont immédiatement restreintes et il peut être difficile de déterminer exactement la quantité de données coupées. Lorsque vous étalonnez des données qui ont été enregistrées de façon homogène avec des niveaux de super blanc et une chrominance élevée, il peut être préférable de désactiver les réglages Broadcast Safe lors de la phase d’étalonnage initiale, de façon à identifier plus facilement les parties du signal hors limites et à déterminer plus judicieusement comment ce dernier doit être légalisé. Une fois la phase initiale terminée, vous pourrez réactiver les réglages Broadcast Safe pour faire obstacle aux niveaux parasites. Vous serez ainsi sûr de ne pas trop restreindre l’image. Activer le bouton Enable Clipping pour des plans individuels de votre programme Le bouton Enable Clipping de l’onglet Basic du studio Primary Out vous permet de définir des valeurs plafonds pour les canaux rouge, vert et bleu des différents plans de votre programme. Vous pouvez ainsi empêcher la présence de valeurs de diffusion non autorisées dans les plans auxquels vous appliquez des corrections Primary, Secondary ou Color FX extrêmes, sans activer les réglages Broadcast Safe pour tout le programme. Si les réglages Enable Clipping et Broadcast Safe sont tous les deux activés, la norme de niveau inférieur s’applique. Pour en savoir plus, consultez la section « Utilisation des commandes de plafonnement » à la page 298.Chapitre 5 Setup (Configuration) 121 Important : le processus de légalisation des diffusions employé par Color a pour but de conserver les détails de l’image tout en empêchant les niveaux de diffusion non autorisés. Comme dans tout système d’étalonnage, le fait de pousser les réglages au-delà d’un certain point entraîne des couleurs noires uniformément écrasées, des couleurs blanches éclatées et des zones de couleur ternes. Il convient toutefois de préciser que cette opération est souvent utilisée pour obtenir un effet stylistique. Réglages de rendu Ce réglage modifie la façon dont le rendu des données est effectué à partir de Color.  Handles : ce champ vous permet d’indiquer une durée pour les données supplémentaires à ajouter au début et à la fin de chaque fichier de données dont le rendu est effectué à partir de Color. Lorsqu’un projet est renvoyé dans Final Cut Pro, les poignées permettent aux monteurs d’effectuer de petits ajustements et de continuer à disposer de données corrigées. La valeur par défaut est 00 :00 :01 :00. Onglet Messages L’onglet Messages contient la liste courante de tous les avertissement et messages d’erreur générés par Color pendant son fonctionnement. Les messages affichés en jaune sont des avertissements. Les messages affichés en rouge indiquent qu’une erreur est survenue (par exemple, « Directory not writable trying to re-save a project »). L’onglet Messages ne comporte pas de commande. À propos des seuils de diffusion (Broadcast Safe) Lorsque vous procédez à l’étalonnage de tout programme devant être diffusé, il est important d’obtenir auprès de l’organisme de diffusion les recommandations de contrôle qualité spécifiques à votre travail. Diverses normes existent pour les niveaux maximum et minimum autorisés pour les valeurs IRE, la chrominance et l’amplitude des signaux composites, et certains organismes de diffusion sont plus conservateurs que d’autres. Les paramètres associés aux seuils de diffusion peuvent être réglés de façon à correspondre aux recommandations de contrôle qualité requises. Lorsqu’ils sont activés, ils garantissent le respect de ces normes par votre programme lors du contrôle de ce dernier et du rendu des données corrigées finales. 122 Chapitre 5 Setup (Configuration) Onglet User Preferences L’onglet User Preferences contient des réglages ayant une incidence sur le fonctionnement de Color pour tout projet ouvert. Il inclut des options permettant de personnaliser la sensibilité de la surface de contrôle, l’affichage de la timeline, le fonctionnement de la lecture, la sortie vidéo, de même que la profondeur de bits utilisée pour l’affichage et le rendu. L’état de chacun de ces réglages est automatiquement enregistré chaque fois qu’ils sont modifiés. Si nécessaire, vous pouvez restaurer leur valeur d’origine. Pour redéfinir les préférences d’utilisateur par défaut : m Cliquez sur Revert en bas de l’onglet User Preferences. Répertoires de données et de projets Les répertoires de données et de projets vous permettent de contrôler l’emplacement où les nouveaux fichiers sont enregistrés par défaut.  Default Project Dir. : répertoire par défaut où sont enregistrés tous les nouveaux projets Color. Il s’agit également du répertoire par défaut figurant dans les zones de dialogue associées aux commandes Import EDL et Import XML. Cliquez sur le bouton Browse pour choisir un nouveau répertoire.  Default Media Dir. : répertoire par défaut du navigateur de fichiers. Il s’agit également de l’emplacement de données par défaut qui est utilisé par les commandes Import EDL et Import XML. Cliquez sur le bouton Browse pour choisir un nouveau répertoire.  Default Render Dir. : répertoire par défaut des données dont le rendu est effectué par Color pour l’exportation. Cliquez sur le bouton Browse pour choisir un nouveau répertoire. Réglages de la surface de contrôle Si vous utilisez une surface de contrôle avec Color, les paramètres ci-dessous vous permettent de régler la correspondance entre le mouvement appliqué à une commande particulière et le réglage effectif qui en résulte.  Hue Wheel Angle : ce paramètre indique l’angle selon lequel les couleurs apparaissent sur la roue des couleurs des commandes de couleur de l’interface Color et l’angle correspondant selon lequel ces couleurs sont ajustées lors de l’utilisation des dispositifs de commande (boules de commande) d’une surface de contrôle. Il est personnalisable de façon à s’adapter aux exigences des coloristes familiarisés avec diffé- rents systèmes :  122 est l’angle par défaut de la couleur rouge pour les systèmes d’étalonnage DaVinci. Il correspond à l’angle d’affichage du rouge sur un vecteurscope. Il s’agit du réglage Color par défaut.Chapitre 5 Setup (Configuration) 123  0 est l’angle par défaut de la couleur rouge pour les systèmes d’étalonnage Pogle ; il correspond à l’orientation des commandes de l’ancien équipement de télécinéma Mk III.  Encoder Sensitivity : ce paramètre contrôle la vitesse à laquelle la valeur des commandes Color est modifiée suite à la rotation des potentiomètres d’une surface de contrôle.  Jog/Shuttle Sensitivity : ce paramètre contrôle la vitesse à laquelle la tête de lecture se déplace par rapport à l’amplitude de la rotation appliquée à la roue Jog/Shuttle d’une surface de contrôle.  Joyball Sensitivity : ce paramètre contrôle la vitesse de réglage des commandes de couleur Shadows, Midtones et Highlights dans les studios Primary In, Secondary et Primary Out lorsque vous utilisez les dispositifs de commande (boules de commande) d’une surface de contrôle. Le réglage par défaut 1 correspond à une vitesse très lente. Augmentez cette valeur pour effectuer plus rapidement les corrections en appliquant le même mouvement au dispositif de commande. Réglages de l’interface utilisateur Les réglages ci-dessous vous permettent de personnaliser l’interface Color.  UI Saturation : cette valeur contrôle le niveau de saturation des commandes affichées dans l’interface utilisateur Color. De nombreux coloristes la réduisent pour éliminer la fatigue visuelle et empêcher toute altération éventuelle de leur perception des couleurs lors des sessions. La saturation de l’interface utilisateur modifie également l’intensité des couleurs affichées par la fenêtre Scopes lorsque l’option Monochrome Scopes est désactivée.  Frames/Seconds/Minutes/Hours : ces boutons vous permettent de choisir le mode d’affichage de l’heure dans la réglette de la timeline. Ils n’ont pas d’incidence sur la façon dont l’heure est représentée dans les autres champs de timecode de Color.  Show Shots Name : si vous activez cette option, le nom de chaque plan s’affiche dans le plan de montage. Angle de la roue des couleurs à 122° Angle de la roue des couleurs à 0°124 Chapitre 5 Setup (Configuration)  Show Shots Number : l’activation de ce réglage permet d’afficher le numéro de chaque plan dans la timeline.  Show Shots Beauty Frame : si vous activez cette option, des vignettes à image unique apparaissent à l’intérieur de chacun des plans qui se trouvent dans le plan de montage.  Loop During Playback : l’activation de ce réglage permet la lecture en boucle depuis le point d’entrée en cours jusqu’au point de sortie de la timeline. L’effet de ce réglage sur la lecture dépend de la façon dont le mode de lecture est défini. Pour en savoir plus, consultez la section « Choix du mode de lecture » à la page 152.  Maintain Framerate : ce réglage détermine si des images sont abandonnées pour maintenir la fréquence d’images du projet lors de la lecture.  Si le réglage Maintain Framerate est activé (par défaut), la fréquence d’images du plan actuel est respectée quel que soit la charge de travail supportée par le processeur. Si le jeu d’étalonnage choisi pour le plan en cours de lecture requiert une grande quantité de ressources processeur, certaines images seront ignorées pendant la lecture afin de maintenir la fréquence d’images du projet. Dans le cas contraire, la lecture a lieu en temps réel.  Si le réglage Maintain Framerate est désactivé, chaque image est systématiquement lue. Si le niveau de lecture consomme beaucoup de ressources processeur, le processus de lecture ralentit pour éviter la perte d’images. Dans le cas contraire, la lecture peut en fait s’effectuer plus rapidement qu’en temps réel.  Synchronize Refresh (slower) : l’activation de cette option permet d’éliminer les artefacts d’actualisation vidéo de l’image contrôlée (ceux-ci peuvent se présenter sous la forme de « déchirures » de l’image vidéo). Cette option ne réduit que légèrement les performances de lecture, ce qui résulte en une pénalité d’environ 1 ips. Les paramètres ci-dessous utilisent des commandes de couleur miniatures qui fonctionnent comme celles décrites dans la section « Utilisation des commandes Color Balance » à la page 209.  Commande de couleur Grade Complete : couleur affichée dans la barre de rendu de la timeline pour les plans auxquels le rendu a été appliqué. La couleur par défaut est le vert.  Commande de couleur Grade Cued : couleur affichée dans la barre de rendu de la timeline pour les plans qui ont été ajoutés à la file d’attente de rendu, mais dont le rendu n’a pas encore été effectué. La couleur par défaut est le jaune.  Commande de couleur Grade Aborted : couleur affichée dans la barre de rendu de la timeline pour les plans dont le rendu a été arrêté. La couleur par défaut est le rouge.Chapitre 5 Setup (Configuration) 125  Monochrome Scopes : l’activation de cette option permet de tracer les graticules du vidéoscope avec une seule couleur (indiquée par l’option Scope Color ci-dessous). La plupart des coloristes préfèrent cet affichage pour éviter la fatigue visuelle. Par ailleurs, cette option supprime l’affichage en couleur du vecteurscope. Ceux qui souhaitent disposer d’un affichage en couleur dans les oscilloscopes ont également la possibilité de définir le réglage UI Saturation sur une intensité moins élevée.  Scope Color : cette commande de couleur vous permet de régler la couleur utilisée pour tracer les graticules du vidéoscope lorsque l’option Monochrome Scopes est activée.  Limit Shadow Adjustments : lorsque cette option est activée, une atténuation est appliquée à la couleur Shadows et les réglages de contraste tels que les valeurs de 0 pour cent (noir pur) reçoivent 100 pour cent de la correction, tandis que les valeurs de 100 pour cent (blanc pur) reçoivent 0 pour cent de la correction. Lorsque cette option est désactivée, les réglages de la couleur Shadows et des commandes de contraste sont appliqués de façon uniforme à toute l’image.  Show Control Surface Dialog : lorsque vous activez cette option, la zone de dialogue Control Surface Startup s’ouvre immédiatement, vous permettant de choisir une surface de contrôle compatible avec Color pour votre travail. Tant qu’elle reste activée, la zone de dialogue Control Surface Startup apparaît chaque fois que vous ouvrez Color. Si vous ne disposez d’aucune surface de contrôle, désactivez cette option. Utilisation des images de substitution Si vous travaillez sur un projet utilisant des séquences d’images Cineon ou DPX, vous pouvez faire appel à un mécanisme d’images de substitution pour améliorer l’efficacité de votre travail à des résolutions élevées. Le mécanisme des images de substitution dans Color n’est pas disponible pour les projets utilisant des données QuickTime.  Enable Proxy Support : l’activation de ce bouton permet d’utiliser des données de remplacement de résolution inférieure, appelées images de substitution, à la place des données source de votre projet. L’emploi des images de substitution augmente les performances de lecture, d’étalonnage et de rendu, même si les plans de votre projet s’affichent avec un niveau de qualité inférieure. Les images de substitution ne peuvent être utilisées qu’après avoir été générées. Pour en savoir plus sur la géné- ration des images de substitution, consultez la section « Génération et suppression d’images de substitution » à la page 126.  Render Proxy : permet de choisir une résolution d’image de substitution pour le rendu des données de sortie. Cette option peut être utile si vous souhaitez effectuer rapidement le rendu d’un ensemble de données pour tester la phase de retour d’un flux de travaux « aller-retour ». La valeur par défaut de ce menu, qui correspond à « Full Resolution », doit être conservée dans la plupart des cas.126 Chapitre 5 Setup (Configuration)  Grading Proxy : permet de choisir une résolution d’image de substitution à utiliser lors du réglage des commandes dans l’un des studios. Cette option augmente l’interactivité de l’interface utilisateur et la vitesse à laquelle l’image sur laquelle vous travaillez est mise à jour lorsque vous réglez les différentes commandes d’étalonnage. Lorsqu’un réglage est terminé, l’image s’affiche de nouveau en pleine résolution.  Playback Proxy : permet de choisir une résolution d’image de substitution à utiliser lors de la lecture, ce qui augmente la fréquence d’images tout en réduisant la qualité de l’image. Lorsque la lecture s’arrête, l’image s’affiche de nouveau en pleine résolution. Réglages relatifs à la lecture, au traitement et à la sortie Les réglages ci-dessous ont une incidence sur la qualité et la vitesse de la lecture.  Video Output : les options de ce menu local correspondent aux options de sortie vidéo disponibles pour l’interface vidéo de diffusion installée sur votre ordinateur. Choisissez Disabled pour désactiver toutes les options de sortie vidéo. Remarque : actuellement, les aperçus Digital Cinema Desktop et les sorties Apple FireWire ne sont pas disponibles pour contrôler les données de sortie provenant de Color.  Force RGB : Cette option est désactivée dans le cas des projets en définition standard. ce réglage est conçu pour être utilisé lorsque vous travaillez avec des données source Y´CB CR haute définition que vous contrôlez sur un moniteur de diffusion externe via une interface vidéo de diffusion prise en charge. Il détermine comment les données d’image RVB calculées en interne par Color sont converties en données d’image Y´CB CR pour l’affichage :  Si le réglage Force RGB est désactivé, cette conversion est effectuée par Color dans le logiciel. Ce processus consomme des ressources processeur et peut aboutir à une réduction sensible des performances en temps réel.  Si le réglage Force RGB est activé, Color envoie les données d’image RVB directement à l’interface vidéo de diffusion installée sur votre ordinateur et charge cette dernière de la conversion à l’aide du matériel dédié. Ce processus allège la charge de traitement de votre ordinateur. Il est recommandé pour optimiser les performances en temps réel. Génération et suppression d’images de substitution Pour utiliser des images de substitution pendant que vous travaillez sur votre projet, vous devez d’abord générer pour ce dernier un ensemble de données d’images de substitution dont la résolution est deux ou quatre fois inférieure.  Pour générer un ensemble de données d’images de substitution pour votre projet, choisissez File > Proxies > Generate Proxies.  Pour supprimer toutes les images de substitution générées pour un projet, choisissez File > Proxies > Delete Proxies.Chapitre 5 Setup (Configuration) 127 Lors du contrôle de données vidéo légalisées entre 0 et 100 IRE, il doit y avoir une différence minimale entre l’image affichée avec le réglage Force RGB activé et celle affichée avec ce même réglage désactivé. Important : si le réglage Force RGB est activé, les valeurs chromatiques de super blanc et hors gamme ne seront pas affichées par votre écran de diffusion et n’apparaîtront pas sur les vidéoscopes externes analysant la sortie de votre interface vidéo de diffusion. Cette restriction affecte uniquement le processus de contrôle. Le traitement interne de l’image effectué par Color conserve ces données. Par conséquent, les données d’image de super blanc seront toujours visibles sur les oscilloscopes logiciels Color lorsqu’elles existent et les niveaux chromatiques hors gamme et de super blanc non corrigés seront systématiquement conservés lorsque vous exportez des données finales. Si l’option Broadcast Safe est activée dans les réglages du projet, nous ne constaterez peut-être pas de différence dans l’affichage de ces valeurs « non autorisées », étant donné qu’elles sont limitées par Color.  Disable Vid-Out During Playback : l’activation de cette option désactive la sortie vidéo via votre interface de diffusion lors de la lecture. Lorsque la lecture est interrompue, la sortie vidéo de l’image située au niveau de la tête de lecture est quand même assurée. Cela est utile si votre projet fait appel à un nombre d’effets tel que la lecture vidéo est trop lente pour être efficace. Lorsque cette option est activée, vous pouvez effectuer des ajustements et contrôler l’image pendant que la lecture est interrompue, puis visualiser le programme en mouvement via l’écran d’aperçu, qui permet généralement une lecture plus rapide.  Update UI During Playback : l’activation de cette option permet la mise à jour dynamique des fenêtres sélectionnées de l’interface Color pendant la lecture du projet. Elle actualise les commandes et les oscilloscopes lors de la lecture d’un niveau à un autre, mais peut diminuer les performances de lecture. C’est pour cette raison qu’elle est désactivée par défaut. Deux options sont disponibles :  Update Primary Display : met à jour les principales commandes d’interface des studios Primary, Secondaries, Color FX, Primary Out et Geometry. L’activation de cette option vous permet de visualiser la modification des commandes d’un niveau à un autre et la façon dont elles s’animent dans le cas de niveaux animés avec des images clés.  Update Secondary Display : met à jour la fenêtre Scopes. Cette option permet de mettre à jour les vidéoscopes lors de la lecture. Lorsqu’elle est désactivée, la lecture de l’aperçu vidéo se poursuit, mais les vidéoscopes disparaissent.128 Chapitre 5 Setup (Configuration)  Radial HSL Interpolation : ce réglage modifie la façon dont les ajustements de couleurs animés avec des images clés sont interpolés d’une teinte à une autre.  Lorsque ce réglage est désactivé (état par défaut), les modifications de teinte associées à des images clés sont animées de façon linéaire, directement à partir d’un point de la roue des couleurs vers un autre. Cela permet d’obtenir des réglages animés très directs et limite les cycles de couleurs non souhaités. Il s’agit de la méthode utilisée par les systèmes DaVinci et Pogle pour l’animation des réglages de couleur.  L’activation de ce réglage permet d’animer les modifications de teinte associées à des images clés de façon radiale, les cycles de couleurs couvrant toutes les teintes de la roue des couleurs comprises entre la teinte en cours et la teinte cible. Vous obtenez ainsi des cycles de couleurs visibles si vous animez le remplacement d’une teinte par une autre qui n’est pas directement adjacente sur la roue des couleurs. Il s’agit de la méthode utilisée par Final Cut Pro lors de l’animation des réglages de couleur dans les filtres Color Corrector standard et à trois voies. Ajustement de la commande de couleurs avec interpolation radiale activée Ajustement de la commande de couleurs avec interpolation radiale désactivéeChapitre 5 Setup (Configuration) 129  Internal Pixel Format : l’option choisie dans ce menu local détermine la profondeur de bits utilisée parColor pour le traitement interne de la couleur, à la fois lors de la lecture en temps réel et lors de la réalisation du rendu de la sortie finale. La profondeur de bits correspond au nombre de bits par canal de couleur et décrit le nombre total de valeurs utilisées pour afficher la plage de couleurs au moyen de chaque pixel d’une image. Des profondeurs de bits plus élevées résultent en une image de qualité supé- rieure, mais requièrent davantage de ressources processeur pour la lecture et le rendu.  8-bit : profondeur de bits la plus faible à laquelle Color peut fonctionner et consommant le moins de ressources processeur.  10-bit : profondeur de bits minimale recommandée pour les projets incorporant un étalonnage secondaire et l’utilisation de vignettes, indépendamment de la source.  12-bit : profondeur de bits supérieure qui est prise en charge par certaines cartes vidéo.  16-bit : profondeur de bits de qualité optimale. Certains spécialistes jugent que le format 16 bits en linéaire fournit une qualité équivalente au format 10 bits logarithmiques pour le travail effectué sur des images issues de la numérisation d’un film.  Float : niveau optimal de qualité de traitement de l’image disponible dans Color. Ce réglage fait appel à des opérations mathématiques en virgule flottante pour enregistrer et calculer des données fractionnaires. Cela signifie que les valeurs supérieures à 1 peuvent être utilisées pour enregistrer des données qui seraient autrement arrondies vers le bas dans le cas des formats 8 bits, 10 bits, 12 bits et 16 bits donnant lieu à des opérations sur entiers uniquement. Étant donné que le réglage Float correspond à une profondeur de bits consommant beaucoup de ressources processeur, des délais de rendu plus longs sont à prévoir. Remarque : le réglage Float n’est pas disponible lorsqu’on utilise une carte graphique NVidia.130 Chapitre 5 Setup (Configuration) ? Conseil : selon les performances de votre système, il sera peut-être préférable de travailler à une profondeur de bits moins élevée pour optimiser les performances en temps réel. Vous pourrez ensuite sélectionner la profondeur de bits souhaitée avant d’effectuer le rendu de la sortie finale pour optimiser la qualité de l’image. Correspondance entre la profondeur de bits et les données de canal La plage réelle de valeurs utilisée par chaque canal pour chaque pixel à une profondeur de bits donnée se calcule en élevant le chiffre 2 à la puissance n, où n correspond à la profondeur de bits elle-même. Par exemple, la plage de valeurs utilisée pour la couleur en 8 bits correspond à 2 à la puissance 8, soit 256 valeurs par canal. La plage de valeurs correspondant à la couleur en 16 bits correspond à 2 à la puissance 10, soit 65 536 valeurs par canal. Toutefois, cette explication n’est pas suffisante. La partie de la plage numérique disponible réellement utilisée dépend de l’encodage des données d’image.  Full Range : les données d’image utilisant l’espace colorimétrique RVB encodent chaque canal de couleur en faisant appel à toute la plage numérique disponible. Cela signifie que les canaux de couleur vidéo 8 bits emploient une valeur comprise dans la plage de 0 à 255 et que les canaux 10 bits utilisent une plage de 1 à 1 023.  Studio Range : les données d’image vidéo 8 et 10 bits enregistrées au moyen de l’espace colorimétrique Y´CB CR utilisent une plage de valeurs Studio Range pour chaque canal. Cela signifie qu’un sous-ensemble de la plage réelle de valeurs disponibles est utilisé, de façon à laisser de la place pour le super noir et le super blanc requis par la norme vidéo. Par exemple, la luminance des données Y´CB CR 8 bits utilise la plage de valeurs allant de 16 à 236, de façon à ce que les plages 1 à 15 et 235 à 254 restent disponibles dans le signal. La luminance des données Y´CB CR 10 bits emploie la plage 64 à 940, laissant disponibles les plages 4 à 63 et 941 à 1019. En outre, les valeurs les plus faibles et les plus élevées sont réservées pour les données ne correspondant pas à des images, et les composants chromatiques (CB et CR ) utilisent des plages de valeurs plus étendues (16 à 240 pour la vidéo 8 bits et 64 à 960 pour la vidéo 10 bits).Chapitre 5 Setup (Configuration) 131 Réglages d’enregistrement automatique Deux réglages vous permettent d’activer ou de désactiver l’enregistrement automatique dans Color.  Auto Save Projects : cette option active l’enregistrement automatique.  Auto Save Time (Minutes) : indique le délai en minutes s’écoulant avant le prochain enregistrement du projet. Ce délai est réglé par défaut sur 5 minutes. L’option d’enregistrement automatique enregistre uniquement le projet en cours. Elle ne crée pas de copie archivée du projet. Pour en savoir plus sur la création et le rappel d’archives, consultez la section « Enregistrement de projets et d’archives » à la page 85.6 133 6 Contrôle Le matériel et les méthodes employés pour contrôler votre travail sont essentiels à la production d’un résultat précis. On n’insistera jamais assez sur l’importance d’un contrôle adéquat pour la correction des couleurs. Ce chapitre traite des options de contrôle disponibles dans Color, notamment la configuration de la fenêtre Scopes, les options relatives à la sortie vidéo de diffusion, la génération et l’utilisation de tables de conversion en vue du calibrage et de la simulation, ainsi que de la façon dont la sortie vidéo du studio Still Store est effectuée pour le contrôle et l’évaluation. Les rubriques suivantes seront abordées au cours de ce chapitre :  Fenêtre Scopes (p. 133)  Contrôle de la sortie vidéo de diffusion (p. 135)  Utilisation des tables de conversion d’affichage (p. 138)  Contrôle du magasin d’images fixes (Still Store) (p. 143) Fenêtre Scopes La façon la plus simple de contrôler votre travail dans Color est d’utiliser la fenêtre Scopes. L’interface Color est constitué de deux fenêtres, celle-ci est la seconde. Vous pouvez configurer le logiciel Color pour qu’il utilise un ou deux écrans. Si vous utilisez deux écrans, la fenêtre Scopes est visible sur le second, qu’elle occupe à part entière. Si vous n’utilisez qu’un écran, celui-ci est partagé entre la fenêtre Scopes et la fenêtre Color.134 Chapitre 6 Contrôle Pour passer du mode d’affichage simple au mode double affichage (et inversement), effectuez l’une des opérations suivantes : m Cliquez sur Window > Single Display Mode ou Dual Display Mode. m Appuyez simultanément sur Maj + 0 pour basculer d’un mode à l’autre. La fenêtre Scopes offre un écran d’aperçu de l’image sur laquelle vous travaillez et peut également afficher deux ou trois vidéoscopes supplémentaires pour faciliter l’évaluation de cette image. Écran d’aperçu L’écran d’aperçu affiche soit l’image au niveau actuel de la tête de lecture dans la timeline, telle qu’elle apparaît avec toutes les corrections apportées dans les différents studios (sauf si vous avez sélectionné Grade > Disable Grade), soit l’image Still Store actuellement activée. Quelle que soit l’image affichée dans l’écran d’aperçu, elle est reflétée dans l’écran de diffusion connecté à la sortie vidéo de votre ordinateur. L’écran d’aperçu est également affecté par les tables de conversion que vous importez dans votre projet Color. Remarque : la seule autre fois où l’image en cours n’est pas affichée, c’est lorsque l’une des autres méthodes d’affichage secondaire est activée dans l’onglet Previews du studio Secondaries. Pour en savoir plus, consultez la section « Onglet Previews » à la page 252. L’écran d’aperçu de la fenêtre Scopes peut être affiché en mode plein écran ou écran partiel. Pour basculer entre l’affichage plein écran et l’affichage partiel de l’image d’aperçu : m Double-cliquez sur l’aperçu dans la fenêtre Scopes. m Toujours dans la fenêtre Scopes, cliquez sur l’image d’aperçu tout en maintenant la touche Contrôle enfoncée ou bien cliquez sur cette image avec le bouton droit de la souris, puis sélectionnez Full Screen dans le menu contextuel.Chapitre 6 Contrôle 135 Lorsque l’écran d’aperçu est en mode plein écran, tous les vidéoscopes sont masqués. Vidéoscopes Le nombre d’oscilloscopes pouvant être affichés dépend de la disposition utilisée pour les fenêtres. Vous pouvez afficher deux vidéoscopes en mode d’affichage unique et trois en mode double affichage. Pour en savoir plus, consultez le chapitre 8, « Vidéoscopes », à la page 167. Contrôle de la sortie vidéo de diffusion Pour garantir un contrôle optimal des programmes de diffusion, Color produit des vidéos standard et haute définition à partir d’interfaces vidéo tierces prises en charge. Les pilotes installés pour l’interface déterminent les résolutions, les profondeurs de bits et les fréquences d’images disponibles pour créer une sortie sur un moniteur externe. Pour activer le contrôle vidéo externe : m Sélectionnez une option dans le menu local Video Output, depuis l’onglet User Prefs du studio Setup. Pour désactiver le contrôle vidéo externe : m Sélectionnez l’option Disabled dans le menu local Video Output. Choix de combinaisons de résolutions de programme et d’affichage Idéalement, il est préférable de contrôler un programme dans sa résolution native (en d’autres termes, dans la résolution de ses données source). Toutefois, Color s’efforce de produire des sorties vidéo quelle que soit la résolution définie dans le menu local Video Output de l’onglet User Prefs. Si la résolution définie dans le menu local Video Output est différente de celle sélectionnée via l’option Resolution Preset, Color modifie automatiquement l’échelle de l’image de façon à adapter cette dernière à la taille de l’écran. Utilisation de l’écran d’aperçu comme moniteur d’évaluation Un certain nombre de facteurs détermine si l’écran d’aperçu de la fenêtre Scopes est adapté à une utilisation en tant que moniteur d’évaluation, le plus important étant la confiance que vous accordez à la qualité de votre écran d’aperçu. Bon nombre d’utilisateurs choisissent d’utiliser l’écran d’aperçu comme moniteur d’évaluation, en particulier lors de l’étalonnage d’un film numérisé dans un flux de travaux 2K. Vous devez toutefois veiller à utiliser un moniteur capable d’afficher la gamme de contrastes et de couleurs garantissant le niveau de précision requis par les normes applicables à votre installation. De plus, la réussite dépend d’un bon calibrage du moniteur, associé à un profilage de couleur et à une simulation de la sortie de film éventuelle via la gestion des tables de conversion, traitée ultérieurement dans ce chapitre.136 Chapitre 6 Contrôle Profondeur de bits et contrôle La profondeur de bits utilisée peut avoir un impact significatif sur la qualité de l’image contrôlée. La profondeur de bits contrôlée dépend de trois facteurs :  La profondeur de bits des données source  La profondeur de bits sélectionnée dans le menu local Video Output  La profondeur de bits sélectionnée dans le menu local Internal Pixel Format La profondeur de bits des données source sur le disque est prédéterminée (en général 8 bits, 10 bits ou 10 bits log), ce qui évite de spécifier ou de sélectionner le format de tournage ou de transfert initial. Dans la mesure où une faible profondeur de bits risque d’entraîner un effet de bande et d’autres artefacts lors du processus de correction des couleurs (en particulier lorsqu’il existe des dégradés), il est souvent préférable de traiter la vidéo avec une profondeur de bits plus élevée que celle des données source originales. Cette démarche est particulièrement bénéfique si vous utilisez des vignettes et appliquez des corrections secondaires. Color traite la vidéo et produit la sortie quelle que soit la profondeur de bits sélectionnée. Néanmoins, la plupart des interfaces vidéo de diffusion ont une résolution maximale de 10 bits. Pour garantir une qualité optimale lors du contrôle, il convient de définir le réglage Internal Pixel Format sur la profondeur de bits la plus élevée avec laquelle vous souhaitez travailler, puis de s’assurer que le menu local Video Output est défini sur une option de type 10 bits. Remarque : le bruit de la vidéo et le grain de la pellicule réduisent souvent les types d’artefacts causés par les opérations de correction des couleurs à des profondeurs de bits faibles, c’est pourquoi les avantages liés à l’utilisation de profondeurs de bits plus élevées ne sont pas toujours évident à l’œil nu. Un contrôle effectué à une profondeur de bits élevée consomme une grande quantité de ressources processeur et est susceptible de réduire vos performances en temps réel. C’est pour cette raison que vous avez la possibilité de réduire la profondeur de bits lorsque vous travaillez, puis de la réaugmenter une fois que vous êtes prêt à afficher le rendu de la sortie vidéo finale du projet. Pour en savoir plus sur les options de contrôle disponibles dans l’onglet User Prefs, reportezvous à la section « Réglages relatifs à la lecture, au traitement et à la sortie » à la page 126.Chapitre 6 Contrôle 137 Méthode de sélection d’un moniteur Il est essentiel de choisir un moniteur adapté à l’évaluation critique du type d’image étalonnée. Parmi le large éventail d’écrans de qualité proposés, vous pouvez choisir entre des écrans CRT, une nouvelle génération d’écrans plats LCD et des vidéoprojecteurs haut de gamme utilisant diverses technologies. Votre choix doit être effectué de façon réfléchie, en fonction de votre budget et de vos besoins, mais les caractéristiques importantes à prendre en compte pour obtenir une bonne évaluation des couleurs sont les suivantes :  Compatibilité avec les formats vidéos à contrôler  Compatibilité avec le signal vidéo à contrôler, tel que Y’PB PR , SDI, HD-SDI ou HDMI  Niveaux de noir appropriés (c’est-à-dire que le noir uni ne doit pas ressembler à du gris)  Une large gamme de contrastes  Une luminosité adéquate  Une température de couleur définissable par l’utilisateur  Respect des normes d’espace colorimétrique Rec. 601 (SD) or 709 (HD) selon le cas  Gamma correct (également défini par la norme Rec. 709)  Commandes adaptées à un calibrage et un ajustement de qualité professionnelle Remarque : pour toutes ces raisons, les téléviseurs et écrans grand public ne sont généralement pas adaptés à un travail professionnel, même s’ils peuvent servir à prévisualiser l’aspect de votre programme sur le téléviseur de monsieur Tout le monde. Méthode de configuration de l’environnement d’affichage L’environnement dans lequel se trouve votre moniteur a lui aussi une incidence significative sur votre capacité à évaluer correctement l’image.  L’écran ne doit pas être exposé à une source de lumière directe.  L’éclairage ambiant de la pièce doit être tamisé et indirect et vous ne devez pas avoir de source de lumière directe dans votre champ de vision.  L’éclairage ambiant de la pièce doit correspondre à la température de couleur de votre moniteur (6500K en Amérique du Nord, en Amérique du Sud et en Europe, 9300K en Asie).  Vous devez disposer d’un éclairage indirect derrière le moniteur d’affichage, équivalente à 10 à 25 % de la luminosité du moniteur lorsqu’il affiche un blanc pur.  La distance de visualisation idéale pour un moniteur est d’environ cinq fois la hauteur verticale de l’écran.  La couleur de la partie de la pièce qui fait partie de votre champ de vision doit être d’un gris neutre.138 Chapitre 6 Contrôle Ces précautions permettent d’éviter la fatigue visuelle et l’utilisation involontaire de mauvaises couleurs. Elles ont également pour but d’optimiser la qualité de l’image perçue à l’écran. Calibrage régulier du moniteur Pour finir, calibrez votre moniteur à intervalles réguliers. Pour obtenir une précision maximale, certains moniteurs sont dotés d’une sonde intégrée capable de procéder à un calibrage automatique. Sinon, vous pouvez faire appel à des sondes et des logiciels de calibrage de tierce partie pour réaliser les mêmes mesures. Dans un environnement consacré exclusivement à la diffusion, vous pouvez également avoir recours aux procédures associées aux barres de couleurs standard auxquelles vous êtes habituées. Ajustement de l’interface Color par rapport à l’environnement de contrôle L’interface Color est volontairement obscurcie de façon à réduire la quantité de lumière diffusée sur votre bureau. Pour atténuer encore davantage l’interface, le réglage UI Saturation, disponible dans l’onglet User Prefs du studio Setup, vous permet de réduire la saturation de la plupart des commandes des studios Primary In, Secondaries et Primary Out, ainsi que de la couleur affichée par les vidéoscopes. Utilisation des tables de conversion d’affichage Color prend en charge l’utilisation de tables de conversion 3D pour le calibrage de votre écran, de façon à ce qu’il respecte une norme de diffusion appropriée ou à simuler les caractéristiques d’un appareil de sortie cible (par exemple, la façon dont l’image en cours de correction apparaîtra une fois imprimée sur pellicule). Color est représenté sur les écrans CRT, les écrans plats LCD, les vidéoprojecteurs et les projecteurs de cinéma à l’aide de technologies très différentes. Si vous affichez une image test identique sur deux types d’écrans (un écran de diffusion et un vidéoprojecteur, par exemple), vous pouvez être sûr que la couleur sera différente de l’un à l’autre. Cette variation ne sera probablement pas visible pour un spectateur moyen mais, en tant que coloriste, vous devez disposer d’un environnement d’affichage sans surprise qui respecte les normes requises par le format utilisé. Vous devez également faire en sorte que les changements demandés par un utilisateur qui visualise le programme sur un écran affichant des couleurs incorrectes ne soient pas impossibles à résoudre. Pour couronner le tout, il existe également des variations au sein d’une même catégorie d’appareils :  Les moniteurs CRT de chaque fabricant utilisent des couches fluorescentes différentes.  Les projecteurs numériques disponibles utilisent de nombreux types de systèmes d’imagerie.  Le film projeté est produit au moyen de diverses méthodes d’impression et pellicules.Chapitre 6 Contrôle 139 Tout cela résulte inévitablement en des variations de couleur importantes pour toute image passant d’un environnement d’affichage à un autre. L’une des solutions à ce problème est le calibrage à l’aide de tables de conversion. Définition d’une table de conversion Pour faire simple, une table de conversion est un ensemble précalculé de données qui permet d’ajuster la couleur d’une image affichée avec la gamme et la chromaticité d’un appareil A de façon à ce que cette image corresponde à ce à quoi elle ressemblerait avec la gamme et la chromaticité d’un appareil B. La gamme d’un appareil représente l’éventail complet de couleurs pouvant être affichées sur cet appareil. Certains types d’écrans sont capables d’afficher une gamme de couleurs plus vaste que d’autres. Par ailleurs, chaque norme de vidéo et de film correspond à une gamme de couleurs différente. En conséquence, les couleurs facilement représentées par un appareil d’imagerie ne le seront pas forcément par un autre appareil. Un film, par exemple, est capable de représenter bien plus de valeurs de couleurs que la norme vidéo de diffusion. La chromaticité fait référence aux valeurs exactes utilisées par un écran pour représenter chacune des trois couleurs primaires. Chaque écran utilise des valeurs primaires différentes. Celles-ci sont visibles dans un diagramme de chromaticité sur lequel les trois couleurs primaires sont placées sous forme de points, par rapport à un graphique en deux dimensions représentant la teinte et la saturation au sein du spectre visible. Étant donné que toutes les couleurs représentées par un écran spécifique sont un mélange des trois couleurs primaires, si les trois points primaires varient d’un écran à l’autre, la gamme de couleurs entière est différente. Même si le diagramme de chromaticité affiché ci-dessus est utile pour comparer des écrans sur papier, pour vraiment représenter la teinte (couleur), la saturation (intensité de la couleur) et la luminosité (luminance du noir au blanc) qui définissent une gamme complète, vous devez utiliser un espace colorimétrique 3D.140 Chapitre 6 Contrôle Lorsqu’elles sont extrudées en 3D, la gamme et la chromaticité des différents appareils créent des formes différentes. Par exemple, l’espace colorimétrique RVB standard peut être représenté par un simple cube (comme on peut le voir dans l’application ColorSync Utility) : Chaque angle du cube représente une combinaison différente des valeurs tristimulus R, V et B qui correspondent à chaque couleur. L’angle de noir équivaut à (0,0,0), l’angle de blanc opposé à (1,1,1), l’angle de bleu à (0,0,1), l’angle de rouge à (1,0,0), et ainsi de suite. Toutefois, le cube de couleur RVB reste une abstraction idéalisée. Les appareils d’affichage proprement dits présentent des formes bien différentes, définies par leur propre gamme et chromaticité. Transformer de façon précise la gamme d’un appareil pour l’adapter à celle d’un autre appareil implique littéralement de projeter cette gamme dans une représentation 3D, puis de modifier sa forme de façon mathématique jusqu’à ce qu’elle corresponde à celle de l’autre appareil. Ce processus, appelé caractérisation d’un appareil, constitue la méthode standard utilisée par le secteur de la colorimétrie. Une fois les données calculées, la méthode de transformation est stockée sous la forme d’une table de conversion 3D. Une fois que vous avez effectué la caractérisation d’un appareil et calculé la table de conversion nécessaire, vous avez fait la plus grosse partie du travail informatique. La table de conversion peut alors être utilisée dans Color pour modifier l’image de sortie sans que cela n’ait d’impact significatif sur les performances en temps réel.Chapitre 6 Contrôle 141 Cas d’utilisation d’une table de conversion Les exemples suivants illustrent des cas où il est vivement conseillé d’utiliser des tables de conversion :  Si vous mettez en correspondance plusieurs écrans d’une même installation : les tables de conversion peuvent être utiles pour calibrer plusieurs écrans de façon à ce qu’ils répondent à un standard visuel commun, garantissant ainsi qu’un programme restera inchangé s’il est déplacé dans un autre studio.  Si vous affichez une vidéo SD ou HD sur un moniteur de non-diffusion : vous pouvez utiliser une table de conversion pour émuler l’espace colorimétrique Rec. 601 (SD) or 709 (HD) et le réglage gamma adapté au standard vidéo affiché.  Si vous affichez des images de vidéo ou de film à l’aide d’un vidéoprojecteur : vous pouvez utiliser une table de conversion pour calibrer votre appareil de façon à ce qu’il corresponde, du mieux possible, à la gamme du standard de diffusion ou de film sur lequel vous travaillez.  Si vous étalonnez des images destinées à être imprimées sur pellicule : vous pouvez utiliser une table de conversion pour profiler les caractéristiques de l’appareil d’impression et de la pellicule sur laquelle vous allez imprimer les données finales, afin d’obtenir une image approximative du résultat projeté final pendant que vous travaillez. Important : les tables de conversion ne remplacent pas un affichage haute qualité. En particulier, elles n’améliorent en rien les noirs ternes, un intervalle de contrastes faibles par nature ou une gamme trop étroite. Cas où une table de conversion n’est pas utile Si vous corrigez les couleurs d’une vidéo et contrôlez celle-ci à l’aide d’un écran de diffusion correctement calibré compatible avec le standard vidéo affiché, il n’est généralement pas nécessaire d’avoir recours à une table de conversion. Génération de tables de conversion Il existe plusieurs méthodes permettant de générer une table de conversion. En créer une vous-même à l’aide d’un logiciel tiers Il existe des applications tierces capables de « collaborer » avec les sondes du moniteur pour analyser les caractéristiques d’écrans individuels, puis générer une table de conversion afin de parvenir à un rendu des couleurs le plus fidèle possible. Dans la mesure où les réglages et les caractéristiques d’un moniteur varient au fil du temps, il est recommandé d’effectuer un recalibrage régulier des écrans, toutes les semaines ou deux fois par mois. Si vous créez une table de conversion pour ajouter un autre type d’écran doté de standards de diffusion (comme un projecteur numérique), vous devrez faire appel à des logiciels supplémentaires pour modifier la table de conversion de calibrage afin qu’elle corresponde aux caractéristiques requises par l’écran cible.142 Chapitre 6 Contrôle Demander à quelqu’un d’en créer une pour vous En amont de la chaîne numérique intermédiaire des flux de travaux de film, vous pouvez collaborer avec le laboratoire qui sera chargé de l’impression sur pellicule et avec la société ayant conçu le logiciel de calibrage de votre moniteur pour créer des tables de conversion personnalisées à partir des profils des appareils enregistreurs et pellicules utilisés spécifiquement pour votre projet. Globalement, ce processus implique l’impression d’une image test sur pellicule au laboratoire, puis l’analyse de l’image obtenue en vue de générer une table de conversion cible qui, associée à la table de conversion de calibrage de votre écran (créée à l’aide d’une sonde de moniteur et d’un logiciel sur votre système), est utilisée pour générer une troisième table de conversion, celle employée par Color pour contrôler votre programme pendant que vous travaillez. Création de tables de conversion dans Color Si nécessaire, vous pouvez faire correspondre deux moniteurs à l’œil nu à l’aide des commandes du studio Primary In, puis générer une table de conversion pour émuler le résultat directement en dehors de Color. Vous pouvez également exporter une catégorie d’étalonnage sous forme d’une table de conversion d’« aspect » pour voir de quelle façon une correction spécifique va affecter une image enregistrée au format numérique alors qu’elle est filmée. Pour ce faire, l’équipe doit utiliser un moniteur de proximité capable de charger des tables de conversion au format .mga. Pour créer votre propre table de conversion : 1 Disposez l’écran d’aperçu Color et le moniteur cible de façon à ce que les deux soient visibles en même temps. 2 Chargez une image d’évaluation de bonne qualité (un graphique Macbeth, par exemple) dans la Timeline. 3 Affichez la même image sur l’écran cible à l’aide d’une deuxième source vidéo fiable. 4 Ouvrez le studio Primary In et ajustez les commandes de façon appropriée pour faire correspondre les deux images. 5 Cliquez sur Export > Display LUT. 6 Quand la zone de dialogue Save LUT As s’affiche, saisissez un nom pour la table de conversion dans le champ File, sélectionnez l’emplacement où enregistrer le fichier, puis cliquez sur Save. Par défaut, les tables de conversion sont enregistrées dans le répertoire /Utilisateurs/ nom d’utilisateur/Bibliothèque/Application Support/Color/LUTs. Important : si votre projet utilise déjà une table de conversion lorsque vous en exportez une nouvelle, la table actuellement chargée est concaténée à partir des ajustements apportés et la combinaison obtenue est exportée en tant que nouvelle table de conversion.Chapitre 6 Contrôle 143 Utilisation de tables de conversion Toutes les tables de conversion utilisées et générées par Color sont des tables 3D. Color utilise le format de table de conversion .mga (initialement développé par Pandora), qui est compatible, entre autres, avec les logiciels Rising Sun Research et Kodak. Si nécessaire, il existe également des applications capables de convertir les tables de conversion d’un format vers un autre. Les tables de conversion n’ont aucune incidence sur les performances de traitement. Pour utiliser une table de conversion : 1 Cliquez sur File > Import > Display LUT. 2 Sélectionnez un fichier de table de conversion dans la zone de dialogue Load LUT, puis cliquez sur Load. Remarque : par défaut, les tables de conversion sont enregistrées dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color/LUTs. La table de conversion prend immédiatement effet, elle modifie l’image telle qu’elle apparaît sur les écrans d’aperçu et de diffusion. Une table de conversion chargée est enregistrée dans les réglages du projet jusqu’à ce que vous la supprimiez spécifiquement de ce projet. Pour ne plus utiliser une table de conversion : m Cliquez sur File > Clear Display LUT. Pour partager une table de conversion avec d’autres utilisateurs de Color, vous devez leur fournir une copie du fichier de table de conversion. Pour plus de commodité, il est préférable de placer tous les fichiers de table de conversion dans le répertoire /Utilisateurs/nom d’utilisateur/Bibliothèque/Application Support/Color/LUTs. Contrôle du magasin d’images fixes (Still Store) Le Still Store vous permet d’enregistrer et de rappeler des images de différentes parties d’un projet, afin de les utiliser pour comparer des plans sur lesquels vous travaillez. En fait, le Still Store est une mémoire tampon d’images grâce à laquelle vous pouvez basculer entre l’image Still Store chargée et l’image actuelle au niveau de la tête de lecture. Vous pouvez soit afficher l’image entière, soit opter pour un écran divisé personnalisable par le biais duquel vous pouvez voir les deux images à la fois. Lorsque vous activez le Still Store, l’image en plein écran ou en écran divisé est envoyée à l’écran d’aperçu et à l’écran de diffusion. Pour revenir à un affichage contenant uniquement l’image située au niveau de la tête de lecture, vous devez désactiver le Still Store. Les images Still Store activées sont analysées par les vidéoscopes et affectées par les tables de conversion. Pour en savoir plus sur l’utilisation du Still Store, reportez-vous au chapitre 16, « Magasin d’images fixes (Still Store) », à la page 355.7 145 7 Lecture, navigation et modification du plan de montage Le plan de montage fournit une interface qui permet de naviguer à l’intérieur du projet, de sélectionner les plans à étalonner et de réaliser un montage limité. Le plan de montage et le navigateur de plans (qui se trouve dans le studio Setup) offrent tous deux la possibilité de visualiser les plans du projet. Toutefois, le navigateur de plans permet de trier et d’organiser les plans de façon non linéaire, alors que le plan de montage, lui, offre un affichage séquentiel correspondant à la chronologie des plans de votre programme. Dans ce chapitre, vous apprendrez à vous servir du plan de montage pour lire les plans de votre programme et naviguer à l’intérieur de ce dernier et à effectuer des montages simples. Les rubriques suivantes seront abordées au cours de ce chapitre :  Principaux éléments de l’interface utilisateur du plan de montage (Timeline) (p. 146)  Personnalisation de l’interface du plan de montage (p. 148)  Utilisation des pistes (p. 149)  Sélection du plan actuel (p. 151)  Lecture dans le plan de montage (p. 151)  Navigation à l’intérieur du plan de montage (p. 154)  Sélection de plans dans le plan de montage (p. 156)  Utilisation des jeux d’étalonnage dans le plan de montage (p. 157)  Onglets de réglages (p. 158)  Contrôles et procédures de montage (p. 160)146 Chapitre 7 Lecture, navigation et modification du plan de montage Principaux éléments de l’interface utilisateur du plan de montage (Timeline) Le plan de montage (ou « Timeline ») se divise en un certain nombre de pistes qui contiennent les plans, les jeux d’étalonnage et les images clés utilisés par votre programme.  Barre de rendu : les barres de rendu ci-dessus indiquent si un plan a été rendu (en vert) ou non (en rouge).  Règle du plan de montage : elle fournit une échelle de temps pour le plan de montage (timeline). Si vous faites glisser le curseur à l’intérieur de la règle du plan de montage, vous déplacez la tête de lecture et faites défiler le programme.  Tête de lecture : elle indique la position de l’image actuellement affichée dans le plan de montage. La position de la tête de lecture détermine également le plan sur lequel le travail est actuellement effectué.  Pistes vidéo et plans : chaque plan du programme est représenté à l’intérieur de l’une des pistes vidéo qui se trouvent juste en dessous de la règle du plan de montage. Color vous autorise à créer cinq pistes vidéo au maximum lorsque vous assemblez un projet de nouvelle création. Toutefois, si vous travaillez sur un projet importé, toutes les pistes vidéo superposées de ce dernier apparaîtront, quel que soit leur nombre. Remarque : à l’heure actuelle, Color ne prend pas en charge les opérations de compositing. Lors de la lecture, les plans superposés sont prioritaires pour l’affichage par rapport aux plans situés dans les pistes inférieures.  Poignées de redimensionnement des pistes : il est possible de réduire ou d’augmenter la taille des pistes en faisant glisser leurs poignées de redimensionnement vers le haut ou vers le bas.  Icône de verrouillage : l’icône de verrouillage indique si une piste a été verrouillée ou non.  Piste des jeux d’étalonnage : il est possible d’appliquer jusqu’à quatre jeux d’étalonnage (grades) primaires à chaque plan. Color vous autorise à passer de l’une à l’autre. Elles permettent d’obtenir un rapide aperçu des différents aspects que peut avoir un même plan en fonction des jeux d’étalonnage appliqués, sans pour autant perdre le résultat du travail effectué jusqu’alors. Les jeux d’étalonnage sont numérotés de 1 à 4.Chapitre 7 Lecture, navigation et modification du plan de montage 147 Chacun de ces quatre jeux d’étalonnage peut comprendre une ou plusieurs corrections Primary (primaires), Secondary (secondaires), Color FX (effets de couleur) et Primary Out (primaires sur sortie). Par défaut, chacun d’entre eux apparaît avec une seule barre d’étalonnage primaire, mais des barres de correction supplémentaires s’affichent plus bas si vous avez effectué des ajustements dans l’un des autres studios qui correspondent au jeu d’étalonnage en question. Chaque barre est d’une couleur différente.  Barre P(rimary) : elle indique si une correction primaire a été appliquée.  Barre S(econdary) : elle indique si une ou plusieurs corrections secondaires ont été appliquées.  Barre CFX (Color FX) : elle indique si une correction d’effet de couleur a été appliquée.  Barre PO (Primary Out) : elle indique si une correction primaire a été appliquée sur la sortie.  Zone de suivi de l’animation : si vous ajoutez un marqueur de suivi de l’animation à un plan et en faites le traitement, les points d’entrée et de sortie du marqueur de suivi apparaissent dans cette zone, avec une barre verte figurant quelle proportion du marqueur de suivi sélectionné a déjà été traitée. Si aucun suivi d’animation n’est sélectionné sous l’onglet Tracking du studio Geometry, rien ne s’affiche dans cette zone. Pour en savoir plus, consultez la section « Onglet Tracking » à la page 345.  Graphique d’image clé : cette piste contient à la fois les images clés et les courbes qui interpolent le changement de la valeur d’une image clé à une autre. Pour en savoir plus sur la conversion des corrections et des effets en images clés, reportez-vous au chapitre 14, « Images clés », à la page 323.148 Chapitre 7 Lecture, navigation et modification du plan de montage Personnalisation de l’interface du plan de montage Il existe plusieurs façons de personnaliser l’interface visuelle du plan de montage. Pour changer les unités de la réglette de la Timeline, effectuez l’une des opérations suivantes : m Cliquez sur l’onglet du studio Setup, puis sur l’onglet User Prefs. Ensuite, cliquez sur le bouton Frames (images), Seconds (secondes), Minutes ou Hours (heures) correspondant aux unités que vous souhaitez utiliser. m Appuyez sur l’une des touches suivantes :  Appuyez sur F pour modifier l’affichage de sorte qu’il indique les images.  Appuyez sur S pour modifier l’affichage de sorte qu’il indique les secondes.  Appuyez sur M pour modifier l’affichage de sorte qu’il indique les minutes.  Appuyez sur H pour modifier l’affichage de sorte qu’il indique les heures. Par ailleurs, l’onglet User Prefs du studio Setup contient d’autres options qui permettent de changer le mode d’affichage des plans dans le plan de montage. Pour personnaliser le mode d’affichage des plans dans le plan de montage : 1 Cliquez sur l’onglet du studio Setup, puis sur l’onglet User Prefs. 2 Activez ou désactivez les options suivantes :  Show Shot’s Name : si vous activez cette option, le nom de chaque plan s’affiche dans le plan de montage.  Show Shot’s Number : si vous activez cette option, le numéro de chaque plan s’affiche dans le plan de montage.  Show Shot’s Beauty Frame : si vous activez cette option, des vignettes à image unique apparaissent à l’intérieur de chacun des plans qui se trouvent dans le plan de montage. Vous pouvez aussi redimensionner les pistes du plan de montage, c’est-à-dire les agrandir ou les réduire, selon vos préférences. Il est possible de redimensionner les pistes vidéo, la piste des jeux d’étalonnage et le graphique des images clés de façon individuelle.Chapitre 7 Lecture, navigation et modification du plan de montage 149 Pour redimensionner toutes les pistes vidéo, la piste des jeux d’étalonnage ou le graphique des images clés : m Faites glisser la poignée centrale de la barre de couleur grise située au bas de n’importe laquelle des pistes du plan de montage jusqu’à ce que la hauteur de toutes les pistes soient celle que vous souhaitez. Pour redimensionner une piste particulière : m Appuyez sur la touche Maj et maintenez-la enfoncée, puis faites glisser la poignée centrale de la barre de couleur grise située au bas de la piste que vous voulez redimensionner jusqu’à ce que cette dernière ait la hauteur souhaitée. Remarque : la prochaine fois que vous redimensionnerez toutes les pistes vidéo en même temps, la taille des pistes redimensionnées individuellement sera modifiée afin de correspondre à celle qui viendra d’être ajustée. Utilisation des pistes Cette section décrit les différentes façons de changer l’état des pistes dans le plan de montage lorsque vous travaillez. Pour verrouiller ou déverrouiller une piste : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez l’une des options suivantes :  Lock Track : cette option verrouille tous les plans pour empêcher leur déplacement ou leur modification.  Unlock Track : cette option autorise le déplacement et le montage des plans. Remarque : les pistes des projets XML importés sont automatiquement verrouillées. Si l’on souhaite obtenir des résultats optimaux lors d’une conversion en boucle, il est préférable de ne pas déverrouiller ces pistes. m150 Chapitre 7 Lecture, navigation et modification du plan de montage Pour afficher ou masquer les pistes : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez l’une des options suivantes :  Hide Track : cette option désactive la piste en question de sorte que les plans superposés ne se voient pas et ne puissent pas être sélectionnés lors du passage de la tête de lecture.  Show Track : cette option rétablit la visibilité de la piste. Les plans superposés sont affichés en priorité par rapport aux plans situés dans les pistes inférieures et sont sélectionnés par défaut chaque fois que la piste est visible. Remarque : le réglage Reverse Track Ordering de l’onglet Prjct Settings du studio Setup détermine si les pistes et les plans superposés apparaissent au premier plan ou se situent à des niveaux inférieurs. Si vous activez l’option Reverse Track Ordering, le mode d’affichage des pistes vidéo superposées est le même que celui utilisé par Final Cut Pro. ? Conseil : avant d’exporter un projet depuis Final Cut Pro, vous pouvez exporter une séquence QuickTime autonome correspondant à l’ensemble du programme et la superposer aux autres plans de votre séquence montée. Ensuite, une fois le projet exporté dans Color, vous pouvez activer ou désactiver cette version « de référence » du programme à l’aide de la visibilité des pistes chaque fois que vous souhaitez examiner les effets ou les corrections de couleurs qui ont été créés lors du montage off line. Pour ajouter une piste : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez New Track dans le menu contextuel. Pour supprimer une piste : m Cliquez n’importe où à l’intérieur d’une piste tout en maintenant la touche Contrôle enfoncée ou cliquez n’importe où à l’intérieur d’une piste avec le bouton droit de la souris, puis choisissez Remove Track dans le menu contextuel. Remarque : il n’est pas possible de supprimer la piste du bas.Chapitre 7 Lecture, navigation et modification du plan de montage 151 Sélection du plan actuel Le plan sur lequel se trouve la tête de lecture devient le plan actuel. Le plan actuel est celui qui est ajusté chaque fois que vous manipulez l’un des contrôles qui se trouvent dans les studios Primary In, Secondary, Color FX, Primary Out ou Geometry. Il ne peut y avoir qu’un seul plan actuel à la fois. Le plan actuel est le seul plan mis en surbrillance en gris clair. Lors du déplacement de la tête de lecture le long du plan de montage, les contrôles et les paramètres de tous les studios sont automatiquement mis à jour pour refléter le jeu d’étalonnage utilisé pour le plan actuel déterminé par la position de la tête de lecture. Pour qu’un plan particulier du plan de montage devienne le plan actuel, effectuez l’une des opérations suivantes : m Double-cliquez sur ce plan dans le plan de montage. m Déplacez la tête de lecture jusqu’à ce plan. Remarque : lorsque vous double-cliquez sur un plan, le plan de montage se déplace de sorte que le plan sélectionné se trouve en son centre et devienne le plan actuel. Lecture dans le plan de montage En général, la lecture dans Color sert à obtenir un aperçu des répercussions des diverses corrections sur l’apparence du plan lorsque celui-ci est animé ou à connaître l’effet de plusieurs jeux d’étalonnage appliqués à un groupe de plans lorsque ceux-ci sont lus en séquence. C’est la raison pour laquelle le fonctionnement de la lecture dans Color diffère quelque peu de celui d’autres applications telles que Final Cut Pro. Dans Color, la lecture se limite toujours à la zone du plan de montage située entre le point d’entrée et le point de sortie. Si la tête de lecture se trouve dans cette zone, la lecture commence à partir du plan sur lequel la tête de lecture est située et se termine au point de sortie. Si la tête de lecture se trouve hors de cette zone, elle vient automatiquement se placer sur le point d’entrée lorsque vous commencez la lecture. Ceci permet d’accélérer le processus de lecture en boucle de scènes ou de plans particuliers du plan de montage, qui se répète souvent lors de la correction de couleurs.152 Chapitre 7 Lecture, navigation et modification du plan de montage Démarrage et arrêt de la lecture Les contrôles ci-dessous permettent de commencer et d’interrompre la lecture du programme. Pour lire le programme, effectuez l’une des opérations suivantes : m Cliquez sur le bouton Play Forward (lecture avant) ou sur le bouton Play Backward (lecture arrière). m Appuyez sur la barre d’espace. m Appuyez sur la touche J pour lire le programme en arrière ou sur la touche L pour le lire vers l’avant. Important : à partir du moment où la lecture a commencé, vous vous trouvez dans un mode dans lequel il n’est pas possible de travailler avec les contrôles de Color, et ce jusqu’à l’arrêt de la lecture. Pour interrompre la lecture du programme, effectuez l’une des opérations suivantes : m Appuyez sur la barre d’espace lors de la lecture du programme. m Appuyez sur la touche Échap. m Appuyez sur la touche K. Choix du mode de lecture Le mode de lecture permet de choisir entre deux possibilités : soit les points d’entrée et de sortie changent automatiquement de façon à correspondre à la durée du plan actuel chaque fois que vous déplacez la tête de lecture, soit leur écart reste fixe et représente une plus grande partie de votre programme. Mode Shot Le mode Shot (plan) est le mode de lecture par défaut. Chaque fois que la tête de lecture se déplace sur un nouveau plan, les points d’entrée et de sortie qui apparaissent dans le plan de montage changent automatiquement de façon à correspondre aux points d’entrée et de sortie définis dans le projet pour le plan sélectionné. Par consé- quent, la lecture se limite uniquement à ce plan. Si l’option Loop Playback est activée, la tête de lecture se déplacera en boucle sur le plan actuel tant que la lecture ne sera pas interrompue. Color et JKL Color comprend une implémentation partielle des contrôles de lecture JKL qui sont si utiles dans certaines autres applications de montage. Toutefois, les avantages les plus significatifs de JKL, tels que le ralenti et la lecture image-par-image, ne sont pas pris en charge.Chapitre 7 Lecture, navigation et modification du plan de montage 153 Remarque : vous avez toujours la possibilité de cliquer sur d’autres plans dans le plan de montage pour les sélectionnez, mais les points d’entrée et de sortie ne changent pas tant que vous ne déplacez pas la tête de lecture jusqu’à un autre plan. Mode Movie Lorsque vous entrez pour la première fois dans le mode Movie (film), le point d’entrée qui apparaît dans le plan de montage correspond à la première image du premier plan du plan de montage, et le point de sortie à la dernière image du dernier plan. Ceci vous permet de lire autant de plans que vous le souhaitez et donc de visionner des scènes entiè- res de votre projet. Lorsque vous êtes dans le mode Movie, vous pouvez aussi définir vos propres points d’entrée et de sortie de sorte qu’ils soient placés où bon vous semble et qu’ils ne soient pas actualisés lorsque vous déplacez la tête de lecture sur un autre plan. Placement de vos propres points d’entrée et de sortie Quel que soit le mode de lecture que vous ayez choisi, vous avez toujours la possibilité de définir manuellement de nouveaux points d’entrée et de sortie où que vous le souhaitiez. Si vous définissez vos propres points d’entrée et de sortie, le mode de lecture passe automatiquement au mode Movie. Pour basculer d’un mode de lecture à l’autre, effectuez l’une des opérations suivantes : m Choisissez Timeline > Toggle Playback Mode. m Appuyez sur Maj + Contrôle + M. Pour personnaliser la durée de la lecture : 1 Déplacez la tête de lecture jusqu’au point d’entrée souhaité, puis appuyez sur la touche I. 2 Déplacez la tête de lecture jusqu’au point de sortie souhaité, puis appuyez sur la touche O. Lecture en boucle Si l’option Loop Playback (lecture en boucle) est activée, la tête de lecture revient automatiquement au point d’entrée chaque fois qu’elle atteint le point de sortie lors de la lecture. Pour activer la lecture en boucle : 1 Cliquez sur l’onglet du studio Setup, puis sur l’onglet User Prefs. 2 Cliquez sur le bouton Loop Playback pour activer la lecture en boucle.154 Chapitre 7 Lecture, navigation et modification du plan de montage Respect de la fréquence d’images Le réglage Maintain Framerate qui se trouve dans l’onglet User Prefs du studio Setup permet de spécifier si une perte d’images doit ou non avoir lieu afin de maintenir la fréquence d’images du projet pendant la lecture.  Si le réglage Maintain Framerate est activé (par défaut), la fréquence d’images du plan actuel est respectée quel que soit la charge de travail supportée par le processeur. Si le jeu d’étalonnage choisi pour le plan en cours de lecture requiert une grande quantité de ressources processeur, certaines images seront ignorées pendant la lecture afin de maintenir la fréquence d’images du projet. Sinon, la lecture se déroule en temps réel.  Si Maintain Framerate est désactivé, toutes les images sont lues dans tous les cas. Si le jeu d’étalonnage en cours de lecture requiert une grande quantité de ressources processeur, la lecture sera ralentie pour éviter la perte d’images. Sinon, il est possible que la lecture soit plus rapide que la normale. Navigation à l’intérieur du plan de montage Les contrôles indiqués ci-dessous permettent de naviguer à l’intérieur du programme qui se trouve dans le plan de montage, en le faisant défiler, en effectuant des zooms avant et des zooms arrière et en déplaçant la tête de lecture d’un plan à un autre. Pour effectuer un zoom avant ou un zoom arrière sur un plan se trouvant dans le plan de montage : 1 Déplacez la tête de lecture jusqu’à l’endroit du plan de montage que vous souhaitez agrandir. 2 Placez le curseur à l’intérieur du plan de montage, puis effectuez l’une des opérations suivantes :  Pour effectuer un zoom avant, choisissez Timeline > Zoom In ou appuyez simultané- ment sur la touche Commande et sur la touche – (moins).  Pour effectuer un zoom arrière, choisissez Timeline > Zoom Out ou appuyez simultanément sur la touche Commande et sur la touche = (égal). Remarque : vous pouvez aussi vous servir des touches + et – du pavé numérique pour faire un zoom sur le plan de montage. L’ampleur maximale du zoom avant dépend de l’unité définie pour l’affichage de la règle du plan de montage. Inversement, plus l’unité définie pour l’affichage dans le plan de montage est grande, plus les possibilités de zoom arrière sont importantes. Par exemple, vous pouvez obtenir davantage de recul avec le zoom arrière, afin de voir un plus grand nombre de plans en même temps dans le plan de montage, lorsque la règle du plan de montage est définie à Minutes que lorsqu’elle est définie à Frames.Chapitre 7 Lecture, navigation et modification du plan de montage 155 Lorsque le nombre de pistes qui peuvent être affichées est supérieur au nombre de pistes qu’il est possible de visualiser en même temps dans le plan de montage, des petites flèches blanches apparaissent en haut, en bas, ou en haut et en bas pour montrer qu’il y a d’autres pistes dans la direction indiquée qui n’apparaissent pas pour l’instant. Dans ce cas, vous pouvez faire défiler le plan de montage verticalement à l’aide du bouton central de la souris. Pour faire défiler le plan de montage horizontalement ou verticalement sans déplacer la tête de lecture : m Cliquez sur le plan de montage avec le bouton central de la souris, puis faites glisser vers la gauche, vers la droite, vers le haut ou vers le bas. m Pour un défilement plus rapide, appuyez sur la touche Option et maintenez-la enfoncée, puis cliquez sur le plan de montage avec le bouton central de la souris et faites glisser. Pour déplacer la tête de lecture d’un plan à un autre, effectuez l’une des opérations suivantes : m Faites-la glisser à l’intérieur de la règle du plan de montage pour faire défiler les plans. m Appuyez sur la touche Flèche vers le haut pour déplacer la tête de lecture jusqu’à la première image du plan suivant situé à sa gauche. m Appuyez sur la touche Flèche vers le bas pour déplacer la tête de lecture jusqu’à la première image du plan suivant situé à sa droite. m Cliquez sur le bouton Next Shot (plan suivant) ou sur le bouton Previous Shot (plan précédent). Il est également possible de déplacer la tête de lecture d’une seule image à la fois. Pour déplacer la tête de lecture d’une image à l’image suivante, effectuez l’une des opérations suivantes : m Appuyez sur la touche Flèche gauche pour aller à l’image précédente. m Appuyez sur la touche Flèche droite pour passer à l’image suivante. Pour aller à la première image du projet : m Appuyez sur la touche Début. Pour aller à la dernière image du projet : m Appuyez sur la touche Fin.156 Chapitre 7 Lecture, navigation et modification du plan de montage Sélection de plans dans le plan de montage Il existe certaines opérations, telles que la copie des corrections Primary, qui peuvent être effectuées sur des groupes sélectionnés de plans. Color a recours à des méthodes standard pour sélectionner un ou plusieurs plans dans le plan de montage. Remarque : vous pouvez également sélectionner des plans à l’aide du navigateur de plans. Pour en savoir plus, consultez la section « Le navigateur de plans » à la page 109. Pour sélectionner un plan dans le plan de montage : m Cliquez sur le plan souhaité. Les plans sélectionnés apparaissent dans le plan de montage avec une mise en surbrillance de couleur cyan. Pour sélectionner plusieurs plans successifs : 1 Cliquez sur le premier plan de la plage de plans que vous souhaitez sélectionner. 2 Appuyez sur la touche Maj et maintenez-la enfoncée, puis cliquez sur un autre plan choisi en tant que dernier plan de la plage à sélectionner. Tous les plans qui se trouvent entre le premier et le second plans sélectionnés sont eux aussi sélectionnés. Pour sélectionner plusieurs plans qui ne se suivent pas dans le plan de montage : m Appuyez sur la touche Contrôle et maintenez-la enfoncée, puis cliquez sur autant de plans que vous le souhaitez dans le plan de montage.Chapitre 7 Lecture, navigation et modification du plan de montage 157 Pour désélectionner des plans dans le plan de montage : m Sélectionnez un plan non sélectionné auparavant pour annuler la sélection actuelle. m Cliquez sur une zone vide du plan de montage. Utilisation des jeux d’étalonnage dans le plan de montage Il est possible d’appliquer à chacun des plans qui se trouvent dans le plan de montage l’un des quatre jeux d’étalonnage qui apparaissent dans la piste des jeux d’étalonnage. Ces quatre jeux d’étalonnage vous permettent de stocker différents aspects pour un même plan. Par exemple, si vous avez créé un jeu d’étalonnage satisfaisant, mais que vous ou votre client souhaitez essayer « autre chose », vous pouvez faire des essais pour obtenir jusqu’à trois autres aspects différents, tout en sachant que vous pouvez instantanément revenir à l’aspect initial si c’est finalement celui que vous préférez. Un plan ne peut être modifié que par un seul jeu d’étalonnage à la fois. Le jeu d’étalonnage sélectionné dans le plan de montage est celui que vous verrez dans l’affichage Preview (aperçu) ou dans l’affichage Broadcast (diffusion). Tous les jeux d’étalonnage qui ne sont pas sélectionnés sont désactivés. Pour en savoir plus sur la création et la gestion des jeux d’étalonnage, reportez-vous au chapitre 13, « Gestion des corrections et des jeux d’étalonnage », à la page 299. Par défaut, chaque plan d’un nouveau projet n’est muni au départ que d’un seul jeu d’étalonnage vide, mais vous pouvez en ajouter un autre à tout moment. Pour ajouter un nouveau jeu d’étalonnage à un plan, effectuez l’une des opérations suivantes : m Déplacez la tête de lecture jusqu’au plan auquel vous souhaitez ajouter un nouveau jeu d’étalonnage, puis appuyez sur Contrôle + 1 à 4. m Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le jeu d’étalonnage auquel vous souhaitez passer, puis choisissez Add New Grade dans le menu contextuel.158 Chapitre 7 Lecture, navigation et modification du plan de montage S’il n’existe pas déjà un jeu d’étalonnage portant le même numéro que celui que vous avez saisi, un nouveau jeu est créée. Chaque fois qu’un nouveau jeu d’étalonnage est ajouté, la taille de la piste des jeux d’étalonnage augmente et le nouveau jeu est sélectionné. Les nouveaux jeux d’étalonnage sont dénués de tout réglage et permettent de commencer à travailler à partir de l’état original du plan non étalonné. Pour sélectionner le jeu d’étalonnage en vigueur : 1 Déplacez la tête de lecture jusqu’au plan dont vous souhaitez changer le jeu d’étalonnage. 2 Effectuez l’une des opérations suivantes :  Cliquez sur le jeu d’étalonnage auquel vous souhaitez passer.  Appuyez sur Contrôle + 1 à 4.  Cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le jeu d’étalonnage auquel vous souhaitez passer, puis choisissez Select Grade X dans le menu contextuel, X étant le numéro du jeu d’étalonnage que vous sélectionnez. Le plan qui est affiché dans le plan de montage est mis à jour avec le jeu d’étalonnage qui vient d’être sélectionné. Pour réinitialiser un jeu d’étalonnage du plan de montage : 1 Déplacez la tête de lecture jusqu’au plan dont vous souhaitez changer le jeu d’étalonnage. 2 Dans la piste des jeux d’étalonnage du plan de montage, cliquez tout en maintenant la touche Contrôle enfoncée ou cliquez avec le bouton droit de la souris sur le jeu d’étalonnage que vous souhaitez réinitialiser, puis choisissez Reset Grade X dans le menu contextuel (X étant le numéro du jeu d’étalonnage). Lorsque vous réinitialisez un jeu d’étalonnage, tous les studios qui lui sont associés sont également réinitialisés, y compris les studios Primary In, Secondary, Color FX, et Primary Out. Le studio Geometry, lui, reste inchangé. Pour en savoir plus, consultez le chapitre 13, « Gestion des corrections et des jeux d’étalonnage », à la page 299. Onglets de réglages Les onglets de réglages (Settings) indiquent les propriétés du plan sur lequel se trouve actuellement la tête de lecture. Certaines de ces propriétés peuvent être modifiées, d’autres non.Chapitre 7 Lecture, navigation et modification du plan de montage 159 Onglet Settings 1 Les relatives au chronométrage répertoriées dans cet onglet ne peuvent pas être modifiées. Elles dépendent en effet de la position de chaque plan dans le plan de montage et des propriétés des données source auquel chaque plan est lié.  Project In et Project Out : ces réglages définissent l’emplacement du plan dans le plan de montage.  Trim In et Trim Out : ces réglages définissent la partie des données source qui est effectivement utilisée dans le projet par rapport à la durée totale disponible du fichier de données source qui se trouve sur le disque. Les timecodes Trim In et Trim Out ne peuvent pas être en dehors de la plage des paramètres Source In et Source Out.  Source In et Source Out : ces réglages définissent le point de début et le point de fin des données source originales qui se trouvent sur le disque. Si la valeur de Trim In est égale à celle de Source In et que la valeur de Trim Out est égale à celle de Source Out, il n’y a aucune poignée non utilisée disponible dans les données source du disque. Vous utilisez toutes les données disponibles.  Menu local de Frame Rate : le menu local vous permet de définir la fréquence d’images de chaque plan. Ce réglage annule le réglage de fréquence d’images de l’onglet Project Settings. Pour la plupart des projets qui utilisent des données source au format QuickTime, le réglage par défaut ne devrait pas être modifié. Dans le cas des projets qui utilisent des séquences d’images DPX comme données source, le menu local vous permet de modifier une fréquence d’images incorrecte dans les données d’en-tête des fichiers DPX. Onglet Settings 2 Ce deuxième onglet contient des réglages supplémentaires permettant de modifier les données d’en-tête des fichiers image DPX.  Override Header Settings : s’il est activé, ce réglage annule les réglages suivants relatifs à l’en-tête DPX du plan actuel.  Log : ce réglage vous permet d’activer ou de désactiver la conversion des images du mode logarithmique au mode linéaire que Color effectue automatiquement pour les fichiers DPX et Cineon logarithmiques 10 bits.  Printing Density : ce menu local ne peut être sélectionné que lorsque le projet en cours est réglé pour utiliser les séquences d’images Cineon ou DPX. Il vous permet de choisir explicitement la plage numérique des valeurs qui sont utilisées pour traiter la couleur de façon à assurer la compatibilité avec votre flux de données (« pipeline ») de postproduction. Ces options déterminent le réglage des points noir et blanc dans les données dont le rendu est effectué par Color. Trois options sont disponibles :  Film (95 Black – 685 White : Logarithmic)  Video (65 Black – 940 White : Linear)  Linear (0 Black – 1023 White)160 Chapitre 7 Lecture, navigation et modification du plan de montage Important : le point noir par défaut, pour les numérisations de films DPX, est en général de 95, tandis que le point blanc par défaut dans le même cas est en général de 685. Il est important de vérifier que les réglages de point noir et de point blanc ne contiennent pas des valeurs aberrantes. Consultez le laboratoire pour vérifier que les réglages sont appropriés.  DeInterlace : si vous activez cette option à l’aide du bouton correspondant, vous avez la possibilité de désentrelacer chaque plan séparément. Ce réglage annule les réglages Deinterlace Renders et Deinterlace Previews de l’onglet Project Settings. Lorsque DeInterlace est activé, la moyenne des deux champs vidéo est utilisée pour leur union en une seule image. Contrôles et procédures de montage Color n’a pas été conçu en tant qu’environnement de montage. C’est la raison pour laquelle le jeu d’outils de montage mis à votre disposition n’est pas aussi complet que celui d’une application telle que Final Cut Pro. D’ailleurs, dans la plupart des cas, il est recommandé de veiller à n’apporter absolument aucune modification au montage de votre projet dans Color, et ce pour plusieurs raisons :  Le déverrouillage des pistes des projets qui ont été importés au format XML ou envoyés depuis Final Cut Pro et qui doivent ultérieurement retourner à Final Cut Pro risque de bouleverser les données du projet et d’empêcher un renvoi réussi de ce dernier à Final Cut Pro.  Si vous modifiez le montage d’un projet envoyé depuis Final Cut Pro, vous ne pourrez renvoyer à Final Cut Pro qu’une version simplifiée de ce projet contenant uniquement les plans et les transitions de la piste V1 et les réglages Pan and Scan du studio Geometry.  Si vous importez une liste de montage et modifiez le montage, vous pouvez exporter depuis Color une autre liste de montage reflétant vos modifications. Toutefois, celle-ci contiendra uniquement les plans et les transitions de la piste V1.  Si le projet que vous importez est synchronisé avec un mixage audio, toutes les modifications que vous apportez au montage risquent de rompre la synchronisation audio. Toutefois, si vous travaillez sur un projet pour lequel les questions ci-dessus n’ont aucune importance, vous pouvez vous servir des commandes et des outils indiqués ci-dessous pour monter des plans une fois les pistes correspondantes déverrouillées dans le plan de montage. ? Conseil : si vous devez modifier le montage, vous avez toujours la possibilité de monter à nouveau la séquence originale dans Final Cut Pro, d’exporter un nouveau fichier XML, puis de vous servir de la commande Reconform pour mettre à jour le plan de montage de Color de sorte qu’il tienne compte des modifications apportées.Chapitre 7 Lecture, navigation et modification du plan de montage 161 Outil Select L’outil Select (sélection) est l’état par défaut du pointeur dans Color. Comme son nom l’indique, cet outil permet de sélectionner des plans dans le plan de montage, de les déplacer jusqu’à un autre endroit du montage ou de les supprimer. Il est recommandé de sélectionner à nouveau l’outil de sélection immédiatement après avoir fait une coupe avec tout autre outil pour être sûr de ne pas continuer à apporter des modifications au plan de montage sans le vouloir. Pour modifier la position d’un plan dans le plan de montage : m Faites glisser le plan jusqu’à un autre endroit du plan de montage. Lorsque vous déplacez un plan à l’intérieur du plan de montage, sa position finale dépend de la relation entre son point d’entrée et les plans qui se trouvent déjà à la position souhaitée. Dans Color, les plans déplacés n’écrasent jamais d’autres plans. Au lieu de cela, ces derniers sont déplacés dans le plan de montage pour laisser suffisamment de place au plan à insérer, ce qui produit une mise à jour automatique de tous les points de montage du programme.  Si vous positionnez le point d’entrée du plan déplacé dans la première moitié d’un autre plan, le plan que vous déplacez sera inséré au point d’entrée de cet autre plan, ce qui aura pour effet de déplacer tous les autres plans qui se trouvent dans le plan de montage vers la droite pour lui faire de la place.  Si vous positionnez le point d’entrée du plan déplacé dans la seconde moitié d’un autre plan, le plan que vous déplacez sera inséré après le point de sortie de cet autre plan, ce qui aura pour effet de déplacer tous les autres plans qui se trouvent dans le plan de montage vers la droite pour lui faire de la place.  Si vous déplacez le plan jusqu’à un endroit du plan de montage de telle sorte qu’il ne chevauche aucun autre plan, il se retrouve tout simplement à l’endroit souhaité sans qu’aucun déplacement des autres plans ne se produise. Pour supprimer un plan du plan de montage : 1 Sélectionnez un ou plusieurs plans dans le plan de montage. 2 Effectuez l’une des opérations suivantes :  Appuyez sur la touche Supprimer.  Appuyez sur Forward Delete. Le résultat est un montage par élimination qui laisse un vide dans le plan de montage à l’endroit où se trouvait le plan. La suppression d’un plan n’entraîne aucun déplacement des autres plans.162 Chapitre 7 Lecture, navigation et modification du plan de montage Roll, outil L’outil Roll permet d’ajuster en même temps le point de sortie et le point d’entrée de deux plans consécutifs. Vous pouvez vous servir de l’outil Roll si vous êtes satisfait de l’endroit où se trouvent deux plans dans le plan de montage, mais que vous souhaitez changer la position du point de montage correspondant à la coupe. L’utilisation de l’outil Roll n’entraîne aucun déplacement des plans à l’intérieur du plan de montage ; seul le point de montage entre les deux plans est déplacé. Il s’agit d’un montage des deux côtés puisqu’il concerne simultanément les points de montage de deux plans différents ; le point de sortie du premier plan et le point d’entrée du plan suivant sont tous deux ajustés par le montage Roll. Toutefois, ce montage n’a aucune incidence sur les autres plans de la séquence. Remarque : lorsque vous effectuez un montage Roll, la durée globale de la séquence reste la même, mais celle des deux plans change. L’un s’allonge alors que l’autre rétrécit en compensation. Ceci signifie que vous n’avez pas à vous préoccuper d’un quelconque risque de provoquer d’éventuels problèmes de synchronisation entre des éléments reliés aux plans qui se trouvent dans d’autres pistes. Dans l’exemple ci-dessus, le plan B est raccourci et le plan C devient plus long, mais la durée d’ensemble des deux plans ne change pas. Pour effectuer un montage Roll : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Roll :  Choisissez Timeline > Roll Tool.  Appuyez sur Contrôle + R. 2 Déplacez le pointeur jusqu’au point de montage situé entre deux plans que vous souhaitez unir par un montage Roll, puis faites-le glisser vers la gauche ou vers la droite. Le plan de montage est mis à jour pour refléter le montage effectué. A B C A B C Avant montage Après montageChapitre 7 Lecture, navigation et modification du plan de montage 163 Ripple, outil Un montage Ripple ajuste le point d’entrée ou le point de sortie d’un plan, en augmentant ou réduisant la durée de ce dernier, de sorte qu’il n’y ait pas de vide dans le plan de montage. La modification de la durée du plan entraîne une mise à jour automatique des points de montage de tout le reste du programme et provoque un déplacement de tous les plans qui se trouvent à droite de celui que vous avez ajusté vers la droite ou vers la gauche à l’intérieur du plan de montage. Un montage Ripple est un montage sur un seul côté, c’est-à-dire que vous ne pouvez l’utiliser que pour ajuster le point d’entrée ou le point de sortie d’un seul plan. Tous les plans qui viennent après celui que vous avez ajusté sont déplacés, vers la gauche si vous l’avez raccourci, vers la droite si vous l’avez allongé. Il s’agit d’une opération très importante qui peut éventuellement avoir une incidence sur le chronométrage de l’ensemble de votre programme. Important : les montages Ripple peuvent présenter des risques si vous essayez de maintenir la synchronisation entre votre programme dans Color et le son original de la séquence Final Cut Pro ou de la liste de montage source dont tout le mixage est effectué dans une autre application. En effet, les plans de votre projet Color peuvent se déplacer vers le début ou vers la fin du programme alors que le son avec lequel ils sont censés être synchronisés, lui, reste en place. Pour faire un montage Ripple : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Ripple :  Choisissez Timeline > Ripple Tool.  Appuyez sur Contrôle + T. 2 Déplacez le pointeur jusqu’au point d’entrée ou jusqu’au point de sortie du plan que vous souhaitez raccourcir ou allonger, puis faites-le glisser vers la gauche ou vers la droite. Le plan de montage est mis à jour pour refléter le montage effectué et tous les plans qui viennent après celui que vous avez ajusté se déplacent vers la gauche ou vers la droite pour compenser le changement du chronométrage. A B C A B C Avant montage Après montage164 Chapitre 7 Lecture, navigation et modification du plan de montage Coulissement, outil Un montage par coulissement ne change ni la position ni la durée du plan dans le plan de montage, mais il modifie la partie des données du plan qui apparaît dans le plan de montage en vous permettant de déplacer simultanément ses points d’entrée et de sortie. Ceci signifie que la partie du plan qui est lue dans le plan de montage n’est plus la même, bien que la position du plan à l’intérieur du plan de montage ne change pas. Un montage par coulissement n’a aucune incidence sur les autres plans qui se trouvent dans le plan de montage, et la durée globale du projet reste inchangée. Dans l’exemple ci-dessus, le montage par coulissement change les points d’entrée et de sortie du plan B, mais pas sa durée ni sa position dans la séquence. Lors de la lecture de la séquence, la partie affichée des données du plan B sera différente. Pour effectuer un montage par coulissement : 1 Déplacez la tête de lecture jusqu’au plan à ajuster pour pouvoir voir ce que vous faites lors de la modification. 2 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Slip :  Choisissez Timeline > Slip Tool.  Appuyez sur Contrôle + Y. 3 Déplacez le pointeur jusqu’au plan que vous souhaitez faire coulisser, puis faites-le glisser vers la gauche ou vers la droite. Contrairement à Final Cut Pro, Color ne montre pas les images correspondant aux nouveaux points d’entrée et de sortie que vous choisissez avec cet outil. La seule image affichée est celle sur laquelle se trouve la tête de lecture, qui est mise à jour lorsque vous faites glisser le plan dans un sens ou dans l’autre. C’est la raison pour laquelle il est utile de déplacer la tête de lecture jusqu’au plan à ajuster avant de commencer un montage par coulissement. A B C A B C Avant montage 00:00:10:00 00:00:30:00 00:00:17:00 00:00:37:00 Après montageChapitre 7 Lecture, navigation et modification du plan de montage 165 Outil Split L’outil Split (division) permet d’ajouter un point de montage à un plan en le coupant en deux. Ce point de montage est ajouté au niveau de l’image sur laquelle vous cliquez dans le plan de montage. Cet outil peut s’avérer utile pour supprimer une section d’un plan ou pour appliquer un effet à une partie précise d’un plan. Pour diviser un plan en deux plans distincts : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Split :  Choisissez Timeline > Split Tool.  Appuyez sur Contrôle + X. 2 Déplacez le pointeur jusque sur la règle du plan de montage, puis, lorsque la ligne de chevauchement de la division apparaît (il s’agit d’une ligne blanche verticale qui indique l’intersection des plans dans le plan de montage), faites-la glisser jusqu’à l’image du plan sur laquelle vous souhaitez placer un point de montage. 3 Cliquez pour ajouter un point de montage. Le plan de montage est mis à jour pour refléter le montage effectué et un nouveau point de montage apparaît au niveau de l’image sur laquelle vous avez cliqué. Outil Splice Chaque fois que vous coupez un plan avec l’outil Split, le plan original est divisé en deux plans séparés par un point de montage correspondant à une coupe. Les coupes ne se voient pas dans le plan de montage de Color, mais tout point de montage qui divise une plage d’images successives qui formeraient un tout en son absence est considéré comme une coupe. L’outil Splice (raccord) permet de relier ces images pour rétablir l’unité du plan. Le fait de relier deux plans que sépare une coupe a pour effet de les fusionner à nouveau en un seul plan. Vous ne pouvez pas relier deux plans qui ne sont pas séparés par une coupe. Si vous tentez de le faire, vous obtiendrez simplement un message d’avertissement. Important : lorsque vous raccordez deux plans dont les jeux d’étalonnage et les corrections sont différents, les jeux d’étalonnage et les corrections du plan situé à gauche annulent celles du plan de droite. Pour raccorder deux plans de sorte qu’ils n’en forment plus qu’un : 1 Effectuez l’une des opérations suivantes afin de sélectionner l’outil Splice :  Choisissez Timeline > Splice Tool.  Appuyez sur Contrôle + Z. 2 Déplacez le pointeur jusque sur la règle du plan de montage, puis, lorsque la ligne de chevauchement du raccord apparaît (il s’agit d’une ligne blanche verticale qui indique l’intersection des plans dans le plan de montage), faites-la glisser jusqu’au point de montage correspondant au raccord à effectuer. 3 Cliquez pour faire de ce point de montage un raccord.166 Chapitre 7 Lecture, navigation et modification du plan de montage Le plan de montage est mis à jour pour refléter le montage effectué et les deux plans qui étaient auparavant séparés par une coupe sont raccordés de façon à n’en faire plus qu’un. Commande Create an Edit (Création d’un point de coupe) La commande Create an Edit du menu Timeline (Contrôle + V) est semblable à l’outil Split. Elle permet de couper en deux un plan du plan de montage à l’endroit où se trouve la tête de lecture. Cette commande permet de ne pas avoir à choisir un outil. Pour créer un point de montage : 1 Déplacez la tête de lecture jusqu’à l’image sur laquelle vous souhaitez ajouter un point de montage. 2 Effectuez l’une des opérations suivantes :  Choisissez Timeline > Create an Edit.  Appuyez sur Contrôle + V. Le plan de montage est mis à jour pour refléter le montage effectué et un nouveau point de montage apparaît à l’endroit où se trouve la tête de lecture. Commande Merge Edits (Fusion d’un point de coupe) La commande Merge Edits (Contrôle + B) est semblable à l’outil Splice. Elle permet de relier deux plans séparés par une coupe, à l’endroit où se trouve la tête de lecture, en un seul. Cette commande permet de ne pas avoir à choisir un outil. Pour fusionner deux plans en un seul à un point de montage correspondant à une coupe : 1 Déplacez la tête de lecture jusqu’à l’image qui correspond à la coupe que vous souhaitez fusionner. 2 Effectuez l’une des opérations suivantes :  Choisissez Timeline > Merge Edits.  Appuyez sur Contrôle + B. Le plan de montage est mis à jour pour refléter le montage effectué et les deux plans qui étaient auparavant séparés par une coupe sont fusionnés de façon à n’en faire plus qu’un. Important : lorsque vous raccordez deux plans dont les jeux d’étalonnage et les corrections sont différents, les jeux d’étalonnage et les corrections du plan situé à gauche annulent celles du plan de droite. Magnétisme Lorsque le magnétisme est activé les plans se calent sur la valeur temporelle 00:00:00:00 de la Timeline. Pour activer ou désactiver le magnétisme : m Choisissez Timeline > Snapping pour activer ou désactiver le magnétisme.8 167 8 Vidéoscopes Outre un écran de diffusion bien calibré, les vidéoscopes offrent un moyen rapide et précis d’évaluation et de comparaison quantitatives des images. Color propose la plupart des écrans de vidéoscopes disponibles dans les autres suites de vidéo en ligne et d’étalonnage plus quelques-uns qui sont propres à l’analyse des images par logiciel. Ces vidéoscopes fournissent conjointement des mesures graphiques des niveaux de luminance, de chrominance et RVB de l’image contrôlée, vous permettant d’évaluer clairement les qualités différentiant un plan d’un autre. Vous pouvez ainsi prendre des décisions en connaissance de cause lors de la légalisation ou de la comparaison de plans dans Color. Les rubriques suivantes seront abordées au cours de ce chapitre :  Quels sont les vidéoscopes disponibles ? (p. 168)  Options des vidéoscopes (p. 171)  Analyse d’images par le biais de vidéoscopes (p. 173)168 Chapitre 8 Vidéoscopes Quels sont les vidéoscopes disponibles ? Les vidéoscopes suivants figurent dans la fenêtre Scopes :  Waveform Monitor avec les options suivantes :  Vue RGB Parade  Overlay de canaux rouge, vert et bleu  CanalRed, Green ou Blue en isolement  Luma uniquement  Chroma uniquement  Y´CB CR présenté en vue parade  Vectorscope  Histogram avec les options suivantes :  RGB présenté simultanément  CanalRed, Green ou Blue en isolement  Luma uniquement  Analyse de couleur 3D avec les options d’espace colorimétrique suivantes :  RGB  HSL  Y´CB CR  IPT L’emplacement des vidéoscopes dépend du mode d’affichage de Color (simple ou double) :Chapitre 8 Vidéoscopes 169  En mode d’affichage simple : deux vidéoscopes sont affichés sous l’aperçu vidéo dans la fenêtre Scopes, qui est positionnée sur la gauche de la fenêtre d’interface Color.170 Chapitre 8 Vidéoscopes  En mode d’affichage double : jusqu’à trois vidéoscopes sont affichés dans la fenêtre Scopes, outre l’aperçu vidéo. Précision des vidéoscopes Pour créer une analyse en temps réel du signal vidéo (même durant l’ajustement et la lecture), Color effectue un sous-échantillonnage de l’image en cours à une résolution de 384 x 192. L’image sous-échantillonnée est alors analysée et les données résultantes sont affichées par les vidéoscopes sélectionnés. La même résolution sous-échantillonnée est utilisée quelle que soit la résolution d’origine des données source. Dans le cadre de cette méthode, chaque pixel contribue à l’analyse finale de l’image. Dans les tests, les graphiques générés par les vidéoscopes Color sont très proches de ceux générés par les vidéoscopes dédiés et sont extrêmement utiles dans l’évaluation et la mise en correspondance des plans lorsque vous utilisez Color. Cependant, notez bien que l’analyse de Color reste une approximation des données totales. Les vidéoscopes dédiés restent utiles pour une évaluation critique. Remarque : si vous souhaitez intercepter des pixels perdus en dehors de la gamme lors de la réalisation d’ajustements pour le QC, vous pouvez activer les réglages Broadcast Safe pour vous protéger des violations QC. Pour en savoir plus, consultez la section « Réglages de seuils de diffusion (Broadcast Safe) » à la page 119.Chapitre 8 Vidéoscopes 171 Options des vidéoscopes Vous pouvez modifier l’affichage et le comportement des vidéoscopes des façons suivantes. Pour activer la mise à jour des vidéoscopes en temps réel : 1 Ouvrez l’onglet User Preferences dans le studio Setup. 2 Sélectionnez Update UI During Playback. 3 Pour que les vidéoscopes se mettent à jour au cours de la lecture, sélectionnez Update Secondary Display. ? Conseil : vous pouvez désactiver Update Primary Display pour améliorer les performances de lecture. Certains vidéoscopes disposent de plusieurs modes. Pour faire passer un vidéoscope dans un mode différent : m Cliquez sur le bouton correspondant au mode voulu en haut du vidéoscope. Tout quadrant contenant un vidéoscope peut aussi en utiliser de différents types.